Ideation - Student Journal Sem1 2012

MODULE 1: IDEATION STUDENT JOURNALS SEMESTER 1, 2012 VIRTUAL ENVIRONMENTS

Faculty of Architecture, Building & Planning. University of Melbourne

A SELECTION OF MODULE ONE STUDENT JOURNALS PRODUCED BY STUDENTS ENROLLED IN VIRTUAL ENVIRONMENTS IN SEMESTER 1, 2012.

IN MODULE ONE STUDENTS WILL USE DRAWINGS AND PHYSICAL SCALE MODELS TO DEVELOP A SERIES OF THREE-DIMENSIONAL FORMS BASED ON THE ANALYSES OF EXISTING NATURAL FORMS AND PROCESSES, AND CHOOSE ONE FOR FURTHER DEVELOPMENT. THE VIRTUAL ENVIRONMENTS COURSE FOCUSES ON DIGITAL DESIGN METHODS AND DESIGN COMMUNICATION AND IS A CONSTITUENT COURSE OF THE BACHELOR OF ENVIRONMENTS AT THE UNIVERSITY OF MELBOURNE

Erik Dahlgren Allen Student No: 587557 Semester: 1/2012 Group: 10

VIRTUAL ENVIRONMENTS

Fibonacci Sequence

The Fibonacci Sequence is a series of numbers that mathematically represents many of natures wondrous forms, this magical mathematical sequence is found in everything from pineapples, artichokes, sunflowers, sea shells and more. It is often viewed as a spherical shape that is constantly increasing in diameter as the curve goes around causing a perfect spiral.

The Fibonacci Sequence can be represented by the rule: xn = xn-1 + xn-2 Or simply adding the previous two numbers in the sequence together to determine the next numeral.

Fibonacci Sequence Sketches

Growth is a natural process in which a plant increases in size by absorbing light and water, typically to spawn more leaves and enlarge its stem to generate a larger foliage.

The wild, untamed and spontaneous growth of plants is impossible to predict which gives it a mysterious impression.

My focus is on vine plants as they are one of the most unpredictable plants on the planet, climbing on whatever they can find to reach the best spot and absorb the most light.

The Fibonacci Sequence correlating with vines The Fibonacci Sequence is a series of numbers that mathematically represents many of natures wondrous forms.

A plant that follows this exact pattern is a vine in the amazon that climbs in an unusual method.

As it grows up into the air to reach higher grounds and avoid being left behind under the canopy of other trees, it spins and grows in length. This spinning motion closely follows the Fibonacci sequence as the radii of the spin gradually gets larger as it grows in length in order to latch onto surrounding trees.

A BBC video of the process can be found here: http://www.youtube.com/watch?v=H9 MV5CgPgIQ Restatement of the Fibonacci Sequence: xn = xn-1 + xn-2 Or simply adding the previous two numbers in the sequence together to determine the next numeral.

Mapping multiple positions of the vines growth spin resulting in more jagged characteristics.

Top view sketches of vines grabbing onto different branches, creating interesting forms.

Proposal 1 – Fibonacci / Growing vines

time

By mapping points (x,y) on an entities motion and having the third axis as time it is possible to create a shape that is not only interesting and abstract, it can also help us understand how a body operates.

I followed the spinning motion of the climbing vine tip, utilized rhino 5.0, sketched the motion of the tip of the vine and lofted it from an origin point, creating a shell or whirlpool shape shown below.

y

x

Fractals A fractal is a mathematical set that repeats a pattern over and over to that seem to be never ending and infinitely detailed. Fractal patterns are known to have the same appearance at a large scale as a small scale allowing for the repetition of the pattern.

Fractals appear in many different places in nature, for example if you look closely at a ferns leaf you can see that it looks like a large leaf with many leaves coming off the main steam, on each of those smaller leaves are even more leaves creating a fractal effect. A very similar effect occurs when lightning strikes, a main branch splits into smaller branches which splits into even more branches. If you were to look at a smaller section of the lightning strike it would look the same as the large.

This fractal pattern can be applied to almost any shape shown in the sketches I have drawn.

Fractals seen in fern leaves.

These fractal sketches demonstrate how many different objects can be split into components over and over to create interesting forms that are never-ending.

Proposal 2 – Fractals / Golden angle

This proposal is based around the golden angle and fractals. The repeating pattern of rotating stars each layer provides the design with a fractal nature for if I were to create thousands of these stars on top of each other they will still look the same small as they do large.

Although the shape I have created does not follow the golden angle rule exactly, it produces a similar shape to plants that do.

Chronophotography The art of combining multiple photos that are in close consecutive order in a single still image is termed chronophotography. The use of this method allows for motion to be captured within an image which can be utilized to aid specialists study the movement of entities. Chronophotography can also be exploited to create an eerie appearance that is almost otherworldly. The separate frames can also be arranged in unalike cells to effortlessly compare the images without the clutter of the overlaps.

Advancement in technology has allowed individuals to push past old boundaries and broaden our possibilities. Computers and cameras has made this type of art form possible and relatively simple to recreate.

Chronophotography Sketches/Concepts

Hurricanes A hurricane is a closed area of circular fluid motion.

Hurricanes are formed as moisture evaporates leaving enormous amounts of heated moist air in the atmosphere. The winds circulate and keep pulling up more and more moisture resulting in growth of size in winds and force.

Three points of the hurricane can be mapped and form a triangle that demonstrates the rotation of the winds around the eye, it can also be utilized to find the average wind speed around those points if the right scales are used.

Proposal 3 – Chronophotography of hurricanes

My final proposal is based around chronophotography, taking snapshots of images as they travel through a motion and then converging them in one image.

My proposal is of a rotating triangular prism which I obtained by mapping three different points onto a hurricane following the wind around the eye of the hurricane.

Final Model, development of proposal 2

Proposal 2 was my most alluring creation, it involved the use of fractal nature to create a star repeating pattern. However, that design did not encompass my interest and research in Fibonacci's sequence.

My tutor demonstrated a method in which I could manipulate my proposal to include Fibonacci’s sequence, this was achieved by creating a octagonal star shape, repeating the shape, rotating it and scaling it up in size each time to create a repeating pattern (demonstrated in the sketches). This process can be reiterated indefinitely making it fractal in nature, it also demonstrated Fibonacci’s sequence through exponential growth (shown by the dotted line in the image.)

Rhino Models

Creating the model in rhino was very easy, using the shape tool to create the octagonal star, scaling and rotating the star and then lofting them together following a curve to create this fascinating shape.

Images rendered with Vray

Different dimensions were tested for best result

Creating a plasticine model of my final model proved to be difficult however with many different approaches I found that creating the general shell shape of the object, cutting parts off and then molding it was the easiest method.

The problems I faced were that it was near impossible to continue the spiral form all the way to the top of the shape with the little techniques I know, therefore I flattened the top.

Final Model

James Douglas Student No: 329725

Module 1 Semester 1/ 2012

Group 2

Natural Process Analysis: Fluid Motion

extremely

Flow Obstruction -

motion (such as in the middle picture)

niscent of many other things in nature shape such as the logarithmic

Above: shapes of the water particles’ path around a

Fluid Motion: Suface Shape

I was interested in the three dimensional shapes which are present in the surface of slightly wavy water. These shapes were the starting point for the 3D shape of the lantern. In the sketch above-left I have represented different shapes which arise in three dimensional shape using a grid. The roof on Southern Cross Station in Melbourne (above and left) is a good example of the shapes which could be used. Althought the shape of the is roof is that of a basic “sine wave�, it proved to be useful in my later development of this idea. Bottom left is an example of these shapes and how they can form a 3D surface.

Fluid Motion:

Above: Right:

Sketch Proposal 1 - Refraction

I decided that from the different concepts of motion/shape. I needed to analyse these processes in a more dynamic way.

Light Refraction

I was able to mathematically analyse the an-

Sketch Proposal 1 - Refraction Figure 5 Figure 1 Figure 2

I experimented with these shapes in a 3D capacity by cutting around the outside of the spiral, and folding the paper along the lines of refraction. (Fig. 1, 2) I continued to expriment with alternative 3D modelling techniques. The drawing above demonstrates a possible panelling technique, which uses the triangular shapes from the Fibonacci spiral. If used for a latern, the darker triangles might represent solid surfaces, while the white ones would allow light through.

Figure 3

Figure 4

I also created pieces of plasticene in the shape of the triangles from the Fibonacci spiral. By overlaying the edges of the shapes when I placed them in their original spiral formation (Fig. 3, 4), it created a dynamic structure that could form the basis of a latern design. This also demonstrates another idea for panelling the latern.

Sketch Proposal 2

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-

Nurbs Modelling Experiments

I experimented with these shapes using NURBS modelling. While exploring different transforming and lofting features of Rhinoceros 3D, I was able to experiment with the shape of these tubular forms. Because I wanted to have this lantern ‘drape’ over someones shoulder, I wanted to curve these shapes around. I used the ‘bend’ command in Rhino to experiment with the possibilities.

Sketch Proposal 3 - Wave shape/ Motion

Figure 1

Figure 2 In exploring the shape created by waves I looked at how a wave moves over time. I sketched a series of these lines, but instead of spacing them out, decided to overlay them. This created a 3D effect of a twisting ribbon (Fig. 1). I took the idea of the twisting nature of the lines and created a plasticine model representing this idea. (Fig. 2) This gave me the idea of incorporating this into the design of my tubular shape. I did this by adjusting the loft of one of the models I made using Rhinoceros 3D. I experimented with the line of the loft and also the preferences to create the only do the twists not look very appealing, but it would make for The sketch of the overlaid lines also created a diamond shape, which was reminiscent of the triangular shapes I found in light folded triangles from my initial paper model based on light refraction.

This demonstrates another panelling option which could prove to be an interesting way of letting light out of the lantern.

Figure 3

NURBS modelling - Paneling Idea

Form and Function

I began sketching these tubular shapes and realised that if it were to be used over the shoulder it should I then experimented with how the shapes

Figure 2

Front

Back

Side

shapes found in the Fibinacci spiral I had and 2 these are present in the inside curve of

Figure 3

Plasticine Model

I modelled the end result of my sketches using plasticine.

Using this material also gave form even further to not only shoulder of the user.

Plasticine Model - Function

Module 1 Critical Analysis

It has been an extremely steep learning curve for me since the beginning of module one. I think the main lesson I have learnt is not to over-think things too much. You must lose all inhibition to work effectively in this manner.

When I started the week one task, I was quite unsure about what the brief entailed and what was expected. I realised pretty quickly though that if you results in less time. I tried to embraced the ‘There’s more than one way to do it” philosophy.

This took me quite a while to get used to as I am accustomed to working to a strict brief. I think that this has allowed me however to open my mind a bit more, especially to dynamic processes, and their patterns in and out of nature. This makes for a much better design outcome. I am of course still getting used to this process, and although I am quite happy with the processes and outcomes of my design for module one, I am looking forward to continuing to learn and discover the potential of this process.

Something I would like to work on in my future work is time management. done for the week’s task. This is an issue for me with any design process. be done to add to the design? I am never quite sure of this, and it can result in long hours of designing with what seems like no end.

There seems to be many different philosophies on this topic. Some people as some others think it is never done. As John Lasseter of Pixar puts it: “We

M O D U L E 1 I D E AT I O N

Alister Sluiter Student Number: 586507

Semester 1/2012

Group 01

Virtual Environments

M O D U L E 1 I D E AT I O N

Module 1 Submission

Exploring Concepts

Alister Sluiter 586507

Plate Tectonics Plate tectonics describes the motion that the plates which make up the Earth’s lithosphere undergo as they are moved by convection currents in the mantle.

The motion and interaction of these plates can produce a multitude of results including the formation of mountain ranges and valleys.

The formation of mountains occurs most commonly at convergent boundaries, where two plates meet. Lateral forces are applied on the plate, producing compression which causes the plate to buckle and crumple in response.

The idea of two objects colliding and being reshaped by this is one which could be further explored in the design of the lantern.

Image by Alister Sluiter

Virtual Environments

M O D U L E 1 I D E AT I O N

Module 1 Submission

Exploring Concepts

Alister Sluiter 586507

Abscission Abscission in plants is the natural process by which plants drop one or more of their parts such as leaves, fruits, seeds or flowers.

This natural process can benefit the plant in many ways. It can detach diseases from the rest of the plant, reduce wind resistance during windy months, spread seeds and simply remove parts which have become redundant and have served their purpose.

Plant hormones such as ethylene and auxin signal to the leaf that the abscission zone should weaken and break, allowing the redundant plant-part to be shed.

Image by Alister Sluiter

The contrast between the lush greenery of a deciduous tree compared with its bare skeleton is an aspect which could be developed in the design of a lantern.

Virtual Environments

M O D U L E 1 I D E AT I O N

Module 1 Submission

Exploring Concepts

Alister Sluiter 586507

Aurora An aurora is a natural light display in the sky which is most commonly seen between 3° and 6° in latitude from both magnetic poles of the Earth.

As charged particles from the solar wind reach the Earth’s atmosphere, they excite atoms (particularly nitrogen and oxygen) while being directed by the magnetic field present. These excited atoms release photons of light as they return to their ground state.

The colour of light produced is related to the amount of energy absorbed and then released and is characteristic for each element.

Image by Flagstaffotos

Ethereality Elusiveness Curvature Grace Flow

Virtual Environments

M O D U L E 1 I D E AT I O N

Module 1 Submission

Exploring Concepts

Alister Sluiter 586507

While a photograph or sketch can portray an aurora at a moment in time, an aurora is neither stagnant nor 2-dimensional; rather very dynamic with light which extends in all 3 dimensions.

This aspect of omni-directional light is one which can also be captured in the design of the lantern to be produced.

Image by NASA Space Shuttle Discovery (STS-39) 1991

The fact that aurorae can appear totally random when viewed from the ground on Earth, yet when viewed from outer space often form a perfect ring around the Earth’s poles can also be incorporated into the design of the lantern; when things are looked at from different angles they can seem completely different.

Image by NASA

Virtual Environments

M O D U L E 1 I D E AT I O N

Module 1 Submission

Exploring Concepts

Alister Sluiter 586507

The natural process I selected to base my design on was the aurora.

While the other two I considered also were interesting, I felt that an aurora-based project might be more original than one of the others. I also felt that I had a more in-depth knowledge of aurorae than I did of the other two as the aurora is something which has deeply interested me for a long time and atomic emission of light (which causes the light of an aurora and is the basis for my design) is something I have learnt much about in recent years.

I figured that if I were to pick the aurora as my natural process, there would be the greatest number of opportunities for interesting panels and forms.

Virtual Environments

M O D U L E 1 I D E AT I O N

Module 1 Submission

Precedent

Alister Sluiter 586507

A preliminary sketch showing a curtain aurora in solid form

The sketch at left was an initial idea for a form my lantern could take on. While this sort of form is interesting, I decided against using it as the basis of my design. After more research into it and the discovery of the precedent of Katuaq I decided that such a form would be too close of a representation of an aurora for such a project as this and also may not allow for many inventive paneling techniques.

Katuaq too was designed to present the natural process of the aurora borealis. It utilised the more defined form of the curtain aurora as a symbolic representation of Greenland; a place where aurorae can be observed.

After finding this precedent, I realised that the best way to go about this project was not to look at the process broadly, but on an atomic scale.

Katuaq Culture Centre, Greenland Schmidt Hammer Lassen 1997

Virtual Environments

M O D U L E 1 I D E AT I O N

Aurora

Module 1 Submission Alister Sluiter 586507

The light of an aurora is produced by a simple process: an atom absorbs energy and then re-emits it in the form of a photon of light.

This process is called the atomic emission of light.

Image by Chris Danals, National Science Foundation

1

2

3

Step 1: A charged particle collides with an atom.

Step 2: The atom absorbs energy from the charged particle.

Step 3: The atom emits excess energy as light.

Virtual Environments

M O D U L E 1 I D E AT I O N

Module 1 Submission

Design Development

Alister Sluiter 586507

Diagram representing the major steps in atomic emission of light: collision, absorption of energy and destabilistaion, and release of energy.

Preliminary sketch of a shape which encompasses the aforementioned steps. It is, however, very linear and unlike the curvature of an aurora.

The final sketched design shown here shows most of the attributes I wanted to include such as flow and curvature.

A secondary sketch utilising the same shapes as the previous sketch but placed along a curved line, similar to the curves created by an aurora.

Virtual Environments

M O D U L E 1 I D E AT I O N

Module 1 Submission

Paneling Ideas

Alister Sluiter 586507

Section 1: This section of the model represents a charged particle about to collide with an atom. Based on this, I think it is most appropriate if it looked in some way angry. This will be achieved by using small, closed pyramids as panels.

Section 2: This section, too, will look angry as it represents the release of energy from the atom. As panels, taller pyramids with cutouts will be used (see sketches at right) to allow the maximum amount of light to pass out from the lantern in this section.

Section 3: Small triangular panels over an undulating surface could be used in this section to represent how destabilised the atom is after the collision and absorption of energy.

(Refer to next page for more detail)

2

1 3 4

Section 4: As this section represents an atom in its stable form, calm, simple facets hould be used.

Virtual Environments

M O D U L E 1 I D E AT I O N

Module 1 Submission

Precedent

Alister Sluiter 586507

The Miss Maple pendant light is a prime example of the type of paneling I wish to achieve in the mid-section highlighted above.

Its crumpled texture, created by triangular wooden panels, is a design technique which would be perfect to portray the excited and destabilised nature of an atom which is about to undergo atomic emission of light.

Miss Maple pendant light by Elisa Strozyk Images by Sebastian Neeb

By creating simple triangular panels over an undulating surface with a small grid, this type of paneling can be achieved in Rhino.

Virtual Environments

M O D U L E 1 I D E AT I O N

Placement

Module 1 Submission Alister Sluiter 586507

Composite image of the design placed across the shoulders from front.

Composite image of the design placed across the shoulders from back.

I decided to place my lantern on the human body at this position firstly because an aurora appears on the northern or southern extremes of Earth, but is rarely seen at the exact poles; instead, most typically within 3째 and 6째 of them.

This presented me with a dilemma; to place it north or south? Over the shoulders or around the calves?

I decided in the end that around the shoulders would be best as the design I had could be altered to hang over them.

Virtual Environments

M O D U L E 1 I D E AT I O N

Final Model

Module 1 Submission Alister Sluiter 586507

Front Elevation

Left Elevation

Right Elevation

Rear elevation

Bottom Elevation

Top Elevation

Virtual Environments

M O D U L E 1 I D E AT I O N

Module 1 Submission

Analysis of readings/lectures

Alister Sluiter 586507

The lectures for this subject were very useful in demonstrating new ways to think about designing from a concept.

The new ways of interpreting data such as Carlo Ratti’s experiment on mobile phone use during the world cup opened up my eyes to the possibilities of changing something intangible into a landscape or design. This became very useful when I was attempting to translate something intangible (in my case an aurora) into a physical object.

Initially I was stuck for ideas as to how I could make something which is simply light into a physical object.

However, the first two lectures taught me that designing from a process isn’t simply about creating something which looks like it; instead, it’s about understanding the process so well that you can see past its basic form and into the underlying patterns behind it.

Virtual Environments

M O D U L E 1 I D E AT I O N

Module 1 Submission

Reflection

Alister Sluiter 586507

Over the past 3 weeks I have been able to develop a number of skills. I learnt how to utilise a new program to me (Adobe InDesign) and also practiced and improved my basic sketching skills. When compared to my initial sketches, the final sketches I produced were much better, utilising better shading techniques and also smoother lines rather than being simple diagrams.

I feel that the design I have created fits the brief in that I can explain my entire design development and process and the form I have created is both interesting and representative of my chosen natural process.

References: Aurora panorama image: http://www.flagstaffotos.com.au/ Miss Maple pendant light: http://www.elisastrozyk.de/seite/woodtex/lamps.html Katuaq Cultural Centre: http://www.katuaq.gl/ Carlo Ratti: http://www.ted.com/talks/carlo_ratti_architecture_that_senses_and_responds.html

Virtual Environments

Amanda Do 586541

Semester 1/2012

Group 7

Sketch Proposal 1: Branching When thinking of a natural process my first thought was the process of branching. We see branching everywhere, in trees, lightning, even in our very veins.

The way smaller members “bleeds” and "blooms" out of a larger structure and the “off-springing” of a central structure fascinates me greatly.

Branching isn't always as random as they seem.

According to Leonardo Da Vinci, a tree almost always grow in a way that can be expressed through mathematical formulae. For example, the total thickness branches and a particular height equals the thickness to that of the trunk that it branched out of.

I feel that this process growth, especially the cases of growth in a mathematically based way, has a lot of potential in becoming a very effective lantern design concept if explored and developed further to become an abstract design.

Top: Sketches by Lionardo Da Vinci on the concept of Branching.

Bottom: An example of some of the mathematics behind branching.

Precedent Acknowledgement:

Idea Generation:

Left: The Frame Hotel

by International Development A structure both inspired by and filled with nature. It’s organicallyarranged frame2work represents the growth of trees and vines, providing support to its built-up sections and a vast vertical garden.

Right: The Leaf House

by Undercurrent Architects A contextual design that mimics it's natural surroundings. Designed by Undercurrent Architects, The Leaf House has a leaf-like corrugated roof made of copper. The building has a tree-like appearance as is supported by unusual twisted, treeresembling steel columns.

This idea of having branches supporting another structure has some potential if explored and developed into a lantern concept where many subdivisions of a central structure help to support something of another structure.

Tree branching can produce some interesting patterns when exploring with different combinations of thicknesses and frequency of sub-branching. Branching generally start from a distinct form and continues to split from there.

Here I generated different branching possibilities in order to inspire a lantern concept that can be developed.

Some initial lantern concepts involving branching. I was not satisfied with the second concept as it looks like some form of body protection and is not elegant enough. As for the other two I feel that they are satisfactory and not abstract enough – can still tell that the design was inspired by the natural process of branching. It even looks like a tree.

Above: A concept where the wearer acts as the central structure (the trunk) followed with substructures growing and branching from it. Quite effective but could be too difficult to panel in Rhino and even more when fabricating using the NURBS system.

Right: Some quick sketch models exploring a way in which paper can be branched. A piece of paper cut and divided into strips, with each of the strip then being divided into even smaller strips (halves) → creating a branching effect.. I found that this is too difficult to reproduce every time identically and so would probably need to use a more structured and formulated approach.

Sketch Proposal 2: Snowflakes

Snowflakes are frozen ice crystals that fall from the Earth's atmosphere. What attracted to the natural process of snowflakes is the fact that each has a unique and and almost perfectly symmetrical shape. Everything single one.

Unique. It's also for sure one of the most beautiful sources of design inspiration found in nature and I wished to explore this natural process to create an effective and unique lantern design.

The Formation of Snowflakes Snowflakes are of a hexagonal (6-sided) structures. Smaller and less complex snowflakes are formed in higher temperatures with high humidities whereas larger, more complex snowflakes in lower temperatures with lower humidities. Below is a simple table indicating the types of snowflake formation occurs during different temperatures: 32-25° F - Thin hexagonal plates 25-21° F - Needles 21-14° F - Hollow columns 14-10° F - Sector plates (hexagons with blank spaces) 10-3° F - Dendrites (lacy hexagonal shapes) Snowflakes are symmetrical and intricate shapes, this is due to the shape of snowflakes being reflective to that of water molecules' structures that make up it's form. When water molecules are in a solid state, such as when frozen or crystallised in ice and snow, weak hydrogen bonds are formed between them and keeps the water molecules arranged in a hexagonal shape. It is this ordered arrangement of water molecules and hydrogen bonding that creates the hexagonal and symmetrical shape of snowflakes.

Water Vapour + Ice Nuclei + Cloud Droplets + Temperature <4°C Nucleation of ice grains Ice crystal growth

Accretion (Frozen water droplets)

Snowflakes

Left: Diagram depicting the variety of snowflakes formations under different temperatures. This diagram was also seen in one of the Readings, Philip Ball's “A Winter’s Tale. In Branches” where he also discussed the properties and formation of snowflakes and how they are not as symmetrical as they appear to be.

Right: Snowflake formation process in short (simplified)

Aggregation (Mixed types adhere)

Precedents:

The Michael Schumacher World Champion Tower The tower's fluidity structural design was inspired by a snowflake's geometrical order and the aerodynamics of a Formula 1 racing car. It incorporates the concepts of fluidity, speed and natural patterns of organisation into it's design. What I find interesting is rather than purely mimicking shapes in nature exactly for how it is, the architects took inspiration from the snow flake's own geometrical orders to create this structure.

The building features a series of reflective fins that generates vertically ever-changing patterns that gives the building a different appearance from every angel.

I like the unexpected silhouette of the tower and it's fluidity â&#x20AC;&#x201C; very elegant.

Again, I find it interesting how the tower was inspired by snowflakes but doesn't in any way resemble a snowflake in it's appearance. This shows that one don't have to create something that looks the same as it's inspiration, but could draw ideas from the inspiration's structure and formation to create something that is completely unique in it's appearance whilst still being inspired by an existing structure.

