MODULE ONE: IDEATION STUDENT JOURNALS SEMESTER 2, 2012 VIRTUAL ENVIRONMENTS
Faculty of Architecture, Buillding & Planning, University of Melbourne
CONTENTS SEMESTER 2, 2012 VIRTUAL ENVIRONMENTS ALICE SCHENK-GREEN
3
AUDREY DESIREE ONG AI LI
19
AUDREY CAVALERA
40
BO WEN
59
CATHERINE MEI MIN WOO
80
CLAIRE GABRIEL
91
JAMES OBERIN
106
DIAN MASHITA EDDY SURYONO
129
JILLIAN RALEIGH
145
MITRAN KIANDEE
155
XEYIING NG
176
NICHOLAS SPALDING
199
RITA LIAO
220
SHIVY YOHANANDAN
239
Faculty of Architecture, Buillding & Planning, University of Melbourne
Alice Schenk – Green
VIRTUAL ENVIRONMENTS Student Number: 586913
Semester 2/2012
Group 4
Research & Precedents The Walt Disney concert hall, designed by architect Frank Gehry, is a Los Angeles building with a stainless steel exterior creating smooth and gentle curves. I find this example interesting because of it's beauty and the sense of intrigue created by the multiple facades reflecting light in different directions. The way this building uses light to bounce off the many surfaces is something which I would like to consider when designing my lamp. As well as light, this building also plays with shade and shadows to provide a contrasting feel and experience to the brighter panels. 'China Wood Sculpture Museum' is a 200m long new building in Northern China, designed by MAD architects. Similar to Gehry's concert hall, it uses sleek curves which have been influenced by nature; in this case winter landscapes. I like the dynamic form of the building, and when looking closer (left image) many intricate interlocking patterns are created that are not visible from the street perspective.
Natural Processes
design in nature
Diffraction
Fibonacci
Wagging Dance
PATTERN FORMATION IN NATURE In this reading, I found that Ball's observation, that human design is diminutive in comparison to the beauty of nature, raised the notion that there has been a paradigm shift in the design process. Now, rather than turning away from nature we look towards it, which I think is absolutely necessary to expand our understanding of how materials and structures work together, and as well will allow us to explore ideas not yet invented by humans but already existing around us. Ball's writing simplifies complex notions making it easy to interpret his meaning, and the examples from nature that he provides are thought-evoking.
Natural Process: Diffraction of Light Diffraction is a wave phenomena observed through nature in light and water. Multiple waves interfere with each other causing two different reactions; constructive and destructive interference dependant on whether the wavelengths are in phase. In light, constructive interference results in a bright band whereas destructive interference creates a dark band. These series of alternating lines, as shown in the image on the left, are referred to as an interference pattern. The above sketch demonstrates the way the light from two sources interferes with each other in an overlapping pattern. Light and dark bands forming the interference pattern.
Using clay I have modelled a three dimensional form based on the shape of the bending light waves. Here the singular form has been sliced into smaller pieces and put together in a cluster to create shadows and texture, inspired by Gehry's concert hall.
Natural Process: Diffraction of Light
These drawings show the transformation of the two dimensional shape into a three dimensional form. Using these I have created a model and photographed it to gain a better understanding of how the pieces would sit together, as this was difficult to comprehend through drawings.
Natural Process: Fibonacci Sequence The Fibonacci Sequence is the series of numbers following the rule:
an = xn-1 + xn-2 e.g. 0, 1, 1, 2, 3, 5, 8, ‌ The next number in the sequence is calculated by adding the two previous numbers.
In lectures the central concept of using nature to inspire and inform design was introduced. This is something I have considered previously in other studies and I think that some of the most effective examples of design and architecture can be taken from nature. The video shown on fractal patterns introduced an idea which was new and exciting for me, as I was not really aware of the mathematical connection to the patterns we observe, and found it interesting that this provided a formula for the seemingly random patterns demonstrated. I have chosen to explore the Fibonacci Sequence, in particular through it's manifestation in Artichokes.
Natural Process: Fibonacci Sequence Sketches have been used to simplify the conical structure of the Artichoke into the basic Fibonacci spiral. This has then been used to create an alternate form as shown below.
The Fibonacci Sequence is a mathematic formula which is applied throughout nature, and can also be found in art and music. In nature we observe Fibonacci's pattern most often in spherical based shapes which start at a point and increase in radius when following a circular motion. The increasing radius results in a perfect spiral, most often recognised in sea shells. This sequence is the same in Artichokes, though the pattern is manifested through the leaves.
Natural Process: Fibonacci Sequence Flowering
Opening Blossoming
In the next phase of growth the Artichoke blooms creating a flower. The leaves of the artichoke unfurl to expose the bright centre. The beginning of this process can be seen here where the interlocking leaves are spreading outwards and away from each other.
I have used Rhino to create a form which replicates the sequence, beginning at a point then gradually expanding downwards. This mimics the pattern of the artichoke while using a similar shape to that of the blossoming artichoke flower.
Natural Process: Dance of the Bee
The dance of the forager bee is a complex flight pattern used to communicate messages between bees. Once the worker bee has located a food source, it will return to the hive and perform the dance to inform others of its location. The looping motion signals the direction based on how long it takes to complete the flight pattern, and the sun is used as a reference point to communicate the angle of the destination.
I have sketched the pattern created by the bee and then explored the idea that the angle to the sun is a key component of the dance.
To do this I created a form by increasing the angle from one point to another, and then extending it even further so that the intangible idea can be explained in a three dimensional form.
Natural Process: Dance of the Bee
capturing motion in still form
Here I have taken the idea from my sketches to create a 3D model using Rhino. This curve has been warped and twisted to convey the dynamic nature of the bee's dance. The steepness of the curves representing speed of flight.
Natural Process: Dance of the Bee
diagrams to explain and explore The diagram below details the dance of the honey bee, explaining the relationship of the angle to the sun with the food source. Using sketches I have taken this idea of increasing and decreasing angles and applied it to the figure-eight loop.
Direction Varying Angle
Figure-EIght Loop
Layering
Diagram to show pattern of motion.
I have used the intangible pattern to create a threedimensional form. The thickness indicated the changing angle which diminishes as the two ends come together.
Form & Function
exploring the body Sketches to explore how the threedimensional form may wrap around the contours of the human body so that it may be worn as an accessory, and without being clasped using the hands.
39 cm
35 cm
88 cm
neck
shoulder
waist
leg
measurements
Paper Folding
Origami Tessellations
In the second lecture we continued to explore fractals which I found helpful as more examples of the fractal pattern in nature were introduced. Bharat spoke about breaking patterns down into shapes, and then shapes into elements or components. This gave me an idea of how to better explore my three ideas and gain different perspectives. For example, considering various scales at which the process was occurring. I really enjoyed the video on origami, in particular seeing the way the artist began with a mathematical grid-like layout pattern which could then be folded to create a particular form. This is very similar to what I will be doing with my lantern.
Origami Rose
1
exploring light & shadows folding, scrunching, crumpling
2
Paper & Clay Modelling
“taking curves to the limit� 3
4 6
Erik Demaine
5
Final Design for Development
scale model
1:5 This design represents the pattern of motion in the honey bee's wagging dance, The changing radius of the curve relates to the dynamic nature or the motion, varying in speed and distance. This shape has been chosen as it is fluid and follows the shape of the looping figure-eight dance.
neck + shoulder
References
Audrey Desiree Ong Ai Li 566116 ENVS 10008 Semester 2 2012 Module 1
Underside of floating leaf
Sketch of modular pattern
According to Philip Ball, patterns arise from basic interactions that occur between many constituents of a system. I began searching for patterns in three different aspects of nature, namely, a plant, an animal and a physical geological aspect. Firstly, I explored the form and structure of floating plants such as the Victoria Amazonica, that allowed it to sit atop the water surface without sinking. Floating was made possible by a number of characteristics such as a large thin surface area, a notch in the leaf to be able to drain water and thorn like growths on the bottom surface of the leaf for protection. However, what I found most interesting was the ribs on the under side of the leaf that formed a modular pattern that trapped air to increase it’s buoyancy.
Exploring Concepts : Floating Plants
Next, I explored the flight of a bat as the only mammals known to fly. There were many aspects of a bat in flight that I could explore namely the movement of their wings, the echolocation that governs their flight and the resulting air flow. A bat's flight is preceded by echolocating signals that they give out and followed by a unique air flow pattern. I found the interactions that occur within the complex system of a bat in flight an Underside floating leaffor interesting of place to search patterns. The relationship between a bat's wings- it's movement and form- and the air flow left behind was particularly interesting to me as a dynamic emergent property. Scientists are currently doing a lot of research into the flight mechanism of bats in order to better aerodynamic systems. I thought that using this concept would be meaningful in terms of expressing the importance of bio-mimicry.
Exploring Concepts : Flight of Bats
Airflow left behind by bat
Vortex of air represented by arrows
Cross-section of scallop showing air flow
Glacial cave with slight scalloping Sketches of shapes found on cave walls Finally, I explored the formation of glacial caves. Glacial caves are formed through the action of water and wind on glaciers. The shape of the glacial conduits are governed by the pressure in the ice, the existence of lines and fractures in the ice as well as debris. Another interesting phenomenon is the scalloping of the walls and ceilings of the glacial caves which are generally the result of air turbulence. Scalloping provides us with certain information that could be of use such as the average velocity of the wind depicted by the size of the scallops and the direction of air flow depicted by the orientation of the scallops. The self organisation of the scallops interested me because it was a variance to the concept of self organisation of sand dunes as discussed in the paper by Philip Ball. Just like in the case of sand dunes, the scallops on the glacial cave wall appeared through “self activating or autocatalytic process[es]�.
Exploring Concepts : glacial caves
After considering all three concepts, I chose to focus on the flight of a bat because I thought that it provided a good opportunity to produce patterns that are not as obvious to us at first glance. I also thought that it would push my limits more in terms of extracting patterns and abstracting them.Additionally, I found that a bat's flight has a more interesting dynamic quality compared to floating plants and glacial caves which gave me The three areas of a bats flight I chose to focus on were the movement of a bats wing as it moves forward, echolocation and the resultant air flow left behind by a bat in flight.
chosen concept: Flight of bats
Precedence 1 : Giant bellowing structures by janet echelman
These pieces of art that Janet created amazed me because of their sheer size and effect that they had sitting so high above the ground. I would imagine that such large structures would be really imposing and heavy looking but her pieces were the exact opposite. They were bright and vibrant and dynamic as they moved with the wind. They beautiful additions to their surroundings no matter where they were. What I got from this precedence was the fluidity that was made possible by having layers and altering the angle at which the structure sat. The importance of the orientation of the structures to the surroundings was also emphasised as I thought about the placement of my model in relation to the body.
Sketch Proposal 1 : based on movement of bat wings
Time lapse drawing
Connecting focal points to form a set of rings
The shape I came up with was conceived from the movement of a bats wings as it flies forward. I drew a time-lapse drawing and joined the focal points dictated by the bat’s bone structure. I did this based on ideas I got from the paper on Analytical Drawing by Poling in which I attempted to identify and alter the focal points. I then interpreted this into a series of geometrical rings. However, I found that the rings were to rigid and did not represent the rotational movement of the bat’s wings properly so I averaged out the lines and corners to create circular rings that formed the basis of this design. Resulting form
Sketch Proposal 1 : based on movement of bat wings
Next, I repeated the pattern to represent the change in location of a bat. However, this did not do much for the static look of the model. Material : Wire First model I tried to replicate the largeness and the lightness of those bellowing structures into my model by placing it on a shoulder and extending it out past the boundaries of a body. Second model I found that using plasticine for this model was not very suitable as it was too heavy and soft. I tried making a model out of wire which demonstrated the edges better but not the volume. I liked the placement of this model on the body but it did not represent much of any interaction that needs to occur for a bat to fly such as the relationship between echolocation and flight or flight and air flow.
chosen concept: Flight of bats
Sketch Proposal 1 : based on movement of bat wings
Second Model
Plan view Front view Side View
Precedence 2 : Smart cloud by matsys
This ceiling was inspiring because I liked how each ‘cell’ looked like it was slightly pressed up against the next cell creating this arrangement that was structured but slightly distorted. Examining the design process for this ceiling in which they experimented with the concept of tubes, waves and scales besides the cells concept emphasised for me the ability of cells to be altered in size and orientation to create different effects. I applied this concept to the model based on the echolocation frequencies of a few different species of bats.
Sketch Proposal 2 : based on frequency of echolocation signals
Frequencies of echolocation signals
The ‘cells’ on the model takes after the shape formed by the frequency of the signals bats release as a part of their echolocating process. This was an attempt to put into practice what I learnt in the lecture about retrieving patterns from data. The example the lecturer used was on handphone signals that varied during a football game. It showed me the possibilities made available due to improving technologies in today's world. I found this record of frequencies from a paper on how echolocating bats detect their prey and extruded to the shape of the frequencies to form a range of three dimensional shapes. In this model I also wanted to look at a different scale. In the previous model I considered the movement of just one bat so in this model I decided to consider a large number of bats and the way they fly in relation to each other.
Extruding three dimensional shapes
Sketch Proposal 2 : based on frequency of echolocation signals
Front View
Back View
When I tried to research on how bats fly in large groups I did not discover much. Just from looking at pictures I can see that there are some areas in the group that have more bats in than in others. However, I read an article on how when bats fly in large groups, they send out echolocating signals in turn in order to avoid confusion. So in my model I tried to represent both the varying frequencies of signals between different bat species by having varying extrusions at different sections of the model as well as having a shape that was wider at some points to represent how the bats echolocate in turn.
Precedence 3 : Achilles by Brandon Morse
I found this sculpture amazing because it is so visually stimulating as it displays a progression from something so solid and angular to something more deformed, vulnerable and emergent due to invincible forces. I thought that this tied in to the lecture that we had about pattern in architectural design. During the lecture, the idea of patterns inscribed with a level of intelligence was discussed and I thought that was relevant to this precedence because the overall structure doesn’t look like it was constructed according to a set master plan but instead it looks like it has succumbed to some underlying forces or a hidden intelligence, forming and holding it’s shape out of necessity. An example of such a formation can be found in the reading entitle Pattern Formation In Nature when it talked about the formation of the Giants Causeway which consists of ‘regular and geometric honeycomb structure of the fractured igneous rock’.
Sketch Proposal 3 : based on resulting Air flow
Final shape. Plan View (above) and Side View (below).
Front View
Studying form of air flow through sketches
In this model, I was focusing on the airflow left behind by a bat in flight and it’s cause, which was it’s wings that not only had a unique geometrical shape but was made of a membrane unlike birds that have feathers that allow air to pass through. As a result the bats moved their wings in a rotational movement that caused vortexes or air.
Sketch Proposal 3 : based on resulting Air flow
I found that plasticine was a good medium to experiment with because it was easy to shape and bend to form a more organic shape. The pictures above are of my experiments with the overall shape and orientation of the pattern. I discovered that shadows are a particular characteristic with this shape as it is present on or within the folds of the plasticine as well as on the surface of the paper.
Sketch Proposal 3 : based on resulting Air flow Just like in Achilles, I attempted to represent the geometrical bat wings and it’s progression into a less structured more organic shape that represented the air flow the wings caused.
Back View
Front View
Sketch Proposal 3 : based on resulting Air flow
Left View Front view
Plan View
Right View
Final design : based on resulting Air flow I decided to develop the model based on the resultant air flow left by bats in flight because it was a unique shape that had the potential to result in more emergent patterns such as those cause by light and shadows. Playing with light and shadow is something that I want to explore because it is dynamic depending on the light source and can produce unexpected shapes and patterns. I saw this in the lecture when the lecturer showed us the Times Eureka Pavilion that created beautiful shadows. The folds in the shape also constitute of points at which the model comes in contact to the body and then pulls away as if the air around the body is turbulent. Another aspect I appreciate is how the model is both worn and carried as it represents the unrestricted direction of fluid movements. Additionally, I want my model to represent the importance of biomimicry. Scientists continue to study the bats unique movement to replicate it in aerodynamic technologies. This just emphasises that nature is a great place to look for new ways to improve ourselves.
Rhino Screengrabs
Reflection Over the past three weeks I went through the process of looking for a natural process to base my design on. I found it difficult at first to maintain a clear train of thought due to the endless possibilities. The lectures and readings helped me by showing me where to look for patterns and forms. My first sketch proposal was very much influenced by the paper on analytical drawing by Poling. Even though I did not entirely cover the stages of Kadinsky's drawings, I think the idea of deliberately manipulating focal points in the drawing as discussed during the tutorial really helped me produce an abstracted form that I could use in my model. Progressing from that point was influenced by one of the lecture contents in which the lecturer taught us about changing the scale at which we look at things. Nowadays with technology we even have the ability to look at processes at molecular levels such as discussed in the reading by Ball. For my second sketch proposal I decided to zoom out and look at a large number of bats instead of the movement of just one bat. by doing that I managed to represent the movement of a large number of bats by focusing on their echolocation signals, knowing that in large groups, bats that turns to emit signals. It was surprising to discover such a perspective and it was credited to learning how to change the scale at which I considered the bats. My last sketch proposal which I chose for further development was influenced by the lecture on mathematical sculptures. The idea of space filling curves was discussed in that lecture and I thought that it was relevant to the air flow pattern left behind by bats. In the reading by Ball the idea of the part played by balance and equilibrium in the formation of patterns was also consequential in my last model as I considered the relationship between the wings of the bat and the air around it. Other concepts I found interesting from the lectures and readings include fractals which are repeating patterns that exist on multiples scales, data driven patterns and patterns that have underlying mathematical rules. The idea of data driven patterns as demonstrated in the lecture by looking at the mapping of handphone signals lead to my design based on the frequencies of echolocating signals of different bat species’. I found it really interesting how we can now take advantage of the technology we have to discover patterns that would never have been made apparent otherwise. The idea of emergence helped me make a decision on which model I should choose for further development. The model I chose based on the airflow left behind by bats displayed potential to result in emergent patterns formed through the manipulation of light and shadows such as was demonstrated in the lecture on the Times Eureka Pavilion, which would be a key consideration in constructing a lantern.
Bibliography Art from code - Generator.x 2010, Wordpress, Norway viewed 6 August 2012, < http://www.generatorx.no/20101208/abstrakt-abstrakt-brandon-morse/#more-716>. Ball, P 2012, ‘Pattern Formation in Nature’, AD: Architectural Design , Wiley, vol. 82, no.2, pp. 22-27.
Bats in Slow Motion 1 2011, video recording, YouTube, Michigan. Gulley, JD, Benn, DI, Screaton, E & Martin, J 2008, ‘Mechanisms of englacial conduit formation and their implications for subglacial recharge’, Quaternary Science Reviews, vol 28.
Janet Echelman: Taking imagination seriously 2011, video recording, Ted Talks, Long Beach, California. Lubee Bat Conservancy 2008,Lubee Bat Consevancy, Florida, viewed 5 August 2012, < http://www.batconservancy.org/back-to-the-future-aeromechanics-of-highly-maneuverable-bats.php >. Matsys 2012, Wordpress, New York, viewed 6 August 2012, <http://matsysdesign.com/2009/06/22/smartcloud/> Media Relations 2007, Brown University, viewed 5 August 2012, < http://brown.edu/Administration/News_Bureau/2006-07/06-082.html>. MIT News 2007, Massachusetts Institute of Technology, Massachusetts, viewed 5 August 2012, < http://web.mit.edu/newsoffice/2007/bat-1005.html>. Mosher, D 2008, Air Bubbles Keep Bats Afloat, Live Science, New York, viewed 5 August 2012, < http://www.livescience.com/2332-air-bubbles-bats-afloat.html>. Poling, C 1987, ‘Analytical Drawing’, In Kandisky's Teaching at the Bauhaus, Rizzoli, New York, pp. 107-132. Surlykke, A & Kalko EKV 2008, Echolocating bats cry out loud to detect their prey , PloS one, United States, viewed 6 August 2012, <http://www.biomedsearch.com/nih/Echolocating-bats-cry-out-loud/18446226.html >.
Audrey Cavalera
#587616 Semester 2 2012 Group 15
The Formation of Sand
Sand is a consequence of weathered/ broken down rock. Factors contributing to the weathering process of rocks in- clude wind, waves, water and gravity.
Wind, water and gravity.
Weathering factors of sand formation is further exlpored.
The Spreading of a Peacockâ&#x20AC;&#x2122;s Feathers
A peacock spreads his feathers as part of a mating ritual. The feather train arches out into a fan, semi cicle-like shape, and touches the ground on both sides of the peacockâ&#x20AC;&#x2122;s front.
Exploration of the detail of peacockâ&#x20AC;&#x2122;s feathers as females chose their mate partly in accordance to the peacockâ&#x20AC;&#x2122;s colour, quality and size of
When the peacock spreads its feathers it reaches the ground on both sides.
Expressing the movement of the feathers
Further exploration of triangles. I
Welwitschia Mirabilis
Welwitschia Mirabilis is a type of desert plant found in South Africa. This plant usually contains only two leaves which curl, split and tangle whilst the plant grows. The Welwitschia Mirabilis tends to live for over 1000 years, and continues to grow throughout itâ&#x20AC;&#x2122;s whole life.
The formation of the two leaves of the Welwitschia Mirabilis.
Exploration of the growth and tangling of the Welwitschia Mirabilis plant.
Further exploration in the movement and tanglement of the plant in order to identify shapes which can be formed from the natural process
Paper models were made to explore the idea of tanglement. The overlapping and tangles of the shadows the paper created was used to create abstract shapes representing the growth of the plant.
Growth and tanglement process
Growth and expansion process
Through previous exploration and experimentation it was identified that in order for the leaves of the plant to tangle the must first divide. Division was thus used as a starting point for model making.
Division of the outline of a circle into two reflects the tangled leaves of the Welwitschia Mirabilis. The curving around the body and connection between each circle represents the life of the plant as it continues to grow throughout its whole lifespan.
Inspired from the expansion of a paper ball shown on previous page was used as inspiration for this piece. Expansion reflects the growth of the Welwitschia Mirabilis.
The concept of division is re-visited to create a latern shape that includes more depth in regards to the plantâ&#x20AC;&#x2122;s natural process.
The tanglement of shadows is experimented with in order to develop ideas for pattern formation and panelling for the lantern.
Tanglement of shadows used to create interpretive pieces and panelling/pattern formation
Reflection Virtual Environments has completely changed the way I look at nature. Up until the first lecture, I hadn't ever perceived natural processes, and thus nature itself as a result of pattern formation. Now, wherever I go, I see right angled triangles, the repetition of basic geometric shapes, and the process behind what my eyes can see. This new outlook has indeed inspired me to take on new creative experiments and design processes. When it has come to trying to express underlying patterns of natural processes through design, there is a phrase from the first lecture which I have constantly referred back to, “analyse, understand, apply”. This has got me into the habit of constantly asking “how did this form?”, and once that is answered, “okay well, what process formed that?”. By constantly asking and researching I have aimed to create a real depth within my design process. The second lecture and Phillip Ball's Pattern Formation In Nature further explores how pattern is a part of nature itself. Ball presents to the reader how these diverse and detailed patterns are generally the consequence of “simple” and “local interactions” among components of a system. However, Ball speaks of the assumption that despite the formation of patterns, such as the repetition of a geometric shape, the formation of them are, in fact, unplanned, yet these patterns are commonly a result of “mathematic analogies and equivalences”. The guest lecturer Henry Segerman also discussed mathematical use in terms of design. Although I found his work fascinating, it has not inspired my own work as I'm not drawn to mathematics as a topic, thus it's not something that heavily influences my creative process. None the less I have been inspired to look at basic geometry when exploring my natural processes; these have influenced my pattern formations and panelling ideas. I am also inspired by Kadinsky's 'analytical drawing' techniques. It reinforced for me the importance of looking beyond physical appearances when analysing natural processes. Through perceiving objects beyond their external appearances basic structural laws begin to be seen and used, and through the gradual process of simplification, analysis and transformation, deep and expressive art can be created. Inspired by this reading, I have tried to analytically draw the three natural processes which I have explored. The Rhino tutorials have also assisted me in my understanding of how the lantern may actually be constructed. Looking at panelling tools I have reinforced my idea of basic pattern formation in order to create panelling, and also to explore lighting, and how the lantern is constructed shall influence the light within, which can be used as a key design detail in depicting natural processes. Ball also states that despite the diversities of patterns, connections can still be made between patterns, such as the stripes of a zebra and sand ripples. The natural world is full of pattern, which I now see everywhere I go.
VIRTUAL ENVIRONMENTS
Armadillo Lizard The Armadillo Lizard can be found in the desert areas of South Africa, and usually lives in scrubs and rock outcrops. This lizard adopts a “ring-like” posture when threatened, biting its own tail to enclose its vulnerable underbelly with the armour found on top of the body. The range of patterns found on the lizard’s body ranges from regular squares to irregular spikes along its tail. Different shapes can be perceived by the same patterns on the lizard depending on the perspective and posture of the lizard at the time, allowing for many combinations and permutations of emerging patterns from the same structure.
VIRTUAL ENVIRONMENTS
top row:
bottom row:
This model demonstrates a more ‘organic’ and ‘fluid’ interpretation of the lizard’s body structure. When observed from a distance, the model appears as one unit, exhibiting a strong free-form shape. However, upon closer inspection, each piece of ‘armour’ is clearly distinguishable, and creates interesting shadows trapped both inside and outside the structure which range widely in brightness.
This model explores the ‘rigidity’ and clearly defined aspects of the lizard’s body structure. Each arrangement of the shapes contrast strongly with that of another, allowing for different interpretations. With added directional light, strong shadows were created and the effects of lighting should be further investigated as more layers of textures and surfaces are introduced.
VIRTUAL ENVIRONMENTS Following earlier experimentation of differentiating patterns from the lizardâ&#x20AC;&#x2122;s armor, this model explores the overlays and varying thicknesses found within the pattern. The images on the left show how overlapping shapes can lead to a sense of impenetrability and build strong shadows. Images on the right show the juxtaposition of different geometric shapes just as theyâ&#x20AC;&#x2122;re found on the body.
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Using the recurring theme of overlapping forms, this model looks at how to introduce irregularity to begin to break away from the original sketch. Although the body of the armadillo lizard can be broken into coherent blocks of different geometry, it is important to realize that it is still one body. Therefore the overlapped blocks have been merged with a smoother â&#x20AC;&#x2DC;underbellyâ&#x20AC;&#x2122; of sorts. When it is manipulated with varying degrees of opacity, these series of photos merge together to form one body that contains contrasting forms of structure and fluidity.
VIRTUAL ENVIRONMENTS
Fire Fire is a chemical process. Three things are needed for this process: oxygen, heat and fuel. Without one of these elements a fire cannot start or continue. The flame is the visible portion of the fire, and depending on the substances alight, and any impurities outside, the color of the flame and the fire's intensity will be different. Fires start when a flammable and/or a combustible material, combined with a sufficient quantity of an oxidizer such as oxygen is exposed to a source of heat or ambient temperature above the flash point for the fuel/oxidizer mix, and is able to sustain a rate of rapid oxidation that produces a chain reaction. Once ignited, a chain reaction must take place whereby fires can sustain their own heat by the further release of heat energy in the process of combustion and may only continue to burn as long as there is a continuous supply of an oxidizer and fuel. It must also be noted that the quantities of these materials must be in the correct proportion.
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The complexity and spontaneous nature of flames struck me as a form which was too difficult to model directly, which led me to try and use other means to understand more about this natural process. Diagrams on the left represent an attempt to find structure from an organic pattern ; if there is an underlying principle to the chemical process, is there a principle to the pattern? Diagrams to the right show sketches which have been manipulated in search of complexity.
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To explore the natural process of fire in a different way, I chose to experiment with the different heights that the flames appear at with this study model. This differs from the first attempt to understand the process, when I tried to imitate the patterns and attempted to re-create its depth and complexity. The model begins to stray from a literal translation of the initial process, choosing to not only depict the variety of heights which can be found among the flames, but also a sense of depth in the foreground and background. By simplifying the irregular patterns produced by fire and only focusing on one particular aspect of the process, I may have discovered a method by which I can approach some of the more complex ideas and patterns more easily. This could prove to be very useful in the future.
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A variation of the previous model, the uniform square-cut towers are replaced with these towers of spheres instead. The motif is still the variation of height among fire patterns. The complex process of fire is able to be broken down with smaller, stacked structures. While only one aspect of the pattern is understood, it signifies progress from my original sketches. A choice will have to be made soon whether or not this process has potential to progress to module 2.
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This model explores the birth and death of a flame as it grows from its required resources and consumes it. The patterns were produced with randomly placed knife cuts; an attempt to replicate the seemingly spontaneous nature of fire. While the model is conceptually interesting in terms of investigating the self-destruction of a form, it feels like a digression and not a significant step towards understanding fire pattern.
VIRTUAL ENVIRONMENTS
DNA A DNA molecule consists of two long strands that twist around each other like a spiral staircase, forming a double-helix. Each strand consists of the backbone of ribose together with phosphate groups and nitrogen bases. There are 4 different nitrogen bases: Adenine (A), Thymine (T), Cytosine (C) and Guanine (G).The A in a strand can form bonds with the T in the opposite strand and the G can form bonds with the C. They form basepairs. This is why the strands mirror each other as they complementary, hence the name complementary strands. DNA is formed through replication. DNA is constantly making copies of itself. This is the process where the DNA helix is unzipped to make two separate strands and then complementary bases are added.
VIRTUAL ENVIRONMENTS
In my models and sketches I focused on specific words taken from this natural process such as “spirals”, “unravel” and “replication”.
As I “unravelled” this model, I introduced twisting and replication motions which led to a completely new and spontaneous form
VIRTUAL ENVIRONMENTS
WXY Architecture, China
Helix Bridge, Marina Bay, Singapore
VIRTUAL ENVIRONMENTS
As seen in the precedents, the existing architectural structures have not varied much from a literal translation of DNA; Symmetry, Repetition and the Double-Helix seem to have become the only motif we see in this natural process. The study model here explores how a fluid double-helix structure can be broken into many smaller uniform parts. This could lead to future experimentation using different geometric shapes of different sizes to represent the original form. We can also see that if needed, this study model can be simplified into one single â&#x20AC;&#x153;spineâ&#x20AC;? that runs along the curves of the helix.
VIRTUAL ENVIRONMENTS
Using the findings from the previous model, I experimented further with the idea that the fluid shapes of curvature can all be simplified and broken down into individual pieces. As shown above, curves can also be echoed with square sequential blocks. However, I feel as if I continue along this path I will only be replicating what has already been done numerous times. Any literal interpretations of the DNA structure will not only be aesthetically repetitive, but will also fail to take the natural process into a new and abstract form. The study models seemed to have not significantly progressed despite understanding of the basic nature of the DNA process. I feel as if changes are not made, future ideas will remain trapped in the exterior appearance of the spirals. Therefore an attempt will be made to â&#x20AC;&#x153;break outâ&#x20AC;? of this thought process and begin to explore this concept by other means of abstraction.