Below: Time-lapse sketches depicting the formation process of snowflakes.

Idea Generation

Above: Exploration of various snowflake shakes, potential lantern designs and how they can be worn on the body. However is resembles too much of a real-life snowflake – needs to be developed and abstracted.

Right: A “mash-up”/overlapping of the process of snowflake formation to create an abstract image.

I then simplified the abstract image into it's basic outlines and created different potential lantern designs using them - Below

Right: Paper model of the simplified abstract image, exploring ways in how it can look when fabricated

Scale Model The initial concept was to create a structure constructed from multiple folded circular sheets to represent the combination or â&#x20AC;&#x153;mash-upâ&#x20AC;? of the time-lapse formation process of snowflakes. The change from small to larger spheres symbolises the snowflake's growth in it's size and definition.

I was originally content with this proposal however after fabrication of the sketch model I found this design to be lacking in even distribution of weight and sufficient support systems, causing concentrated loads. It tend to fall apart around the back of the neck area where all the weight is strained onto a thin chain of small and weak plasticine. There was too much weight at the front area of the model and without sufficient support from the two ends, caused the structure to separate and break. This can be an issue when fabricated on a larger scale with lights inside the front section, adding even more weight.

I felt that a far more well balanced and intricate structure could be designed where the lantern can perhaps hang from more parts of the body to allow an even distribution of loads. Hence, this proposal was abandoned and another sketch proposal was explored.

Lighting: Here I controlled the lighting so that the light source was always coming from the same point â&#x20AC;&#x201C; the back area where the spheres are small and undefined. This way the light source acts as an indication of the beginning of the snowflake formation process and so is brightest where the process starts and fades out towards the larger and completed snowflakes.

Sketch Proposal 3: Honeycomb Formation My initial interest in the natural process of beehives were â&#x20AC;&#x153;how are groups of bees able to build their honeycombs out of perfect hexagons?â&#x20AC;? I was also particularly interested in the intricate shapes and tessellation patterns found in honeycombs and felt that this concept had a lot of potential to become an extremely effective lantern piece if developed and abstracted.

A honeycomb is an example of a regular tessellated natural structure. Where tessellation is a pattern that consists of repetition of a geometric shape with no overlapping or gaps in between. Regular tessellation is symmetrical and is made up of regular polygons: equilateral triangles, squares or hexagons.

In accordance to the natural process of honeycomb formations, I am particularly interested in and will be exploring the tessellation of hexagons; hexagonal tessellation.

Precedents Recognition Right: The Urban Insect Hotel

by Arup Associates A structure made up of mathematically formulated bug hours that are designed to promote urban biodiversity.

Multiple compartments designed from mathematically-derived patterns known as Voronoi tessellation and was the winner of the recent Beyond The Hive Competition in London. It is a refuge site housing an array of insect species living in urban environments.

Lucien Pellat-Finet Shinsaibashi

by Kengo Kuma A clothing shop and cafĂŠ in Tokyo with a honeycomb-like structure that envelopes and the open spaces. The honeycomb inspired structure here also acts as a shelving system where items can be placed in it's cells/hollows. It has characteristics similar to that of a plant-like organism that grows. The shelving system starts from the ground floor and stretches up to the boutique on he first and second floors, then continues to grow up to the library on the top floor. This structure is the perfect example of a honeycomb inspired design, especially the processes Of growth and pattern formation in which I am particularly interested in.

Honeycomb Formation Process I am enchanted by these images of the process of honeycomb formation. An enterprising agriculturist placed a glass bell over a hole in the top of a hive. The above photo shows that the bees have extended their residence and started building honeycombs in their new chamber.

Honey bees in the genus Apis group often uses rock cavities, caves and hollow trees as sites for nesting and honeycomb formation. The honeycombs are constructed and attached to the walls along the hollows tops and sides.

These processes of something growing and expanding into another form can be used as a design concept for my lantern - where my body may act as a new atrium and have the lantern grow and merge onto me â&#x2020;? a concept with much potential and can be explored.

Honeycomb Formation Process Honeycombs are not as regular as some had supposed them to be; their measurements varied, the pyramidal bases of the cells sometimes had four, not three rhombs, and the difference in cell sizes depending on their types such worker cells or drone cells.

Cells at the edge of the comb tended to have roughly curved walls until further cells were built and they were transformed into more regular hexagons. Honeybees continually rebuild and develop any cells that were roughly finished at the margins of honeycombs so that they become more and more regular as the structure grows. This is why irregular and uneven honeycomb cells are rarely seen in everyday life, that is because they are constantly being rebuilt and developed.

Below is an abstract sketch of all the stages involved in the formation process of honeycombs that cannot be seen in real life as honeycombs are never undergoing all these stages at once.

Rough, curved and irregular cell walls

More defined cell walls through time

Until you end up with the end result of larger, regular, organised and symmetrical hexagonal honeycomb cell walls.

I've decided to explore pattern formation as my major theme.

Time-Lapse of the Honeycomb Formation Process Initially, honey bees draw a big mess of irregular loops and the loose loops sort themselves out into a more organised grid over time. The grid then becomes more and more regular and organised as more time passes.

The grid approaches an almost perfect hexagonal lattice, which is the optimal arrangement for maximising the number of shapes/hexagons that fit on a surface without gaps or overlapping yet using the minimum amount of material (cell walls). This will be useful in the fabrication processes of the lantern where materials can be saved yet still being able to produce a structure with the maximum amount of pattern.

This concept of growth in definition of patterns reminds me of one of our required readings by by Philip Ball, “Mimicry and Inspiration” where he says that “for every complex design there is a simple pattern that sparked the start of the intricate from”. Here like the intricate hexagonal tessellation pattern of honeycombs, it started out with just simple circular cells that didn't have any particular pattern but this simple form was what sparked the start to the intricate hexagonal-tessellation pattern afterwards. Also from Ball, “A pattern is a form in which particular features occur recognisably and regularly, if not identically and symmetrically”, which is exactly what the pattern of tessellation I'm exploring here is about – the repetition of regular and symmetrical shapes.

Above: Time lapse sketches of the formation process of honeycombs

As time elapses, the honeycomb cells become more organised and symmetrical. The combs begin as unorganised and random circular cells and through time they develop into regular hexagonal cells that are uniformly aligned. This concept of gradual growth and development into organisation and uniformity is fascinating to me and is what I decided to explore further. The concept of something becoming more and more organised and regular over time, while starting out as random and irregular.

Above: Abstract sketches representing the idea of organisation and definition growth over time.

A regular, organised and symmetrical pattern

Becoming more and more organised and developing into a clear sharpedged pattern

Starting off circular, random and irregular

Abstract sketch Interpretation of the formation of honeycombs. A quick, messy but on-point demonstration of the concept of an increasing organisation and definition process over time

Left: Quick sketch to demonstrate the process and overall â&#x20AC;&#x153;flowâ&#x20AC;? of gradual growth from random to A quick 3D visualisation of how this design may look organised, from undefined to defined inspired from when worn on the body. I feel that this design the formation of honeycombs. incorporates the formation process of Right: Refined and detailed sketch of lantern honeycombs very well however, it can still be a possibility from the rough sketch earlier, depicting little more interesting in it's shape and interact more more clearly the areas of random and irregular with the wearer. Perhaps extend the design further patterns to the areas of larger, defined patterns. using other processes in the formation of honeycombs, such as it's construction â&#x20AC;&#x201C; next page.

The Construction Process of Honeycombs Honeycombs are constructed with a group of bees constructing hexagonal cells from one point, and another group beginning construction from another different point, these two points them come to combine later in time to create a single, complete honeycomb.

Honeybees don't actually start building honeycombs from a single block, but from many different points and eventually, meet at a point to combine the cells and create a single, complete honeycomb. These hexagonal cells are connected very neatly to each other that it's quite hard to tell at which exact points they are connected.

It blows my mind that honeycombs still appear so perfect and regular even though built from different parts and combined later in time. Inspired by this process of honeycombs being constructed from separate points and later combining at a point, I hoped to make a lantern that has separate parts coming together from different areas of my body gradually merging at one point to become a single, complete structure.

Above: Abstract sketch representing the formation of honeycombs coming from two ends rather than one. Again, the random and irregular curvy lines show the initial stages of irregularity and looseness of honeycomb cells whereas the straight, sharp and even lines represent the developed defined and organised cells.

A more angled design that is an extension to the 3D realisations explored previously. Inspired by the construction process of honeycombs, the design now comes from two different parts to later merge and create a single form.

I'm much more pleased with this angular design compared to the previous design which was much straighter and inangular. This design can now be worn over both shoulders to interact with the wearer more while also allowing more room for abstraction and intricate-patterning possibilities.

Development of the chosen sketch proposal. On the left is a sketch exploring a way of how the lantern can be worn on the body and I am quite content with this result. It doesn't look like something you would see in everyday life, it's abstract yet incorporates the inspired natural process very well.

This lantern arrangement demonstrates both the gradual increase in the pattern's definition and the construction of honeycombs (in which a solid is constructed from more than one point to later merge into one) â&#x20AC;&#x201C; successfully incorporates the natural process in an abstract way that wouldn't be seen otherwise.

Pattern Exploration: Now that the general concept for the lantern design has been finalised, that is â&#x20AC;&#x201C; the growth in organisation and definition of a pattern, beginning at two different points, to then come together and form and single structure. Here I now wished to explore a possible tessellating pattern that can be used in my lantern concept as the final, developed pattern.

Taking a pattern possibility directly from honeycombs â&#x20AC;&#x201C; hexagonal tessellation, I feel that due to the hexagon's many surfaces and faces (6) that it has much potential in creating many interesting effects and intricate shadows as a result of different lights being shone through and at it.

I feel that this pattern of hexagonal tessellation to have much potential in creating an effective lantern design however, if this pattern was to be used that I keep in mind to not allow the lantern design to resemble too much of honeycombs and fall into the trap of becoming too literal and not abstract enough.

The three-dimensional geometry of a honeycomb tube-like cells. Opposing layers of these honeycomb cells fit together with no gaps and overlapping to create hexagonal tessellation

A tessellation pattern of shorter hexagonal prisms , abstracting and changing the hexagonal tessellating tubes of honeycombs

To think that of all forms of tessellation, hexagonal tessellation provides the most capacity while using the least amount of materials, there must be a formula behind the it in regards to the number of side it has or so that allows this shape to have the least amount of surface area but maximum volume when tessellated. This notion of patterns having a mathematical basis, whether simple or intricate, reminds me contents that were covered in the Semester's third lecture. The guest speaker, a mathematician, discussed and showed us intricate three-dimensional forms he created that were inspired or derived from mathematical formulae. I find it highly inspiring in which something simple or intricate, can be and as many are, inspired or derived from mathematical formulae and can often can be unexpectedly beautiful. The mathematical systems behind these designs also allow them to be modified and replicated easily by using and editing their formulae. Hence, to see that the pattern of hexagonal tessellation that I'm exploring here, to have a mathematical basis reassured me that this design would be easier to replicate and edited in future Modules, thanks to it's mathematical and non-random basis.

Experimentations using three-dimensional modelling to explore various silhouetting and shadowing of hexagonal tessellation if this pattern was to be used for the lantern design where lights will be hitting from different angels and at different intensities.

This experiment was done to explore the ways in which a lantern with hexagonal tessellating surfaces (or of any other similar pattern) can create different shadows based on it's thickness and the direction and angle of the light source. It was found that even with the same pattern, the thickness of it and angle of light source can still drastically create many different shadows and can change the overall effect.

Materials: Thin Model â&#x20AC;&#x201C; Plasticine Thick Model â&#x20AC;&#x201C; White Card, masking tape

3-Dimensional Realisation The primary concept of the lantern had been finalised.

Through further research into the construction process of honeycombs I've extended the initial lantern design so that it now drapes over both shoulders and comes in from two different points â&#x20AC;&#x201C; the left shoulder and waist - towards each other to then combine and form one complete structure By starting at my waist and gradually coming up towards my shoulder the design is able to represent a process of change and growth.

Above: Sketches representing orthogonal views of the final lantern concept inspired by both the pattern formation and construction processes of honeycombs.

The bottom starts off as random and irregular circular cells, then develops into more and more distinct hexagonal cells as it grows upwards on the wearer until it reaches the shoulder and is then an organised and symmetrical hexagonally tessellated pattern.

Scale Model Initial scale model of the previously chosen 3D realisation sketch. To save time, instead of producing multiple individual hexagonal prisms, a cone-like shape was used instead. The purpose of this sketch model was to represent the overall flow and shape of the chosen sketch proposal three-dimensionally – to show the “flow” and change from random and loose to more organised and finally to organised, symmetrical, sharp definition.

The curving and bending of the structure at the waist and neck areas gives the design a sense movement and of a “process” taking place.

However, this model is far too difficult to be translated into a digital model. This scale model was produced purely for exploration and representation of the pattern formation process in 3-dimension.

Therefore, a simpler scale model must be produced for later digital modelling purposes.

Lighting: Light source controlled to highlight areas in which patterns has been most developed, organised and defined. Light then fades out towards darker areas of which are in the earlier stages of pattern formation and so is less defined .

3 Far Left Photos: Orthogonal views Individual pieces of simplified hexagonal prisms, in various sizes sculpted to represent the general pattern change of the lantern during the different stages of pattern formation and construction processes of honeycombs.

Top Right: Perspective View Bottom Far Right: Back view Materials: Plastercine

Final Scale Model

0

All Above: Simplified scale model whilst maintaining the qualities of gradual growth from two points (right shoulder and waist) towards a focus point (left shoulder). Scale model here can now be used for digital modelling.

Reflection Taking inspiration from the natural formation processes of honeycombs, the concept of something starting off random and irregular to gradually grow into an organised and symmetrical structure inspired me to create a lantern that increases in size and pattern organisation to show a process and sense of change and growth over time. I abstracted the processes in the different pattern formation stages of honeycombs to create a structure that otherwise wouldn't be seen in real life. To achieve this I incorporated all the stages of the hexagonal-tessellation pattern formation into the my lantern: from the loose and random cells to the gradual increase in definition and regularity and to the final organised, symmetrical and defined tessellating pattern. Honeybees generally complete one of these stages before moving on to develop the cells into the next stage. Therefore in reality, all of these stages cannot be seen at one time and here I've allowed it to.

When honeycombs are seen in everyday life they are usually of one structure, rarely do you see the construction of the many separate parts that then later merge to form a complete honeycomb. To abstract this concept I showed this process of a structure being constructed and coming in from different parts. I also abstracted the hexagonal tessellation pattern by shortening it so that if it was to be used in the lantern's design that it no longer resembles the hexagonally tessellating tubes of honeycombs, but rather I just used the same concept of hexagonal tessellation. Honeycombs are generally built into flat hollows and cavities however in my lantern concept I have the wearer act as the nesting site where the lantern is growing and merging onto the wearer's convex body (solid surface that bulges outwards) â&#x20AC;&#x201C; creating yet another abstraction of the honeycomb formation process in itself.

Through physical modelling with plasticine I came to find that physical modelling provides indications for proportions and constructions that otherwise drawings alone would not be able to indicate. The option to manipulate form with your hands provides perhaps the best insight into the properties of a material, allowing its behaviours to be discovered and exploited to the best of it's ability in generating any 3-dimensional form.

For future Modules I plan to explore Rhino panelling tools and other digital modelling processes in creating an intricate pattern for the lantern's surface. I also wish to explore the ways in which different massing and transparency of materials effect the overall design.

The most difficult part of this module was choosing a natural process that could be abstracted in an effective way and not to resemble too much of the natural process. For example in Proposal 1, Branching, the design was heading down towards a path where it's physical appearance mimicked identically that of a tree and didn't allow much room for abstraction. Only when I disposed of such unsuccessful proposals and explored different natural processes did I reach a satisfying final concept.

I feel that this final concept and scale model is suitable for NURBS processing and will translate well into a digital model. However the final scale model has a rather simple design and so has the risk of ending up being rather dull and simple. On the other hand, this simplicity and broadness of the final scale model also allows much room for possibilities and exploration of surfaces and patterning. Therefore, it comes down to the execution of the final model and as long as I continue to push the design until the very end, I'm confident that I can end up with something rather profound. I am extremely excited for future explorations in Rhino and panelling tools in creating different pattern possibilities and to further develop my lantern concept and I cannot wait to see what kind of final design I end up with.

Joshua Graf Student No: 587672

Semester 1/2012

Group 14

Lantern Speculation Definition: A transparent or translucent, usually portable, case for enclosing a light and protecting it from the wind, rain, etc. (http://dictionary.reference.com/browse/lantern) To me, a lanternâ&#x20AC;&#x2122;s purpose is then, through protecting the light, to provide light or illumination.

Taking another meaning of illumination, that being to shine a light on or to bring to attention, through this design my lantern could be seen to reveal aspects of the natural process it is based on.

While both these lanterns are simple and do not replicate natural processes, the light inside them (or the illumination provided) helps to define their structure and what they are based on which to me fortifies the â&#x20AC;&#x2DC;illuminationâ&#x20AC;&#x2122; perspective.

Natural Process 1: Snake Locomotion There are 5 main types of snake locomotion. These images include the tracks left behind as well:

Lateral Undulations Concertina Locomotion

Slide/Pushing

This process (namely movement) caught my eye because of the kind of fluid nature to it, with the seemingly â&#x20AC;&#x2DC;forever movingâ&#x20AC;&#x2122; characteristics echoing the patterns in water Da Vinci found (Ball, 2011). In particular the Lateral Undulations and Side Winding styles attracted me. The movement of the lateral undulations is reminiscent of a slow moving wave or ribbon in the wind, with the tracks left behind providing a continuous curving path. Its fluid nature is also very obvious when considering this image of a sea snake. The side winding tracks on the other hand, gave me that sense of continuity but in a different way. The tracks reminded me of a cross section of a spring, constantly curving its way up and around. The other styles also had interesting tracks, but displayed a stop-start nature to them which did not appeal to me as much.

Side Winding

Rectilinear Locomotion

Inspiration from Art These three artworks compliment the process of snake locomotion because they all display a fluid, continuity to them. The first one on the right is the Swoosh Pavilion, which as seen in the plans has a snake-ish quality about it. The twisting shape almost reflects a single lateral undulation.

The watch by Bvalgari is called â&#x20AC;&#x2DC;Serpintiniâ&#x20AC;&#x2122; which we can see just from the name is influenced by the snake. The interesting aspect for me is the way the form curls around itself and develops that continuous quality.

The bottom image is that of the Henderson Waves Bridge in Singapore.

There seems nothing about the design that is sharp or square, which really associates with the direction I am leaning towards.

Pattern Searching

I chose to focus on the Lateral Undulations as that seemed the most fluid and is the most common form of movement for a snake. I created this sketch based on the tracks to try and capture the continuous nature I saw in the movement. The darker outline is representing the higher level of pressure placed by the snake on the outside as it moves along and this is where the majority of the basis for moving is in, as seen in this image of the load of the snake as it moves along.

I then took a piece of paper, and by systematically moving the paper up a bit at a time, I sketched the movement at different times on the same plane. The effect I felt was quite interesting. When placed together it resembles the frame of a helix or spiral. I was quite fascinated as the continuous element seemed to be maintained but now had a 3D twist to it.

Idea Development

The images on the bottom right display 2 different versions of the experiment. The top 2 images are using the same basis as the top experiment but with thicker strips. The thicker strips created a greater sense of definition in the lines of the shadow, but the form felt a lot emptier without that extra strip. The other experiment below shows the spiral from the first experiment wrapped around itself to complete a circle. This created the most intriguing form and lighting effects, but still had the problem of un-rigidness.

This spiralling idea led to an experiment with strips of paper being used in a helix patterning. The experiment generated a concept for form as well as panelling. The images on the top left show a total of 4 strips of paper wrapped in a helical arrangement, with 2 pieces of paper revolving in each direction. The result was a rather weak and flimsy form, but a slightly more plausible and interesting shadow patterning.

Sketch Proposal 1 The final idea was influenced by the experiments with the spirals as well as the original pattern searching, but has resulted is something quite undesired. The bumps in the ring were meant to reflect the widening of the lateral undulation tracks, and the end going inside itself playing on the clichĂŠ of the snake eating its tail. If to be constructed, the sketch shows a very rough representation of the form being panelled in the helical way that was investigated. Overall however, due to the structural problems that seem to be associated with the spiralling panelling and the general unappealing form, tis proposal will not be developed further.

Natural Process 2: Fluid Dynamics This investigation was directly influenced by Ball’s “The man who loved fluids. In flow: Nature’s Patterns”. The fascination Ball portrays Leonardo to have for water made me ask myself why he saw this to be so interesting. Hence I wanted to get some hands on experience looking at water flow myself. This led me to examine my local creek.

This is one sketched diagram I took of calm water (on the left) interacting with an altered terrain, with this being the water encountering rocks and reeds leading to a small rapid.

I got some interesting observations from this. As the calm water passes the initial rocks, it created very distinct paths in either direction. So distinct in fact that they appeared as lines. As the water moved around though and begun interacting with the water from all different directions, the picture becomes more chaotic, with a sort of frantic snake pattern forming further down. Also, I noted that the closer to the confusion the water got, the faster it went, with the water in the confusion being the fastest part.

Pattern Searching Also from my local creek, I took a video of one section of the rapid where there was bubbles and foam being created from the turbulence in the water. I decided to create a time lapse of this process to see if any useable patterns or shapes came out of it.

I traced the foam/bubbles created in each frame to try and represent the direction and strength of the water (black on left). This form i then traced to get the island like shape to the right. The forms gave a good idea of the overall path or possible positions of the foam, which is then related to the path of the water. When watching the video though, the space in the middle where is no bubbles was actually moving the fastest, which may suggests bubbles are only carried in slower streams.

Pattern Searching This then prompted me to create another flow diagram for this part of the creek. All the water flowing into this section emerged either from under or around a log just off screen. An observation more prevailing here, but still apparent in my diagram on page 8, is how there are so many actions occurring all once. For example, you can see how from the top right hand corner a strong fast stream breaks down the middle, and either side of it, individual streams of slower un-calm water exist, which is where the bubbles were carried. Then when these 3 streams merge further down they turn into very turbulent water like the water is battling for its own position. Then you have along the way little pockets where the water escapes from the stream and is just stirred around in a circle, like the Leonardian curls of hair. This notion of water displaying multiple personalities at one time would be an interesting aspect to explore.

Pattern Searching There also happened to be a ribbon in the creek so i took a time lapse of this to demonstrate the otherwise invisible undulations. From this i produced a sketch of all the images in one frame and a line of the wave plotted from the end points of the ribbon.

The sketch resulted in a rather unintelligible mess and I couldnâ&#x20AC;&#x2122;t really find any interpretation of the image that I could use.

The line on the other hand had an interesting form about it that could even be viewed to demonstrate a sort of cycle: large fluctuation to the right, calm, large fluctuation to the left, calm. This shows a kind of continuous wave motion that seems more violent than an average wave (almost like it was pulsing).

Inspiration from Art These are examples of fluid inspired design from the architect Zaha Hadid. To the right is a 4 piece coffee set he was asked to design for Alessi, which provides a very abstract but beautiful interpretation of water. The long glinting arms and the angular curvature very well capture some of the essence of water in turbulence or splashing. The shined metal look also adds to flowing nature of it.

The piece below is the Roca London gallery. Hadid designed the whole galley around the flow of water, and it is very evident in the sweeping, angular curves and irregular walking spaces and doorways. I like how he incorporates the flow of water without it then seeming distinctly like a wave or another stereotypical water shape. I would like to replicate this sense of fluidity and un-graspable-ness.

Idea Development First I created a cut out of the line produced by the ends of the ribbons. I then curled this around to experiment with the shape. From this I created a plasticine version of it by keeping the contour of the line but filling the empty space in. The final form was quite abstract but I couldnâ&#x20AC;&#x2122;t find a way to use that as a lantern.

I then decided to take inspiration from the forms I could see in the creek observations. I traced these red lines over the sections I found to be the main or strongest flows in the stream. Some interesting shapes emerged from this so I tired recreating some in plasticine. The result is the image of the model on the right.

Sketch Proposal 2

Out of the prototypes I generated here, this was the most convincing form for the lantern. It could be worn over the arm, and have light coming down from the top plate.

However, even though the lantern is meant to be an abstract interpretation, this idea doesnâ&#x20AC;&#x2122;t really capture essence of water flow. That, and that I have none come across any good panelling ideas yet, will mean I will not go ahead with this proposal.

Natural Process 3: Snake Scale Patterning and Formation The idea for this stemmed from the research about snake locomotion, and felt like a great way to apply panelling. From looking at images of snake skin and patterns, as seen in the bottom left, I noticed that there is a similar pattern between them, this pattern consisting of blotches with a general colour in the middle, surrounded by another colour and these blotches linked by a network of another colour. The fact that the coincidence seemed too great and that (as seen in the picture to the left) the scales seem to be arranged in an underlying symmetrical way, for me warranted an investigation for how this occurs. On top of this, the presence of ventral scales, like the ones in the bottom right, demonstrated a change in scales around the body, which could influence a use of scaling or attraction points when using panelling tools.