VIRTUAL ENVIRONMENTS
The previous precedents all exhibited the obvious display of the double-helix form in a orderly, structured and symmetrical way. I am however more curious in how such a structure may stray from the natural order and become erratic and unpredictable. Using points along the curve where the DNA ‘splits’, the sketch progressively introduces imbalance into the equation by using simple features such as “unravelling” and “replication”. Similarly, the study model to the right is aimed at understanding the process of the growth and decline of a dynamic motif which would echo the double helix. Exhibition at the John Curtin School of Medical Research. I found this interesting as it showed how imbalance could affect a structured idea.
VIRTUAL ENVIRONMENTS
In order to progress in my conceptual development, I had to decipher what it was that I didnâ&#x20AC;&#x2122;t like about the precedents and previous models. It became obvious to me that one aspect that I was repulsed by was the endless reiteration of the obvious doublehelix structure of DNA. Although this is only a first step towards solving that dilemma, Iâ&#x20AC;&#x2122;m more comfortable with this model because it revolves less around a pre-determined structure and more about giving depth and added complexity to the model. Further experimentation will be required.
VIRTUAL ENVIRONMENTS
This model is less â&#x20AC;&#x153;solidâ&#x20AC;? than previous ones but was inspired from elements within my sketches on page six of this natural process. In many ways, the diagram below is very similar to the previous one shown many models ago, but now there is more understanding of how it came about, and with this knowledge I can replicate the process or alter it in order to progress. The series of models on the right show the progression from my initial model to the current stage of development. What I have essentially done is to have kept the bare elements of the process that I thought were worth investigation and tried to abstract the model beyond the literal interpretation into organic forms.
VIRTUAL ENVIRONMENTS
My final conceptual model for this module was tricky because I still had not completely developed the form enough for it to resemble what I want for the final project. However, I see it as a good starting point from which to begin the next set of transformations. A combination of an organic form and a more structured one gives me freedom to favor one or another or even both. However, the model still appears to be quite disjointed as I played with the idea of a ‘spontaneous’ form erupting from structure, an idea which I interpreted from the DNA formation process. There are still many improvements to be put into place. The main motif which I attempted to try and bring out was the appearance of movement of the form, as the double-helix can be seen to be ‘frozen in motion’. Explained in the next page.
VIRTUAL ENVIRONMENTS
In the next stage of development, I will manipulate the the form to create a sense of the â&#x20AC;&#x2DC;frozen motionâ&#x20AC;&#x2122; of the double helix. The 2nd sketch shows the structure of the DNA still evident in the conceptual model I made. The intent is to introduce more complexity, and a sense of spontaneous movement in all directions, not confined to the basic structure. The precedents I showed appeared to be all literal interpretations of the structure, an outcome I will not be content with. The ideas the design precedents chose to show were the symmetrical, spiraling and uniform shape of the helix. In this sense my project is different because I will focus on abstracting and developing a more inner characteristic of the process.
VIRTUAL ENVIRONMENTS
The first lecture introduced us to the idea of pattern formation, and how to find these patterns through analysis of natural processes. The method by which you can find patterns varies from a surface observation of the process or a deeper analytical way to interpret what is there. For example, you can observe the patterns formed natural in a honeycomb and understand that it is there due to the natural behavior of bees. However, you can also see patterns which are not obvious to the eye by mapping out other aspects of a natural process; fluctuating noise levels in a stadium and around the vicinity can also produce an image which changes and is entirely virtual. The readings further developed this idea of pattern formation. Ball’s article described the concept of self-organization and introduced the notion of complex parts and emergent systems. It helped me to see that patterns found in natural processes were not something ‘static’, but rather the result of growth, gradual accumulation and many influencing patterns. The second lecture for me reinforced the idea of exposing the invisible. By using different methods and means of analyzing space and forms, you can come to a representation of an object that is not what you would have expected. Kandisky’s idea of ‘analytical drawing’ is an interesting way to gradually see through the surface observations of a form and expose its inner structure. In Poling’s reading, the fact that ordinary everyday objects can be transformed into the abstract diagrams shown gives me reason to believe that this is an effective potential method to experiment with. It focuses on perception of the abstract, transformation of the motif and representation of an internally structure resonant with expression. The guest lecturer Henry Segerman provided a thought-provoking topic on mathematical art and sculptures. Although I can understand the way in which he works through the development of mathematical algorithms into virtual and real shapes, I don’t think it will impact on my design process. This is because not everyone has the ability to understand these formulas and manipulate mathematics to produce a creative product, or use it in a productive manner. I prefer the methodology proposed by Kandisky in Poling’s reading because I can relate to it much more easily. The ideas shown in the lectures and readings have all in some way, influenced by concept development. Kandisky’s analytical drawing method will continue to impact on my design beyond this module, as I attempt to abstract my natural process and interpret the inner expression within its’ structures.
VIRTUAL ENVIRONMENTS
Sources of Images Armadillo Lizard: http://www.thefeaturedcreature.com/2011/04/mi-amor-armadillo-lizard.html Fire: http://en.wikipedia.org/wiki/File:Fire.JPG http://topwalls.net/flames-from-fire/ http://www.backgroundpictures.org/p/fire/page-1.html DNA: http://en.wikipedia.org/wiki/File:A-DNA,_B-DNA_and_Z-DNA.png http://www.forbes.com/sites/daviddisalvo/2011/11/22/whats-your-dna-worth/ http://www.newtechobserver.com/2012/06/california-considers-dna-privacy-law.html http://teemingvoid.blogspot.com.au/2009/01/jcsmr-curls.html Precedents: http://www.wxystudio.com/xinjin_bridge.html http://www.smashinglists.com/amazing-beautiful-bridges/
Virtual Environments (ENVS 10008)
Module One: Ideation - Week 3 Catherine Mei Min Woo 562729 Semester 2/2012 Group 13
Week 1: Natural Process Research “Creepers”
“Death”
Complex & intricate yet self sustaining design
Gravitationally inclined curvature during and after this process
“Stalactites”
Intricate structure with interesting potential when intorduced to light
Week 2: Sketch Proposals “Creepers”
“Death”
“Stalactites”
Precidents found in nature & sketch model for an epulette/scarf/shawl
Precidents found in nature & the built environment & sketch model for a head piece
Precidents found in acessories & the built environment & sketch model for statement piece
Natural Process: Death “Death” Occurs when a living organism/cell permanently terminates the biological functions that sustain the living organism The process whereby biological changes occur after reaching maturity is known as senescence/biological aging Structrual rigidity of plants reduce and cause them to appear limp/wilt due to structural changes caused by aging Humans experience the same structual changes to their bone and muscle structure
Figure 1.1
When an organism dies and lose structural control, gravity pulls them towards the earths surface, forcing cantelivering organisms to ‘bend’ downwards
Figure 1.2
Figure 2.1
Figure 2.2 Figure 1.1-1.2: Diagram of a wilting plant and the curvature that is found to exist in the organisms death, which is also seen in Figure 2.1-2.3: whereby the same pattern exists in other organisms eg. Humans.
Figure 2.3
Natural Process: Death Headpiece Inspired by the psychological ties connected to the process of death and the physical curvature of dead/dying organisms Death can be precieved as a looming shadow and unavoidable, hence ominous and threatening
Figure 3.1 Figure 3.1: Illustrates the difference in psychological perception towards the process of death. Both are contrasting as one can be considered a “looming/ominous” event that is physically represented as a shadow whereas it can also be uplifting and bright, like a lantern
The idea of shadows brings about interesting pattern centric possibilities for shadowing of the headpiece Death can also be precieved as the last stage of mortal enlightenment, hence ties into the lantern concept By adapting the curvature to the headpiece, traditional headpieces eg. hats can be reinterpreted into more elaborate deisgns and patterns for this task
Figure 5.1
Figure 4.1 Figure 4.1: indicates how the curvature can be reinterpreted as a “looming” or cantelivering structure, which allows the posibilitiy of creating “looming shadows” to tie in with the theme while creating opportunities for pattern implication
Figure 5.2
Figure 5.3
Figure 5.1-5.3: Examples of how the curvature can be adapted into the headpiece as inspired from the headpieces as pictured on the left
Natural Process: Death â&#x20AC;&#x153;Deathâ&#x20AC;? The curvature of dead/dying organisms is the primary structure that makes up the design by this theme The basic composition of the structure would focus on capturing the curvature of a dead/dying organism The pattern is further derived from dead/ dying organisms through the analysis of decomposition of organic matter Principles of paneling suggest creating seemingly random patterns through a systematic process, may be able to successfully translate the desired pattern onto the design
Figure 1.1
Precidents include decaying organic matter as well as facade mesh/screen patterns found in contemporary architecture in locations such as Pittsburgh
Figure 1.2
Figure 2.1
Figure 2.2 Figure 1.1-1.2: Images of existing architectural structures that make use of patterns Figure 2.1-2.3: further examples of decaying organisms and the patterns created
Figure 2.3
Natural Process: Death Headpiece Inspired by the psychological ties connected to the process of death and the physical curvature of dead/dying organisms Furthering the idea of “looming”, the affects of the shadows cast upon by the proposed sketch models successfull create the desired outcome
Figure 3.1 Figure 3.1: Sketch models displaying two sketch designs
Furthering the idea of “enlightenment”, integration of LED lights into the design would create interesting results after incorporating patterns By adapting the curvature to the headpiece, traditional headpieces eg. hats can be reinterpreted into more elaborate deisgns and patterns for this task
Figure 4.1 Figure 4.1: indicates how the curvature can be reinterpreted as a “looming” or cantelivering structure, which allows the posibilitiy of creating “looming shadows” to tie in with the theme while creating opportunities for pattern implication
Figure 5.1
Figure 5.2
Figure 5.3
Figure 5.1-5.3: Examples of how the curvature can be adapted into the headpiece as inspired from the headpieces as pictured on the left
Experimentation: Form Shadows
Design 1
Design 2
Experimentation: Form Shadows
Design 3
Playing with shadows to emphasize the idea of looming & enlightenment is possible with various designs
Design 4
Precidents: Pattern
Decaying leaf shadow
Physalis alkekengi
Existing light shadowing
Rovi Lau Sem 1 2012
Theory analysis Theories presented through the lectures and readings such as Ball (2012), Poling (1987), Ching (1990) and Yee (1997) provided separate but interconnected theories and introduced precedents that exist readily in nature and are adapted into structures and technology to be utilized by humans. Ball (2012) discussed the idea of “self-organization” in nature through natural processes, such as adaptation through naturally occurring environmental constrains and opportunities. This concept outlines the emergence of patterns that occur naturally, such as granular patterns and patterns that exist in chemicals. Granular patterns emerge from forces such as attraction, repulsion, mimicry and swarming, whereas chemical patterns emerge based on the forces of competition and achieving balance. Ball’s outline can be seen as an extension of the idea of emergence, whereby patterns that are seemingly formed at random, are actually the contrary and directly influenced by it’s environment. This ties in with the lecture that analyzed naturally existing patterns, which was the basis of the pattern and form analysis for the design of the lantern. Through observing decay and decomposition, as well as precedents of facades and meshes in the built world as well as the natural world, has inspired the creation of a pattern that would exist throughout the design which is further emphasized by it’s ability to create intricate shadow detailing. Upon reflecting the importance of mathematics and logical thinking in the design of structures, Kandisky (poling 1987) approached design derived from the principles of logic and mathematical calculations. He drew inspiration from analyzing the patterns and natural composition of existing environments for design through entities such as energy, movement and rhythm. The three stages of Kandisky’s analysis include, break down, tension and symbolism, respectively. The breakdown stage includes distilling and simplification of complex structures to simplistic forms for further analysis. The tension stage requires further deconstruction of the simplistic forms to isolate the relationships that exist within the form that are indicated through variations of simple lines and points of change or interest. Finally, symbolism, the more ‘creative’ stage whereby stage 1 and 2 coincide to create the key form that makes up complex structures. By utilizing this template of analysis and organization, the process of creating the form and pattern of the lantern has been greatly streamlined and simplified. Furthermore, the lecture on the extraction of ideas from nature not only serve as a reminder to create nonstatic designs, but also to utilize them as spatial devices as well as embrace emergence of ideas. Additionally, Ching (1990) and Yee (1997) provide informative insight into orthography, hence streamlining implementation into the student journal. the Rhino and InDesign tutorials have been helpful to a certain extent for further research and comparison of usage techniques, online and offline, have generated greater insight into full utilization of the programs.
Module I
Claire Gabriel 584657 Semester Two Group 4
Figure 1&2 Brain Coral
â&#x20AC;&#x153;There is no universal theory of pattern formation in nature. Nonetheless, it has proven possible to identify many common principles, such as the universality of certain basic forms (hexagons, stripes, branches, fractal shapes, spirals)â&#x20AC;? -Phillip Ball
Above: I began exploring with different panel textures inspired by the aesthetics of coral. Initial ideas included linking together honey comb shapes.
Left inspired from the reading by Ball and the week 1 lecture, I begun thinking of natural patterns and processes. One of the first patterns that came to mind was coral inspired from a recent trip to the Great Barrier Reef. Coral with its wondrous colourful masses and branches, and their skeletal like forms have always interested me. I begun to do some initial research and found the coral process particularly interesting. Process of coral growth > As the lava produced by mature coral it rises to the top of the sea and then floats back down again to where it will begin growing. >As the coral grows the polyp divides repeatedly producing more skeleton >The way it divides determines the shape of the new coral environmental factors also effect the shape.
Coral Growth Process Idea Exploration
Below: I explored different ways of representing the coral growth process. Using the paneling ideas from the previous page linking together the honey comb shapes and circles starting in an organized way and progressively becoming more busy. I used a variety of different shapes and then modeled them in a 3d format.
Figure 4; Stalet Coral
Figure 3: Sinosteel International Plaza, MAD Figure 5: Ren Building, Copenhagen based group of architects
Above: The designs were inspired by the Honey Comb like Starlet Coral. I think the facades of these structures provide a Dynamic design which I have reflected in my initial design.
Coral Growth Process Idea Exploration
Above: The sketches above explore coral further, they look at the texture of the coral but in an abstract way.
There are certain limitations associated with this concept. The design can be perceived to literally and abstracting the idea of the coral growth process can be difficult.
Above: Snake inspired concept by students. Although the building is not inspired by coral it has many qualities similar to coral.
Coral Growth Process Idea Exploration
Second Concept â&#x20AC;&#x153;Diffusion is the passive movement of molecules or particles along a concentration from a region of high concentration to a region of low concentrationâ&#x20AC;? World Book
I was drawn to the diffusion because of its flowy, yet abstract shapes the natural process creates. The patterns diffusion creates have a sense of energy and movement about them. Diffusion is similar to growth the molecules are placed in the water and then grow and eventually blend as one. From the moment the diffusion begins a series of magical patterns form. With their abstract quality there are 100s of photographs taken of the moment other forms of art are as bellow.
Water Diffusion Idea Exploration
Modeling
The qualities of pattern of diffusion were difficult to transfer into 3d modeling. I played around with a series of different paneling but I think I need to spend more time exploring ways of illustrating this concept as I still feel it has a lot more to offer.
Above: Is titled throwing curves, the artist was inspired from the rhythmic qualities of water diffusion
Limitations
The changing flowing shapes inspired me and I found projects which have used the flowing abstract shapes that give you a sense of movement. The process of modeling such a shape using the Rhino software and Paper Lantern would be very complex and I did not want to compromise the flow and delicate effect that the diffusion process has.
Water Diffusion
Idea Exploration
After reviewing many natural visible process I begun deconstructing what a process actually is.
“A series of actions or steps taken in order to achieve a particular end” Oxford Dictionary I began looking at processes that aren’t visible but occur naturally such as the replication of DNA . My third concept for my design was inspired by the biological shape formation and process of DNA. The concept of DNA is a continuation of my research of the coral growth process. DNA is the a self replicating material that is found in all living organisms
Above: The twisting of the DNA provides a blended layering formed by the twisting of entire facades. The twist of the DNA provides an aesthetically pleasing inspiration for my design.
DNA
Idea Exploration
Above: Is a design by Yau Shen Chav an English student who designed it for a skyscraper competition in Yen Magazine the design won third place. I appreciate the way the DNA although not that exposed has inspired the design.
Above: Are examples of sketches and various 3d models exploring how DNA can be represented visually.
DNA
Conceptual Development
The reading Analytical Drawing explained analytical drawing techniques articulated by Kandinsky. â&#x20AC;&#x153;Investigation of structural relationships around objectsâ&#x20AC;? Poling Clark Kandinsky follows a three step process that I have followed to the left and the right. In the example of mountain ranges and an exploration of my idea. Simplify - subordinate both individual parts and the whole complex to represent the whole construction. Analyses - Represent structural tensions in linear forms emphasizing principle tensions with broader lines and colours, indicating the structural networks by meaning of a focal point. Translate - Explore more dramatic differences between forces with primary colours.
Analytical Drawing Conceptual Development
The designer Charles Jenckss is an American theorist, landscape Architect and designer. Because he has worked as a critic and a writer before becoming involved with earth machinery Jencks theory is â&#x20AC;&#x153; I am aware that they are like giant works of art on a certain levelâ&#x20AC;? - Ahead of the Curve 2011 Left: Jenckss background has enabled him to create work like The spiral is a 4.5m tall spiral in galvanized steel representing the DNA double helix. The work strongly reflects the rhythmic qualities of a double helix it also complements the Centre for Life building opposite it. The DNA Spiral is a dazzling futuristic landscape work of art that is completely original. His works are said to be unlike anything else on earth.
The DNA Spiral
Precedent
Bellow: Is a digital replication of proposed skyscrapers by a Chinese architect, each tower has a helical edge which turns around the tower at a 180 degree angle like a DNA structure.
Above: is of another proposed sky scraper for Bounteous Aires if built this tower would be nearly a 1000 meters high. The building has a eye drawing rhythmic beauty that draws the eye to the point of the design.
Double Helix Inspired Precedents
Modeling
I decided after much research through precedents to explore the qualities of a split DNA strand. When a DNA strand replicates it splits and the two strands are separated by enzymes. This does not visually happen. I want to represent this natural process visually. Above: Are sketches of how the DNA may split would it open slightly or would it tare open and all spill out? These are different ideas I played with.
DNA
Conceptual Development
â&#x20AC;&#x153;DNA replicates and splits when hydrogen bonds between the two nitrogen bases are broken by the enzyme helicaseâ&#x20AC;? World Book
Rear
Front
Right Side Left Side
Scale Model 1:5
The clay model is a visual representation of the above concept. It uses the analogy of the spiting of the DNA in an abstract form. This idea effectively communicates the splitting of the DNA incorporating paneling created in coral growth process looking to the next module I may need to refine my idea further for Rhino.
Final Model
When I started module 1 I felt overwhelmed, I begun by reading Phillip Ball’s, Pattern Formation in Nature, which gave me a sense of direction. Ball examines the existence of pattern and form in nature; he explored the mathematical ideas of Da Vinci and the technical and aesthetic possibilities of pattern. From the reading I was able to explore shape, pattern and form as building blocks to analyze natural phenomena that surround us. From Ball’s ideas I explored my first two conceptual ideas of the coral growth process and of the diffusion of water. I explored the possibilities of the through 2d and 3d media and sketching as well as gaging precedents. I realized there are certain limitations when modeling on Rhino and I have kept this in mind when designing. I felt that I would not properly be able to illustrate the beauty of water diffusion. I also found limitations of the coral growth process as after hearing Segerman speak I wanted to explore something less literal. Mathematical artist Harry Segerman explained the process of using mathematics to create sculptures presented in the second lecture. The ideas presented in the lecture were closely related to Ball’s ideas. Passing the models around allowed us to see the complexity in the pattern of the 3D media. Segerman demonstrated the endless possibilities that can be found in non literal pattern. The second reading was by Clark Polling titled Analytical Drawing exploring Kandinsky’s drawing techniques The drawings were created through a process of simplifying, analyzing and translating. In this module I was able to look at the work of reputable designers and their work influenced my designs. Through the research I found many amazing architectural works that demonstrate how nature used as inspiration can results in some outstanding and striking results. Above: Examples of Henry Segerman’s work
Reflecting on this module I found the greatest challenge to be abstracting patterns and creating literal translations. As I discovered through the module there are no limitations to the degree of abstraction I could use I found this rather daunting maintaining a balance between abstraction and literal representation. Moving forward I believe I have a concept that maintains a balance between literal and abstract. I am looking forward to the next phase as this first stage has left me inspired.
Reflection Moving Forward
Texts: - Ball, Philip (2012): Pattern Formation in Nature, AD: Architectural Design, Wiley, 82 (2), March, pp. 22-27 - Davina, J (2000) Australian Architecture Now, Thames and Hudson, London. - Dickson, R (2010) Addicted to Architecture, Wakefield Press, Australia - Hoffman, J. (1966) Building in Visual Aspects, Stuttgart, London. - Poling, Clark (1987): Analytical Drawing. In Kandinskyâ&#x20AC;&#x2122;s Teaching at the Bauhaus, Rizzoli, New York, pp. 107-132 Images: Page 1 - Emin, T 1998, Brain Coral, viewed 12 August 2012, <http://www.saatchi-gallery.co.uk/artists/artpages/.htm>. Page 2 - Cook, I 2004, Starlet Coral, viewed 1st August 2012, <www.greatbarrierreef.com.au> Eastment, L 2011, Architectural works, viewed 3rd of August 2012, <www.archiectualworksonline.com> Page 3 - Bender, S 2008, Snake Design, viewed 15 of August 2012, <www.archictualstudentworks.com> Page 4 - 2012, Water Images, Tumblr, viewed 12th of August 2012, <www.tumblr.com> Page 5 - Emin, T 1998, Waterdifusionwood, Saatchi Gallery, viewed 16 May 2012, <http://www.saatchi-gallery. co.uk/artists/artpages/tracey_emin_my_bed.htm> Page 6 - Paine, M 2011, Ahead of the Curve, viewed 7th of August 2012, www.aheadofthecurveatrical.com Page 7 - Eastment, L 2011, Architectural works, viewed 3rd of August 2012, <www.archiectualworksonline. com> All other images students own photography, sketches and models.
References
James Oberin
541258. semester two. group five
Sketch Proposal One River Processes
As it is mentioned in the article written by Ball (2012), self organising characteristics are formed through the interactions of a complex systems simple parts. A river is a prime example of the interaction between two of the worlds great realms - the lithosphere and the hydrosphere. As time passes and the river ages, its flowing current interacts with the earth forming deeper channels and wider bends, ultimately changing the path of the river. This can be seen in the image to the right, which shows the varied path of the Mississippi river in the past. Different colours represent its past formation. The form and dynamic movement of rivers hug the valleys of the Earth which also creates natural patterns, that may assist my lantern design (shown above left, and below left). The image in the bottom left corner also displays some fractal patterns, as the river portrays the same pattern on multiple scales, and can be replicated through the use of a simple formula.
Sketch Proposal One River Formation - The Beginning
Most rivers are formed at the tops of mountains from rainfall or snow melt, however may also arise due to natural underground springs. As the mountain runoff creates small gullies and streams, they run down hill to combine into larger streams and then eventually larger rivers. This natural process can be seen to create fractal patterns that are visually appealing and fascinating as it seems strange for a process so natural to form patterns so structured. The image above left is the remains of a dried up river in the California desert, Mexico. The contrast between the dark earthy river bed against the crisp white salt planes highlights the naturally formed fractal patterns. These fractal patterns are similar to the ones seen within a lightning strike.
Opposite to the growth of a tree, where each limb that branches from the trunk is relatively smaller to the trunk of the tree, a river grows in size as different streams come together. Starting with a slow trickle of water having little effect on the earth beneath, then eventuating to a forceful flow of water with a current that is dependant on the volume of water travelling downstream. above: Mountanous landscape with the initial lengths of rivers forming fractal patterns
Stronger current Slow moving, small current Fractal Mountains in Tibet
Strongest, most forceful current
Sketch Proposal One River Formation - Currents and Flows As a result of the ever changing currents within a river, the form of the river itself will change. The curves of the river grow more acute and obtuse as time passes, as the water erodes the river banks more on the outside of a curve, eventuating in total deformation of what the river once was. to represent this dynamic change in formation, I would like to gain inspiration from the work of Di Vinci, as he represented physical processes through an abstract method (seen right).
Above: Time lapse drawings over intervals of hundreds of years, representing the changing course of the river
Along with the curved patterns involved with the river itself, the actual flow of water can give rise to naturally occurring patterns. Such patterns can be seen through the movement of water around objects, creating eddy currents. Or possibly the formation of fractal patterns from the vertical flow of water down a waterfall (seen left). These patterns are a result of an interaction between the water content of the river, and the solid content within the earth - these interactions can give inspiration to similar types of form within my lantern, or possibly in a more abstract way. The time lapse drawing above of a river over a long period of time shows an interesting relationship of curves. These curves can give rise to a three dimensional form, which can represent the entangled appearance. Above: Fractal patterns
Above and below: Interperetive drawings of the flows of water by Leonardo Di Vinci
Sketch Proposal One River Formation - Termination
Below: Cooper River delta, USA Above: The mouth of the Nile
Above: The mouth of the Murray River, VIC
Above: sdvdc
A river comes to its end when it meets the ocean, a lake or another river. When a river meets an ocean, the controlled body of water that is confined to the banks of the river is released into an uncontrollable space. The forceful current of the river comes to a slow, and into the tides and movements of the oceans rhythm. The form at this stage is defined through a number of factors. The images above and to the right are of what is called a river-delta which occur at the rivers mouth. This happens when the velocity of water is slowed to a pace where it can no longer transport the sediment it once carried. Over time, building up to force the mouth of the river further into the still body of water (ocean or lake). These forms hold a seemingly uncontrolled nature, and hold visual beauty. The most appealing beauty evident within these images is possibly the contrast between the colours of the water and the earth. In some cases, where a river erodes the bedrock beneath, a river mouth can produce fractal patterns. This is where the river takes the most efficient path to reach the ocean.
Modelling Time River Processes Image: 1
Image: 2
Taking inspiration from the natural curves and forms of the Mississippi River over a number of years, this model is a three dimensional representation of a rivers life. A river will vary its path depending on the type of earth that is beneath the water, as some forms of rock will erode faster than others. To give form to this process, a segment of river, at different stages throughout time has been layered upon another (image 1 + image 2). This form was the initial starting point for analysis into the natural processes of a river and its curves, highlighting the changing relationships between the lithosphere and hydrosphere. However, in search of patterns and relationships between these forms, experimentation took place to observe a river. Images 3, 4 and 5 show other forms of river that could represent more than a river at different stages of its life. Image 5 for example could represent the eddy currents that are created when water floes around a log. Image: 6
Image: 3
Image 6 is a further representation of the life of the river. Perhaps more visually intriguing than the previous models, as it forces the need for investigation To expand on the previous models, this representation analyses the processes of a river from its birth through to its death. As the next page will describe in greater detail.
Image: 4
Image: 5
Modelling The Life of a River River Processes
The Beginning: This section of the model represents the initial stages of the river. A single thin line flows onto join another, which then creates an entanglement of multiple lines - much the same as different bodies of water become one. Steadily increasing the strength of current flow.
The End: Dispersed segments of cord, which appear to be in no apparent configuration. This mirrors the incontrollable nature that is present at most rivers mouths. The thin strands also signify a more delicate flow of water, less powerful than the body.
The Body: A thick intertwined spiral of cords - this represents the most powerful section of the river. The thickness of cord signifies how strong the current is in this section compared to the beginning and end. Is is also confined to a single body, which reflects the controlled nature of a river.
Sketch Proposal Two The Nature of Bubbles
The science behind natural foam gives insight to the complex, self organising patterns of nature through the relationship of bubbles. When two bubbles connect, they minimise their surface area to the most efficient size possible and share the same connecting surface. When three or more bubbles are joined, they do so in a particular manner creating an angle of 120 degrees. This systematic nature of bubbles, and hence foam, creates the emergence of an almost three dimensional honeycomb pattern. When bubbles of a similar size are seen on a two dimensional scale, the pattern defines itself into a more symmetrical form. When multiple bubbles of differing sizes are joined, the skeleton of joining walls holds an appearance that is both structured, yet disorganised.
Images: www.
Sketch Proposal Two The Nature of Bubbles
Contemporary design is becoming more conscious of the way in which it uses materials to form structures. The efficient processes of nature can inspire the forms of human existence, as they use only the essential amount of materials. The hexagonal pattern that is formed as bubbles connect can also be seen within a bees honeycomb as this is the most efficient means of the largest amount of honey with the least amount of materials. The patterns formed through this efficient relationship can inspire many interesting three dimensional patterns and forms. Above is an experiment that was taken in order to analyse how bubbles of the same size can create a honeycomb structure. In contrast to this rigid formation of bubbles, below is the process of a bubble popping.
The above time lapse drawing captures the motion of a bubble popping. To the human eye, a bubble bursts in an instant without leaving a path of evidence behind. Slowing this process down, and analysing split screen shots, allows humans to visualise the motion in its entirety. The water droplets that are dispersed at the instant the bubble is popped create a formation that highlight the process as they disperse left to right. When the bubble is touched, the soap molecules that bind the bubble together, break one by one over a period of time, rather than a split instant.
Experimentation - Foam The Nature of Bubbles
An experiment was conducted to learn about the nature of foam through the medium of soap bubbles. The properties that were able to be analysed was the texture-appearance, and the colour. Between the two images on the right, I compared small bubbles to larger ones. The small bubbles created a white cloud-like appearance. They also were able to cling to the body for longer and seemed stronger in nature. Whereas the large bubbles were clear, and weaker in nature as they would only hold onto the skin if it was already soapy. To visualise the honeycomb structure of foam, bubbles were created within a glass boundary. It was found that the bubbles at the bottom of the glass always tended to be much smaller in size than the ones at the top of the glass. This may be due to the same sized soap molecules forming stronger honeycomb bonds with one another - which proved to be an intriguing process. The images located to the right highlight this process as it occurs. The honeycomb structure is highly visible, showing the extremely efficient framework through which these bubbles are joined.
Modelling Foam and Bubble Relations The Nature of Bubbles
In order to model the behaviour of bubbles, it was necessary to model the process through which these bubbles increase in size. The first model (left) holds the appearance of a cone shaped cob of corn. The surface area of the design is smooth to begin with, gradually moving through to a bubbly texture. The model has no connection to the honeycomb structure that these bubbles create below this exterior surface of the foam itself, it is purely an attempt to connect with the cloud-like texture and form that is created with differing sized bubbles.
In a second attempt to represent the nature of bubbles through the media of 3D modelling, I have used a more abstract approach. The image is model that represents the process a bubble undertakes as it pops. The earlier time laps drawing of a bubble going through this process shows five different stages at which the surface of the bubble disappears. This model is an interpretation of these stages happening within foam.
Sketch Proposal Three The Emergence of an Ants Nest
The seemingly random and chaotic behaviour of ants is an occurrence within nature that deserves closer attention. Tens of thousands of ants are individually able to maintain their existence through an entanglement of simple interactions. These interactions are able to give rise to the construction and maintenance of their colonies, holding self organising properties. The self organisation of ants needs to be defined over a particular scale to truly understand its emergence (Johnson, 2001). Physical patterns can be visualised through the forms that are created within ant mounds and nests (spiral pattern shown left, and cylindrical pattern shown bottommiddle), or the movement of ant swarms (below).