Pattern Searching: Formation These images on the left show scientific cross reactions of scales to show the different types of scales and how they form in reptiles. An interesting observation is that most of the scales seem like overlapping folds of skin rather than individual plates, meaning I could look at 3D panelling as well. The most interesting thing here though is the image involving the lizard.

The pictures directly below it depict the cross sections of all the different scales found on that one lizard. I like this idea because it shows that I could experiment with size, shape and style in designing my panelling.

The image on the right is another example of how scales can change shape and size over the body. This image in particularly though, shows the change very clearly and distinctly. I like how the change is gradual, from the large ventral scales to the smaller back scales. The difference is not as abrupt as in some of the other examples I have looked at.

Pattern Searching: Patterning Formation This formula was created by Schnakenberg (Schnakenberg, 1979) to approximate the patterns that appear on the scales of a snake.

From the formula, he created the images below, each representing different types of patterns that form in nature. This analysis links well to the lecture on Mathematical Art, as the forms are created just by tweaking this formula. It also strongly ties in with Ballâ&#x20AC;&#x2122;s â&#x20AC;&#x153;In Shapesâ&#x20AC;? with his idea that everything has an underlying pattern/formula, like the shell. This formula proves to me that there is a reason to the pattern I observed in the snake patterns, and would now like to see if I could replicate this pattern in lighting.

Inspiration from Art These two examples show a great use of the ideas that I would like to explore. The first one on the right is Allianz Stadium in Munich. From both close up and far away the scale like tessellation is quite obvious and striking. It is even in a way reminiscent of AAMI stadium in Melbourne (or AAMI stadium reminiscent of it). The scale like patterning though, add a nice texture to the building that would otherwise be flat or boxed.

What I like about the shoe is how the scales used on the main body of it change and morph over the different areas. For example you can see they start off really small and tight higher up the shoe then progress into ventral like scales towards its body. I would like to replicate an effect like this.

Idea Development

From the idea of the patterns found on snakes, I first imagined creating panelling by recreating scales but having a scale out here and there to let light through, as seen on the image to the left. This led me to create this with paper, as seen below that image. I noticed how the shadow was uniform except for the hole in the patterning, but the paper when lit up was more transparent and showed the joins of the paper. I then decided to continue the experiment by putting more paper around the hole to see if it changed the lighting effects. As seen below, the shadow was still uniform and unchanged, but the places with more paper became darker. This idea really appeals to me and could be used to represent the patterning on the surface of the lantern.

Idea Development The other idea I wanted to express in my form was the changing scale shape and size depending on the placement around the body. From the observations of the ventral scales on snakes and the large variety of scales on the chameleon, I noticed that the scales changed as the shape of the body changed or the purpose of the body changed. For example, the larger scales are on the belly, the more delicate scales are on the neck and the head is adorned with middle sized but differing shaped scales. Hence I played with forms that could have spaces to represent this idea, while keeping the curving, flowing nature of the snake (yet not looking like one).

Idea Development This shape started off quite bland in my mind, but as I played with it, the curved bent over look added a bit of character, but more importantly provided many places where the scales could change and be different.

I tried different shapes and forms with differing surfaces and curves to try and provide a clear way of representing the change of scale size over space. Some of these original ideas had good potential for showing this idea, but most were again hard to see as feasible in being worn.

Sketch Proposal 3 The final sketch proposal I feel is a good way of representing the snake scale pattern and formation without being to direct about it. The idea I wanted for the form is that the relative size, place and curvature of a part of the lantern will have an associated scale shape and size, and I feel the form is well suited to this because it has a large range of different curves and surfaces, in a relatively simple shape. It would also be quite straight forward to reproduce on rhino with a loft, if the contours were extracted. I added the hole in the top to add some functionality. being that it could be hung by string or rope, or just by itself over an edge and even held. Will go ahead with this design.

18cm

Final Design

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35cm

35cm

TOP

18cm

FRONT

18cm

RHSV

Reflection Module One has forced me to explore a lot both in research and design very quickly, with many of the ideas being hard to grasp initially. At times i was left overwhelmed and unsure of my direction, but if anything the module has taught me to persevere with what makes sense to me and things will eventually begin to fall in place.

I found the prerequisite of inspiration from a natural process actually very stimulating once i got into it, because it gave you something to try and represent abstractly which allowed me to narrow down much easier the ideas I had. I often found as well, once you began to research into a process, there were so many facets of it you could explore and pursue, that it was often hard to choose which ideas to incorporate.

I also actually found that the lectures and readings did help give an underlying understanding of what I was doing and helped influence my decisions. Ball’s “Nature’s Patterns” really helped me to begin to look at nature and processes with a different perspective. In particular “In Flow” intrigued me, with Da Vinci’s pursuit of capturing water’s “fundamental forms and patterns” being a direct inspiration for observing water myself.

I found the emphasis on physical media in this module quite rewarding for this, as the organic nature to the design in this form is much harder to capture when working solely with digital media. Overall, by the end of the module I feel I have learnt a lot and now have a direction and hopefully the subject will continue to be as stimulating and enjoyable.

Bibliography Page 2 - A paper lantern (http://cn1.kaboodle.com/hi/img/b/0/0/5b/a/AAAAC9nc6JkAAAAAAFuvnw.jpg?v=1247430107000) - A traditional lantern (http://www.lightinnovation.com/media/o/Traditional_Lantern_TLR3__Antique.jpg) Page 3 - Snake Tracks Drawings (http://www.wildernesscollege.com/snake-tracks.html) - Sidewinding Snake (http://carbontocarnivore.files.wordpress.com/2010/06/image5.png) - Lateral Undulation (http://farm1.static.flickr.com/131/349067141_023de1ba4d.jpg) Page 4 - Swoosh Pavilion (http://www.archispass.org/wp-content/uploads/2008/07/swoosh-pavilion-at-the-architectural-association-lfa2008_aapav_1-300x200. jpg) - Swoosh Pavilion plan (http://www.jorge-ayala.com/2008/07/swoosh-pavilion.html) - Bulvagari Serpintini (http://www.luxist.com/2010/03/10/bulgari-serpenti-watch-for-2010/) - Henderson Waves Bridge Night (http://pagerejo.com/amazing-facts/top-amazing-famous-and-beautiful-bridges-in-the-world/attachment/bridgeshenderson-waves-singapore/) - Henderson Waves Bridge close up (http://www.singaporeshots.com/displayimage.php?album=61&pid=2182) Page 5 - Snake Movement Load (http://www.pnas.org/content/106/25/10081.full) Page 12 - Zaha Hadidâ&#x20AC;&#x2122;s Silver and Coffee Table Set for Alessi (http://www.luxury-insider.com/uploads/news/2009/12/1209-zaha-coffee-set-1.jpg?width=600) - Roca London Gallery, designed by Zaha Hadid (http://www.wallpaper.com/design/roca-london-gallery-designed-by-zaha-hadid/5573) - Roca Londen Gallery, corridor view (http://plusmood.com/2011/10/roca-london-gallery-zaha-hadid-architects/) Page 15 - Scale Symmetry (http://pixdaus.com/snake-scales-scales-snake-skin-patterns/items/view/202779/) - Scale pattern 1(http://www.shutterstock.com/pic-59801383/stock-photo-snake-skin-pattern.html) - Scale pattern 2 (http://watermarked.cutcaster.com/cutcaster-photo-100196854-Snake-skin.jpg) - Ventral Scales (http://slitherbriggs.webs.com/belly.JPG) Page 16 - Scale Layout ( - Scale formations (http://people.maths.ox.ac.uk/maini/PKM%20publications/275.pdf) Page 17 - All images (http://people.maths.ox.ac.uk/maini/PKM%20publications/275.pdf) Page 18 - Snake Sneaker (http://www.upscalehype.com/wp-content/uploads/2011/07/Marc-jacobs-snake-print-sneakers2.jpg) - Allianz Stadium (http://www.mimoa.eu/images/973_l.jpg) - Allianz Stadium close up (http://t0.gstatic.com/images?q=tbn:ANd9GcR3gxOsU4y8fnrLrzjkm3W307BCUi_920dSXscsfUIdptYkb4ThzSzyDv8wbw) Page 20 - Ventral Scales (http://slitherbriggs.webs.com/belly.JPG) - Snake Head scales (http://www.flickr.com/photos/jpmckenna/3379737702/)

K a t h l e e n

K o p i e t z

3 9 1 0 5 4

MODULE 1 I D E A T I O N

CONCEPT DEVELOPMENT To dive into the project I began with the set readings. I found them very stimulating particularily the Ball reading with passages about the patterns that are inherent in nature. My explorations here, are for me a way of rationalising some of the images that are explained in the piece. I also collected and collaged in a few things I had seen throughout the week that I felt relevant.

CONCEPT DEVELOPMENT To get a complete grasp on some of the themes discussed in the readings I needed to find a form that embodied some of these concepts. The pinecone is a natural object that intrigues me. With its interesting form and patterns, itâ&#x20AC;&#x2122;s shape often varies over different species, yet is set to continuously adhere to underlying rules that develop its inherent form. It linked into the reading via the passages about how pattern is so unique yet follows guidelines in nature, guidelines that we see recurring. In the case of the pinecone the evidence of a spiral pattern is constantly repeated in every variation.

CONCEPT DEVELOPMENT The spiral shape really interested me so I furthered my research beyond the shape into the realm of underlying formative processes, and into other natural phenomena that share the same growth pattern.

The differences are great, however many natural species have some spiral form built into their evolutionary process sometimes clearly visible other times hidden within.

This formation goes right back to the seminal beginnings of development; the DNA helix spirals around itâ&#x20AC;&#x2122;s self, the very building block that natural species and us humans share. Scientists and mathematicians alike are all very interested in these spiralling forms. The Fibonacci sequence is a mathematical configuration that is used to describe this natural phenomenon.

The use of mathematics to understand and define these occurrences in nature with their differing forms and patterns has given rise to new designing techniques.

These techniques rely on such mathematical sequences or rules to build forms. Parametric design is a new and exciting field that many architects are beginning to employ in their work that has also helped me in developing precedents for my form building.

NATURAL PROCESS - GROWTH

This exploration is concerned with the lapse of time and the growth of the pinecone. It changes from a smooth tiny bud into a strongly patterned form at the completion of its cycle of growth. At the final point the cone the dries out and falls to the ground, the end of its development. But even through this stage of death the cone goes through more changes; it turns brown, dries out, opens up, allows for the seeds within to escape and then begin the cycle again. All of these processes have been starting points. Interesting concepts to try and translate into a lantern.

The first study is concerned with shape or form and the development the cone goes through from small to large over its lifetime. The top is focussed on the basic shape where as the bottom, using seeds and nuts, is also looking at size but defined by the clustered scale like nature of the coneâ&#x20AC;&#x2122;s surface.

Then I moved onto expressing the phenomenon of opening and closing. As the cone ages it changes in size but also in two other interesting physical formats.

It changes from being a closed form, impenetrable and strong to an open more delicate formation. The cone also goes through a colour change from light bright green to brown and then dark black as it ages.

NATURAL PROCESS - GROWTH

In order to make sense of the natural element I did some more in-depth research about the pinecone. I found out more about the natural processes that the cone goes through in its cycle and a few interesting physical changes that I have attempted to map in these studies.

I have attempted to explain the most important aspects of the natural cycles that I intend on focussing on within my lamp design and mapped them in a silightly less conventional way as was encoraged by the lecture content and exemplefied in various formats.

PRECEDENT ONE The GHERKIN by Norman Foster is a striking building that sits uniquely within the London skyline I find it particularily useful as a precedent for design because it has shown me how humans can utilise shapes found in nature and then construct them in such a highly precise mathematical fomat that they produce a truly sci fi like building. It is rationalised though by a natural form the gherkin.

Another informative quality in this building that interested me was the fact that the shape of the building was not a purely aesthetic descision but instead it was formulated with consideration to the way that wind is channeled throughout the city. The form perfect from minimising strong winds rushing through the London streets. For my lantern design I would like to be able to explain that form nhad come about witha a careful consideration to light/form/function not just purely aesthetics.

PROPOSAL ONE

With spiral ideas in mind and also a strong want to emulate the form of the cone interestingly I attempted a bit of a model with wire. In terms of form I started with the idea of emulating a shape similar to Norman Fosterâ&#x20AC;&#x2122;s Gherkin.

I then tried to extrude the wiggly cone to see what might happen, I went from tight wiggles to long loops, from dense to more open and then from controlled to loose and random. The manekin helped me begin to conceptualise how the form might fit to the body as a lamp/ lantern how it could effectively relate to a person using it.

I feel that this study has its merits but is a little less expressive than I had hoped in relation to my natural process. Pattern and form I feel are somewhat absent two factors that are integral in the natural growth of a pinecone.

PRECEDENT TWO Following on from the previous studies on surface I found this article on Arch Daly about this pavilion. The dragon skin pavilion is an architectural art installation that was constructed in Kowloon Park, Hong Kong. Students in a test study workshop held at the Tampere University of Technology for Finnish Architecture, originally designed the installation in 2011. I found the form to be a stunning example of how shapes placed in a careful computer generated arrangement can emulate a form derived from a natural concept.

Although today we do not have dragons to base our designs on it was interesting to see how the students were inspired by the natural phenomenon of reptile skin and looked at a range of reptilian counterparts to derive the concept behind the “Dragon Skin Pavilion”.

For me this design was most inspiring and pertinent to the computer component of the project. The design utilised a combination of new materials, contemporary digital design and fabrication methods. This fusion of tools allowed for precision and a very speedy construction phase to be undertaken. It directed my thinking about form building to look at the surface as a series of parts like the individual ‘leaves’ of the pinecone working together to build the form. Light is also interestingly dealt with, filtering thorough the gaps of the pavilion rather than being directed through particular apertures. Again there is a evidence of repetition to create the pavilion, the triangle is reccuring defined both by the material and by the negative space the form creates.

This precedent I felt nicely encompassed some of the ideas covered in the mathematics in design lecture. With the information about parametrics and the beauty that it can develop.

PROPOSAL TWO This sketch proposal was concieved with all of the main processes in mind - growth, spiral form and the concept of going from closed to open. After the first proposal going the way it did I really tried hard to go back to the formative origins.

I was particularily concerned with the spiraled pattern element the further I developed my form. Beginning from a lightbulb moment I had when I saw a picture of wire in a magazine I used chicken wire and moulded and twisted a form into shape. I was sort of thinking that the wire might be similar to the â&#x20AC;&#x153;leavesâ&#x20AC;? of the pinecone and in the back of my head I thought that I might be able to translate aspects of the Dragon Skin Pavilion into the design. However as I went on the form began to change and morph into a more spiraled shape. I furthered this test by attempting to attatch leave shapes to the form, it was a bit of a flop because the pieces kept falling off.

PRECEDENT THREE This building is the Bahai House of Worship (or Lotus Temple) it was usfull for me because it expresses possibilities in the lantern design in a few different categories.

Firstly the temple is also created with reference to natural processes, it uses the lotus flower as its inspiration but I felt as though it could also be likened to the top of a pinecone shape too. The forms of the petals are constructed in such a way that they cluster together to fomulate a very interesting striking built form that I feel familiar with from the drawings i have done of the pinecone form .

There are also interesting lighting lessons to be learnt from this building the light emenates from within the petals but also is defined on the exterior quite beautifully.

There is also a organic yet geometric feel to the shapes that build the form thus it might be a good example to look at when translating the leaves into a built form.

PROPOSAL THREE This iteration was a bit of an extension on the previous trial with the chicken wire. I attempted using finer wire and then coupling it with plasticine to make the form into a softer realisation. I also focussed on repitition of small shapes to build a larger form and then using even smaller elements clustered randomly to build a slightly different form, my sketches simply outlined this intention but then when I created it into three dymensions my intentions became a little less clear - actually they totally changed direction. The form morphed into a spiraled, patterned and softened shape with dark and light ends. The end with no covering would let light out freely where as the covered end would keep it hidden. Possibly a nod to the concept of open and closed, life and death as noted before in the growth of the pinecone.

PRECEDENT FOUR Friedensrich Hundertwasser I found to be an interesting source of inspiration. I originally was drawn to him because his buildings and artworks are deeply connected with nature and natural forms. I looked at some of his ouvre and found that a common theme that reoccured was the use of the spiral pattern. This pattern can be found in all sorts of natural phenomenons from the unborn baby in the womb to the unrolling of a fern and the wirl of cloud formations in the sky. All of these things grow and develop from the spiral shape.

His use of the spiral is evident in the plans of buildings he designed and in many of his artistic and design creations. Seeing his work again reconnected my intention of emulating the spiral form in my lantern design.

DEVELOPED DESIGN This is my â&#x20AC;&#x153;satisficedâ&#x20AC;? design. I have attempted to meld all of the influences from the natural process and the things I learnt from the past iterations into the final product. It has a clear connection to the spiraled form, pattern on the surface and I have translated the open/closed theme into the tighness of the spiral and the thick and thin alterations in form. I wanted to develop something that could be a lantern but also be held almost worn by people.

REFLECTION PINE CONES HAVE SOMETHING IN COMMON WITH PINEAPPLES, ARTICHOKES, PALM TREES, AND SUNFLOWERS. YOU ALMOST ALWAYS FIND THAT THE PATTERNS OCCUR IN FIBONACCI NUMBERS. Shape, pattern and form are the building blocks, the ways we can analyse and explain the natural phenomena that surround us. Philip Ball outlines some very interesting concepts that only begin to delve into the myriad of intricate and complex underlying reasons for the shapes we see around us.

His article began my concept development process, some of the themes he spoke about I found hard to reconcile where as others, often those that had a vivid description accompanying were easy to understand. My immediate reaction was to find something for myself that could embody the issues of form and natural process, hence my use of the pinecone in my understanding of a natural process to draw from.

The pinecone has taught me a lot about really looking at natural forms, patterns and shapes. It has highlighted recurring phenomena and outlined simple ways to explain such complex processes.

In terms of designing looking at other designers is always good. This module has encouraged me to question how an architect, designer or artist comes to their finished product. It has opened my eyes to how various inspirations shape a project outcome and how nature is often a strong informative factor for even the most manmade looking designs.

Developing designs with a clear consideration for a natural element has been fantastic for me, whenever I felt drive begin to wane I would simply return to reading and learning more about the informing pinecones and each time find something new and exciting that I could motivate my designing with. I am not entirely satisfied with my final outcome, like every design though more could be done. In the following modules I hope I can refine it to such a state that it looks and expresses the natural process of the growth of the pinecone that I have found so interesting.

3 9 1 0 5 4 K o p i e t z Ball, Philip (2011): The Shapes of Things. In Shapes: Natureâ&#x20AC;&#x2122;s Patterns, Oxford University Press, pp. 1-35 http://www.archdaily.com/215249/dragon-skin-pavilion-emmi-keskisarja-pekka-tynkkynen-lead/23-pekka-tynkkynen/ http://www.strangebuildings.com/gherkin-building-london-uk/ http://plus.maths.org/content/perfect-buildings-maths-modern-architecture en.wikipedia.org/wiki/Friedensreich_Hundertwasser www.hundertwasser.at/index_en.php http://en.wikipedia.org/wiki/Conifer_cone http://britton.disted.camosun.bc.ca/fibslide/jbfibslide.htm http://www.3villagecsd.k12.ny.us/wmhs/Departments/Math/OBrien/fibonacci2.html http://education2.uvic.ca/Faculty/mroth/438/environment/webstuff/pinecone.html

K a t h l e e n

REFERENCES

V I R T U A L E N V I R O N M E N T S M O D U L E O N E - I D E A T I O N R E N E E J AC O V I D E S 585430

I N T R O D U C T I O N

In the following journal I have recounted my initial design process for the project: to create a lamp to be worn on the body, inspired by a natural process in both form and tessellation.

Over the foremost three weeks of the Virtual Environments course I was introduced to numerous intriguing concepts in both readings and lectures. What was unveiled to me was a somewhat disguised coherency that exists in all worldly matter, the nonrandom patterns that arise in both the tangible and intangible landscapes of our worldly sphere.

Quite influenced by the connotations of pattern in nature, I resolved that my natural process would be biological life cycles. To come to this proposition I questioned what constitutes a pattern. Certainly recurrence of a phenomena, be that in the context of familial reproduction, or on a global scale of propagation, could be considered the most natural pattern in regard to the Earthâ&#x20AC;&#x2122;s living creatures.

Delving deeper into the stages of individual life, I chose to focus on the specific action of a snake shedding its skin.

Documenting this both diagrammatically and graphically I combined my exploration with research from the fields of architecture, interior design and other relevant areas to create my final lamp concept, ready for further development throughout the continuation of the course.

This concept is presented through perspective drawings and a 1:5 scale model, shown worn in the proper setting upon the human body.

W E E K O N E N A T U R A L P R O C E S S

Taking the butterfly as a subject, I examined the separate stages within its life cycle, closely scrutinizing its movement/transformation from one object to another.

To initialise my project I started to look at the natural life cycles of biological entities.

This was inspired by the resonant notion of organic and unseen patterns that occur in the worldly sphere, introduced within the lecture and the readings by Philip Ball.

Immersing myself in the undercurrents associated with pattern, I concluded that cycles could be defined as pattern in that they are widespread, continuous, and innate in all living things. Along with the fact that a cycle in itself is repetition – a continuous transformation for an individual creature, again translated to the global scale when considering an entire species.

It was here that Ball’s philosophies truly emancipated my perspectives: “All natural phenomena display a harmony based on number and regularity” (Ball, Philip 2011, A Winter’s Tale - In Branches:Nature’s Patterns, p.1)

[Definitions exported from Apple’s New Oxford American Dictionary]

As such, I began by visually documenting the process of a butterfly hatching from its cocoon, along with spreading its wings. I was halted when I realised how momentary each of the drawings looked - there was no sense of continuity, a factor I inherently associated with pattern.

As I went further into my process analysis, I had to decide whether to express my understanding of a life cycle in a fluid or disconnected set of stages.

N A T U R A L

P R O C E S S - M O V E M E N T

In keeping with my theme of life cycles I also became absorbed by movement. In particular, means of capturing movement statically through stop motion concepts offered me a solution to my complication of whether to illustrate life’s changes continuously or in distinct phases.

I adopted the styles of greats such as Marcel Duchamp and Etienne-Jules Marey, trying to create a similar visual method of mapping the movement of a butterfly entering different stages of its life cycle,

I attempted to diagrammatically illustrate the expansion of a butterfly’s wings emerging from a cocoon above. This was done through a connect the dots process and emulates the appearance of a linear plane. The graph could be attributed to all cycles of life essentially - where the central peak is that in reproduction... This diagram realizes both the concepts of life stages and life’s continuous fluidity.

Top: Etienne-Jules Marey ‘Bird Flight, Pelican’ 1886.; Centre: Ettienne-Jules Marey ‘Motion Study’ 1882; Bottom Left: Marcel Duchamp ‘Nude Descending A Staircase (no.2)’ 1912; Bottom Right: Marcel Duchamp ‘Dulcinea’ 1911;

N A T U R A L

P R O C E S S - H U M A N

G R O W T H

Not satisfied with the subject of a butterfly, I moved on to human evolutions of life. I specifically investigated the dissimilarities and parallels between the point of conception and the point of adulthood. Continuing with conceptual drawing, I literally abducted the shape of a foetus and created a potential form for the lamp. The foetus shape was merged with ideas of lifeâ&#x20AC;&#x2122;s highs and lows - the pinnacle of growth and the endpoint of death.

Here I thought to morph my initial diagram of a life cycle into a more rounded structure around an axis. Using the foetus as an influence led to this wholly organic curvature in my designs, which I wanted to replicate from the original choppy, plane diagram.

In these proposals for the lamp I adopted the silhouette of a human foetus, trying to communicate the physical change and growth over a period of time. The peak in the central drawings would represent the summit in adulthood. The intense curves in the design exudes a life cycle as an all natural process - with curves often associated with life and biology.

Tessellation proposal for this form.

The linear fashion of the piece realises the idea of movement, almost mirroring the stop-motion imagery of my inspirations.

N A T U R A L

P R O C E S S - S N A K E

S K I N

Still searching for a biological area within the field of life cycles, I focused on snakes and the way their skins are shed. Here, I deviated somewhat from my preceding ideas and attempted to illustrate more minute processes in an individual creatureâ&#x20AC;&#x2122;s immediate cycle, rather than an entire species over all of time.

Foremost, I was fascinated by the repetitive manner in which snakes move. Accepting the idea that the shape of a snake was almost repeated in the movement of a snake, I created some drawings to convey this free-flowing form.

Inquiring into the snakeâ&#x20AC;&#x2122;s process of sloughing (skin shedding), I learned that adult snakes can moult up to six times annually.

However the fact that I wanted to encapsulate within the process was the skin being shed inside out - or rather the scales flipping and being overturned whilst slow movement occurs.