â&#x20AC;&#x153;The persistence of the whole over time - the global behaviour that outlasts any of its component parts - is one of the defining characteristics of complex systems. Generations of ants come and go, and yet the colony itself matures, grows more stable, more organised.â&#x20AC;? - Steven Johnson (2001)
Swarm Intelligence The Emergence of an Ants Nest
The dots above represent a dynamic flow of disorderly movement reflecting the pattern of an ant colony, moving through to a clear unambiguous, almost orderly representation on the right hand side. An initial idea to use as a design alternative for my lantern is to use a dynamic structure that captures both the visualisation of a chaotic, yet extremely structured form. This can be seen through a process of the initial form being complex, through to the final form of an purely simple minimalistic design.
The above images highlight the swarm intelligence of ants as they move in large numbers - each individual ant is contributing to a larger process. The image above left shows a swarm encapsuling a leave, giving the ants a large three dimensional form as though it is consuming the leaf. Above right is an image of an ant swarm as it crosses a body of water, creating a snake like body. Both of these forms create the appearance of a crumpled dynamic texture, similar to the texture of a tightly crumpled sheet of paper. A sea of hundreds of moving ants appears like one unified creature. The images above are section cuts of two ants nests. The form that is created by these ants is quite intriguing as they provide natural forming patterns underneath the surface of the earth. The forms hold the appearance of a sponge-like texture as the holes are interwoven amongst each other. These forms can give inspiration to the chaotic and disorganised nature of my lantern design.
Precedents Miss Maple Pendant Lamp - Elisa Strozyk
The Miss Maple pendant lamp (right) is made from a grid of triangular wooden panels. This gives the object a highly intriguing nature as it is an unconventional way to use this material. The panelling gives a beautiful representation of a crumpled texture, which is what I was in search of to represent the crumpled texture of a body of ants. These images give me the inspiration to use a triangular grid formation to represent the dynamic movements seen within swarms of ants. A crumpled texture that flows through to a smooth surface would allow the representation of the self organising characteristics of these complex forms and behaviours. Images: Personal photographs
Images: Photographer - Sebastion Neeb. Designer - Elisa Strozyk
The images above and left are creations of the same designer who designed the Miss Maple pendant lamp - Elisa Strozyk. The triangular grid panelling again gives a perfect representation of something crumpled. Which in this case allow the appearance of a blanket through the medium of wood. Looking at the images from a far gives a real life pixelated vision of these objects.
The images above show clearly the undefined patterns of a scrunched up piece of paper. There is no defined symmetrical pattern or structure. In comparison with the panelling on the Miss Maple pendant lamp, the patterns are similar. However the Miss Maple lamp gains this representation through a structured process.
Precedents Sheung Wan Hotel - Thomas Heatherwick
The Sheung Wan Hotel lives within the rapidly expanding city of Hong Kong. It is a contemporary 40 storey high-rise building designed by Heatherwick studio. The facade of the building is formed through the use of squares, which are extruded from the surface at different measures, and are four different sizes. The design holds a seemingly obscure pattern, and from a distance (image far right) appears to hold a crinkled corrugation. The image of the Sheung Wan Hotel bottom left shows a change in texture that flows from a smooth panelled surface, through to the crumpled square facade. This change in texture can influence my design, as a change this dramatic can represent a process of an action. In the case of the ants nest and the emergence of certain properties within an individual nest, a change in texture of my lantern can represent the anarchic behaviours of ants producing highly structured outcomes. The use of four different sized squares within this design illustrates how a simple geometric form can capture such an abstract feeling. It also illustrates that changing one element of a shape, such as the scale, can produce unsymmetrical surfaces through structured processes.
Images: Thomas Heatherwick
Development Texture/Form Experimentation - Analytical Drawing The process that was undertaken involved three steps that derived a final drawing pictured below. The drawing is of basic geometric figures, shaded with primary colours. This process of simplification is a useful tool that allows connection with the abstract life that is not always obvious. This could be used further in the design process when in search of forms and shapes that will be used within my final lantern design.
Through basic shapes and forms, analytical drawing aids in providing the transitional link between still life and abstract life (Polling 1987). The processes of Kandinsky allows real life images to be seen through abstract mediums. This process highlights the linear relationships that are evident in every day forms. I have used analytical drawing to extract patterns from nature that I would not usually see. To continue with the crumpled texture I have derived from the dynamic movements of ant swarms, I have broken down this image of an iceberg. The surface of the iceberg holds both crumpled and smooth characteristics, however, the analytical drawing was used as a tool to extract the unclear abstract forms. Rather than replicating this crumpled texture, I was striving to create something that was not so obvious and not related to the surface of the object.
Development Texture Experimentation - Analytical Drawing
To the left is an image of a piece of water in the ocean. This can be seen to reflect the characteristics of a crumpled piece of paper, but with also a dynamic nature. After gaining inspiration from the precedents, I attempted to created a texture reminiscent of the dynamic flow of ocean water. Using a similar approach to the analytical drawing method of Kandinsky (outlined by Polling 1987), I followed steps to take this image back to a geometric surface of shapes. In the first step I attempted to replicate the image as I saw it (above right). I then proceeded to transform the aspects of the image into triangles, as these seemed the appropriate choice to represent waves (left of text). In the final stage I gave the image a third dimension, as transformed the triangles into prisms. Ultimately, the prisms of varying heights and sizes (seen right) represent a crumpled form.
Modelling Swarm Behaviours
The natural process which I have chosen to further develop is the swarm behaviours concerned with ants - and in particular, the self-organising properties seen within these colonies. When looking at an ants nest, we see a largely disorderly formation of ants scrambling around in the dirt. In some cases ants are seen to be gathering food as hundreds of tiny creatures move over top of the source, which gives it a dynamic skin. This dynamic skin of insect gives the appearance of one thing - a swarm. Although it is hundreds of ants behaving on a local scale, that contributes to an over arching global process. The images to the left reflect the behaviours of ants feeding on an object. The depth of ants shows the large volume many tiny ants can create.
The forms which have been created (right) are an attempt at representing one body of movement, through the use of many components. This endeavours to recreate the self organising properties that are evident within and colonies. Most ant colonies only have a vocabulary of eight pheromones which they use to communicate, and yet they are still able to expand and develop as a whole system (Johnson 2001). Hence, the simple interactions that occur on a local scale between ants, produces wider effects through out the global ant system.
Modelling Swarm Behaviours and the Human Body
Above are further examples of models that connect with the selforganising characteristics within ant swarms. How does this relate to the human body? - One interpretation is to have the three dimensional form sit off the body as though it is reaching into the sky, manifesting itself from the skin. This strives to reflect the form of an ants swarm acting as one global product.
An alternative to having the form emerge from the skin would be to have the item encompass a limb of the body as though it was digesting it. Perhaps the most intriguing aspect of the above models is the texture the surface that is created when these balls of plasticine are joined. It holds characteristics to that of a crumpled piece of paper.
Modelling Dynamic Textures From inspiration gained through the Miss Maple pendant lamp and the Sheung Wan Hotel, my design has developed into three dimensional models of textures that represent dynamic swarm movement. Square-based triangular prisms (left) and triangularbased prisms (right) are a development of the circular forms modelled previously. Unsymmetrical patterns are created through these symmetrical shapes. When the square-based prisms are joined together to create a surface, they appear to be much more organised than the triangular-based prisms. This informed the decision to create further models with the triangular-based prisms as they convey a more accurate representation of the chaotic nature that is a part of ant colonies. From the previous model that was an attempt at recreating a single three dimensional object through the means of multiple parts, a second model has been developed. This attempt is to create a process of self organisation, that flows from chaos, to peace. Below are images of alternatives that have been produced. On the far left is a simple curve with an entirely flat surface - signifying no disarray. As the images progress from left to right the are increasingly covered by the cocooning triangular surface. The whole process is enchanting as it allows you to visualise an insect swarm consuming a leaf. However, the most compelling image is located below-middle. This is where half of the curve has been consumed by the triangular panelling, which can be seen to represent both peace and bedlam at the same time.
Modelling Dynamic Textures and the Human Body
Three images above show the model sitting on the human body to scale. Again - it is the middle image where the curve is half encompassed by the triangular panelling that is most appealing. This is a prime example of the self-orgainising characteristics that ant swarms possess, whereas at one end of the scale they are seemingly shambolic, compared to the orderly appearance at the other. This process is the art of complexity. This model has the potential to be developed further to represent the process of a simple system flowing through to an extremely complex system. The above models are sitting on the shoulder of the mannequin - at one of the highest points of the body. The height of the model, and the location relative to the brain can be symbolic of the complex interactions that are occurring within the brain, and within the processes concerned with swarm intelligence.
Reflection Module One
The first module has been an insightful challenge to design and develop three sketch proposals for the lantern. At times the most challenging aspect of the design process was thinking of where to go next in the development of the three sketch models. This is where the lectures and readings were helpful in providing direction and information on how to continue designing. The reading in week one by Ball (2012), along with the lecture content, provided a solid starting point in the design process. Due to such a vast spectrum of natural processes to choose from, it was perhaps the most difficult time of the module choosing which natural processes to undertake. The lecture in week one steered the direction of thinking not to look for the forced complexity within processes, but to look at simple designs and patterns. This was paralleled by Ball (2012) as he gave insight to the simple, local interactions that give rise to the emergent structures and behaviours that can be seen within nature. By the end of week one, the information had inspired me to analyse the behaviours of ant swarms and the emergent properties that is inherent in these systems. Week two of the process forced the understanding of different ways to extract information and patterns for the natural processes. The lecture gave rise to fractal patterns and how they can be seen within nature, however, it also gave insight to more abstract ways of looking at design. The example of how song and dance can create patterns was particularly insightful as it allowed me to understand that patterns do not have to come from visual motivators. Again, this was paralled by the reading by Polling (1987) highlighting the structural relationships amongst objects. This abstract method of looking at objects (Kandinskyâ&#x20AC;&#x2122;s methods) teaches the process of taking a complex shape and taking it back to basic geometric forms. This process proved useful throughout the design process when the form and texture were being developed. The lecture within week three further placed emphasis on other means in finding patterns to create forms. This was done through a means of mathematical formulae, which can replicate the real world in great detail. Overall, module one has increased my technical abilities through the tutorials of rhino and use of programs such as InDesign and Photoshop. As the weeks have progressed I have been more aware of how forms can be modelled both within the virtual and real worlds.
Reference List:
Ball, Philip 2012, Pattern Formation in Nature, AD: Architectural Design, Wiley, 82 (2), March, pp. 22-27 Johnson, S 2001, Street Level (chapter 2), In Emergence: the connected lives of ants, brains, and software, scribner, pp.73-1000 Poling, Clark 1987, Analytical Drawing: In Kandinskyâ&#x20AC;&#x2122;s Teaching at the Bauhaus, Rizzoli, New York, pp.107-132 River Termination - http://www.britannica.com/EBchecked/topic/156797/delta Images: Miss Maple Pendant Lamp - http://www.yellowtrace.com.au/2010/07/02/elisa-strozyk/ Sheung Wan Hotel - http://www.heatherwick.com/ Mississippi River (pg 2) - flavorwire.com River Fractal Patterns (pg 3) - twistedsifter.com, agatelady.blogspot.com, miqel.com, classes.yale.edu Bubble Images (pg 8) - maths.tcd.ie
Dian Mashita Eddy Suryono Student No: 560645
Semester 2/2012
Group 9
Natural Process 1
However, I am more interested in how temporal scale when combined with the variation of wave amplitude could affect the surrounding spatial scale, as well as its effect on social scale. As mentioned in the previous slide, the important elements needed in transferring energy from one place to another are the particles or molecules in the medium (with the exception of electromagnetic wave)
Waves
The Rythm of Life
“The Earth is neither flat nor round, it is made up of waves” Reuben Margolin, kinetic sculptor
Just as how it is in this real world, each particle represents an individual in the society and only through efficient interaction between them that a society is able to function soundly.
The pattern of waves is everywhere in this world. Human lives are represented by the sound waves of heart pulsations; most electromagnetic spectrum of lights are represented by waves to differentiate between each kind. Wave is both a noun and a verb. It represents a motion that is able to create a sense of tranquility as well as rushness depending on the temporal scale.
“Tsunami wave” comes to mind when I did my research on waves. I think it is a great phenomenon to be extracted in my design concept.
The Science of Wave
How tsunami form
The Physics of Tsunami
A vital role of wave motion as found in physics The fluidity of a wave motion could be associated studies shows that it is a disturbance that travels with gracefulness too. But this depends on the scale through spacetime; whilst tranferring energy (repreof waves. sented by ‘amplitude’ in right figures). A wave can be generalised into 2 kinds: 1. Mechanical wave: transferring energy via a medium 2. Electromagnetic wave: transferring energy via vacuum condition It then can be further generalised into its direction of oscillation: 1. Transverse 2. Longitudinal Diagram of wave oscillation direction
A tsunami (pronounced tsoo-nah-mee) is a wave train, or series of waves, generated in a body of water by an impulsive disturbance that vertically displaces the water column. Earthquakes, landslides, volcanic eruptions, explosions, and even the impact of cosmic bodies, such as meteorites, can generate tsunamis. Tsunamis can savagely attack coastlines, causing devastating property damage and loss of life. One particular tsunami case that fascinates me was the tsunami that struck Japan in March 2011. Eventhough the damage done was severe, Japan was able to recover almost completely within a year. The New York Times maps the reach of the 8.9-magnitude earthquake in Japan
Natural Process 1
However, I am more interested in how temporal scale when combined with the variation of wave amplitude could affect the surrounding spatial scale, as well as its effect on social scale. As mentioned in the previous slide, the important elements needed in transferring energy from one place to another are the particles or molecules in the medium (with the exception of electromagnetic wave)
Waves
The Rythm of Life
“The Earth is neither flat nor round, it is made up of waves” Reuben Margolin, kinetic sculptor
Just as how it is in this real world, each particle represents an individual in the society and only through efficient interaction between them that a society is able to function soundly.
The pattern of waves is everywhere in this world. Human lives are represented by the sound waves of heart pulsations; most electromagnetic spectrum of lights are represented by waves to differentiate between each kind. Wave is both a noun and a verb. It represents a motion that is able to create a sense of tranquility as well as rushness depending on the temporal scale.
“Tsunami wave” comes to mind when I did my research on waves. I think it is a great phenomenon to be extracted in my design concept.
The Science of Wave
How tsunami form
The Physics of Tsunami
A vital role of wave motion as found in physics The fluidity of a wave motion could be associated studies shows that it is a disturbance that travels with gracefulness too. But this depends on the scale through spacetime; whilst tranferring energy (repreof waves. sented by ‘amplitude’ in right figures). A wave can be generalised into 2 kinds: 1. Mechanical wave: transferring energy via a medium 2. Electromagnetic wave: transferring energy via vacuum condition It then can be further generalised into its direction of oscillation: 1. Transverse 2. Longitudinal Diagram of wave oscillation direction
A tsunami (pronounced tsoo-nah-mee) is a wave train, or series of waves, generated in a body of water by an impulsive disturbance that vertically displaces the water column. Earthquakes, landslides, volcanic eruptions, explosions, and even the impact of cosmic bodies, such as meteorites, can generate tsunamis. Tsunamis can savagely attack coastlines, causing devastating property damage and loss of life. One particular tsunami case that fascinates me was the tsunami that struck Japan in March 2011. Eventhough the damage done was severe, Japan was able to recover almost completely within a year. The New York Times maps the reach of the 8.9-magnitude earthquake in Japan
Sketch Model
A series of before-and-after shots of Japanâ&#x20AC;&#x2122;s quick recovery < http:// news.nationalpost.com/2012/02/09/see-how-japan-has-rebuilt-in-the11-months-since-the-earthquake-and-tsunami/>
It is looped to signifies the recovery from tsunami
In the search of a form for the lantern, I decided to trace out the predicted tsunami wave height map onto a piece of paper and made creases to represent the waves. However this doesnâ&#x20AC;&#x2122;t really reciprocate the amplitude of tsunami waves. So I tried to mould clay plasticine according to the contour colour as mapped in the wave height map in previous slide.
Profile line of the clay surface represents the variation of wave amplitude
Then I made the clay surface edges close together to form a tubular shape that would enclose the light inside, so as to function as a lantern.
Sketch Model
A series of before-and-after shots of Japanâ&#x20AC;&#x2122;s quick recovery < http:// news.nationalpost.com/2012/02/09/see-how-japan-has-rebuilt-in-the11-months-since-the-earthquake-and-tsunami/>
It is looped to signifies the recovery from tsunami
In the search of a form for the lantern, I decided to trace out the predicted tsunami wave height map onto a piece of paper and made creases to represent the waves. However this doesnâ&#x20AC;&#x2122;t really reciprocate the amplitude of tsunami waves. So I tried to mould clay plasticine according to the contour colour as mapped in the wave height map in previous slide.
Profile line of the clay surface represents the variation of wave amplitude
Then I made the clay surface edges close together to form a tubular shape that would enclose the light inside, so as to function as a lantern.
Natural Process 2
A soap bubble sitting on a surface — such as a glass, for example — is shaped like a half sphere. When the thin liquid film pops, it collapses, folding in on itself and trapping a ring of air in the shape of a donut.
Bubbles
But the donut shape is unstable, so the film breaks up into little droplets all around the donut shape. Because these smaller spheres can have a lower surface area than the larger donut, they are more stable.
The fragile beauty The self-assembling soap-water-soap layer of a bubble is very similar to the self-assembling lipid bilayer that forms the membrane around each and every single one of the cells in our body.
The process can repeat in cycles, with the daughter bubbles popping to create a ring of even smaller granddaughter bubbles. It only stops when the bubbles themselves become almost the same size as the thin layer of film, so the shape is warped and the physics are changed
Screen shots of high-speed video footage of bursting bubble at miscroscopic level (Bird et. al) cited from BBC < http://www.bbc.co.uk/news/10278567>
Diagram from <http://www.scilogs.com/from_the_lab_bench/ bubbles-for-life/>
A bubble is actually a pocket of air surrounded by a thin layer of liquid. In the case of soap bubbles, the liquid is made of water mixed with a little bit of detergent, which contains molecules that stick to the surface of the water and help stabilize it. when two bubbles meet, they will merge walls to minimize their surface area. If bubbles that are the same size meet, then the wall that separates them will be flat. If bubbles that are different sizes meet, then the smaller bubble will bulge into the large bubble. Bubbles meet to form walls at an angle of 120°.
Bubble formation follows Plateau’s Laws: 1. Soap films are made of highly curved smooth surfaces. 2. At any point on the surface, its mean curvature is constant. 3. 3 bubbles meet at an angle of 120 degree. 4. 4 bubbles meet an angle of about 109 degree (cos-1 (-1/3))
This nature of bubble formation proves how nature always seek to use the least energy or continuously tries to achieve efficiency. Screen captures from BBC The Code - Shape A demonstration of how a bubble always seek to adapt to its changing surrounding to achieve efficiency
Screen captures from Discovery Network’s Time Warp
Screen shots of high-speed video footage of bursting bubble on a surface to form a ring of daughter bubbles (Bird et. al) cited from BBC < http://www.bbc.co.uk/news/10278567>
Natural Process 2
A soap bubble sitting on a surface — such as a glass, for example — is shaped like a half sphere. When the thin liquid film pops, it collapses, folding in on itself and trapping a ring of air in the shape of a donut.
Bubbles
But the donut shape is unstable, so the film breaks up into little droplets all around the donut shape. Because these smaller spheres can have a lower surface area than the larger donut, they are more stable.
The fragile beauty The self-assembling soap-water-soap layer of a bubble is very similar to the self-assembling lipid bilayer that forms the membrane around each and every single one of the cells in our body.
The process can repeat in cycles, with the daughter bubbles popping to create a ring of even smaller granddaughter bubbles. It only stops when the bubbles themselves become almost the same size as the thin layer of film, so the shape is warped and the physics are changed
Screen shots of high-speed video footage of bursting bubble at miscroscopic level (Bird et. al) cited from BBC < http://www.bbc.co.uk/news/10278567>
Diagram from <http://www.scilogs.com/from_the_lab_bench/ bubbles-for-life/>
A bubble is actually a pocket of air surrounded by a thin layer of liquid. In the case of soap bubbles, the liquid is made of water mixed with a little bit of detergent, which contains molecules that stick to the surface of the water and help stabilize it. when two bubbles meet, they will merge walls to minimize their surface area. If bubbles that are the same size meet, then the wall that separates them will be flat. If bubbles that are different sizes meet, then the smaller bubble will bulge into the large bubble. Bubbles meet to form walls at an angle of 120°.
Bubble formation follows Plateau’s Laws: 1. Soap films are made of highly curved smooth surfaces. 2. At any point on the surface, its mean curvature is constant. 3. 3 bubbles meet at an angle of 120 degree. 4. 4 bubbles meet an angle of about 109 degree (cos-1 (-1/3))
This nature of bubble formation proves how nature always seek to use the least energy or continuously tries to achieve efficiency. Screen captures from BBC The Code - Shape A demonstration of how a bubble always seek to adapt to its changing surrounding to achieve efficiency
Screen captures from Discovery Network’s Time Warp
Screen shots of high-speed video footage of bursting bubble on a surface to form a ring of daughter bubbles (Bird et. al) cited from BBC < http://www.bbc.co.uk/news/10278567>
Time-lapse sketch of a bubble bursting
Below are form sketches that I thought would represent the lifetime of a bubble. The one at the bottom was a modification of the sketch above. I added 2 balloon-like shape to represent the formation of a bubble
Repitition of diagram to portray the formation of daughter bubbles and granddaughter bubbles
Sketch Model A sphere: when a bubble achieve its minimum surface Bubble bursting tension and achieve energy phase efficiency
Formation of bubble
Further Development
I decided to choose the Bursting Bubble concept to be further developed as my lantern concept for this semester. The reason is because I think this concept narrates a story that correlates with the essence of the existence of nature itself. At the beginning of a bubbleâ&#x20AC;&#x2122;s existence, it receives input from outside and the bubble itself constantly changes its surface as its volume changes. This expanding surface also constantly has a change in colour,because of the refraction effect on the bubbleâ&#x20AC;&#x2122;s layer that consists of water and soap. This is depicted in the variation of macrobubble pictures. I decided too for the lantern to be hanged, so as to portray the nature of a bubble, floating in air.
Sketch of panelising the form proposed
Sketch of panelising the form proposed with perforations The middle part/biggest part of the form has randomized small perforations to portray the changing colour due to refraction on the bubbleâ&#x20AC;&#x2122;s surface The upper part has bigger perforations to represent the gaps of air after the bubble burst and produce daughter bubbles, then granddaughter bubbles
Natural Process 3 The venation in a blade of a leaf or the branches of a tree may seem to grow at a random and chaotic order, but it actually has an underlying code or system that can be calculated algorithmically.
Venation
But I find it quite difficult to understand the algorithm rule. A simpler rule mentioned in the lecture, was that of the “grow then divide” rule.
Venation in leafs is one of the many fractal structure abundant in nature. I am fascinated by the explanation given in lecture of how something which possess fractal patterns appear similar in large and small scale.
Screen captures from BBC The Code - Shape of “grow then divide” rule in trees. The end results in a mathematically perfect tree.
Venation in human blood capillary system
Even so, some minor tweaking to the algoritm have to be done to closely mimick those of real trees as shown in left figure.
Branches of a tree project similar fractal pattern as in a blade of leaaf
An algorithm rule proposed by H. Honda Left: branches are identified by length ratios and angles Right: Branches that diverge from main trunk follow this rule. It identify a spiral phyllotaxis-like angle alpha.
(Prusinkiewicz and Lindenmayer, 1990 cited in Ball)
Photograph by Benjamin Blonder, David Elliott < https://profiles.google.com/108832773152747423283/buzz/5qey9WHEbnt>
Natural Process 3 The venation in a blade of a leaf or the branches of a tree may seem to grow at a random and chaotic order, but it actually has an underlying code or system that can be calculated algorithmically.
Venation
But I find it quite difficult to understand the algorithm rule. A simpler rule mentioned in the lecture, was that of the “grow then divide” rule.
Venation in leafs is one of the many fractal structure abundant in nature. I am fascinated by the explanation given in lecture of how something which possess fractal patterns appear similar in large and small scale.
Screen captures from BBC The Code - Shape of “grow then divide” rule in trees. The end results in a mathematically perfect tree.
Venation in human blood capillary system
Even so, some minor tweaking to the algoritm have to be done to closely mimick those of real trees as shown in left figure.
Branches of a tree project similar fractal pattern as in a blade of leaaf
An algorithm rule proposed by H. Honda Left: branches are identified by length ratios and angles Right: Branches that diverge from main trunk follow this rule. It identify a spiral phyllotaxis-like angle alpha.
(Prusinkiewicz and Lindenmayer, 1990 cited in Ball)
Photograph by Benjamin Blonder, David Elliott < https://profiles.google.com/108832773152747423283/buzz/5qey9WHEbnt>
Sketch Model
I found this abstract painting of a tree by Lara Cazenave helped in visualizing a different dimension of how a tree could be represented.
These are sketches of basic shapes; triangle and circle that have undergone the fractal structuring or the “grow then divide” rule.
I decided to apply the “grow then divide” rule in forming the sketch model for this concept. I combined 2 of the formed structure to create something that has a volume, so as to encapsulate light.
An interpretation sketch of the chaotic appearance of the venation/branching structure
Sketch Model
I found this abstract painting of a tree by Lara Cazenave helped in visualizing a different dimension of how a tree could be represented.
These are sketches of basic shapes; triangle and circle that have undergone the fractal structuring or the “grow then divide” rule.
I decided to apply the “grow then divide” rule in forming the sketch model for this concept. I combined 2 of the formed structure to create something that has a volume, so as to encapsulate light.
An interpretation sketch of the chaotic appearance of the venation/branching structure
Time-lapse sketch of a bubble bursting
Below are form sketches that I thought would represent the lifetime of a bubble. The one at the bottom was a modification of the sketch above. I added 2 balloon-like shape to represent the formation of a bubble
Repitition of diagram to portray the formation of daughter bubbles and granddaughter bubbles
Sketch Model A sphere: when a bubble achieve its minimum surface Bubble bursting tension and achieve energy phase efficiency
Formation of bubble
Further Development
I decided to choose the Bursting Bubble concept to be further developed as my lantern concept for this semester. The reason is because I think this concept narrates a story that correlates with the essence of the existence of nature itself. At the beginning of a bubbleâ&#x20AC;&#x2122;s existence, it receives input from outside and the bubble itself constantly changes its surface as its volume changes. This expanding surface also constantly has a change in colour,because of the refraction effect on the bubbleâ&#x20AC;&#x2122;s layer that consists of water and soap. This is depicted in the variation of macrobubble pictures. I decided too for the lantern to be hanged, so as to portray the nature of a bubble, floating in air.
Sketch of panelising the form proposed
Sketch of panelising the form proposed with perforations The middle part/biggest part of the form has randomized small perforations to portray the changing colour due to refraction on the bubbleâ&#x20AC;&#x2122;s surface The upper part has bigger perforations to represent the gaps of air after the bubble burst and produce daughter bubbles, then granddaughter bubbles
Module Reflection At the beginning of the module, I was completely puzzled at the things that I have to learn and achieve in 3 months time. Having no experience and deep knowledge in abstractism and digitisation, I fear that I will not be able to even construct my first thought and ideas on paper. However, as lecture started, the subject began to unfold bit by bit and Iâ&#x20AC;&#x2122;m starting to understand what to expect in more weeks to come. The reading helped in understanding the underlying pattern of this natural world, especially Ballâ&#x20AC;&#x2122;s article. His article succesfully narrates the scientific aspect of the design in natural world. It amazes me how something that are deemed spontaneous and random, ultimately undergo rigid and systematic rules. The concept of emergence and self-organisation in the natural world enlightened my perception towards the natural environments as well as built environments.
In the midst of the module, I began to feel the complexity of defining a natural process. On the surface, natural processes look so simple, but as I began to delve deep into its scientific processes, it started to become hard to find for a concept for a lantern. However, it was definitely interesting to learn new terms and jargons in the design world. I used to think of design as merely colourful and beautiful. Now, I know that to design takes more than just a doodle on a piece of paper. A deep research, preferably an interdisciplinary one is important to holistically approach in problem-solving. I wish I had understand the design process earlier and consistently work on the research work. Alas, I look forward towards the upcoming modules and the lantern-building at the end of the semester.
virtual environments
module 1
jillian raleigh student no. 583168|semester 2, 2012|group 3
process + patterns + design
sampling space the reinterpretation of natural phenomena, identifying the fundamental processes and patterns.. visual and non-visual, macro and micro scale, organic and inorganic, spatial and temporal. mathematical art the translation of abstract concepts into sculptural forms through process-based design.. architectural biomimicry a licence to replicate, approximate or misrepresent natural phenomena to a design programme and conform to the realities of fabrication and construction.
patterns in architecture: times eureka pavilion
the lectures and readings revealed the complexities of patterns in nature and explored design informed by, but not literally representing natural processes..
patterns in architecture: prada building, tokyo
art/science imitating nature
patterns in nature: â&#x20AC;&#x2DC;brainâ&#x20AC;&#x2122; coral
spontaneous pattern formation a process involving the forming of patterns within complex systems (organisms or geological formations) through chemical or physical interaction of elements resulting in non-random structures and geometries. natural patterns are essentially a result of growth.. analytical drawing reducing a still life composition to a geometric expression of the structural relationship.. aimed ultimately to capture the form in a concise motif and observe the abstract qualities of the basic form.
virtual environments
ideation
virtual environments
process coral growth a highly complex and intricate process.emerging 542 million years ago, coral organisms are not single entities, but colonies of genetically identical polyps (microscopic spineless animals) structural variation is generated by the genetic characteristics of the particular polyp species inhabiting the form.
mechanisms coral is built by the accumulation of calcified polyp ‘skeletons’ and through reproduction, both asexual and sexual.. polyps receive nutrients through a simbiotic relationship with zooxanthellae, microscopic organisms that photosynthesise in return for a protected environment, allowing polyps to produce calcium carbonate skeletons. growth of some coral species through calcification varies from 2.1 to 3.9cm per year. asexual reproduction budding (chipping a tiny portion off a whole polyp) or division (halving of a polyp).. missing parts regenerate and the process is repeated.
sexual reproduction releasing gametes during a synchronous spawning event.. gametes fuse to form planulae, fertilised and micrscopic larva that eventually settle on a solid surface to begin a separate coral colony. coral have evolved to spawn during calm conditions, with reproductive periods varying according to regional wind and current patterns. the date of the spawning event is controlled by the lunar cycle and the time by the solar cycle, not by a ‘circadian rhythm’: coral spawn at sunset on the full moon on sunset. ‘blue planet’ on spawning: http://www.youtube.com/watch?v=wsaZ8-I7akg
virtual environments
process + patterns influences both the growth rate and structural character of coral is influenced by: 1. fluctuations in sea-levels 2. light intensity (photosynthesis) 3. water temperature 4. carbon dioxide concentration 5. pH + salinity, and 6. ocean currents (delivering nutrients) coral bleaching is a result of the explusion of zooxanthellae following stressing of the polyp colony: through increased water temperatures (global warming), anthropogenic pollution and turbulence (tropical cyclones)
coral growth in the red sea: (+) plot sunlight intensity and (o) surface water temperature; HD and LD stands for high and low density growth and R is the reproductive, spawning period.