I found my first drawings too literal - the abstraction process was not being put forward. Through mathematical diagramming of a snakeâ&#x20AC;&#x2122;s movement I developed base patterns for a potential lamp design.

The contriving of my diagrams was especially influenced by Denton Corker Marshall and Robert Owenâ&#x20AC;&#x2122;s â&#x20AC;&#x2DC;Webb Bridgeâ&#x20AC;&#x2122; of the Docklands, Melbourne.

The bridge, along with possessing the same twisted form as my snake subject, was also constructed according to an underlying mathematical formula.

This structure really highlights the crossover between what appears to be a natural and imaginative form with the formulaic system of mathematics.

I wanted to capture such an appeal in my own work.

S N A K E

S K I N - D E V E L O P M E N T

Trying to diagrammatically express the action of a snake shedding its skin, I created these dot and line forms (above). Observing progressive images of sloughing in snakes, I mapped the high points and low points of the skin as it was removed from the body. As such I repeated the dot sequence and created differing representations with alternate line placement/style in each diagram. The images formulated are reminiscent of a mathematical fractal pattern. In particular the excessive triangular form surely realizes the notion of a life cycle in its fragmented progression, whilst relaying the contemporary appearance meant for the lamp.

W E E K T W O S K E T C H P R O P O S A L

O N E

For this proposal I was attempting to reproduce the bunching effect of snake skin when it is shed. There were many symbolic nuances behind this idea - the clumping of the designs representing the stages of the snakeâ&#x20AC;&#x2122;s life cycle, along with the stages through which the snake sheds its skin. I believe this concept allowed for much flexibility when it came to panelling, in that it was constructed of an essential â&#x20AC;&#x2DC;skinâ&#x20AC;&#x2122;.

I came to an issue in my designs in that they took on the actual form of a snake too literally. I abandoned the specific formulations here, only taking on some aspects of the pieces into my further work.

Main Design

Supplementary Designs

Clay models I created to illustrate the idea.

These panelled entries for the DRL10 Pavilion competition, held in London of 2007, possess the basic tessellation properties which I envisioned for this first sketch proposal. I believe these two designs are fundamentally different. The above example demonstrates the idea of a tessellated skin, whilst the winner of the competition (left) has fabricated a bonelike means of tessellation.

S K E T C H

P R O P O S A L

T W O

I formulated two main notions with the constant of the figure eight. The first (seen above) was slightly derived from my week one explorations into the human life cycle and foetus. The shape would have a skin to be tessellated - again symbolizing the peak of life in its highest point. I exported this shape into RHINO 5, utilising the ‘sweep upon curve’ command to create the contoured form. Secondly, the thought was to elongate this same form, adding curves and appropriating the same excess of interior contours to create an ordered labyrinth of pattern within the shell. I attempted to convey this through RHINO 5 again with the sweep command.

My drawings and RHINO formulations.

This proposal centred around the shape of a figure eight curve. I chose to create drawings based around the curve because of its obvious connotations with continuity. When one focuses on this shape the idea of pattern is certainly conveyed - the curve is fixed and ongoing, just as a biological cycle of life is repeated and ongoing with each generation. The idea did not fit perfectly sound into my prior explorations of snake skin being shed - yet through extension of the curve I was able to replicate snake-like forms. Again, the issue of exactly recreating the biological subject’s appearance arose in the designs... I was still trying to escape this literal means of representation.

As I envisioned this sketch proposal and created the base shapes, picturing the completed tessellation process was a necessity that guided my work. For these designs I was inspired by AAMI PARK (otherwise known as the Melbourne Rectangular Stadium) of Melbourne. Designed

by COX architects, the tessellation of the building clearly comprehends and communicates its purpose as a soccer field to the public.

The second idea’s panels were sourced from designs such as the BANQ Restaurant (Boston, US) with this extravagant ceiling designed by firm Office dA. I love the almost liquid appeal of this design, which comes forward from the mathematical placement of individual wooden segments. I believe this fit in with my lamp’s notion well, since I was trying to relay patterned fluidity through life’s segmented stages.

Modelling the idea in week 2.

S K E T C H P R O P O S A L T H R E E A P P O I N T E D D I R E C T I O N This sketch proposal stemmed from the specific process of snake skin being turned inside out when sloughing occurs.

To begin with I tried to illustrate a scale literally changing direction in a manner that was stationary. Taking what I envisaged as a sectional view of the movement occurring in a stop motion sense, I resulted with a choppy ‘cascade’ of sorts. Believing it to be too linear and inorganic for the subject, I translated the sectional base form, creating like, curved drawings.

Finding myself quite limited in what I could draw, I continued development of the idea through clay modelling.

I was fortunate when I came up with the above design through arbitrary alteration of my drawings in the modelling process. My purpose was to take the cascaded form and make it structurally sound with the addition of a base. The shape became the focus for my future work on the shape of the model. It successfully fulfilled the design expectations I had being trying to meet, whilst emitting the undeniable aura of abstraction that has branched from my natural process. Although I was not too happy with the excessive curvature of the design, the presence of sections transmitted my ideas about life’s patterned stages. The overall hook in the form helps to convey the process of scales in a flipping motion.

W E E K T H R E E - D E V E L O P M E N T M O D E L M A K I N G

The first model created during week three was practically a replica of my week two designs. Nonetheless, it was the overabundance of curves in this model that guided me towards a more angular concept in the future. I believe incorporating flat surfaces with the triangles would actualize the contemporary design standard expected for the lamp (as determined through past work) and make panelling the object more intriguing.

Conceptualizing where to locate the lamp upon the body, as communicated through illustrations.

M O D E L - D E V E L O P M E N T

Ceiling of JING RESTAURANT, One Fullerton, Singapore.

Designed by architectâ&#x20AC;&#x2122;s Antonio Eraso Co. Imagery such as this inspired my angular approach to the lamp.

To effectively create a 1:5 model of my lamp notion I had to stray from the air dry clay. I chose to construct a base conception of the model using white cardboard. I found manipulating the paper almost as difficult as the clay, however this medium allowed me to depict the angular aspects of the piece well, along with the potential shadow it would cast once built.

Having completed the paper model I thought about the placement of the LED light. I determined the next step would be to create more cavernous sections within the design. With the segments enclosed, I would be free to cut out my 3D tessellation patterns and generate interesting effects with the shadow.

M O D E L - D E V E L O P M E N T A comparison between my original curves and the caverns I was aiming towards.

Returning to the clay, I created a very unaesthetic, yet adequate mock up of my past concepts, trying to combine more cavernous sections to reflect and contain the lighting component of the lamp. Inverting the design (right) allowed me to juxtapose it with my initial drawings/week two models.

D E V E L O P M E N T - R H I N O 5

In a further effort to compellingly convey my lampâ&#x20AC;&#x2122;s potential design, I experimented with the NURBS three dimensional generation software of RHINO 5. I was able to create caverns with the lofting feature, as well as create an eloquent intersection between the natural curvature and angular factors of my lamp. Once fostered within the Rhino program, I was readily able to determine the future for my lampâ&#x20AC;&#x2122;s tessellation, creating a patterned skin of scale-like, sculptural cut outs.

D E V E L O P M E N T - P A N E L L I N G

As the time to panel the model drew nearer, I started to research and analyze more thoroughly which tessellation solution would best fit my lantern’s concept and design.

Week three’s solution for the panelling consisted of scale-like cut outs, to be taken from the skin of the lamp. Illustrated below.

Panelling exemplar in the Melbourne Exhibition and Convention Centre. A project by Joint Venture Architects Woods Bagot and NHArchitecture for the Plenary Group consortium. The smoothness still exuded by the combination of sharp triangular sections it what strikes me about the walls in the building.

The design process drawings and finished construction of RMIT’s Design Hub, designed

by Sean Godsell and Peddle Thorpe for studio505. The panelling of this building truly inspired the development of my design and tessellation plans for the lamp. The rotating circular panels largely helped me to envision the stop motion principle behind scales flipping during sloughing.

I also admired the smooth transition between two dimensionality and three dimensionality that the design’s exterior offers from a street view.

F I N A L

R E F L E C T I O N

Just as Philip Ball wrote “It is natural to expect that form follows function” [The Shapes of Things, 2011], this was my means of perceiving the world before the radical yet rational concepts of Module One. Stemming from Ball’s initial readings [In Shape: In Flow: In Branches], I became fascinated with the human disposition to separate the natural from the statistical and scientific.

The crossover between mathematical systems, scientific disciplines and what we, as humans, consider ‘organic’ was truly striking to perceive. To comprehend the boundary of our own innately limited perspectives and behold today’s liberating, atypical outlooks of the social and physical sphere ultimately released my imagination.

The vitality of pattern in the natural world. This stood out to me especially, with my idea of life’s cycles and stages stemming from week one’s denotations of the noun. In particular, the task to capture biological processes in motion was patently realized in my work over the three weeks. I expressed my regard for the mathematical/organic intersection introduced to me through my lamp’s base shape and potential panelling solutions. Translating the impression of systematic pattern and naturalistic movement as angled and curved features respectively, I created my own intersection between these two elements in the lamp’s form.

I came to comprehend the operation of abstraction - that the most effective means of producing a work of this imaginative and systematic requirement depended on a range of symbolic representations in separate mediums. To accentuate the significance of the developmental design process is a key facet to this theoretical and ideational style of visual communication. The importance of diagrammatically and creatively mapping ideas in a logical, sequential sense was crucial to effectively meeting the module’s design criteria.

My current work has led me to my future direction. I intend to thoroughly explore different means of scale-like tessellation within Rhino. In particular three dimensional panelling will be my goal. As I further explore panelling techniques I will be promptly able to modify my lamp to achieve a more aesthetic, symbolic and potent result for the project.

MODULE ONE - IDEATION

Rovi Dean Lau

Student No: 543495 Semeter 1/2012 Group 8

Natural Process - SOUNDWAVES

Natural Process: Soundwaves - Initial Sketches Why soundwaves? I love music which brings me to loving sound. When there is no music, there is no life.

It intrigues me that something you love cannot be seen.

Different kinds of soundwaves.

Movement of soundwaves in the air. Made by compression and expension of air.

Particles of soundwaves travelling through solid, liquid and gas.

Lines on the right was how I depicted them.

Natural Process: Soundwaves - Research

Soundwave patterns! Making it visible through a tonoscope.

The sound passes through to the board which vibrates the sand on top and creates those patterns.

Noticed that the patterns are symmetrical in 4 directions.

As the frequency of sound goes higher, the pattern becomes more complex.

Natural Process: Soundwaves - Research

This was done by Canon PIXMA team. Placing fluid on a membrane and using sound to vibrate it. This images were taken within a second. Found out how interesting and creative just what sound can do, creating sound sculptures.

Visualising the movement of molecules in the fluid.

Henderson Wave Bridge located Singapore.

Built by IJP Corporation Architects and RSP Architects.

Wave design from folded threedimensional surface by simple mathematics.

Inspiration From Architectual Designs of Waves Reseraching on buildings related to soundwaves or any wave structure that could influence or inspire my design.

Southern Cross Station Architect: Australian Institue of Architects (AIA) Roof designed as waves with hydraulic engineering to capture rain water via syphonic drainage for reuse.

Sound City Development

By B+U Architect Firm (Herwig Baumgartner & Scott Uriu) Used sound clouds to do mapping for master planning.

Draft Concept No. 1 Abstracted the form of compression and expansion. The thought of wearing a lantern would be interesting to see.

Idea of wrapping around some part of the body.

FURTHER DEVELOPMENT...

Taipeiâ&#x20AC;&#x2122;s Performing Arts Center Architects: B+U (Herwig Baumgarter & Scott Uriu) Mixed Used Development (In progress)

Area: Taipei, Taiwan

Architects: B+U (Herwig Baumgarter & Scott Uriu) Area: LA, California

More Research and Sketches....

Pushing my design influences and inspirations for more ideas....

From this research, it influenced my design through twisting and curves instead of just using waves.

The Helix Bridge Architect: Cox Group (Aus) & Architect 61 (SGP) Area: Singapore

Da Vinci Rotating Tower Architect: Dynamics Architect Group (David Kisher) Area: Dubai, UAE

Paper Cuts, Shapes and Shadows...

During second lecture of Virtual, it was about shapes and more specifically, TRIANGLES. Any thing can be folded or open up using the shape of triangles. So I decided to try out some shapes myself...

Draft Concept No. 2

Combined curved and wavy lines with the principle of soundwaves, compression and expension.

Only thing missing now is a medium for my soundwave. I cannot say that this is bad but there is room for more ideas.

Keep on sketching and think of ideas.

FINDING THE MEDIUM...

Proposal No. 1 - Soundwaves of the Heart I needed to find a medium to base my soundwave on. Picked the heart as one of my mediums because that gives us life like how music is towards our souls.

From the daigram, found out that the waveform repeats itself.

Fast heart beat is compact like compression and slow heart beat is loose, something like expansion of soundwaves.

Wave form is shaped of a triangle.

|------------Expansion-----------------|-compression--|

With those points and my research, I sketched and played around with some geometry and with Rhino. Still sticking to the principle of compression and expansion of sound.

Made a plasticine model to have a better visual of the concept.

Proposal No. 2 - Soundwaves from saying the Alphabets

Using voices as one of my mediums was because that is what we use to communicate with.

From the diagram, it shows the waveforms of each alphabet and number. Apparently when different people says the same alphabet, the waveforms are generally similar.

I used my research as well as my sketches and Rhino to develop my ideas.

Used plasticine to have better visual.

Proposal No. 3 - Soundwaves of Sonic Boom

Sonic booms are created when an air-craft flies faster then the speed of sound.

Using that as a medium with principles of compression and expansion to create my lanter concept.

Had a difficult time developing this medium but eventually I managed to do it. I used the concept of how sonic booms are formed and developed it into an arm lantern.

FINAL CONCEPT

FINAL CONCEPT

Collage

Reflection Module one has been a fruitful yet tiring process and I believe it will pay off in the long run. Most of module one was about thinking of a natural process, which in the end, will be a conept for an artistic lantern.

This few weeks have been tough and exhausting for the mind.

The easiest part I find was to think of a natural process, which was soundwaves. The hard part comes after that, asking yourself where do I go from here, what do i do with my idea. I started of with the readings from Ball, The Shape of Things and The Man Who Loved Fluids. This was when I found out that sketching and doodling ideas out from my head to a piece of paper really helps a lot. Whatever it is, could be nonsense, rubbish or just a bunch of lines, it could be an idea in the future.

When I did my first concept model, it was easy. After that when I was trying to develop that idea, it became hard. That was when I did more research and doodling which led to my second concept model. After having some feedback from tutorials, what I was missing was a medium for my sound.

Thinking for an idea was really really, let alone developing it. The first two mediums, the heart and vioces, developed nicely. However, I had trouble with the last medium, that was when I look back at my earlier sketches and develop ideas. After awhile, my third proposal was ready.

From there, I developed my final concept through random lines and sketching again.

From this module, I learnt a few things which I can take away. Firstly, always sketch your ideas out, anything, because ideas will be forgotten. Secondly, there is no bad research or sketches and never throw them aside, always move on and the next time when you look back at them, it may be an idea. Lastly, never stop sketching even when you have a mind block, doodling something you feel at that point of time. You may not know what you can find. And that was how I got to my final concept.

SARAH FRARACCIO 539769 Virtual Environments, Semester 1, 2012

NATURAL PROCESS: THE FALLING FEATHER

The basis of the inspiration for my study of a natural process stems from an admiration for the flow and pattern with which a feather descends.

Following much observation, the featherâ&#x20AC;&#x2122;s descent was mapped, displaying the downward spiral movement.

The feather rotates both vertically and horizontally as it gracefully decends to rest.

Overall, the decline produces a fluid, organic path, however, at certain points, the feather takes a dramatic turn or change in direction due to the airflowâ&#x20AC;&#x2122;s response to the shaping of the feather.

In the formation of a lantern concept, this could be represented by a sudden twist or rotation in an otherwise fluid form.

The partition installation of Restaurant Les Cols in Olot, Spain expresses the fluid vertical movement of a decline like that of the feather in the coiled movement of the panels

NATURAL PROCESS: THE FALLING FEATHER

Three sequential trials were undertaken where the feather was dropped from the same position and the resulting fall path, recorded.

Interestingly, the trials each produced a differing path thus, the slightest variance in the release of the feather causes widely varied results

These fall paths were traced to produce three shape representations and from this, three clay sculptures were formed.

The upward push of air against the featherâ&#x20AC;&#x2122;s concave shaping creates delicate rotations. Further investigation into the effect of airflow on an object may produce additional ideation as these forms do not truly represent the flow that is represented by the feather in itâ&#x20AC;&#x2122;s descent.

AIRFLOW: SHAPING MOVEMENT

The movement of an object in air is greatly influenced by it’s shape. The slightest irregularity of a surface will produce a rapid change in it’s path of descent. This is demonstrated in the diagram below. These factors could be represented in the formation of a multi-faceted lantern form.

Much like an aeroplane in flight, most objects will be operating under aeornautic forces. Weight is the downward gravitational pull- the magnitude of this force depends on the mass of the object. In the case of the feather, airflow is pushing upwards against it’s surface thus the lift will develop in a direction that is perpendicular to the airflow. This theory is important if understanding is to be reached on what invisible forces are acting on the feather (or any other object) as it moves through the air.

The ‘Windswept’ external wall installation at the Randal Museum, San Francisco displays the “complex ways” in which the “wind interacts with the environment” 612 rotating arrows are fixed onto an external theatre wall and free to move in San Francisco’s onshore and off-shore winds

AIRFLOW: SHAPING OBJECTS

In some cases, airflow shapes objects themselves rather than their movements. This could be an interesting endeavour in formulating a concept for the lantern shape as it examines how form and shape are moulded by external factors such as airflow. Illustrated below is the gradual transformation of an object due to the effects of erosion and deposition. The process displays the remodelling of an geometric shape into an organic form.

Experimentation with the reshaping of objects by airflow is displayed in the scrunched paper sculpture above. Bulges and indents portray the erosion and deposition of matter in key locations. Closer inspection of the texture of the surface could aid in the panelling process.

Wind erosion is a prominent geographical process by which airflow has a shaping effect. â&#x20AC;&#x2DC;The Waveâ&#x20AC;&#x2122; rock formation, Arizona, displays the undulating pattern formed by airflow.

AIRFLOW: STUDIES OF AIR MOVEMENT

Above and at right are studies by Frenchmen, Etienne-Jules Marey, a scientist who studied physiology and chronophotography during the late 19th Century. He developed the Chronophotographic gun which enabled him to capture a dozen consecutive images recorded on the one photograph.

The image above, Bird Flight, Pelican, 1886 illustrates the motion in the air whilst the subject passes through it. Marey’s studies provide beautiful examples of fluidity and the path of energy in movement.

Featured above is Smoke Trail, Etienne-Jules Marey, in which a smoke machine with 20-30 seperate stream paths was constructed and smoke paths observed. Where an object interferes with the stream paths, eddie-like patterning is formed. These formations provide visible evidence of airflow, direction and dispersion which would inspire futher experimenation for the lantern shaping concept.

A still of smoke patterning in Henwar Rodakiewicz’s film “Portrait of a Young Man” (1925-31). The undulations of the matter produce serene rotations- much like that of the falling feather.

AIRFLOW: EXPERIMENTING WITH MOVEMENT The flow of energy in these movements is illustrated below in the ink spot painting. The areas of intense movement and energy are represented by densely placed ink spots and thicker areas along the shape.

After researching the works of EtienneJules Marey, I was inspired to revisit the multiple still shots of a movement that I experimented with while working with the feather. This time though, exploring the energy of the air as the object moves through it.

A fineliner sketch of the sequential pelican movements was drawn to aid in the visualisation of the energy flow.

To the right is an interpretation of how air particles would be forced downward beneath the pelican wings.

Energy build-up- charging of energy as the pelican raises itâ&#x20AC;&#x2122;s wings .

Ink spots in low energy areas could be more dispersed to highlight the inactivity of the airflow.

Energetic rest- the pause between the raising and lowering of the Pelicanâ&#x20AC;&#x2122;s wings.

Release of energy.

AIRFLOW: EXPERIMENTING WITH MOVEMENT

From the experimentation above stems further investigation into airflow in movement.

The organic process of airflow in movement is depicted by the delicate rotations of the form above By following the the shape from beginning to end, the pathway of the air particle and all its rotations and undulations are mapped. As in the previous ink spot interpretation, areas of coagulation represent high energy stages of the sequence. The spiral of the cross hatching indicates a possible method of panelling in a flow of interconnected geometric shapes, however, the shaping appears too rigid and planned to represent a free flowing process such as airflow. A form that better represents continual movement would be better suited.

A swirling vortex-like shape is portrayed in the ink painting below demonstrating the rapid flow of energy in the air surrounding an object in motion. This spiral of the ink lines depicts the high flow of air particles associated with such rapid a movement. The intensity of the portrayal, however, appears destructive as compared to the natural process, airflow, that, in the case of a falling feather, evokes a swift and graceful energy transfer

Captured in â&#x20AC;&#x153;Portrait of a Young Manâ&#x20AC;?

by Henwar Rodakiewicz in the late 1920â&#x20AC;&#x2122;s is a still shot of a single billow of smoke. The smoke is an evidential piece in the visualisation of air flow, particularly that of low energy, slow processes. Above left is a pencil sketch of a similar smoke form. The swelling and almost cautious wanderings of the smoke fold, twist and overlap to form an inherently organic configuration.

The shapings of this process not only visibly discern it from another like process but provide a hint at the airflow and particle movement that occurswhile the smoke moves through the air.

Observing these billowy formations may be useful in deciding on a form for the lantern concept as most other airflow processes do not have a tangible imagery to base shape ideas off.

AIRFLOW: EXPERIMENTING WITH MOVEMENT

In order to capture the energy of object movement, a series of paper feather shapes were cut out and a cotton thread was woven throught the faces.

Each end was held and the thread swung in small rotations to allow each ‘feather’ to rotate individualy on the string.

This process was then photographed. The results display the blurred motion of rapid movement. These shapings enable further understanding of the airflow activity that occurs during an objects movement through the air.

Also inspired by Henwar Rodakiewicz’s Smoke still from “Portrait of a Young Man is this patterning imagery. A blob of PVA glue was placed on a plain surface and a drop of ink was dropped in it’s center.

The ink was then carefully manipulated and spread across the glue surface. The patterning mimics the swelling and ever-changing form of the smoke billows and, like the pencil sketch, could be used to detect common organic shape forms for use in model making.

AIRFLOW: GENERATION OF MODEL These outcomes, rather than representing an organic process, appear to resemble the natural process of a living organism. A lantern concept that appears less like it is growing to enclose and suffocate the body would be better suited as airflow is not generally a threatening â&#x20AC;&#x2DC;predatorâ&#x20AC;&#x2122;.

A possible form would be one that would sit minimally on the body, rather than encircle it.

OUTCOME OPTION ONE

OUTCOME OPTION TWO

OUTCOME OPTION THREE

Inspired by the airflow patterns associated with smoke billows

Inspired by the process by which airflow can shape an object.

Shape influenced by the oscillating airflow patterns experienced when an object passes through the air.

The vertical notion, where the path of the shape can be followed from top to bottom, is still relevant in relation to the feather path but the current focus on airflow in general lends itself to both vertical and horizontal orientations.

None of these options properly represent airflow as being independent of living entity.

AIRFLOW: DEVELOPING THE CONCEPT The essence of each of these key developmental images is described below in five words. This enables a better understanding of what the lantern concept will represent. From here, a better suited outcome can be generated using these words as a basis.

SEQUENTIAL INTERMINABLE DELICATE TWIRLING DANCING

LINGERING

CONTORTED CORRODED RUGGED AIR WOVEN RUCHED

SERENE

SWEEPING DECENDING ENERGY STIRRING FLUCTUATING INTENSITY

CASCADING VAPOROUS

SINOUS MEANDROUS

FLOATING

TRANSPARENT

LUMINOUS

FOLDING

These three precedents and the generated word descriptions are particularly relative to the direction in which my design has taken as they evoke the visual beauty and flowing motion of airflow. I feel the words ‘cascading’, ‘meandrous’, ‘sweeping’ and ‘floating’ truly capture the undecided nature and submissive pathway of airflow thus further generation of the concept will stem from this descriptive set.

AIRFLOW: ADDITIONAL PRECEDENTS Both images at left capture the works of North Californian Artist, Ned Kahn in his ‘Wind’ portfolio.

‘Chain of Ether’ is pictured at left and covers the interior lobby wall of ResMed Corporation in San Diego, CA. Kahn has fixed free-moving squares of lightweight chainmail to the wall frame that are highly sensitive to changes in airflow.

Below is a wall facade belonging to a multi-storey parking lot in Charlotte, North Carolina.

Entitled ‘Wind Veil’ the facade has 80,000 small aluminium panels attached to its frame that freely move with the wind. This process resembles undulating waves or the patterns formed in windswept grass plains.

Both examples are useful precedents in formulating a still object that represents a flowing motion such as airflow as they capture the physical activity of airflow and it’s irregular patterning.