radiograph of coral growth bands (lighter, wider bands represents low density summer growth & darker, narrower bands indicates high density, winter growth)
temporal patterns coral growth is cyclical, the influences mentioned typically varying according to the season: growth rates are higher and the coral structure less dense in summer than in winter (due to increased water temperature and light intensity)
initial interpretive sketches
geometric patterns hard corals form complex geometries, through branching (fractal) and crenellated (hyperbolic) growth..
laplacian fractal growth animation: http://n-e-r-v-o-u-s.com/blog/?p=1560 hyperbolic growth: http://www.ted.com/talks/margaret_wertheim_crochets_the_coral_reef.html
virtual environments
concept proposals exploring geometric patterns
attempting to translate coral geometry into mathematically defined parameters, as demonstrated in the ‘mathematical art’ lecture, in a concise form. sketch proposals based on branching (fractal) and crenellated (hyperbolic) geometries generated by difference coral species..
branching dynamic geometry, invoking a sense of movement: based on laplacian growth. too literal a representation of the coral form and too flimsy to be constructed of paper. opportunities to incorporate light also limited ‘sea whip’ coral
crenellation visually engaging form: based on hyperbolic geometry. not effective in terms of lighting.. though intricate light effects might be created by perforating and layering panels. difficult to model and again, too literal a translation of the form? ‘blue’ coral
virtual environments
concept proposals exploring process patterns
setting the degree of rotation to represent the solar cycle and the element size the lunar cycle produces a staid, benign structure..reversing the solar and lunar roles and embellishing the solar/lunar pattern yields a more dynamic form.
attempting to move beyond mere rendition of the natural process to an abstracted expression of coral growth, inspired by the â&#x20AC;&#x2DC;pattern in architectural designâ&#x20AC;&#x2122; lecture. sketch proposals derived from seasonal factors governing coral growth and reproduction: light intensity, water temperature and solar/ lunar cycles.
model with surface undulation representing the solar cycle (higher = summer, lower = winter)
model with surface undulation representing the lunar cycle (higher = full moon, lower = new moon)
intention is to have the radial elements projecting from the anchor point. however, the lantern will lack structural integrity; no method of attaching and bracing the elements at the centre with materials available.. proposed change: continuous form with articulated surface to allude to segmented origins? continuous form lacks the sharpness of the original conceptual sketch.
spawning/solar & lunar model abstraction of the solar and lunar effect on coral reproduction patterns: radial arrangement representing the seasonal growth cycle.. time rotating about the z-axis and lunar/solar cycles on the x-y plane.. LED lights proposed for the segments indicating the reproductive period. virtual environments
concept proposals exploring process patterns
spawning/light & water temperature model abstraction of the impact of light and temperature on coral reproduction patterns, based on the red sea graph. clusters of LED lights indicate spawning period. dynamic, but perhaps too anthropogenic: sail-like motif lacks organicness & originality.
growth rate + density/water temperature model augmentation of the radiographic illustration of coral density.. transforming 2-dimensional variation into a hollow 3-dimensional form cell sizes vary according to the rate of coral growth and the width indicates coral density: larger cells + narrower girth represents summer growth and viceversa.
virtual environments
design development refining the selected proposal growth rate + density/water temperature model selected based on the dynamic form, while maintaining structural integrity, and the potential for lighting: LEDs placed at locations representing spawning periods (wider, summer bands).
architectural precedent natural process-based design with organic curvilinear forms or incorporating polygonal panelling...
placement on the body rationale for choosing to enclose the head within the form: complexity inherent in coral organisms parallels neural networks, hence proximity to the brain..
times eureka pavilion, nex federation square, bates smart + lab melbourne rectangular stadium, cox webb bridge, dcm + robert owen
analytical drawing
pattern analysis panelling design: inspired by the intricate and organically polygonal ‘brain’ coral. identifying tensions within the structure and translating into a cassette template, to be repeated at varying scales to form the lantern surface. triangulated panels should be both constructable and structurally sound.
panel cassette: triangulated representation of ‘brain’ coral
virtual environments
credits art coral (cover): http://stockarch.com/images/abstract/textures/coral-polyps-2670 polyp structure image: http://www.pnas.org/content/94/16/8354/F1.expansion.html prada building: http://trivoxphoto.photoshelter.com/image/I0000CC0reB0JAIY times eureka pavilion: http://www.archdaily.com/142509/times-eureka-pavilion-nex-architecture/image-final-a/ ‘brain’ coral: http://www.freeimages.co.uk/galleries/nature/underwater/slides/brain_coral_polyps_5002.htm webb bridge: http://www.flickr.com/photos/peppershots/7001711392/
science Ball, Philip (2012): Pattern Formation in Nature, AD: Architectural Design, Wiley, 82 (2), March, pp. 22-27. Bauman, A, Baird, A, & Cavalcante (2011), ‘Coral reproduction in the world’s warmest reefs: southern Persian Gulf (Dubai, United Arab Emirates)’, Coral Reefs, 30, 2, pp. 405-413. Brady, A, Hilton, J, & Vize, P (2009), ‘Coral spawn timing is a direct response to solar light cycles and is not an entrained circadian response’, Coral Reefs, 28, 3, pp. 677-680. Klein, R, & Loya, Y (1991), ‘Skeletal growth and density patterns of 2 porites corals from the Gulf of Eilat, Red Sea’, Marine Ecology-Progress Series, 77, 2-3, pp. 253-259. Poling, Clark (1987): Analytical Drawing. In Kandisky’s Teaching at the Bauhaus, Rizzoli, New York, pp. 107-132 van Woesik, R (2010), ‘Calm before the spawn: global coral spawning patterns are explained by regional wind fields’, Proceedings Of The Royal Society B-Biological Sciences, 277, 1682, pp. 715-722. http://www.reefresilience.org/Toolkit_Coral/C2a1_Zooxanthellae.html http://en.wikipedia.org/wiki/Coral#Sexual
virtual environments
IDEA SOLAR
PRECEDENCE TIMBER WAVE, LONDON DESIGN FESTIVAL 2012
Solar Flares
This natural erruption on the surface of the sun happens every 11 years when the magnetic field from in and around the sun reconnect. It happens prominently at sunspots.
Images taken from Inhabitat.com
This mass explosion of energy can cause radiation storms that distrupt satellites and cause blackouts.
I like this design because it demonstrates the physical possibility of an obsecure curve to be structurally stable. Furthermore, it is an absolute blend between engineering and architecture. Created by Arup and Amanda Levete Architects, this design artuculates elegance in a very unorthodox shape. It applies furniture technology, uses wood in an usual way, and is a pinnacle to digital modeling. Images extracted from a YouTube Video by BBC. All links are available in bibliography.
â&#x20AC;&#x153;Design is central to the work that we do as engineers and these installations provide an excellent opportunity to demonstrate the interplay of artistic creativity and technical expertise that is inherent in all design.â&#x20AC;? - Amanda Levete
IDEA SOLAR
PRECEDENCE TIMBER WAVE, LONDON DESIGN FESTIVAL 2012
Solar Flares
This natural erruption on the surface of the sun happens every 11 years when the magnetic field from in and around the sun reconnect. It happens prominently at sunspots.
Images taken from Inhabitat.com
This mass explosion of energy can cause radiation storms that distrupt satellites and cause blackouts.
I like this design because it demonstrates the physical possibility of an obsecure curve to be structurally stable. Furthermore, it is an absolute blend between engineering and architecture. Created by Arup and Amanda Levete Architects, this design artuculates elegance in a very unorthodox shape. It applies furniture technology, uses wood in an usual way, and is a pinnacle to digital modeling. Images extracted from a YouTube Video by BBC. All links are available in bibliography.
â&#x20AC;&#x153;Design is central to the work that we do as engineers and these installations provide an excellent opportunity to demonstrate the interplay of artistic creativity and technical expertise that is inherent in all design.â&#x20AC;? - Amanda Levete
CONCEPT SOLAR FLARES
DESIGN SOLAR FLARES Magnetic Field I personally find the formation of â&#x20AC;&#x2DC;prominenceâ&#x20AC;&#x2122; quite intriguing. Despite being an abrupt blast of energy, it still has a natural tendency to widthdraw and fall back to the surface creating loops of blazing hot flares. From my previous knowledge, I know that a magnet has two poles; the north and the south. This magnetic force is always unidirectional and never overlaps. If more magnets are placed in fixed positions close to each other, the direction of the magnetic field is still from south to north.
Solar Flares Concept I imagined if there were multiple strong magnetic fields, a the force would form a gigantic haywired loop. This prompted the concept of my first proposal.
The Design I tried exploring flares as individual entities that has a magnetic pull towards the body. Inspired by the timbered wave, I chose to focus on this unique magnetic property that the sun has. Imagine the body as a large mass of energy and there is just a strong surge of energy ready to be released and exploded into the external environment. This proposal intends to articulate the internal nature of humans, powerful inside and out. final design
CONCEPT SOLAR FLARES
DESIGN SOLAR FLARES Magnetic Field I personally find the formation of â&#x20AC;&#x2DC;prominenceâ&#x20AC;&#x2122; quite intriguing. Despite being an abrupt blast of energy, it still has a natural tendency to widthdraw and fall back to the surface creating loops of blazing hot flares. From my previous knowledge, I know that a magnet has two poles; the north and the south. This magnetic force is always unidirectional and never overlaps. If more magnets are placed in fixed positions close to each other, the direction of the magnetic field is still from south to north.
Solar Flares Concept I imagined if there were multiple strong magnetic fields, a the force would form a gigantic haywired loop. This prompted the concept of my first proposal.
The Design I tried exploring flares as individual entities that has a magnetic pull towards the body. Inspired by the timbered wave, I chose to focus on this unique magnetic property that the sun has. Imagine the body as a large mass of energy and there is just a strong surge of energy ready to be released and exploded into the external environment. This proposal intends to articulate the internal nature of humans, powerful inside and out. final design
IDEA LUNAR
PRECEDENT NEW YORK BY GEHRY
Moon Craters These craters are created on the surface of the moon by asteriods, comets and other cosmic rocks that collide with the moon. The moon has no atmosphere that protects the surface from foreign matter and thus has its irregular, unappealing and rough appearance. The formation of a crater can be replicated with droplets of water landing on a granular surface such as sand. Craters vary in size and shape depending on the velocity, material and various other factors.
low velocity drop
medium velocity drop
Images taken from andyourbird-cansing.blogspot.com
Fluidity within statics
high velocity drop
It fascinates me to see how this masterpiece is essentially the same like any other building. Yet, even from afar, it stands out with the excentric wave-like feature. The slight distortion in its regular figure is not only applealing but also has spatial functions. It changes my perspective to see many objects as basic geometrical shapes. This concept was also mentioned in Lecture 2 where Prof Bharat Dave mentioned everything is made up of basic triangles that will always form a single planar surface.
liquid of different density
Both of these ideas prompted me to look at the regularity and form of the crater formation process.
IDEA LUNAR
PRECEDENT NEW YORK BY GEHRY
Moon Craters These craters are created on the surface of the moon by asteriods, comets and other cosmic rocks that collide with the moon. The moon has no atmosphere that protects the surface from foreign matter and thus has its irregular, unappealing and rough appearance. The formation of a crater can be replicated with droplets of water landing on a granular surface such as sand. Craters vary in size and shape depending on the velocity, material and various other factors.
low velocity drop
medium velocity drop
Images taken from andyourbird-cansing.blogspot.com
Fluidity within statics
high velocity drop
It fascinates me to see how this masterpiece is essentially the same like any other building. Yet, even from afar, it stands out with the excentric wave-like feature. The slight distortion in its regular figure is not only applealing but also has spatial functions. It changes my perspective to see many objects as basic geometrical shapes. This concept was also mentioned in Lecture 2 where Prof Bharat Dave mentioned everything is made up of basic triangles that will always form a single planar surface.
liquid of different density
Both of these ideas prompted me to look at the regularity and form of the crater formation process.
CONCEPT CRATER COLLISION
Crater Formation Concept In week two, one of my ideas was to replicate the edges of the ripple formed. My idea is to have a smooth swirl of ripple droplets along the spine of the body. It extends towards the top as two entities twist and mould together. This did not really work as I wanted to frame the sequence of water droplets falling. It did not have a structural or a design significance.
CONCEPT CRATER COLLISION
The main focus is to have a recreated spine
Crater Formation Improvisations The idea fell a bit out of context because I focused more on the form on the body rather than the elements that make up the collision. Hence, I revised ways I could look at craters. I extracted the visual impacts of the water droplets. This redeveloped concept focuses on what happens to the land mass during the collison. Thinking about the sequence of mass displacement, I tried to focus on the edges.
CONCEPT CRATER COLLISION
Crater Formation Concept In week two, one of my ideas was to replicate the edges of the ripple formed. My idea is to have a smooth swirl of ripple droplets along the spine of the body. It extends towards the top as two entities twist and mould together. This did not really work as I wanted to frame the sequence of water droplets falling. It did not have a structural or a design significance.
CONCEPT CRATER COLLISION
The main focus is to have a recreated spine
Crater Formation Improvisations The idea fell a bit out of context because I focused more on the form on the body rather than the elements that make up the collision. Hence, I revised ways I could look at craters. I extracted the visual impacts of the water droplets. This redeveloped concept focuses on what happens to the land mass during the collison. Thinking about the sequence of mass displacement, I tried to focus on the edges.
DESIGN CRATER COLLISION
IDEA CRATER PATTERNS
Twisted yet smooth I thought of how the parameters of a crater could ressemble a body part. The closest link I think are pimples but that concept might be a bit too offputting. Instead, i thought about how it is rough, irregular and seemingly flexible; like the spine. I decided to make this proposal to act as an extension of the spine. It would act like an exoskeletonal support. These draft models were created using an alternate medium; Rhino illustration program, because I wanted to put my skills into function by testing out its capabilities. Section of a basic moon crater
Mapping of moon craters
Crater After the Mathematical Art lecture, I began to wonder why do we see the moon as it is? Could there be a unique graphical or algebraic arrangement? I thought it would be interesting if I at least attempted to have an arrangement within the dishielved nature of craters. I found out that this â&#x20AC;&#x2DC;order within disorderâ&#x20AC;&#x2122; is called Entrophy and I could easily map the spread of craters in various ways.
Graphical collection of moon crater data
DESIGN CRATER COLLISION
IDEA CRATER PATTERNS
Twisted yet smooth I thought of how the parameters of a crater could ressemble a body part. The closest link I think are pimples but that concept might be a bit too offputting. Instead, i thought about how it is rough, irregular and seemingly flexible; like the spine. I decided to make this proposal to act as an extension of the spine. It would act like an exoskeletonal support. These draft models were created using an alternate medium; Rhino illustration program, because I wanted to put my skills into function by testing out its capabilities. Section of a basic moon crater
Mapping of moon craters
Crater After the Mathematical Art lecture, I began to wonder why do we see the moon as it is? Could there be a unique graphical or algebraic arrangement? I thought it would be interesting if I at least attempted to have an arrangement within the dishielved nature of craters. I found out that this â&#x20AC;&#x2DC;order within disorderâ&#x20AC;&#x2122; is called Entrophy and I could easily map the spread of craters in various ways.
Graphical collection of moon crater data
IDEA CRATER AFTERMATH
IDEA MAPPING TRAILS
Simplification
Extraction of the Idea The experiment was to test the probability distribution of the craters. Using Kadinsky’s method, I decided to outline the tension between the overlaps and see what it could produce. Tension
The Crater Experiment I wanted to know more on the arrangement and pattern of the craters so I tried replicating the moon’s surface by throwing or dropping plasticines of different sizes on a layer of flour. The centre acts as a main target where hopefully, most of the plasticine would fall. Results intrigued me to see the surprising likelyhood of a ‘meteor’ falling on one spot more than once. Also, the craters do not form at the centre but more towards the top right because it was a more exposed region during the experiment.