Windswept grass plains exhibit irregular movements of air over a landscape. Both this image and the works of Ned Kahn conceptualize ‘sweeping’ as a property of airflow as it moves over a surface in ‘sheets’ of energy.

These fluctuating patterns could be depicted in the lantern design where the path of a single stream of air could be imagined and conceptualized into a form.

AIRFLOW: DEVELOPING THE CONCEPT In the generation of three possible outcomes, the resulting forms evoked a living process that very much encapsulated the body on which it sat.

When humans view airflow and marvel at it’s motion, they usually do so from afar. From a distance, the greater effect of the swirling particles can be realised rather than just the immediate effect on the body.

For this reason, the lantern should be able to be held on the body somewhere that is in clear view of the wearer.

Airflow patterns are also usually viewed in succession, the path of the air is followed from a starting area to a relative area of completion. Situating the lantern on the arm, so that the airflow representation begins on the upper arm and progresses down below past the hand illustrates this process as the wearer would have to cast their eyes on an area closer up to the neck and then follow the sweeping form along to it’s finish.

In this way we suggest that airflow cannot be captured in one glance nor solely in an image. It is a process of motion.

At left, experimentation with the representation of meandering motion as inspired by Etienne-Jules Marey’s ‘Smoke Trails’. These rippled energies could be reprouduced in the lantern concept to portray the motion and undecided linger of the airflow over certain surfaces

AIRFLOW: DEVELOPING THE CONCEPT

AIRFLOW: DEVELOPING THE CONCEPT Thin sheets of high energy airflow sweep over the upper arm, shaping to it’s rounded form.

The air hits the inner elbow and slows to widen at the forearm, occupying greater space.

This volume is meandrous and serene

Converging at the wrist, the energy of the air heightens enough for it to crest above the hand and then cascade downward.

OUTCOME SKETCH Of the shapes and forms that have been experiemented with, this concept best captures the motion of airflow by retaining the light, ‘floaty’ element of air particles as they meander over a surface.

Unlike many of the previous, this concept avoids resemblence to living organisms or viscous fluids by conveying a thinner, more transparent process whist still retaining a threedimensional surface.

AIRFLOW: CLAY MODEL

FRONT

TOP

REAR

AIRFLOW: ANALYSIS OF LECTURES & READINGS Lecture one explored the ways in which natural and urban environments relate and differ. The mathematics behind both design and much of what we see in our everyday lives was discussed with reference to the logarithmic curve of the Nautilus Cutaway Shell and the geometric patterning in the designing of Federation Square. The three prescribed readings of the week, excerpts from Phillip Ball’s ‘Shape’, ‘Flow’ and ‘Branches’ were exceptionally though-provoking as Ball examines the existence of pattern and form in nature, the mathematical curiosities of Leonardo Da Vinci and the manner in which he was able to observe nature and see what really was there behind the visible and the science behind snowflakes in “Branches’ and the way in which the inorganic world mimics the patterning of the living world.

Examining a variety of themes, lecture two began with an investigation into the ‘grow and divide’ formation of fractal systems and considered how data-driven research can be used to find patterns in nature. A short clip on ‘Song lines’ depicted another intangible form of mapping used by indigenous communities and the way in which the elements of shape, colour and formations in Aboriginal painting can represent landscapes was also displayed. Technologies such as Photosynth and the use of Clutter Point scanners were explored, proving the limitless options of digital representation. The readings for the week offered a summary of orthographic methods in drawing and investigated the process of visual thinking and how it relates to the design process.

Lecture three was presented by mathematical artist, Henry Segerman. During the hour, Segerman explained the process of using mathematics to generate shapes. Interestingly, this topic closely relates to the reading content by Phillip Ball where he linked the scientific and mathematical patterning behind naturally growing forms. Segerman explained many of his creations and specified the level of human interaction with the mathematical patterning, giving examples of objects that used little to no human input to generate. Passing around his models, students were able to see the scale and complexity of Segerman’s 3D printing works. The way in which forms could be generated on a purely mathematical basis was highly interesting- even where Segerman had modified the underlying mathematics to fit an aesthetic quality the forms still were impressive in their mathematical representation. I found Segerman’s “Juggling Club Motion” extremely relevant in relation to my folio as it captured, mathematically, the path of a rotating object and presented the form as a stop-motion object much like the photography of Etienne-Jules Marey.

Lecture four presented a different element of virtual design. Architect and designer, Gerard Pinto communicated an overview of the design process linked to some of his key products- highlighting obstacles, limitations and costing. Pinto of Earl Pinto uses a CNC cutting machine to manufacture their products. They work predominantly with plywood but also maufacture in aluminium, copper and polypropylene. Gerard based his presentation on the design obstacles related to the production of the company’s most popular product, a decorative light fitting. The way in which Pinto seemed to develop the concept was highly experimental and often, the mathematics of a product was tested in prototypes rather than calculated beforehand. Juxtaposed with the previous lecture, where mathematics essentially generated the design process, Pinto has an interesting stance and possibly follows a more ‘creative’ process than Segerman with his mathematical art.

AIRFLOW: REFLECTION Module One has been a challenging experience with the design outcome forcing rapid inception of ideas and the time constraint causing a hurried development and refining process.

A key aspect of the design process that was underlined for me in this module was that the design process will always change your initial idea. Essentially, that is it’s purpose.

The reinforcement of this idea is evident where I began recording my natural process by observing the visible shapes made by the movement of a feather. After the initial tutorial progress check, I was encouraged to look deeper than the external activity related to the process and delve into experimentation with the movements of air rather than the movement of a specific object in air which had formed relatively uninteresting and conventional patterns.

From here, inspired by Lecture One and the readings by Ball, I endeavoured to find a pattern behind air movements or at least map out the airflow and it’s effects on it’s surroundings. Da Vinci’s studies of movement were of aid as were various architectural installations such as ‘Windswept’ in San Franciso and Ned Kahn’s ‘Chain of Ether’ in San Diego. Some of the techniques that were used to develop the designs included pencil sketching, ink painting, 3D clay modelling and photography and each of these worked to reveal a new aspect of the concept.

After generating three possible models out of clay, I decided that not one of the models properly represented my chosen process. In an effort to make the clay models appear organic in form and to develop a lantern concept that would sit aesthetically on the body- mimicing the vertical decline of the initial subject, I had represented models in a similar form to the inspired imagery. Here, I ended up with three clay versions of my concept drawings or research.

After considering how the human relates to the process and also generating a word set for each of the key images in my journal I was able to conceptualize what words like‘meandering’,‘floating’,‘cascading’ and ‘sweeping’ could be represented by. Just as Gerard Pinto depicted a highly experimentational design, I feel that this module called for a completely uncautious initial design process with every thought needing to be translated to paper so that visual and conceptual testing could occur.

Module 1

Arthur Wen-Jun Wei Student no. 555279 Semester 1 2012 Group 16 ENVS10008

Natural Process Analysis: Droplet - Ripple A wavelike motion or undulation on the surface of water.

Stage 1: Droplet

Gravity

Air Resistance

Surface Tension

Stage 2: Collision Gravity

I am interested in the cylindrical shape that formed by the afte effect of a droplet.

It is formed by the polarization and surface tension of the water molecule. Although it splashes in ramdom angle as free form, the cylindrical shpae seems to be symmetrical from any perspective.

Stage 3: Splash

Stage 4: Ripple

The first clay model is created based on interpretation of the final stage. It however is uninspiring and lacking in vitality. Whilest it has a simple geometry to be transformed into 3D modelling.

“The desire to look through nature and find its underlying form and structure is what chracterizes the formation.” Upon reading Ball’s paper on The Man Who Loved Fluids, I was inspired and being able to modify the issue from my primary approach.

“Painting is a work not of imitation but invention”Leonardo. I realize that I focus too much on imitating the shape of natural process rather than analysing its mechanism behind.

Proposal 1: Dynamics of wave

Sketch Proposal 1: Dynamics of wave

I identified a relationship between time and dynamics of a water droplet during the process of osillation. As time elpases, wave will continue travel but never change its initial shape and wavelength. It does not transfer medium but only energy.

I alter the approach to explore the machnism behind waves rather than imitating its shapes.

Apart from observing dynamics of the wave, I trid to observe its wavelike motion. Interestingly, if I break each wavelength apart, it results the formation of layers. I then decided to explore the relationship between waveâ&#x20AC;&#x2122;s dynamics and its layer formation. (see page 8)

Above: Timelapse of a particle during ocillation As observed, every transformation is generated from its origin, it ends at where it begins. The particle in fact only moves vertically. Essentially the wave we seen is the transfer of energy.

Amount of energy (depleting)

Sketch Proposal 1: Dynamics of waves (Dynamics vs layers)

Transformation: Dynamics (Part 1) Wave never change its initial shape and wavelength - Model is created in the form of strip, the gap between each strip maintains the same.

Amplitue decreases gradually as energy depletes - The width represents the time taken to osccilate. The length represents the amount of energy.

Logner - Greater energy Wider - Longer time taken to osccilate

Shorter - Smaller energy Narrower - Shorter time taken to osccilate

Transformation: Layers (Part 2) Every transformation is generated from its origin (cetre of ripple) - Merging strips with the same conjunction. Join two conjunctions to form one origin

It does not transfer medium but only energy - The expension of strips conveys the transfer of energy.

The modelâ&#x20AC;&#x2122;s structure successfully cooperates concepts of dynamics and layers of wave. Whilest I am pleased with this design as its formation well reflects the mechnisms I identified from the dynamics of wave, I am skeptical about transforming it into 3D form due to its omplexity of structure and curved body.

Precedent Recongnition: Yokohama International Port Terminal

The singnificance of this landskape architecture is its design is generated from the nature process of circulation of waves that aspires to eliminate the linear structure characteristic of piers, and the directionality of the circulation.

This building could certainly be recongnized as precedent for my proposal for the attempt at using model to refelect particular mechanism of wave rather than directly showing similarities from its shape or structure.

Additionally, the process of observing circulation of waves to finilization of its structure by lofting each cross section is worth noting as it is releavent to the process of 3D modeling i.e Rihno.

Proposal 2: Inteference of wave

Sketch Proposal 2: Interference of waves

My inspiration of second sketch proposal came from the natural process I observed earlier. Instead of observing single droplet, I extend the idea further and decided to eplore two droplets. As single small droplet enables huge effect on the water surface. I wonder what would happen if two single droplets interference each other?

Constructive waves

Destructive waves Upon on the observation, two point sources of wave form interference pattern where each intersection form curve lines as illstrated above.

The pattern is formed by constructive waves and destructive waves.

wa ve d

ire

ct

io n

wa ve d

ire

c ti

on

Precedent Recongnition

After series of sketchs and observation on architectures, I found an alternative approach to observe interference of waves.

Instead of observing curve lines formed by ripples (curved waves), I altered the appoach on finding patterns formed by manually curving the model with intersections of parallel waves.

Transformation: Curvy pattern (Part 1)

This approach was inspired by the ceiling of Junior Common Room at International House. Imagine those holes on ceiling as intersections of two parallel waves, the wavelike surface changes the pattern.

Sketch Proposal 2: Interference of waves vs Geometry Transformation: Infinity (part2)

Precedent Recongnition

In order to convey the best possible outcome of curvy effect from the pattern of wave inteferences, I attempted to distort its formation, somehow I end it up with the geometry - Infinity.

The concept of infinity here corresponds to one of the lecturer’s methematical art project, Henry’s Möbius strip. His model has an unknotted loop can be deformed into a circle.

The boundary of the strip is the circle in the middle, and the surface “goes through infinity”.

I further developed the geometry into the shape of infinite symbol, which even extends the curvy pattern of wave inteference and the concept of infinity. Whilst this model well establishs the geometrical intepretation, it could possibly be difficult to model in Rhino software.

Particaully, the process of slicing model and lofting cross section might be impossible.

Proposal 3: Collision of droplets

Sketch Proposal 3: Collision of droplets

My inspiration of the thrid sketch proposal also came from the natural process I observed earlier. It is also extention of the second sketch proposal.

Instead of observing two droplet on the same surface, I took different approach to explore two droplets on the same space. That is, I wonder what is the different outcome if one single droplet collide with another?

Sketch Proposal 3: Collision of droplets (Free form vs Layers) According to Wolf Mangelsdorf, Free Form, is one of elements that enable the generation and engineering of geometrically complex forms.

Second collision: Second droplet colliding with aftereffect of first droplet

First collision: First droplet bounces up forms cylindrical shape due surface tention of water

Particularly the second collision is more explosive, seems to emit energy towards different directions. Its formation apprently corresponds to Wolf Mangelsdorfâ&#x20AC;&#x2122;s concept of geometry - Free Form.

Upon further sketches (see below), I became interested in the journey of particles during the process of collisions of droplets.

Transformation: Free form

Second droplet drops

First droplet drops

Second collision (more explosive)

First collision

Rest

Above: Sketch Interpretation of the journey

Left: Journey of particles during collision of droplets

Above: Plan view of Orthographic method I decide to take plan view as appoach because it illustrates the horizontal relationships of what we see or envision.As both collisions of droplets happen in the same space along the same vertical axis, plan view allows its journey to be displayed on the same axis along horizontal axis.

Transformation: Layers The outcome of third proposal is more lacklustre than the sketch proposal one and two.

The model also reflects less mechanism of the natural process I observed as in comparison to sketch proposal one and two. Contrastly, the form achieved has simpler formation compare to my previous proposals, I felt this one could be easier to conduct into 3D modeling.

Precedent Recongnition: Yokohama International Port Terminal Above: Oriental Pearl Tower The feature of two spheres along the length of the tower resembles to my interpretation of collion of droplets.

Above: Stockholm Public Library The architecture features the sturcture of suspended slab set upon two large transparent pilotis. Each floor is parallel with another as result of apperence of layers which bears a resemblance to the concept of layer I applied onto the model.

Further Development: Dynamics of wave

Further Development: Extention of shells The concept is interpreted from one of the mechnisms on dynamics of wave that was not mentioned in the sketch proposal 1. That is, â&#x20AC;&#x153;At the same origin, it ends at where it beginsâ&#x20AC;?.

Reflection

Precedent Recongnition: Kinema Pendant Luminaire

I chose to further develop the sketchi proposal one because the modelâ&#x20AC;&#x2122;s formation well reflect on the analysis of the natural process observed. Unlinke the sketch proposal three which focus mainly on iminating interpret sketches of colission of droplets, the model from sketch proposal one resembles mechnisms of waves instead.

The lighting object uses a combination of different layers in order to create a specific effect and appearance. The designer states was inspired by the movement of crustaceans; a wide variety of forms can be created by arranging the pendantâ&#x20AC;&#x2122;s rings in alternating open and closed positions. The uniqueness of this luminire is it has the ability to give the user control of the lightâ&#x20AC;&#x2122;s character to match the mood of the environment.

Critically speaking, the model is unable to be modeled by digital media due to its complexity in formation.

Hence, for modelling purpose, I will use clay to build a new model with completely smooth surface. To compensate the loss of original apperence, I will be focusing on using paneling tool and lighting techniques.

MODULE ONE - IDEATION CHENZI YU

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BRAINSTORM

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(Frost Flowers)

CRYSTALLOFOLIA

When I was searching up the word â&#x20AC;&#x2DC;Frostâ&#x20AC;&#x2122;, frost flower also came up. I did not know anything about it therefore out of curiousity, I clicked in the link and saw amazing photographs of frost flowers. It was very exciting finding out this new wonder of nature that I have never seen or heard before. I researched it more and understood more about the frost flower, other named, crystallofolia. Crystallofolia forms when the air is above freezing but when the ground is below freezing. Water from the ground draws up to the stem in a capillary motion. On the stem, thin line of cracks occur and the water pushes out of the cracks freeze upon contact with air.

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(Frost Flowers)

CRYSTALLOFOLIA

As the water continue to draw up to the stem, through the cracks, it pushes the ice that already formed further, creating thin strips of ribbon-like ice. The elegant flow of the ribbon is very inspiring and I am extremely excited to have a lantern idea based on the swirls of the Frost flower.

However, my tutor point out that I have to look for a natural process that shows an underlying pattern rather than something visible to everyone. I will research more natural processes and follow the notion of the word â&#x20AC;&#x2DC;underlyingâ&#x20AC;&#x2122;. Thinking how the Frost flower can have a underlying pattern, the capillary motion of how the water is drawn from the ground to the stems can be the natural process. However, I think that the motion is not very interesting.

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Flower Growth

DANDELION

->

Flower growth is extremely interesting. Especially dandelion. The process how it changes from the yellow pedalled flower to a fluffy ball of white threads is amusing. I drew a time lapse of the process however I am not sure how this can relate to the lantern project. My tutor said that he is interested in the diagram of where the dandelion seed fly. I was a bit confused because I thought the â&#x20AC;&#x2DC;natural processâ&#x20AC;&#x2122; have to be a process that is consistant in pattern. I will look in this further.

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-CYCLONE-

CIRCULATING EFFECT

I am inspired by the process of how cyclones form. By examing through the formation, I drew a diagram of the movement of the clouds. The circulating movement that gradually circles inward creating a spiral shaped It created an interesting pattern that may potentially be the natural process that I will adopt for the lantern design. However, I want to look at more natural processes to compare with this inspiration.

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-ANIMAL ECHOLOCATION-

OVERLAP

Echolocation is an ability that some animals use to detect other animals, food or obstacles in the far distance. It helps the animal to prey in the deep water where light is limited.

Echolocation is done by producing a sound which travels in the form of waves and when it hits an object, it would echo back to the animal. The animal can estimate the distance of the object and the size as well. I drew the sound waves that the dolphin produce and how it reaches the fish, bouncing the sound wave back to the dolphin. I am very interested in the overlap and how the lines intersect with each other. I want to develop this idea further.

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-SOAP BUBBLE MACRO

ABSTRACT FLOWS

I am very interested in the abstract patterns in nature. I am often inspired by the abstract patterns of smoke, sand dunes and water ripples. I have never discovered how amazing the macro view of a soap bubble is like.

I love the rainbow colours and how the lines combines together in a abstract nature. I drew parallels between the swirls from the soap bubbles to Zaha Hadidâ&#x20AC;&#x2122;s design of Linkong Economic Park. The building is an amazing structure that obtains abstract elements. I am not sure how the soap bubbles can be developed to a lantern idea, but I am sure that the curves can inspire me in the lantern design.

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-FLAMES

ABSTRACT FLOWS

I am intrigued by flamesâ&#x20AC;&#x2122; abstract flow of lines. The randomity patterns creates curves and swirls that draw similiarities with the ribbons that the Frost flowers creates. By abstracting the flames to a ribbon like shape, together with the inspiration of the intersection of the sound/echo waves for animal echolocation, I depicted two flames intersecting in the middle.

However, I will not continue this idea as flames are already too abstract.

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Summary Frost Flowers

Dandelion and wind path

Dandelion and wind path

Cycloneâ&#x20AC;&#x2122;s circulating pattern

Cycloneâ&#x20AC;&#x2122;s circulating pattern

Echolocation

Echolocation

Macro views of bubbles

Flames

In the end, I chose these three as my three natural processes to work on further out of the six inspirations. Frost flowers and the macro view of bubbles are too visual, not fully representing the goal in discovering underlying patterns of natural process.

Flames are already very abstract thus is hard to further abstract it. However, I would incorporate those inspirations in my design if possible.

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cyclone At first I did not like my natural process of cyclone since many people are doing similiar ones. However, after hearing my tutor talking to another student in focusing on the strength and the anger of it, I was inspired to make something that shows it. I searched up architecture that that may be inspired by the movement of cyclone and I came across Zaha Hadidâ&#x20AC;&#x2122;s Miami Beach Parking Garage. The circulating plates layered on top of each other with different sizes made me relate to the uncontrollable strength of the cyclone. I developed a sketch of the top view of my concept idea however due to the limited drawing skills, I could only present the model as a top view. The black parts that is shown are at the bottom of the white parts. I want to layer them together on top of each other and showing the strong force of the wind by the different sizes of the long rectangles. However, I still donâ&#x20AC;&#x2122;t like the idea that much, I will not choose this as my final.

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Dandelion and wind path

My tutor pointed out that the flow of the Dandelion seed effected by wind is more interesting than the growth of a dandelion, I began to looking through Youtube searching â&#x20AC;&#x2DC;dandelion slow motionâ&#x20AC;&#x2122;. However, Youtube videos did not depict the whole track of the journey since I am interested in how the dandelion seed leave the stem, flying in the wind and then drop to the ground. I want to show the motion on a graph and see ways to abstract the motion.

I am interested in how the seed pulled by the wind, flies sideways at the start, then affected by wind, twirls around and gradually falls to the ground like a parachute with white threads at the top. I want to abstract this motion, especially the wavy motion and the twirl. I attempted to draw a sketch of what I want to present my idea, however, it did not look that good. Therefore, I attempted to use plasticine to see what other idea I can develop.

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Dandelion and wind path Whilst experimenting with plasticine, I tried to depict the wind path by creating a long strip with curves and curls however it was not very appealing. I abstract it by fragmenting the wind path into half, showing two separate movements. the one at the bottom shows how the dandelion flips around, the top one shows the upward curve movement.

This idea for the model is also influenced by my first inspiration, frost flowers. The path that dandelion flies shows elegancy that is depicted by the ribbon like ice that frost flower produces. The top part is influenced by fallen leafs, how the leaf curls in when it looses nutrients. However, I will not bring this ideation further as it is too hard to abstract it further because of its simple pattern.

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Dandelion and wind path top view

front view

back view

right view

left view CHENZI YU 585017

FINAL

echolocation - overlap

I am extremely interested with how the echolocation shows the overlaps of the sound waves. I drew a diagram to represent the intersection between the two layers. Jean Nouvel’s concept design of Qatar National Museum’s structure and consistent overlapping has inspired me. The simplicity of the layers yet it’s complicated construction creates a very interesting overall feeling for observers. It’s conflicted nature (of simplicity/complexity) draws the attention of observers to different aspects of the building; the light that is reflected and the shadows that are generated also creates a contrast that is interesting. From a different angle, this building varies in appearance whether it is the spectator moving around the building or the movement of the sun across the day. I want to achieve in making my lantern to not only focus on the shape and pattern, but also how the light and shadow contribute to add more aesthetic qualities.

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FINAL

echolocation - overlap

I started to experiment my idea by sketching how two fan shaped 2d object intersect with each other then developed to have multiple ones intersecting with each other.

However, I could not clearly represent my idea with my limited sketching skill therefore I experimented my idea further using plasticine. I still followed the fan shape that the sound waves were shaped however in the process of making the model, I wanted to further abstract the model therefore developed the idea that curving some of the edges may add more aesthetic qualities in the model and also add a curved flow to it. After this Module, I want to change the fan shape to the leaf shape of the Ginkgo biloba (left image) to add more interest.

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FINAL

echolocation - overlap

Front view

Back view I photographed the model with different directions of lighting to see the different shadows. I chose this to be my final and I wish to investigate this further and abstract it further to create the lantern.

Right view

Left view CHENZI YU 585017

Reflection The first module was very challenging. At the start, I was rather excited in thinking about the natural processes and i developed many ideas with a series of brainstorming. However, I got a bit confused with the words ‘natural process’. I went to a lot of scientific reasonings of natural processes and as a person who did not study science in VCE, there were a lot of terms that I did not understand.

I wanted to research about Ferrofluid, it got a bit complicated therefore I did not follow up the idea. I concentrated a lot on the world ‘process’ and I struggled a lot in finding 3 processes that interest me. I decided that I was not going to look in the scientific side to it, therefore I searched up a lot of time lapse of plant’s growths. However, they were too visual and did not represent the goal of the assignment in finding a underlying pattern. In the end, there were some e.g macro views of soap bubble that did not represent a natural process. However, they inspired me in many ways and shown me that there are a lot of inspirations to drawn from nature. I chose echolocation as my final natural process to continue on as it represent more of a ‘natural process’ and I really like to develop the intersect/overlap idea further. I like doing the plasticine models and beside the two models that I did, there were others that I built for fun. Taking photographs of the plasticine models was enjoyable and experimenting with the lighting was very interesting. It shows how different shadows are shone across different areas. Even though Module one was challenging and a bit stressful, I am sure that the modules after this one would be even more challenging. I enjoyed the process of doing Module One and look forward to the next module.

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References

Photos and inspirations Ball, Philip (2011): The Shapes of Things. In Shapes: Nature’s Patterns , Oxford University Press, pp. 1-35 Ball, Philip (2011): The Man Who Loved Fluids. In Flow: Nature’s Patterns , Oxford University Press, pp. 1-18 Ball, Philip(2011): A Winter’s Tale. In Branches: Nature’s Patterns , Oxford University Press, pp. 1-27 http://showmeoz.wordpress.com/2011/11/29/fabulous-frost-flowers/ http://www.youtube.com/watch?v=JErsWALetDU http://www.safefood.qld.gov.au/index.php?option=com_content&view=article&catid=18&id=307&Itemid=36 http://en.wikipedia.org/wiki/File:Tom%27s_pictures2_005.jpg http://simple-article10.blogspot.com.au/2010/10/that-amazing-weedthe-dandelion.html http://www.youtube.com/watch?v=UQ_QqtXoyQw http://www.sparklebox.co.uk/2411-2415/sb2414.html#.T2lUAuT4LLk http://flickrhivemind.net/Tags/bubble,trippy/Interesting http://www.flickr.com/photos/lordv/2075403649/ http://forum.skyscraperpage.com/showthread.php?t=145254&page=87 http://www.dipity.com/tickr/Flickr_fire_burning/ http://jennistales.blogspot.com.au/2012/01/dancing-flames-discovery.html http://breathedeepproductions.blogspot.com.au/2010/11/frost-flowers-press-release-and.html http://www.youtube.com/watch?v=kYAPFztLMJE http://www.youtube.com/watch?v=8TOu4EKbekE http://www.youtube.com/watch?v=6_n-pjdNlOw http://www.designboom.com/weblog/cat/9/view/9593/jean-nouvel-new-national-museum-qatar.html http://architecture.mapolismagazin.com/zaha-hadid-architects-miami-beach-parking-garage-miami/ Facts and information http://www.ema.gov.au/www/ema/schools.nsf/Page/Get_The_FactsCyclones http://wiki.answers.com/Q/How_do_cyclones_form http://clearlyexplained.com/nature/earth/disasters/cyclones.html http://spaceplace.nasa.gov/hurricanes/ http://beetlesinthebush.files.wordpress.com/2010/05/49_macrae_2010-wgnss-crystallofolia.pdf

http://www.disaster-survival-resources.com/natural-ice-sculptures.html http://w3.biosci.utexas.edu/prc/VEVI3/VEVI3-27Feb.html http://www.inkokomo.com/dolphin/echolocation.html http://www.columbiatribune.com/news/2011/nov/06/after-first-hard-freeze-be-on-the-lookout-for/?webapp http://www.environment.gov.au/coasts/species/cetaceans/sound.html http://www.dolphinear.com/data/dolphin_echo_location.htm CHENZI YU 585017

MODULE ONE: IDEATION

NATURAL FORMS&PROCESSES

Rachel Mui

Student number: 587030 Semester 1 2012 Tutorial Group 10

BUBBLES: SURFACE AREA AND VOLUME Have you ever wondered why a bubble is always a perfect sphere? When a bubble is first made, it might be irregularly shaped, but if left to itself will always turn into a sphere.

Shape

Surface Area Volume 104.188 cm2

129.265 cm2

100 cm3

100 cm3

The reason for this is that a bubble always attempts to form a shape which has the smallest surface area that encloses a certain volume. Coincidentally, that shape happens to be a sphere. A bubble needs to do this because a surface with a small area also has the least wall tension, making the bubble less likely to break.

A comparison between the surface area of a sphere and cube where volume is constant can be seen on the table to the left.

This idea of using a sphere for high volume and low surface area is further reinforced through the shapes of cells. Unlike bubbles, the aim of cells is to have a high surface area in order for sufficient molecules to travel in and out of the cell to sustain various cellular processes. Cells favour prism-like, flat or convoluted shapes to increase surface area as much as possible.

Hence, it is very rare to see cells that are spherical (such as an ovum) or bubbles that are cubes.

FILM: MINIMAL SURFACES A minimal surface is one where the pressure on both sides of a surface is equal to each other. If you were to dip a bubble wand into bubble solution, the resulting film on the wand is a minimal surface. A well known minimal surface called a catenoid can be formed by dipping two circular wires together into bubble solution and slowly pulling them apart so that a bubble film forms between the wires. However, a single bubble (a sphere) is not a minimal surface.

In the case of minimal surfaces, bubbles attempt to minimise surface area with the constraint being the structure of the frame rather than the volume of air it needs to hold.

Just like why a bubble forms a sphere in the air, a bubble on a frame forms a minimal surface in order to reduce surface tension. A minimal surface is the state where a surface is most relaxed.

A computer-generated catenoid, and one made from a bubble

Other minimal surfaces: helicoid, Enneper surface, Schwarz P-surface and Catalanâ&#x20AC;&#x2122;s surface

FOAM: FORMATION LAWS When more than one bubble join together and form a foam, it often looks random and irrational, but there are actually a series of rules which the bubbles follow in order to achieve the smallest surface area whilst also enclosing a set volume. As it often is in nature, what looks chaotic at first glance might actually be mathematically sound and logical.

There are 4 simple rules that all bubbles follow when forming a foam. These rules are called “Plateau’s Laws”, named after Joseph Plateau.

They are: 1) Soap films are made of smooth surfaces 2) The average curvature is constant on any given point on a particular soap film 3) When soap bubbles meet, they form an edge called a “Plateau border”. If there is only one layer of bubbles, they will meet in threes at a 120 degree angle.

4) When there is more than one layer, bubbles meet in groups of fours at an angle of cos-1(-1/3) or the tetrahedral angle (around 109.47 degrees)

Weisstein, Eric W. “Plateau’s Laws.” From MathWorld--A Wolfram Web Resource. http://mathworld.wolfram.com/PlateausLaws.html

BUBBLES: EXPERIMENT&OBSERVATIONS To see the formation of a foam and Plateau’s Laws in action for myself, I mixed some dishwashing liquid and water together to form a bubble solution. Then I wiped an aluminium tray with the solution (bubbles will pop on a dry surface) and blew some bubbles one by one onto it with a drinking straw.

After taking some photos, I sketched out the bubbles from the top. Just from what I can see, I can tell that there are 3 rules that bubbles follow.

1)

Any area that touches another bubble becomes a flat surface

2)

Any area in contact with nothing maintains a curved surface

3)

The borders of the bubbles meet in threes at a vertex, when on a flat surface with only one layer of bubbles

My observations were similar to those in Plateau’s Laws, except I couldn’t confirm the angles of the edges.

OTHER: SHAPES&TESSELLATIONS After gathering this information, I wondered if there were other ways for bubbles to arrange themselves. Here are some sketches and notes showing my thoughts:

PRECEDENT: WATER CUBE

Perhaps the most well-known and obvious example of the use of bubbles in architecture is the Beijing National Aquatic Centre, otherwise known as the “Water Cube”. Designed by an Australian and Chinese team, the Water Cube is quite literally made of bubbles. The walls of the building consists of a frame shaped like a bubble film, containing 4000 “bubbles” made from a sturdy yet lightweight polymer (poly(ethylene-co-tetrafluoroethylene), or ETFE). The use of these bubbles allows for insulation and light penetration, hence energy consumed through climate control and lighting are greatly reduced. The Eden Project in Cornwall has a similar construction to the Water Cube, but is based on hexagonal and pentagonal tessellations rather than bubbles. These buildings make excellent use of the way bubbles conserve surface area, as both buildings aim to insulate and require vast amounts of air to be enclosed without the inefficient use and waste of material.

PROPOSAL 1: BIRTH From my initial research, the concept that interested me the most was the idea that bubbles can naturally solve the complex mathematical problem of enclosing a volume in the most efficient way without a 2nd thought. This lead to the exploration of the actual process of the formation of a bubble, in where air is blown into a bubble film.

This process is the instantaneous formation of a surface that is capable of enclosing a volume at that particular point in time.

I decided to base my model on the shape of bubble as it is first being form, and then as it exits from the initial group.

PROPOSAL 1: BIRTH

Sketches of bubble formation as air is blown into a bubble film, as observed in a slow motion video (http://www.youtube.com/watch?v=GmpuGqwweZ4)

PROPOSAL 1: BIRTH

The final design for this sketch proposal is composed of irregular spheres that are morphed together like you would see when blowing bubbles.

The “sphere” components are generally decreasing in size from the point where air is being blown into the structure (left side) and becomes more spherical as it’s about to detach from the rest of the spheres.

PRECEDENT: GREEN BRAIN

A landmark that clearly stands out from the rest of the architecture on Swanston Street is Building 22 of RMIT. Otherwise known as the Green Brain, it features a globular and inflated green structure reminiscent of blown bubbles. Designed by Ashton Raggatt McDougall, a Melbourne based architectural firm, this design uses a variety of NURBS to form decorative structures that drip off the sides of the building. The smooth and modern appearance of these structures contrast with the older and more traditional exterior of building 22.

This building demonstrates some possibilities for shapes that could be used for the lantern, as it consists of the same kind of smooth surface that we will be working with in Rhino 3D.

PROPOSAL 2: SURFACES

Building upon the last sketch proposal, I wanted to play around with how minimal surfaces form with constraints other than the volume of air. Therefore, I tried to create a wire frame that was able to drape over a shoulder. In theory, if it were dipped into bubble solution, a minimal surface would form around the wire. The film would be the most efficient way to reach one area of the wire to another.

Before trying it out, I predicted that the resulting minimal surfaces would be a series of plains like either of the sketches to the right:

PROPOSAL 2: SURFACES The actual results of the test was what was predicted in sketch one. There were 4 planes formed, with 3 small ones in the 3 loops at the top and a large plane on the bottom. The photos only show a minimal surface on the bottom, but there were actually 4. There was some trouble with taking the photos before the bubbles popped too quickly.

A model of the resulting set of minimal surfaces was made out of plasticine, but I was unhappy with the result, as a plane is a pretty trivial minimal surface. Therefore, I decided to try and play with the idea of a combination or chain of minimal surfaces that conforms to the shape of the human body (in this case, the shoulder).

PROPOSAL 2: SURFACES The minimal surface that caught my attention the most during the initial research phase was the “Enneper surface”. It’s similar to the planes in the wireframe, but is more of a circle with 2 opposite points pulled up and 2 other points pulled down. http://www.ugr.es/~fmartin/dibujos-clasicos.htm

The final model for the 2nd sketch proposal is made of 3 Enneper surfaces that replace the 3 planes of the previous model. They are arranged in such a way that it conforms with the shape of a person’s shoulder.

PROPOSAL 3: DEATH Like all good things, bubbles must too eventually come to an end. In sketch proposal 1 the idea of the birth of a bubble was explored, in this sketch proposal I draw inspiration from the death of a bubble.

Photography by Richard Heeks (http://www.flickr.com/photos/11164709@N06/sets/72157607182199900)

What’s interesting is that rather than “popping”, a bubble looks more like its film is ripping and tearing itself apart.

However, this happens so fast that to the naked eye, it looks like it “popped” out of existance.

PROPOSAL 3: DEATH

Sketches of the patterns formed as the bubble film is broken.

Top Left: Side view of splatters during film breaking

They look like fireworks and splatter like rain, depending on the perspective.

Top Right: Bubble popping viewed from starting point of film breakage Left: Same as top right, but simplified into straight lines

PROPOSAL 3: DEATH

Using the side view of a bubble popping as inspiration, I cut several strips of plasticine into various lengths and arranged them to look like the rips in bubble film. The shapes have been simplified into rectangular prisms.

I arranged the strips so that they fan out from the point where the bubble breaks (right hand side).

FINAL PROPOSAL For my final proposal, Iâ&#x20AC;&#x2122;ve changed my initial idea of having a lantern that could be draped around or over the shoulder. Now, the lantern hangs off the shoulder from a cup shape top, andn drapes over the arm instead.

The final shape is a blend of both sketch proposal one and three. My aim for this model is to show the life of a bubble, from birth to death.

The life cycle starts at the bottom, where the bubble is first being blown. I was unsure of whether or not to include a sphere in the design to show a completed bubble, but after trying it out I thought it didnâ&#x20AC;&#x2122;t blend as well as I would like from one form to another.

The top teardrop shape that attaches onto the shoulder is based upon sketch proposal three, as it imitates the rips that form as a bubble pops.

However, there is concern over how well this model could be translated in Rhino 3D, hence some changes may need to be made as further work is done during module two.

Sketch of a body with photo of plasticine model. Example of placement.

FINAL PROPOSAL

COLLAGE

REFLECTION This module has been difficult for me, as I’m not used to having to come up with designs in a set time period and at such a fast pace. Usually it’s hard for me to come to a decision and I like to scrap and restart ideas all the time, so that was a major hindrance for the last 3 weeks. The most difficult thing for me was that we had to think beyond what we can see on the surface and try to view things in a different perspective. Coming from quite a heavily science-based education, where everything is black and white and empirical evidence is valued above all else, it was a big hurdle to disregard the obvious and look into the non-literal side of things. Quite often I’d find myself using direct observation and getting stuck when trying to look past it.

Even if I struggled in some areas, I don’t think I would’ve enjoyed completing this module as much if there wasn’t a challenge to overcome. It was a bit tough getting thrown in the deep end straightaway, but that’s what makes this subject fun.

Part way through this module I felt that I might have limited myself somewhat by only focusing on one topic rather than looking in broader areas, but I’m also glad that I managed to look deeper into something simple like a bubble.

Before taking virtual environments, I wouldn’t have thought that there would be so much going on behind the scenes.

Apart from having issues with coming up with good ideas, I also had trouble with the materials, as I found out when trying to make various minimal surfaces with plasticine. However, this led me to try and explore other materials.

This module was definitely worth

Emily Adamson Student Number: 538935

Semester 1/2012

Group 4

The article “Nature’s Patterns: Shape” highlights the natural patterns in the world, it also argues whether these patterns can be seen through mathematics and physics. Pattern can be defined as “form in which particular features recur recognizably and regularly”.

The article states that nature’s patterns can be broken down into simple things and that man-made forms are just echoes of it.

The pattern necessarily does not have to be highly ordered and a mirror image of itself, but if the form follow the same principle through out, whether it be angle or shape or size, then it can be said that there is a pattern and an order to the form.

This idea of patterns seen through nature intrigued me and so I decided to look at chameleons and the movement when they change the colour of the skin. This then led on to looking at the chemical structure(melanin) that causes this change. This presented a geometric beauty that is created through nature. This similarly can be seen in Guadi's mosaic of a chameleon above highlighting the similar geometric pattern that is presented in the melanin. The above drawings show different variations of the chameleons skin. This magnification that I observed hear led me to look further into other magnifications in nature.

Left: Geranium Pollen magnification Below: Abandoned Soviet Union Sculpture

Andy Goldsworthy Icicle joined by saliva

The above ideas begin to focus more on the microscopic, as seen in the geranium pollen magnification. This focus was created through the watching the talk by Janine Benyus on Biomimicry and observing the way nature does it and following there way. I then looked and Any Goldsworthy's icicle sculpture as I found it created this cell structure. Similarly in the abandoned Soviet Union sculpture above. This magnification inspired me and allowed me to create a point to continue exploring.

The above photographs of mushrooms and Guadi's park is where my exploration went next. My interest with Guadi had started in the first week with his chameleon mosaic and I decided to revisit him and his construction techniques. This particular walkway in his park in Barcelona interested me and it creates a raw natural look through manmade elements. This technique he creates, I feel can be seen in nature through mushrooms growing on trees. This pattern in nature mimicked in the manmade world intrigued me as they both create a geometric pattern that is aesthetically pleasing to the viewer. From here I wanted to continue with this view on mushrooms as they interested me in the way they are naturally perfect and can create there amazing shapes and colours that we grab influence on for design today.

From that I began to examine the mushroom more and the underneath of them. I began experimenting (as seen in above right) by collecting mushrooms, placing them on watercolour paper face down, placing a plastic container on top and then leaving it in the sun to observe how the mushroom sweats and leaves an imprint, much like a stamp, on the surface of the paper. The pattern that it leaves is much like an iris and creates an areal view of a three dimensional object. This discovery inspired me me further design creation to look at the ridges of the mushroom and the way they create a cone pulling up from the earth.

The following sketches have been inspired by the gills of the mushroom as well as the stipe and base of the mushroom. Originally the sketches began as fluid movements however as I analysed more and more they became more geometric and structure, turning the mushroom into a man made object.

The different folding of the paper here was a key as whilst sketching I imagined the light and the shadows the surfaces would create. All of these designed were designed to be placed on the floor so that they illuminate the area around them and create a focus point for the area.

Design 1

The following design is created to be placed on the ground, surrounded by nature so that it in turn over time becomes part of nature. This placement will also mean that it will create this luminescent feel to it as the darkness of the trees or plants around it will glow with the slight glow of the lantern. The ridges on the lantern allow for different light and dark areas. The top of the lantern will be removed to create a beacon like aesthetic to it. The slant of the tower will be abstract so that it removes from the man-made ridges created by the folds of the paper. Much like the mushroom below the placement of the light in the interior will mean that the top is the lightest point of the lantern and the bottom is the darkest so that it shines out.

The following sketches draw from the more natural element of the mushroom with its soft curves. However in these sketches I have incorporated the mosaic abstract pattern, as seen in the chameleon in the beginning of these slides, as cut outs on the lantern. These cut outs create different portals for the light to exit. This will allow the lantern to beam out and project more light on to its exterior. This will enhance the effectiveness and productivity of the lantern.

The mushroom on the right shows the geometric pattern that I tried to incorporate in my sketches in the previous slide. However these patterns are more raw.

Even though they seem unpredictable a pattern can be derived from this mushroom. As the radius of the mushroom increase the amount of pores per millimetre squared increases, creating a positive relation as seen below. This relationship can be seen in all over the world in architecture and art alike. For example, the empire state building, seen in the picture below, has a pyramid effect happening as the levels increase the area on each floor decreases. This is a negative effect but the principle of this idea is still key.

Final Design Sketches For these sketches I have decided that they will be floating in the air to create space and enhance the experience from the light that they will project.

Through my previous experimentation I want to create the lantern so that the light is a key factor of the way it is designed. I also wanted to draw on the gradient is discovered with the centre being sparse and growing as the radius increases.

Design 2

This design draws from previous designs that focused on the shape of the base. For this one I experimented with folding paper, as seen in the two photos above, to see which ways it folded and the way it interacts with shadow.

The shape of this design focuses on the graph I had designed previously with the centre being smaller and the ends larger to project the light across the area.

The folding of the paper in an abstract way is to create a raw effect to the lantern. This lantern will be hanging in a horizontal position.

Design 3

The following design will be surrounded with geometric cut outs tht vary in size depending on there placement on the lantern. This sizes will depend on how much light is wanted to flow through them. Using examples such as Olafur Elaisson use of light and the way it goes through and around objects (seen on the left) I want to create a lantern that allows the audience to interact with the light that is projects. To do this the holes at the bottom (facing the ground) will be larger so that the most amount of light can escape from them and as you move around the lantern to the ceiling the holes will decrease in size. This idea is derived from the gradient that the mushrooms pores create so that they receive optimum light to develop.

Bibliography http://www.morning-earth.org/artistnaturalists/an_goldsworthy.html http://www.dreamstime.com/royalty-free-stock-photos-panther-chameleon-skin-detail-image14893258 http://wallpapers5.com/wallpaper/Geranium-Pollen-at-700x-Magnification/ http://www.barcelonaphotoblog.com/2006/11/trencadis-lizard-by-gaudi-at-park.html http://www.turtlepuddle.org/alaskan/hikingpages/05summer/july.html http://www.hiltonpond.org/thisweek080908.html http://doorcountyinpictures.com/2010/11/day-45-mushroom-tree/ http://www.olafureliasson.net/exhibitions/the_light_setup_lunds_5.html

GHERY SWASTIKA HERTON MODULE 1 - NATURAL PROCESS 551465

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INTRODUCTION

DEFINITION Given the task to develop a lantern concept based on either natural process or natural form analysis, the first thing i did was to perceive the definition of natural process and natural form. natural process means any kind of activities that produced by nature. similarly, natural form defined as a natural product without any human deliberate action involved.

The first thing that crossed my mind when i was thinking about natural process and form was the earth system component, which comprise of atmosphere, biosphere, and lithosphere. Furthermore, i specified my idea of earth component system to the activities within the component itself and pursue the idea that i have developed with further studies.

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Natural process analysis Diamond light dispersion

At the beginning, i tried to explore one of the lithosphere component, which is mineral stone. It really amazed me the way nature has shaped and form numerous number of mineral stones with different colour and component.

Bone structure and flexibility

There are various natural process and form amongst organic component. Bone structure is one of the examples of ancient natural form that has been around for ages.

Nature has arranged the bone structure in such ways that it is not only for flexibility purposes but also to supports the muscles and protects the inner organs. - Linda.P (2003)

After digging a little deeper about lithosphere and mineral stones, i discovered that diamonds, which is one of a number of form of mineral stones can disperse the light that goes trough it in form of rainbow-like colour.

i was planning to mimic the bone structure â&#x20AC;&#x153;purposesâ&#x20AC;? in my design. however, all concept that i have developed for this bone analysis are too literal and i do not really want that in my project.

Unfortunately, the concept i have developed is too complicated and i decided not to dig the idea further,

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SKETCH PROPOSAL 1: Diamond light dispersion These are my drawing in regards of my ideas of diamond light dispersion. i wanted to underline the light that is being dispersed by diamond in my design and how the light spreads around the diamond that received the light. i started with making the basic shape of diamond and draw some different size prisms around the base shape to represent the dispersed light. unfortunately, my final design of diamond light dispersion is too complex. thus i decided not to pursue the idea of diamond light dispersion.

this picture in right hand side is the diamond ceiling by semeur dâ&#x20AC;&#x2122;etoiles paris. it creates interesting light dispersion effect to itâ&#x20AC;&#x2122;s surrounding environment. i want to mimic the way they shape the surface or the shell, which is by dividing it to several symmetrical angles. furthermore, to make my design looks more engaging, i wanted some fractures in form of different triangles.

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SKETCH PROPOSAL 2: Bone structure and flexibility The sketches on the left hand side are my attempt to apply the concepts of bones structure. i wanted to form external layer of bone structure around the head or hand that both will be able to represent the idea of flexibility and protection as the actual bone would be. i wanted to create a cage-like shape that represents the “protection” and a little bit of curves to represent the “flexibility” of bone structure. however i felt this idea was not strong enough and too literal that i did not want to use it.

Floating hotel “MORPHotel” by the architect Gianluca Santosuosso, resembles the skeleton form.

His design concept is based on animal spine and it looks very sturdy. according to Grozdanic, L (2011), this hotel is expected to float on the sea and move in a slow motion. it is clear that technology has a big contribution on this project.

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NATURAL PROCESS ANALYSIS

AURORA BOREALIS “Picture yourself outside on a clear dark night. Low on the horizon you notice a faint glow of greenish light which forms an arch, stretching lazily across the sky. As time passes, additional bands of light form and drift overhead, slowly brightening to form a giant curtains in the sky that slowly wave as if a gently breeze were blowing. Suddenly the bottom of the curtains brightens with a reddish tint and ripple faster. Blues and purples appear. As the curtain pas the directly overhead, you see bright points of light that swirl like a pinwheel. The entire sky seems to be full of colour and motion. Then, several minutes, everything fades into a warm green glow.” - Delinger, M (2001).

DEFINITION: There is a whole long definition of aurora borealis, but to understand the definition of aurora borealis we have to understand some basic knowledge regarding natural activity in the atmosphere. There are various number of thing that we unable to see in the atmosphere like oxygen, nitrogen, and even mixtures of some particular gasses. Another invisible elements in the upper atmosphere are the magnetic fields that surround the earth and some charged particles. A study from Universtiy of California stated that the charged particles are the main component of aurora borealis. - Regents of the university of California, 2001.

This picture is the illustration of earth’s magnetic fields that function as the paths for the charged particle to travel along. According to Lumemerzheim (2012), the charged ion particle which later collide with gas atoms will result the atoms to reflect some lights.

The most simple explanation of aurora borealis is “Aurora is a luminous glow of the upper atmosphere which is caused by energetic particles that enter atmosphere from above.” - Lummerzheim (2012)

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My interpretation drawing of aurora borealis.

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AURORA BOREALIS IDEATION: (understanding the shape and form of aurora borealis) The sketches above are my attempt in understanding the shape of aurora borealis. before i started my design, i wanted to understand the basic shapes of aurora borealis. Another features of aurora borealis that fascinates me is the fact that aurora borealis is never has a “fixed” shape, because the aurora borealis always change it’s shape every time it makes an appearance.

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AURORA BOREALIS IDEATION: Images in the left hand side and above are the net sculpture by Janet Echelman. She created this by using net wavering techniques that she learnt from local fishermen during her Fulbright lectureship in india. This sculpture are strung between some poles and building resembling the aurora borealis. In her idea realisation, she was helped by a team of aeronautical and mechanical engineers.

- Shacker (2011) This piece of art by Janet Echelman contributes a lot in my design process. It has helped my to settle the shape of my design.

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SKETCH PROPOSAL 3 AURORA BOREALIS (DESIGN PROCESS) The curve shapes represent the planet earthâ&#x20AC;&#x2122;s magnetic field that serves as the paths for charged particles.

While the hollow parts which are placed in several palaces around the object deliver the impression of the charged ion particle that has collide with gas atom and disperse the light.

i was really inspired by the Sydney opera house reflect light from beneath the curve give the shadowy looks on tip of the curve.

way the and the

The moment i finished doing some sketches of aurora borealis shape and research about the forming process of aurora borealis, i found a video about the view of aurora borealis from the outer space. Furthermore, i wanted to mimic the aurora borealis shape from outer space by designing a wearable object to place around the head. the design will represent the aurora borealis that wraps the earth surface while the head serves as the planet earth.

Suites avenue hotel in barcelona resembles the flow pattern that i wanted to use in my design. the the shell pattern of this building allows the light to goes in and out.

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SKETCH PROPOSAL 3: AURORA BOREALIS (3D REALISATION)

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SKETCH PROPOSAL 3 : AURORA BOREALIS (LIGHT REFLECTION)

I wanted too see if my concept was developed properly, it turned out to be just satisfactory. The hollow parts reflect the light just like the concept plan. However the curves are not really match my expectation.

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SKETCH PROPOSAL 3 : AURORA BOREALIS (FINAL MODEL)

The three images above are the final design of aurora borealis that im planning to continue using in module 2 on wards. this is the rough design of the final product.

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MODULE 1 REFLECTION In module one, i was placed in the situation where i have to develop my idea from scratch amd i have to reasoning with myself whether i did the right thing for my design progress. i often worried about how my decisions affect my final design rather than doing deeper research to help me with my progress. i had to really use my logic to develop the concept pf my design and trying not to make it too literal, which is quite hard for me because iâ&#x20AC;&#x2122;m used to see thing as a whole and never before i see thing in really precise details as i am now required to do. another thing that i have learnt from module one is that oneâ&#x20AC;&#x2122;s logic is equally important as imagination and creativity in designing a product.

Moreover, i saw numerous kinds of works from many designers and architects that i never recognize before. it really fascinates me the way their works can be such an inspiration for my personal work. i have learnt some precious personal experience during my research. i look forward to continue to module two and get my hands in the rhino software.

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Jasmin Laurance Student Number: 583084

Semester 1/2012

Group 9

Natural Process Selection- Mechanical Turbulence CLOUDS

The UNDERLYING PROCESSES which create them

STARTING POINT: a long held fascination with cloud forms.

This series of initial sketches aims to explore changes in airflow when encountering mountains. I began by illustrating the surface air flowing over the mountains and forming into swirls and eddies as it rolled over the peaks. I then removed the mountains and progressively introduced higher level air streams and showed their interactions with existing, lower level, streams. By removing the solid forms I was left with an interesting abstraction of what one might see if air was coloured and its movement and resultant patterns could be readily observed.

INITIAL OBSERVATIONS & keywords: -The process is grounded & flows across the earth's contours.

-There's an accumulation of activity just over the peak of obstacles.

I want to study the beauty & complexity that lies in the seemingly empty space between the ground & the clouds.

MECHANICAL TURBULENCE

After reading Philip Ball's 'The Man Who Loved Fluids' I was inspired by Da Vinci's study of the underlying processes which created the swirls and eddies he saw in water turbulence. I decided to investigate the natural processes which form clouds. In doing so I discovered mechanical turbulence and was immediately struck by it's beauty and compelled to delve further into the process itself, rather than the clouds it generates.

The simple swirls captured my imagination and this invisible process suddenly became visible. I could 'see' the air rushing up the mountainside, spilling over the top, and forming into swirls and eddies on the lee side.

INITIAL OBSERVATIONS

INITIAL SKETCHES

According to the Australian Bureau of Meteorology there are 'four main ways in which moist air can be lifted to form cloud' and they are orographic lifting, convective lifting, widespread ascent and mechanical turbulence. Diagrams of each process were also included.

Encyclopedia2 defines mechanical turbulence as 'Irregular air movement in the lower atmosphere resulting from obstructions, for example, tall buildings.' It can also result from surface airflows encountering mountains or stands of trees.

My interest was immediately sparked by this simple graphical representation of mechanical turbulence, and my attention was completely diverted from cloud forms.

Sampling, Interpreting and Abstracting the Natural Process I endeavoured to find precedents in which people had investigated and interpreted airflow and then represented it in different ways.

Capturing realityThis photo literally shows mechanical turbulence at play over mountains. It is aesthetically pleasing, but doesn't raise any questions or tell the viewer anything surprising about the process.

Abstracting formThis sculpture is based upon airflow. The flowing form seems to be reacting to an invisible force. Interestingly, the it also incorporates actual airflow in the tubing to create sound.

Abstracting soundBelow are sound waves generated by mechanical turbulence. It's interesting that the lower waves resemble mountains, whilst the upper waves show a lot more frantic activity.

Key Words: - Smooth - Reacting - Vertical - Frantic - Chaotic

Key observations of these process abstractions: -Mathematical & sound abstractions capture the seemingly random & chaotic elements of the process.

Abstracting direction & formThese example uses vectors to show the direction of airflow over contours. In doing so, it also creates a smooth form.

Abstracting position & formThis example highlights the vertical position of the process, and uses simple lines to define the surface contours.

Abstracting underlying mathematicsBelow is a numerical representation of mechanical turbulence as generated computationally. Ironically, this abstraction looks the most random and chaotic of all the examples.

-Lines and vectors indicate direction & can give form to the process. They also convey the smooth, flowing elements.

-The more literal representations leave little for the observer to extrapolate.

-The more abstract representations encourage the viewer to linger & think about the process.

Abstracting through sketches and modelling using process keywords Grounded/ Accumulation/ Smooth/ Reacting/ Vertical/ Frantic/ Chaotic I took the last sketch from my initial series of abstractions, and abstracted it further. Firstly I incorporated the swirls and changes in direction as part of the process form. Next removed the directional changes entirely to see the underlying shape. I was so surprised by how much it resembled a long cloud form. I think it's wonderful that the process can be abstracted so much, yet still return to a shape so similar to the natural form that the process creates.

I liked the simplicity of vectors in illustrating air flow in mechanical turbulence and wanted to explore them further. I used toothpicks to to represent the vectors as air moves over mountains. It is reminiscent of sound waves. I feel the low lying vectors are distracting and don't add surprising information about the process, but the longer toothpicks represent the accumulation of more frantic activity really effectively.

Key Decisions- Use contouring to create the underlying cloud like form of mechanical turbulence which I uncovered through sketching. It ties the process to the form which it ultimately creates.

- Use projecting spikes only in areas of accumulated activity- just over the peaks of obstacles- to capture the chaotic and frantic elements in the vertical space.

These models explore the smooth flow of the process over the earth's surface, and incorporate the swirling pattern in the overall form. The second attempts to add the vertical accumulation and chaos. I like both the 'snaking' effect of the grounded air flow and the 'spikes' as representations of directional change, but I don't think that the accumulation of chaotic & frantic activity, or the vertical elements are abstracted successfully.

- Find alternative means of representing low lying airflow and vectors. Perhaps triangular panelling, along with changes in the depth of the lantern could represent both direction and speed of the airflow.

- Explore the 'snaking' further, but incorporate obstacles and accumulation of activity. I believe that it's more important to convey directional changes in airflow, than to represent the swirls too literally. It's the directional changes that create the swirls and perhaps this can be implied by incorporating the swirls into the overall form of the process.

Precedents in the built environment which relate to process keywords Grounded/ Accumulation/ Smooth/ Reacting/ Vertical/ Frantic/ Chaotic

Walt Disney Concert Hall, Los Angeles, 2003.

Architect: Frank O. Gehry This looks as though it's responding to swirling, gusting airflow, like a collection of sails that have each caught the wind coming from different directions. The size, thickness and low level of the individual, angular elements conveys horizontal movement in varying directions. I could imagine the elements breaking away from each other and scattering from this central starting position.

Vitra Fire Station, Weil Am Rhein, 1994.

Architect: Zaha Hadid

National Assembly For Wales, 2005.

Architect: Richard Rogers.

So simple, but evocative, this looks as if it could take off at any moment. The thinness and pointed end of the angular component makes me think of very fast flowing wind, The shape of the base structure reminds me of an iceberg & prompts me to imagine a far greater mass under the earth which anchors the whole building.

To me, the slight curvature of the roof structure conveys a wide channel of air.

Even though the roof is thin, the flatness of the structure and it's blunt end makes me think of a heavy layer of slow moving wind.

Key Observations: -The solidity and simplicity of the base structure can make it look grounded in it's environment.

-Angular elements that are incorporated at a higher level of the structure convey vertical movement.

-Angular elements that are incorporated at a very low level of the structure convey horizontal movement.

-Thin elements can imply both speed and slow movement depending upon the angle at which they're placed and whether that part of the structure is pointed or flat ended.

Abstraction of the process to the human form & refinement of the model

I wanted to see if the swirling, snakelike representation would be more successful when related to the human form by wrapping it around the arm. It wasn't. It didn't make sense. There was no meaningful justification for positioning it on that part of the body, and it still lacked the ability to convey accumulation of chaotic activity and reaction to obstacles. It wasn't random enough. The spiked 'vectors' weren't corresponding to anything in particular.

I decided to use elements of the body as obstacles and represent the process flowing over the contours, as air flows over the earth's contours. I tried to give the form a sense of solidity to ground it on the body.

I pushed the head to the side to represent the force of the process, and turned the face away to emphasise this further. I made the ends thin and pointed to convey the speed of the airflow as it begins and ends flowing over the body, and hoped this would also make one imagine that the air stream was continuous- it rushed in from somewhere, and was rushing off somewhere else.

The head positioning, and the process flowing over it, are effective. Still, it doesn't appear to be reacting to the obstacles as there's no accumulation of activity or chaos. I feel it needs to fall down the arms slightly as it's a little too constrained. Also, direction isn't clear.

I shortened the form and made it pointed at one end and blunter at the other to convey direction. I used depth to convey the build up of activity just over the peaks of obstacles (the fingertips and head). I allowed the form to fall down the sides of the arms slightly so that it better follows the arms contours.

These elements were effective, however I realised that I hadn't incorporated the swirls that I observed in the process or the chaotic changes in direction. Also, the vertical element was still largely missing.

Abstraction of the process to the human form & refinement of the model continued

I thought back to my series of sketched abstractions, and the surprising emergence of a cloud-like shape which ultimately arose when the swirls were absorbed as part of the process. I attempted to incorporate this into the model to tie my representation of the process to the cloud form that it actually generates. I shortened the model make it easier for the observer to focus upon the areas where activity builds up just over the shoulder and head, and to allow them the opportunity to extrapolate where the process may have started and where it may continue on to. I implied direction and speed by making one end pointed and thin, and the other end rather bulbous and blunt. I really emphasised the build up of activity over the head, and allowed it to force the head forward as much as possible, so as to give the impression that the human form is being pushed at the whim of the process and overshadowed by it. The model retains the snake-like quality I investigated earlier and is much more successful for not wrapping all the way around, but rather slivering over the obstacles. I kept the overall form rather solid to ground it against the body, but allowed the edges to spill over slightly to continue the sense of something flowing.

This model conveys all but one of the elements of mechanical turbulence I want to represent- the chaotic and frantic activity seen when abstracting the process through sound or mathematics. I believe I can resolve this by using triangular panelling to loft this surface, then extruding large pointed spikes at the top of the head, and smaller ones at the shoulder.

The next step- Lofting, panelling & extruding spikes

In the next phase I intend to use triangular panelling to represent vectors. I will loft a smooth surface, as Rhino software dictates, then I will extrude spikes in the areas where I want to convey chaotic activity.

Critical reflection This module has completely changed my approach to designing.

I have accumulated more than 10 years of designing in my own ceramics business, in which I was expected to produce new ranges of hand painted products regularly. So often I would be asked how I came up with my designs, and my answer was inevitably 'I just did'. I may have been inspired by an animal or flower, but the design itself formed in my imagination and was only committed to paper when it was at or very near completion. I intentionally avoided looking at other peoples creative work, especially in relation to ceramics, because I didn't want to be influenced or to be seen to be copying. Having completed this first module, that old approach now seems so superficial, closed minded and difficult, and I'm surprised I ever managed to come up with anything of merit.

In this module I learnt how exciting, surprising and rewarding the creative process can be. There is so much to be gained from observing natural forms and patterns and even more to be gained in looking at those things from different perspectives. It's a wonderful feeling to come across something that captures your imagination and makes it run wild. Delving deeply into a process in search of the underlying components is so rewarding and appeals to both my interest in science and my love of art. I was so inspired by Philip Ball's readings which illustrated different ways of observing, analysing and representing natural forms and patterns. 'The Man Who Loved Fluids' was a reading I'll never forget- and have already told so many people about- as I found Da Vinci's approach to studying the swirls and eddies he saw in water turbulence so interesting and enlightening. His renderings were ultimately extremely literal, but they weren't superficial. In discovering the underlying process, he captured the essence of the process in a way that most lay observers just don't, or perhaps can't, see.

When I started researching the natural processes that create clouds and found mechanical turbulence I knew immediately that this was what I wanted to study. I was so surprised that my attention could be turned from clouds because 'the old me' had already decided that my project was going to be based upon cloud forms. I loved that I had found something so inspiring that it was drawing me into uncharted territory and that for the very first time I honestly didn't know where this creative process was going to take me.

For me each step along this new road was a 'baby step' as I slowly broke down old habits, and the tutorial exercises really acted like a helping hand. When we were asked to abstract the process we'd chosen I really didn't know where to start. I like my drawings to be as 'perfect' and 'complete' as possible and feel anything less just messes up a perfect piece of paper. This is a really stunting feeling that explains all of the empty visual diaries that are gathering dust on my shelves at home. I created a lot of very average sketches which didn't really abstract anything at all then, in the dying minutes before class, put aside all of my self imposed rules and very quickly sketched a successful of drawings which illustrated how air flows over mountains and how that surface air interacts with higher level air streams. I've never come up with something so 'free' before. This was the point that my project really started and those abstractions formed the basis for my ultimate design.

Next it was time to actually look at other peoples work and to see how they had sampled, abstracted and represented mechanical turbulence. My confidence in the creative approach I was learning in Virtual Environments was growing by this stage, and I found looking at precedents easier than those initial stages. I was fascinated by how differently people had approached mechanical turbulence. Some had captured it's beauty and movement in photography, some concentrated on it's form and direction by using lines and vectors, some listened to it and recorded it's sound waves and others delved deep into the process and uncovered the underlying mathematical principals. All of the approaches had merit and told me something about the process that I didn't know beforehand, but it was the more abstract ones that really made me stop and think. I learnt a lot about the process in this stage of my project development, and a lot about the role of the observe also. I realised that there is a huge difference between being the observer of a process first hand, and being an observer or someone else's observations. I guess you could call this 'being an observer once removed'. As the observer once removed you don't want to be spoon fed every little bit of information about the process. You want to be permitted to engage with the observation and to extrapolate yourself, otherwise it's simply boring. I vowed to keep this in mind when progressing my own project to ensure that there's something interesting for the ultimate viewers of my work to engage with.

Critical reflection continued

The creative process continued to become easier and more fun the further along I went. I was starting to become more comfortable with making mistakes, and more confident that if I just relaxed and responded to what I was seeing and creating all would be okay. There was no need to be so hard on myself. I experimented with models and gradually honed my idea. The exercise of gathering keywords was invaluable and kept me on track as I constantly referred back to them to ensure there was coherency in my decision making process. I thought about the lecture that was presented by the mathematical artist, and how so often his initial functions didn't create what he had hoped for and so he refined them time and time again until he ultimately produced an object of exquisite beauty and complexity. I also had to deal with the limitations of the Rhino software which requires me to loft a smooth surface. I decided to embrace this constraint and quickly realised that it's actually perfect for conveying all but the chaotic elements of the process. However, once the surface is lofted I can use the triangular panelling to extrude spikes in the areas which require that chaotic activity. Each model I created lacked something and I had to start over, but I could take the lessons with me. By doing this, I eventually created a scale model which I believe represents all the elements of mechanical turbulence that I wish to convey, but also leaves room for the observer of my project to use their own imagination to ponder what the process looked like before and after.

I feel that my final design now captures all of the elements of the natural process that are important and interesting.

The next step will return me to rather familiar territory, the literal representation of my model via orthographic drawings from which I will draw out cross sections and use these to create the contours required for lofting and ultimately fabricating my lantern. The orthographic readings weren't as dry as I expected them to be. It makes sense that things have to be conveyed in a logical and clear way when we move onto fabrication, and it's important that other people can understand the design as clearly as the designer does.

This module, although only a short 4 weeks in length, has forever changed the way I approach designing. In addition it's given me confidence in my own abilities and I know that I will carry these lessons with me through my architectural studies and into my career.

Jessie (Jie Wen) Wen Student No: 586655 Semester 1/2011

Group 8

Natural Process Initially, I looked into various natural processes that I already knew such as waves, and rainfall, but nothing really excited me. ...

Whilst looking out my window on a sunny day sadly wondering what I should do as my natural process, I spotted wild mushrooms scattered across the neighbouring park. Lightbulb lit up: WHAT PROCESS DRIVES MUSHROOMS TO GROW EVERYWHERE? Looking deeper into it, I researched what is to be my chosen natural process -

SPORE DISPERSAL OF MUSHROOMS Crux of the process: SPORES. Exploring the actual spores was the place to start for me. They are the simplest part of the process tand I wanted to try and attain every aspect. I found many interesting surfaces that could be incorporated onto the surface of my model.

DISPERSAL: Fungi are immobile so require a way to extend their range and there are two main types of dispersal techniques..

- Passive: spore producing surfaces on the underside‘Buller’s drop’ ->drops into air current -> wind

FIRST IDEA

Successive images of spore discharge from high-speed video recording capture at 50,000 frames per second.

Water evaporates from most surface of the mushroom and collects on the base of the spore.

Drop grows until its curved surface touches teh part of the spore holding second drop of fluid called adaxial fluid.

The fluids fuse and snap as it breaks free because of shift in weight.

Spore shoots off at very high speeds.

FLUID, FUSE, FAST, BALANCE, SYMMETRICAL: I wanted to show the fusing and balance of the two fluids and then the fast high speed launch when the spore breaks off.

SECOND IDEA

Print screens of a video of a mushroom dispersing spores at night

‘Much like smoke’ – David Attenborough.

The dispersal of spores occur much like the ‘ribboning’ of smoke. It has a very fluid and graceful movement and depends greatly on the wind speed and also wind direction.

Even though I really enjoy the beauty of the shapes created, I find it very hard to conceptualize these forms to create an abstract that will represent what I want so didn’t continue on to create a model.

THIRD IDEA This trial instead, I wanted to look at spore dispersal from the perspective of distance and speeds that the spores traveled.

Researching, I was excited to have found several graphs on this perspective and also new information.

The mushrooms with caps have an interesting and useful architecture. Wind tunnel experiments have found that right under the cap is a band where the airflow is significant lower than the incident wi

Slow wind Medium wind Fast wind

 WIND, TUNNEL, FLOW, DENSITY: I wanted to piece together the idea of a wind tunnel and also the shape from the graph to show the relationship. I really like this model because I feel that the shape and the flow represent the idea of dispersing of spores.

FOURTH IDEA

-Active: compressed air, pressure builds FAST, VIOLENT, DENSITY: With this trial, I wanted to try and represent the active dispersal of spores. For the Giant Puffball, once a substance lands on itâ&#x20AC;&#x2122;s surface, the pressure builds up inside and the spores are dispersed. The density at the tip and through the middle would be the highest that is represented by the height of the model. As the spores lessen and die out, the model flattens and ends at a point.

My drawings and models for the first four ideas.

However, they were not abstract enough so had to go back to the sketching pad!

Having researched and learning about the process in detail, I hope to incoroporate all that Iâ&#x20AC;&#x2122;ve learnt and make a model that embodies the whole process.

EXPERIMENTATION - trying to replicate a mushroom sporing

Trial 1: Blowing a pile of flour off my palm.

It made a cloudlike structure. Th particles are very fine and the motion appears very smooth, looping and melding around each other.

Trial 2: Repeat Another cloudlike puff. The little clumped particles are much denser closer to the hand because of gravity. It appears quite intriciate and flowy.

Trial 3: Using a paper tube to blow out flour.

Created a much more elongated curvy shape. Very wispy with the heavier particles at the bottom.

Trial 4: Blowing a pile fo breadcrumbs out of palm.

Tried to test if it made a basic shape but it turns out a messy shape.

Trial 5: Using a paper tube to blow out breadcrumbs.

This one was much more effective than blowing out of hand because the heavier breadcrumsb required more force.

Again, it gives a similar puffy shape as the flour but it is more obvoius in the trumpet shape it creates.

Trial 6: Using a paper tube to blow out a mixture of breadcrumbs and flour.

This trial showed the density very well.

It is quite obvious that the particles slowly dissapate as it gets further away.

The whole process appears very connected and a layering of waves that I hadnâ&#x20AC;&#x2122;t noticed before.

Precedents The Architecture Centre Amsterdam designed by architect RenĂŠ van Zuuk in 2003.

The new unprecedented shape formed because of all the requirements and boundaires on the land, much like boundaires that we have to follow.

It looks very conteporary and even though itâ&#x20AC;&#x2122;s compact, it looks spacoius. It is made of one plane in a fluid, wavey motion that encompases the whole structure much like the flow and wrapping I want in my model.

Spiral Building Architecture in Zurich by Architects Camenzind Evolution was realized in 2007.

The upward-winding sequence of segments shapes the character of the building. The space is arranged along a gently rising ramp wich wraps around a centre point. It looks elegant and unique and asthetically pleasing.

The wrapping and swirling of the exterior of the buildling is simliar to the movement of the spores as the float and dance around each other, flying off to different directions.

FIFTH IDEA

CHOSEN MODEL

Modelling The model was quite difficult to make becuase of the layering of the swirls. Also, it didnâ&#x20AC;&#x2122;t turn out exactly like the picture I drew but Iâ&#x20AC;&#x2122;m still really happy with the outcome. Sadly, it was hard to keep standing and to keep teh round central shape as it kept collapsign a bit. Hopefully, this can be relatered and fixed when using the actual paper, instad of clay whcih has limitations.

Top

Front

Left side

Right side

Back

Further Development Looking up lanterns, I really wanted to incorporate some ideas for the lighting of my model. There are festivals in china (left hand side photos) where many people let go off lanterns into the night sky. It really looked like the dispersal of spores to me and I wanted to do something where the spots would be illuminated.

I found cut out lamps (bottom right photo) and I decided to include that into my model. It would also be able to show the density component of this natural process whilst making use of the lighting.

Surface holes

Testing of traingular panelling onto the surface

Reflection Module 1 has been a very fast paced three weeks. Trying to understand new concepts such as patterns, geometry, and ways to analyze information has been confusing but also exciting.

I really enjoyed researching and analyzing the process of spore dispersal in mushrooms because not only was it interesting but it was an eye opener that there are so many intricate details and amazing processes that the naked eye can’t see, introduced during our first lecture.

The hardest part for me during module 1 was that it had to be abstract. It was difficult to let go of preconceptions of the process and I believe this hindered my ability to see beyong what was there. By going through trials, analyzing precendents and exploring ideas, I was able to find the core of my ideas for the model and create something original.

The main points of the process I wanted to convey through my model was balance and merging of the first step of the process which leads to the flow of the spores. By keeping in mind the characteristics of the process, I suprised myself with what I had made because it looked nothing to what I had imagined at the beginning.

Also, I’m beginning to learn my ways through the basics of Rhino.

I was a bit pessimistic towards technology and design because I enjoy freehand, but I’ve come to realize that there are so many new potentials (but also limitations) in using technology, such as the amazing models made by Henry Segerman.

I’m excited for the next step to add touches and manipulate my model to make it better!

MODULE ONE

Olivia Potter Student number: 586562 Semester 1, 2012 Group 13

SKETCH PROPOSAL ONE TRANSFORMATION OF DELICACY TO STIFFNESS

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NATURAL PROCESS ANALYSIS GROWTH Below: the development of a chicken embryo provided me with inspiration for my natural process analysis.

The initial natural process I looked at was growth â&#x20AC;&#x201C; the transformation of a system into something more complex. However, it can also mean an organism becoming more developed.

I began by researching the amazing conversion of a yolk into a chicken, a natural process that takes an average of 20 days.

While in animals, something wet like a yolk turns into something soft like a chicken, the opposite is true of fruit. The softness of petals instead morphs into the wet, stickiness of fruit flesh.

This was my inspiration for my lantern. The transformation inspired by growth.

Images taken from <http://www.ogpbb.com/chicken-embryodevelopment/stages-of-chick-embryo-development.html>

GROWTH OF FRUIT THE POMEGRANATE

Below: the growth of a pomegranate is the exact reversal of that of a chicken â&#x20AC;&#x201C; the softness and delicacy of the flower morphs into the stickiness of seeds encased in the shell of the fruit.

POMEGRANATE FRUIT Across: After drawing the growth of a pomegranate, my interest for the fruit grew. I like the way it is symmetrical on a number of cross-sections. I also like the form of the fruit particularly the organic curves and the tessellating seeds.

Pomegranates also contain the hexagonal stacking seen in beehives. Their seeds tessellate in a perfect pattern.

Pomegranates are highly symmetrical. They have axisâ&#x20AC;&#x2122; of symmetry both vertically and horizontally.

THE POMEGRANATE Pomegranate Punica granatum is a highly ornamental plant and one of the toughest shrubs you can grow. These plants originated in Afghanistan and Persia, in what is now Iran. They grow in most climates throughout the country, but donâ&#x20AC;&#x2122;t like extreme cold, and do well in aerated soil, with some added organic matter. Pomegranates can be propagated from seed sown in spring or from cuttings taken between spring and autumn.

Pomegranates have attractive glossy green leaves, they grow up to 5 metres high, and like to be pruned - remove the current yearâ&#x20AC;&#x2122;s growth in late winter to promote dense growth.

Above: Pomegranate flesh

The plants produce tangerine, orange, crinkly 8-petalled flowers from late spring to late summer. These are followed by the most extraordinary coloured and shaped fruit which appear like a shiny crown. These wonderful fruit start small and grow to the size of a tennis ball.

In the autumn split open the fruit to find rows of red seeds, eat the red flesh surrounding these, but spit the seeds out. It's a little bit complicated, but the fruit is truly delicious.

These days you don't see many Pomegranates around. But they are a tough, hardy and highly ornamental plant, so check them out for your garden.

Edmanson, Jane 30/04/04, Gardening Australia, Australia, viewed 18/03/12, <http://www.abc.net.au/gardening/stories/s1348414.htm>

Above: Pomegranate

THE POMEGRANATE My interest then turned to the symmetry in the growth of fruits, specifically the pomegranate.

Which ever way it is cut, it is symmetrical.

What also fascinated me was the way flowers evolve to form fruit. As they grow, they changes from something soft, supple and irregular into something stiff, hard and symmetrical.

This was my first sketch proposal - Transformation of delicacy to stiffness

The tessellation of seeds in the pomegranate led me to investigate the formation of honeycomb.

It is incredible the way animals can create such beautiful

things of balance and regularity. Honeycomb is

tessellating hexagons that fit together without any gaps. Each angle measures exactly 120째. This maximises the use of space and minimises energy expenditure of the bees while they are making the hive.

arranged into

Secrets of the beehive

>

After nearly two thousand years, mathematicians have now finally proved that honeybees are among the world's most efficient builders.

The 4th century geometer Pappus was one of several ancient Greek mathematicians who suspected that the elegant shape of the honeycomb was a result not of an innate bee-sense of geometric beauty but of nature's efficiency. The repeating pattern of sixsided figures you see in a cross-section of a honeycomb, Pappus guessed, used the least amount of wax to build the walls.

His guess, in an essay on "the sagacity of bees", became known as the Honeycomb Conjecture. It resisted all attempts to prove it until a few weeks ago, when mathematician Thomas Hales of the University of Michigan announced that he had cracked the puzzle.

Not until the advent of close-up film techniques did scientists know for certain how bees build their honey stores. It is a remarkable feat of high precision engineering. Young worker bees excrete slivers of warm wax, each about the size of a pinhead. Other workers take the freshly produced slivers and carefully position them to form vertical, sixsided, cylindrical chambers (or cells). Each wax partition is less than 0.1mm thick, accurate to a tolerance of 0.002mm. Each of the six walls is exactly the same width, and the walls meet at an angle of precisely 120 degrees, producing one of the "perfect figures" of geometry, a regular hexagon.

Images from: <http://en.wikipedia.org/wiki/Honeycomb

SYMMETRY

Below: the geometry of the honeycomb allows the cells to tessellate together resulting in the quintessential character of the beehive.

Right and above: Each angle measures exactly 120째

Devlin, Keith 26/08/99, The Guardian, United Kingdom, viewed 18/03/12, <http://www.guardian.co.uk/science/1999/aug/26/technology>

TIME LAPSE AND INFORMATION

Above: Softness of petals gives way to a rigid form of fruit

Like a statement Mulberry or Chloe handbag, the neck ruffle was an essential accessory for Tudor women back in the 16th century. Perhaps more comfortable than the neck ruffle, the beautifully designed Peacock Chair. Designed by New York based designer; Dror Benshetrit for Cappellini this stunning chair with an ultramodern edge is handmade out of three sheets of felt and minimal metal frame. The tight weaves of the chair create a ruffle type effect, reminiscent of 16th century Tudor times.

Exert sourced from <http://controlissblinds.co.uk/ne ws/2011/03>

The Peacock Chair Designed by Dror Benshetrit This chair was a major source of inspiration for my Sketch Proposal One. I like the way the ruffles create symmetrical balance that is aesthetically pleasing through its elegance and simplicity. I also like how natural the form of the chair is. It is very organic in its shape and captures a real sense of movement in the design with an emphasis on flow.

It is interesting how something as flimsy as felt can be used to make a chair that can support over 150kg of weight.

Benshetrit’s style of design is characterised by innovation and transformation, the later being a concept that I looked at in depth –the transformation and progression of softness in stiffness.

“Transformation is something I work with a lot in all of my work, whether it physically takes place in a product, or is the concept for a graphic project.”

Dror Benshetrit

Images sourced from <http://madeinhaus.wordpress.com/2012/02/22/in-felt-we-trush/#>

PRECENTS

PRECENTS

Haramain High Speed Rail Link Stations Client: confidential Area: 64,000 m² Type: four iconic stations, each 450m long Status: competition entry Date: 2008

All images and information sourced from Atkins (Firm) 2011, Atkins Architecture & Urban Design, The Images Publishing Group Pty Ltd, Australia

Architects have created a beautifully sculptured rail link station. This structure promotes the concept of fluidity and organic flow by using a series of prefabricated, arched components.

This creates the appearance of weightlessness and modernity.

This train station was another important source of inspiration. It conveys the transformation of something floaty and weightless such as a petal into something more rigid in the form of a structure.

SKETCH PROPOSAL ONE: Transformation of delicacy to stiffness

Here, I began to play with and develop my ideas of what a lantern might look like that represents the transformation of delicacy to stiffness.

My first sketches were very obvious and mimicked the fruit itself rather than the process.

Capturing the process itself was conceptually very difficult.

SKETCH PROPOSAL ONE: Transformation of delicacy to stiffness

I wanted to create something that mimicked the fluency and slickness of growth, the natural progression. I began by moulding exactly what I had drawn however, the sphere at the front of the body was too heavy and disrupted the balance that I wanted to create. It suggested the end of the growth process through the abruptness of the shape, however, straight after growth comes decay. I wanted my lantern to suggest that this process is continuous and so I decided to adjust the sphere to a more guiding shape â&#x20AC;&#x201C; that of an almond.

SKETCH PROPOSAL ONE: Transformation of delicacy to stiffness

Above: I added an extra frill to the neckline and altered the shape of the sphere to a flatter, almond form. This created balance and represented the natural process more wholly. I like this shape more.

SKETCH PROPOSAL TWO

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CONVERGANCE AND DIVERGANCE

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NATURAL PROCESS ANALYSIS CONVERGING AND DIVERGING Far right: a photograph demonstrating a shoal of fish schooling in a rip curl formation to reduce their individual chance of becoming prey.

Shoals of fish produce dynamic and diverse patterns.

They are continually changing.

Nature provides us with some amazing phenomena of which we are still attempting to fully understand. The schooling of fish and their complex three dimensional formations is one of these mysteries.

In biology, any fish that swim together for social reasons are said to be schooling.

NATURAL PROCESS ANALYSIS The schooling of fish is a survival instinct that provides a shoal with many advantages.

Above: I attempted to map the shoaling of fish from watching a clip from the documentary â&#x20AC;&#x2DC;The Blue Planetâ&#x20AC;&#x2122;.

Image taken from <http://www.fao.org/DOCREP/005/Y4260E/y4260e0h.htm>

Below: this diagram shows the fish food chain. The bigger the species of fish, the smaller the shoal.

This behaviour of swimming in a synchronised shoal enhances their foraging success, it confuses their enemies, thus making their chance of surviving an attack greater. It also creates an increased hydrodynamic efficiency and it also helps them in finding a suitable mate.

Humans have used this idea of hydrodynamic efficiency to reduce energy expenditure. For example, in the cycling race, The Tour de France, the peloton draft together to reduce drag and wind resistance.

Left: this diagram shows how a fish is able to move through the water by using propulsion.

CONVERGING AND DIVERGING

NATURAL PROCESS ANALYSIS

Fish use simple rules to synchronize with their neighbours, leading to the emergence of “spatialtemporal patterns” that can be seen in schooling.

Images and information taken from: <http://cognition.ups-tlse.fr/dynactom/dynactomprojetsEn.html>

PRECENTS

GT Tower Seoul, South Korea Designed by ArchitectenConsort Completed 2011

All Images taken from <http://inhabitat.com/seouls-new-mindbending-undulating-tower-by-architectenconsort/gt-towereast-seoul-70/>

Like shoals of fish, the lines in the building that once seemed dense and condensed change, before the viewerâ&#x20AC;&#x2122;s eyes into a sparse continuity.

To the viewer this building may seem an optical illusion. Undulating lines form the window frames and arc down the sides of the building. The curves of the building seem to converge with the shape of the building however, the lines diverge before they meet.

This process repeats itself as the building grows taller, like shoals of fish swimming in the open ocean, swerving to avoid collision and changing course accordingly before meeting again.

Above and Left: The GT Tower is an example of convergence and divergence in the built world.

SKETCH PROPOSAL 2: CONVERGENCE AND DIVERGENCE Elements must have first converged at some point in time to be able to diverge.

Left: I began to develop my concept by emulating the process of converging and diverging. I tried to show lines meeting and then separating in a continual, graceful process.

Left: My ideas became more complex as I experimented with shapes and forms.

The bottom left sketch was the idea that I began to sculpt.

SKETCH PROPOSAL 2: CONVERGENCE AND DIVERGENCE

Above and Right: To create perfect spheres, I decided to use polystyrene balls held together by sewing pins. This media was effective in the form it gave however was difficult to work with. The modelling clay did not stick to the balls.

The model represents the expansion and contraction of fish as they dart in and out of formation. The tapering lines give the illusion of converging and diverging through their evolving thicknesses. This was one of the important concepts that I wanted to demonstrate â&#x20AC;&#x201C; the shifting of individual fish as well as the overall movement of the shoal.

CRITICAL ANALYSIS Module One has been incredibly thought-provoking. Being able to extrapolate the movement of natural process was the most challenging part of the development. It meant looking beneath the surface and using intuition to imagine forms and shapes. It meant letting go of the rational to almost allow organic processes to sculpt themselves.

This is perhaps what Henry Segerman and his work on mathematical art, sculpture, Second Life and autoglyphs was talking about – being guided by already existing patterns, whether they be in mathematics or nature to create intricate designs that perplex and confound.

To many designers the abstraction of natural processes and mathematical patterns could be seen as almost a backwards progression – a sort of harnessing the imagination that is counter-intuitive. However, as I realised, it is not obstructing at all. Analysing the forms that natural process take facilitates ingenuity as you try to make sense of the patterns of nature. It opens a new world of creativity through thought reversal.

This process for me highlighted the importance of looking towards the most unexpected and simplest of places to uncover great design. Many designers do this in their work – they too look at natural process. Often, their unsurpassed works come from the simplicity and enormous beauty of nature – for example ‘Falling Water’ by Frank Lloyd Wright and Ranjani Shettar in her sculpture. Every design begins as a simple idea that expands and strengthens into something complex. It is important that we recognise this and are able to reverse this design process to be able to better understand the though processes in the world of design.

This four week process of Module One has been quick and intensive. I am excited for the challenges of Module Two.

Theresa Christina Student No: 568825

Semester 1/2012

Group 8

Microscopic Fungi Plant Growth I first looked into the process of Microscopic Fungi Growth because the formation of these Fungi can be so fascinating, and even almost alien-like.

I discovered that fungi, the principle component of growth and development is the hyphae. Hyphae elongate from the top of each other. The basis of fungal growth is the continued and coordinated growth of a series of the hyphaeâ&#x20AC;&#x2122;s tips. The density of branching varies greatly, and the direction also can vary.

This way, different forms can be developed by fungi.

A hyphaeâ&#x20AC;&#x2122;s branching structure. Hyphal tips initially elongate linearly, and branches grow exponentially.

Microscopic Fungi Plant Growth - Lecture

From the research I did on fungi growth, I found that growth of fungi, like many other plants; follow a certain organized pattern like that of a treeâ&#x20AC;&#x2122;s.

I found a striking resemblance between the growth of fungi and the growth of tree branches explained in the first lecture, in terms of its growdivide-grow-divide rule. I sketched out the growth of trees explained in the lecture:

Microscopic Fungi Plant Growth

Also, a fungi grows in 3 typical phases:

initially, a fungi would grow rapidly because it absorbs nutrients in the environment it grows in. As nutrients deplete, its growth would reach a stationary phase and eventually declines Based on hyphaeâ&#x20AC;&#x2122;s branching variety (density vs direction) and this graph, I created possibility(ies) of forms

Density varies

Direction varies

Density & Direction varies

Microscopic Fungi Plant Growth

Density Varies.

This form is a result of the combination between the growth graph of fungi and the concept that a hyphae’s density varies. I find this form quite attractive, but I feel that I’ve seen this shape often in others’ works as well as in past examples.

Microscopic Fungi Plant Growth

Density and Direction Varies.

In this model, not only density varies (volume of physical body gets thicker), but also direction. I showed the change in direction by making the model curving up and down. I think the sketch looks more interesting than simply just varying the density, but the clay model turned out to be quite unattractive as I failed to reproduce the steep curves; so it turned out to be quite geometrical on the physical model.

Microscopic Fungi Plant Growth – Leaf Veins

My subsequent research on hyphae led me into this eerily beautiful piece of design done by Nervous System, called the ‘Hyphae Lamp’ Nervous System’s “HYPHAE LAMP” draws inspiration from natural forms. Leaf veins inspired the texture and patterns of the lamp, whereas the shape was inspired by different organic forms such as eggs and corals. It is an algorithmically-generated lamp design, which means that there is a mathematical pattern/rule governing the leaf patterns and the patterns are not just randomly developed and shaped.

The leaf-like façade of the lamp was created by replicating leaf-veins growth using computers which follow a mathematical theory called the ‘AUXIN FLUX CANALIZATION’. This theory simulates the growth of veins which always runs from the source through the nearest hormone spots of the leaves

Microscopic Fungi Plant Growth – Leaf Veins From the concept of

“starting at one source” from the leaf-veins formation “elongated at the tips” concept from hyphae growth and Henry Segerman’s explanation on Moebius Strips in during his lecture, I was inspired to make a form that sits on top of each other and intersects at one point that appears to be continuous and joined.

“Branching out in different directions”

From this concept and again using the word “one source” as a guide, I created an angular form that joins in at the centre yet ‘blooming out to different directions’. I found the shape too representational and thought that would be hard to model digitally with NURBS so I altered the shape to be more continuous and less angular, forming a smooth flowing shape.

Butterfly Wing Formation - Patterns

I stumbled onto an extremely resourceful online Journal during the search of my next natural process

Titled “Journal of Experimental Zoology (MOL DEV EVOL)” by N.F Nijhout. The journal features formation of butterfly wing formation features, including the complete anatomy of the butterflies’ wings.

From here, I started to venture out to analyze this natural form further.

I also decided to look further into this because butterfly wings are really visually appealing and I’d like to find out whether there’s some pattern its following like other natural objects as well.

Butterfly Wing Formation - Patterns From the scientific journal,

I found out that butterflies’ wing patterns are different from leopards’ spots or zebras’ stripes. The spots and stripes in leopards and zebras are arranged either randomly or evenly. In butterflies, the patterns are arranged in a vertical symmetry system and each species’ pattern types differ so each patterns can be used to directly trace each butterfly’s identity.

The symmetry system is divided into 3 : the Basal symmetry system, Central, and the Border symmetry system. Each consists of 8 parallel series of pattern elements, 1 for each band of each of the 3 symmetry systems.

However, these patterns follow the vein system, which caused the patterns to be segmented and often ‘abstracted’, making the pattern not easy to spot. Each wing cell (area bounded by the veins) has a series of repetition of the same set of pattern elements.

Various simple modifications of nature’s symmetry systems

Butterfly Wing Formation - Patterns

From the concept of ‘segmented’,

I took the shape of the bands in the symmetry system of a butterfly, and try to break it up, and tried to arrange it in alternate patterns. I came up with a form that is chainlike, and tried to model based on it.

Turns out that I couldn’t model it properly and the physical model turned out to be just a squiggly line and look visually boring and unappealing.

Butterfly Wing Formation - Patterns

Abu Dhabi Performing Arts Centre, Zaha Hadid Architects Seeing butterfly’s wing pattern and vein formation, I was reminded of the work of Zaha Hadid, a truly inspirational female architect.

One of her realised projects was the Abu Dhabi Performing Arts Centre, situated in Abu Dhabi. The structure and façade of this building’s design reminds me of butterflies wings’ pattern and vein lines.

The design is so captivating as it makes use of fluidity of lines, and resembles non-rigid organic forms. I feel that the shape and looks of the building can be a potential inspiration for the shape of my lantern due to the similiarity in the way that the building and the lantern must both convey organic forms and processes.

Butterfly Wing Formation - Patterns

I tried to create a form based on Zaha Hadid’s Abu Dhabi Performing Arts Centre,

I tried to create a shape that embodies the butterfly’s vein system, which is where the panels will sit on top of, following the ‘veins’, just like butterflies’ symmetry system. I also tried to create the shape as evenly as possible, but creating an even, nice shape is hard to do using a single body of clay (I made the shape from clays shaped like the cross-sectional shape and put it together).

Butterfly Wing Formation - Patterns

Since the ‘single body’ technique did not work,

I tried the ‘layering’ method. I started by making a pinecone-shaped ball and put stripes of ‘ribbons’ on it. I first started putting the ribbons evenly, and making a second layer by putting another set of stripes between the gaps produced by the first layer of ribbons. I repeated the process several times and end up with a uniquely structured shape.

However, I received a comment that the forms that I’ve created from the process of butterfly wing formation are too literal and representative and that I should try to look at other aspects of butterfly / other natural processes that is easier to be abstracted (Butterflies are beautiful creatures and human brains are compelled to follow something that already has a form instead of translating it into abstract patterns/shapes/objects).

Therefore, I continued by looking at another process..

Butterfly Flight Process

I started to shift my view and researched on the butterflies’ flight mechanism processes instead of the formation of its wing patterns and colors because I felt that the outcome would be limited as abstracting something that is already beautiful by nature is extremely challenging.

After numerous searches, I discovered Ultraslo, a production company specializing in creating unique images of natural processes in slow motion. Among their many documentations of captivating natural processes, I found one titled “Butterfly flight”. As I watched the slow motion documentation, I realized that with each spreading and closing of the butterfly’s wings, the wing would occasionally move in a wave-like motion. Hence, I decided to investigate this process futher.

Butterfly Flight Process Silviya Ilieva, University of Westminster, United Kingdom.

Much like me, she was looking into the process of a butterfly’s flight to recreate this process through bionics for her architecture thesis project. She used various methods to encapsulate the wing movement of a butterfly during flight, such as mapping its movement and recreating it using parametric models (see below). Through these early steps of her project, I realized that ‘mapping the movement’ can be an interesting angle to look from and can potentially inspire interesting forms.

http://silviyailieva.tumblr.com/

Butterfly Flight Process

Another interesting aspect to the process of butterfliesâ&#x20AC;&#x2122; flight was

Its migration. I discovered that butterflies are actually cold blooded animals, so they are not capable of handling extreme cold weather in the winter. One of the most well known types of butterfly that migrate is the Monarch Butterfly. Monarch butterflies that live in northern America migrates every winter, flying from Canada and the northernmost parts of the United States to Central Mexico. This migration pattern always begins in late August and ends around Novermber and December.

Butterfly Flight Process – ABSTRACTION From past students’ examples uploaded onto the LMS,

http://app.lms.unimelb.edu.au/bbcswe bdav/pid-3462375-dt-content-rid10315909_2/courses/ENVS10008_2012_S M1/Student%20Presentations/M1_Anne %20Baker.pdf

I discovered Anne Baker, who, was like me, was pretty much interested in the concept of ‘flight’. In her work, there is a section called ‘ABSTRACTION : Infographics and data as art’. From that, I was inspired to try and experiment with the data(s) I’ve obtained from the process of butterfly flight. I tried to adjust color, hue, opacity of the map of butterfly migration paths and digital map of butterfly wing pattern during flight from Silviya Ilieva’s blog using photoshop to come up with a possible form.

Butterfly Flight Process Silviya Ilieva, University of Westminster, United Kingdom.

Her final prototype, an incredible ephemeral re-creation of butterly’s wing movement in flight made me realize that the wave-like movement that I observed from Ultraslo’s butterfly flight documentation does happen indeed. A butterfly’s wings do not move back and forth in a rigid motion, but in a wave-like motion that may be caused by its light and aerodynamic qualities.

http://silviyailieva.tumblr.com/

From Ilieva’s prototype, I tried to sketch out its movements as a series of time-lapse sketches to simplify the process.

Sketching the process in simple curves along a vertical line makes it much easier to understand and draw inspiration from.

Butterfly Flight Process

From the wing movement process, I tried to combine, sequence, and overlap the process. From the combination and sequences I created, I also tried to create models to see what forms I would get from each combination/sequence.

However, I was worried that these interpretations might be overly literal and I reckoned that these forms need further abstraction.

Butterfly Flight Process

> In order to create another form from the process of that wing movement I observed, I re-represent the time-lapse sketches and combine them along a â&#x20AC;&#x2DC;vertical timelineâ&#x20AC;&#x2122;. I tried to combine the process, and I came up with a form that I thought was quite interesting. I was unsure how this sketch would look like as an actual form, so I tried modeling it with clay.

I tried as much as I can to make the model resemble the sketch as much as possible. I came up with this form. It was interesting, but after receiving the advice to not create a literal form of something from a tutorial session, I thought I can further abstract this form to create something even more interesting yet linked to the process of butterfly flight itself.

Butterfly Flight Process Digging for more inspiration,

I stumbled onto this amazing piece of butterfly-inspired bionics technology done by AeroVironmentâ&#x20AC;&#x2122;s Japanese scientists. Although being the first artificial butterfly successfully done through Biomimicry, this ornithopter does not require any onboard processors or any complex mechanical systems, but was simply done through imitating a Swallowtail butterflyâ&#x20AC;&#x2122;s wing flap power.

From this amazing piece of technology, I learned that a swallowtail butterfly: 1) Has wings larger than its body, and each forewing overlap its rear wings. 2) Therefore has lower flap frequency , yet highly aerodynamic and 3) More restricted movement

Butterfly Flight Process - ABSTRACTION

From the Swallowtail butterfly movement used by the artificial butterfly technology in particular,

I tried to apply the concept of “restrictedness” into the models. The Swallowtail butterfly’s wing movement interests me because although its flapping is more restricted than other butterflies, it is still able to fly beautifully and AeroVironment can even create an artificial mechanical system from that restriction.

Further Development..

The idea of butterfly migration from earlier on,

I saw that there might be possible patterns to look at in the migrating process. To observe whatâ&#x20AC;&#x2122;s happening, I modified pictures of butterfly migration using photoshop (lower the lightness, adjust contrast, etc). I observed that during swarming, butterflies often leaves â&#x20AC;&#x2DC;empty spacesâ&#x20AC;&#x2122; between them, and these empty spaces can be traced into a series of swirls and spirals.

Further Development..

From the idea of ‘swirls’, I found several architecture examples related to this concept.

But the most fascinating one was again, Zaha Hadid’s. This picture features her Chamber Music Hall, designed specially for performances of Johann Sebastian Bach’s music. Hadid stated that “The design enhances the multiplicity of Bach’s work through a coherent integration of formal and structural logic. A single continuous ribbon of fabric swirls around itself, creating layered spaces to cocoon the performers and audience with in an intimate fluid space”. The concept of continuity intrigued me to develop my models further. So I decided to further enhance the twists of the model I made based on the butterfly flight process which I observed, and join the ends together to enhance the fluidity of the design and give it a continuous impression.

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Reflection â&#x20AC;&#x201C; Module One

The first module of this subject is extremely challenging and intimidating for me. Challenging because abstraction is not something Iâ&#x20AC;&#x2122;m familiar with and as time passes, I discover that abstraction is not an easy thing to achieve as our minds tend to think representatively. It is also intimidating because I have no experiences with digital modelling whatsoever, and the end product and work in progress that this subject expected of me seem impossible to achieve.

However, this module has teaches me a very valuable lesson; and that is how to achieve abstraction from shapes and forms that are already there and think critically instead of accepting things the way they are. I also gained better understanding regarding the initial objectives of this subject, and that is to look at things from different angles through digital means such as infographics, image alteration, etc.

The work process that I went through in module one also raises my expectations of myself for subsequent modules. I spent many sleepless nights doing this module, and for the next modules, I hope to increase my work pace and productivity so that I can get things done sooner and get more feedbacks to improve the decisions Iâ&#x20AC;&#x2122;ve made and the forms that I have came up with.