It is interesting to see how craters form clusters with each other and seemingly stream towards a larger crater.
Transformation
IDEA CRATER AFTERMATH
IDEA MAPPING TRAILS
Simplification
Extraction of the Idea The experiment was to test the probability distribution of the craters. Using Kadinsky’s method, I decided to outline the tension between the overlaps and see what it could produce. Tension
The Crater Experiment I wanted to know more on the arrangement and pattern of the craters so I tried replicating the moon’s surface by throwing or dropping plasticines of different sizes on a layer of flour. The centre acts as a main target where hopefully, most of the plasticine would fall. Results intrigued me to see the surprising likelyhood of a ‘meteor’ falling on one spot more than once. Also, the craters do not form at the centre but more towards the top right because it was a more exposed region during the experiment.
It is interesting to see how craters form clusters with each other and seemingly stream towards a larger crater.
Transformation
IDEA EMOTIVE CONNOTATIONS
CONCEPT RUBBLE
Simplification Tension Transformation
Emotive connotations of the Moon
Designs in the Early Stages
It intrigues me to see how the craters overlap. This prompted me to look at craters as individuals.
From the begining of the module, much has changed in terms of the design, concept and shape. This page shows a collection of what I have been doing throughout week two and three. Sketches, models and 3D illustrations reveal the process that Iâ&#x20AC;&#x2122;ve been through to produce my final outcome.
I find it quite interesting how the Kadinsky Method made me draw a somewhat half-moon half-sun diagram. It really created a division between bright and dark within one crater. After that, I tried to give a purpose to the segments of the moon. I figured, the moon has always had a strong religious and cultural influence in many early religions and civilisations. With some research and background knowledge, I decided to focus on two main beliefs of the moon, the mysterious and the supernatural.
IDEA EMOTIVE CONNOTATIONS
CONCEPT RUBBLE
Simplification Tension Transformation
Emotive connotations of the Moon
Designs in the Early Stages
It intrigues me to see how the craters overlap. This prompted me to look at craters as individuals.
From the begining of the module, much has changed in terms of the design, concept and shape. This page shows a collection of what I have been doing throughout week two and three. Sketches, models and 3D illustrations reveal the process that Iâ&#x20AC;&#x2122;ve been through to produce my final outcome.
I find it quite interesting how the Kadinsky Method made me draw a somewhat half-moon half-sun diagram. It really created a division between bright and dark within one crater. After that, I tried to give a purpose to the segments of the moon. I figured, the moon has always had a strong religious and cultural influence in many early religions and civilisations. With some research and background knowledge, I decided to focus on two main beliefs of the moon, the mysterious and the supernatural.
PRECEDENT GEHRYâ&#x20AC;&#x2122;S OWN HOME
DESIGN MOON CRATERS
Single Crater
Mysterious VS Supernatural
Hectic but organised
Prototype development
The reciprocative relationship between the built and the phenomenological environment in this structure fascinates me. Ghery uses scrap and ugly materials to create comfy and hospitable abode.
These series of images show the further development of the design in reference to the concept diagram on the left.
Another unique thing about this building is the destructivism. He breakes spaces into seperate constituents and create them individually enhanging light, space and temperature properties. I think this would be a very useful concept to apply on my design especially because mine relates to the moon which has no regular order.
I focus on the moon on different scales: the cresent, the entrophy and cultural qualities.
www.greatbuildings.com/buildings/Gehry_House.html
Crater distribution
PRECEDENT GEHRYâ&#x20AC;&#x2122;S OWN HOME
DESIGN MOON CRATERS
Single Crater
Mysterious VS Supernatural
Hectic but organised
Prototype development
The reciprocative relationship between the built and the phenomenological environment in this structure fascinates me. Ghery uses scrap and ugly materials to create comfy and hospitable abode.
These series of images show the further development of the design in reference to the concept diagram on the left.
Another unique thing about this building is the destructivism. He breakes spaces into seperate constituents and create them individually enhanging light, space and temperature properties. I think this would be a very useful concept to apply on my design especially because mine relates to the moon which has no regular order.
I focus on the moon on different scales: the cresent, the entrophy and cultural qualities.
www.greatbuildings.com/buildings/Gehry_House.html
Crater distribution
DESIGN MOON CRATERS
DESIGN MOON CRATERS
FINAL DESIGN AND CONCEPT Texture and Volume I was quite pleased with the concept moon craters. However, I felt that the shape was lacking quality and sophistication. These images are a show of some an attempt I made to somewhat physically panel a 3D pattern. I discovered that it would be good to have a mix of depth and angle to create a unique shadowing effect that would accentuate the mysterious nature of the moon.
DESIGN MOON CRATERS
DESIGN MOON CRATERS
FINAL DESIGN AND CONCEPT Texture and Volume I was quite pleased with the concept moon craters. However, I felt that the shape was lacking quality and sophistication. These images are a show of some an attempt I made to somewhat physically panel a 3D pattern. I discovered that it would be good to have a mix of depth and angle to create a unique shadowing effect that would accentuate the mysterious nature of the moon.
FINAL DESIGN
REFLECTION Module one has thought me the jest of creating something unprecedented, innovative and sophisticated. To pick a natural process was an extremely vague starting point. Nonetheless, I chose to begin with the primary source of life, the Sun. Ball’s (2012) text helped me to deeper explore the ideas within natural processes especially with the chemical concept of morphogenesis. It prompted me to think how as designers, we could be ‘activators’ that can modify, twist, bend, distort a formal pattern or movement. This I believe is the step prompted me to break down nature into its basic constituents and essentially seek for underlying connotations (Lecture 1). Although the extraction of the idea was fruitful, I felt that the design was rather lacking and thus I had the urge to seek out for more natural elements. I delved into the secret of the moon. I strongly felt that the moon had a plethora of concepts to offer so I decided to explore the moon on two occasions; the formation the shape of craters. It was definitely a better space for ideas to extract and embed into a wearable lantern. I had some difficulties with the way I perceived the moon’s surface because I tend to look at the physical and literal form. With advises from my tutor and peers, I applied the Kadinsky method as explained by Poling (1987). The three basic steps of simplifying, outlining tension and translating the pictorial diagrams have aided me to extract my experiment outcome into different segments that is not only physical but connotes the intangible and imaginative nature of the moon. It enables me to “perceive the abstract, essential and undistracted aspects”. Thus, my final design outcome is not only rich in design but also in significance and purpose. My concept connects with both the wearer and its form. I wanted to broaden my frame of thought through research of existing architecture. Without neglecting the importance of physical shape and aesthetics, I have chosen three precedents (Gehry in particular) that are unorthodox and peculiar in structure and idea. Keeping my previous flawed thinking in mind, I grasped more of the concept behind the building rather than their appearances.
Design Division This final design is a compilled and multilayered outcome from the whole ideation process. I have developed a design that connotes the moon as mysterious yet supernatural as well as a multi-scaled matter.
What this module has instilled me overall is to continuously explore an idea through various mediums; clay, paper, sketches, & 3D modelling. This really helped with the final form of the design because my model, on several scales has the crescent, the craters, and the rubbles but they are all weaved in together. The more I work on the design, the better it gets, designs are truly only “limited by the imagination” (Lecture 2).
This is one small step for a man, one giant leap for mankind. -Neil Armstrong
FINAL DESIGN
REFLECTION Module one has thought me the jest of creating something unprecedented, innovative and sophisticated. To pick a natural process was an extremely vague starting point. Nonetheless, I chose to begin with the primary source of life, the Sun. Ball’s (2012) text helped me to deeper explore the ideas within natural processes especially with the chemical concept of morphogenesis. It prompted me to think how as designers, we could be ‘activators’ that can modify, twist, bend, distort a formal pattern or movement. This I believe is the step prompted me to break down nature into its basic constituents and essentially seek for underlying connotations (Lecture 1). Although the extraction of the idea was fruitful, I felt that the design was rather lacking and thus I had the urge to seek out for more natural elements. I delved into the secret of the moon. I strongly felt that the moon had a plethora of concepts to offer so I decided to explore the moon on two occasions; the formation the shape of craters. It was definitely a better space for ideas to extract and embed into a wearable lantern. I had some difficulties with the way I perceived the moon’s surface because I tend to look at the physical and literal form. With advises from my tutor and peers, I applied the Kadinsky method as explained by Poling (1987). The three basic steps of simplifying, outlining tension and translating the pictorial diagrams have aided me to extract my experiment outcome into different segments that is not only physical but connotes the intangible and imaginative nature of the moon. It enables me to “perceive the abstract, essential and undistracted aspects”. Thus, my final design outcome is not only rich in design but also in significance and purpose. My concept connects with both the wearer and its form. I wanted to broaden my frame of thought through research of existing architecture. Without neglecting the importance of physical shape and aesthetics, I have chosen three precedents (Gehry in particular) that are unorthodox and peculiar in structure and idea. Keeping my previous flawed thinking in mind, I grasped more of the concept behind the building rather than their appearances.
Design Division This final design is a compilled and multilayered outcome from the whole ideation process. I have developed a design that connotes the moon as mysterious yet supernatural as well as a multi-scaled matter.
What this module has instilled me overall is to continuously explore an idea through various mediums; clay, paper, sketches, & 3D modelling. This really helped with the final form of the design because my model, on several scales has the crescent, the craters, and the rubbles but they are all weaved in together. The more I work on the design, the better it gets, designs are truly only “limited by the imagination” (Lecture 2).
This is one small step for a man, one giant leap for mankind. -Neil Armstrong
BIBLIOGRAPHY
Background Information
Readings & Lectures
Ball, Philip (2012): Pattern Formation in Nature, AD: Architectural Design, Wiley, 82 (2), March, pp. 22-27 Poling, Clark (1987): Analytical Drawing. In Kandiskyâ&#x20AC;&#x2122;s Teaching at the Bauhaus, Rizzoli, New York, pp. 107-132 Lecture One: Introduction Lecture Two: Imagining & Sampling Space Lecture Three: Abstract Spaces. Guest lecture - Mathematical Art
Solar Flare Video
http://www.youtube.com/watch?v=nmDZhQAIeXM http://www.youtube.com/watch?v=l2RMnmjQynM&feature=related
Moon Crater Video, Information and Images http://blogs.discovermagazine.com/badastronomy/2012/07/13/peaking-into-lunar-craters/
Moon Graphs and Diagrams
http://thelaunchpad.xprize.org/2009/08/lunar-infographics.html http://astro.physics.uiowa.edu/ITU/labs/asteroid-observations/
Moon Culture http://www.goddessaday.com/mayan/mama-quilla
Precedence
Timber Wave, London Design Festival 2012 http://inhabitat.com/gigantic-timber-wave-installation-welcomes-the-london-design-festival-to-va/timber-wave-design-week-5/
New York by Gehry
http://andyourbird-cansing.blogspot.com.au/2010/11/ripple-effect.html
Gehryâ&#x20AC;&#x2122;s Own Home
www.greatbuildings.com/buildings/Gehry_House.html
Xeyiing Ng Student No : 596296
Semester 2/2012
Group 14
Natural Form 1 : Lightning Lightning is essentially a huge flow of electrons forming current flows.
Zigzag of Lightning Lightning is jagged because each leader forms independently of the others. Each place a lightning bolt zigs or zags is where one leader stopped and another one started. Each place a lightning bolt forks is where two separate leaders formed from the bottom end of a single leader above. This whole process takes only a few thousandths of a second. Air is made up of all sorts of different gases, elements, particles, moisture. When a lightning channel begins to form, pulled along by the difference in electrical charges, it takes the path of least resistance through the airvery much like the water flowing down a rocky hill.
Lightning Pattern Lightning are Lichtenburg Figures which are part of the Fractal Pattern.
Lightning in the night sky
Fractal patterns of lightning
Precedent : Fractal, Virtual Environment Lecture 2 Trees are living fractals, their great complexity stems from one very simple rule. The aim is to maximise the amount of sunlight the tree gets, and it only needs one rule to create this shape that is to grow then divide, grow again and then divide. The same pattern repeats itself again and again at smaller and smaller scale.
Fractal patterns of a living tree Trees, the living fractal
Inspiration : Fractal as a Functioning Pattern The conventional lantern serves as an illuminating source and even though the main purpose of lightning is not to illuminate, it does bring light to the dark sky. Like trees which uses fractal to branch up and out to maximise the amount of sunlight it obtains, the more branching of the lightning, the brighter it is. Some lightning are bold and concentrated whereas others are weak and scattered. The fractal pattern can applied to enhance this feature of lightning.
Key Concept : Branching and Lighting of Lightning
Weak and scattered lightning
Strong and bold lightning
Lightning with more branching produces weaker and scattered light
The begining of the branching of lightning is where bold and strong light is produced.
Sketch of Lightning design
Natural Form 2 : Snowflakes Snowflakes are conglomerations of frozen ice crystals which fall through the Earthâ&#x20AC;&#x2122;s atmosphere.
Symmetry of Snowflakes Snowflake exhibits a six-fold symmetry, same as a regular hexagon and this is due to the crystalline sixfold structure of ice. The six "arms" of the snowflake, or dendrites, then grow independently, and each side of each arm grows independently althought most snowflakes are not completely symmetric. The micro-environment in which the snowflake grows changes dynamically as the snowflake falls through the cloud, and tiny changes in temperature and humidity affect the way in which water molecules attach to the snowflake. Since the micro-environment (and its changes) are very nearly identical around the snowflake, each arm can grow in nearly the same way.
Snowflake
Formation of Snowflakes Snow crystals develop when microscopic supercooled cloud droplets freeze, complex shapes emerge as the flake moves through differing temperature and humidity regimes, such that individual snowflake are nearly unique in structure
Formation of snowflake
Precedent : The Michael Schumacher World Champion Tower Architect : Location :
Chris Bosse and Tobias Wallisser of Laboratory for Visionary Architecture Asia Pacific (LAVA) Dubai
Inspired by the geometrical order of a snowflake and the aerodynamics of a Formula 1 racing car, the tower encapsulates speed, fluid dynamics, future technology and natural patterns of organisation. Rather than purely mimicking shapes in nature for their elegance and unpredictability, the architects learned from nature’s own geometrical orders creating highly efficient structures and intriguing spaces.
The Michael Schumacher World Champion Tower
Inspiration : Molecular Structure of Snowflake Snowflakes take up different forms as they fall down to the earth, affected by the various surrounding factors. Despite the fancy patterns, snowflakes like many other natural forms are organised and systematic and has its’ own geometrical order in governing the underlying structure. Instead of mimicking the shapes of snowflakes, the focus was brought to its’ molecular structure. All snowflakes, no matter their final forms, are formed from a symmetrical hexagon.
Molecular structure of a snowflake
Key Concept : Molecular Structure of Different Stages of Water Precedent : Analytical Drawing in Kandinsky’s Teaching at the Bauhaus, by Poling Kandinsky said, ‘The teaching of drawing at the Bauhaus is an education in looking, precise observation and the precise representation not of the external appearance of an object but of constructive elements, the laws that govern the forces that can be discovered in given objects, and of their logical construction.’
Inspiration : Simplifying the Molecular Structure of Snowflake The molecular structure of snowflake although complicated has a regular shape and is symmetrical and it was then reduced to simple lines forming a symmetrical equilateral hexagon. The lines in the polygon represent the combining of forces between its’ particles supporting the structures of the snowflake. The unnecessary and distracting elements were removed, directing the attention to its’ constructive element. Molecular strucute of snowflake
Inspiration : Melting of Snowflakes
Molecular structure of liquid water
The simplifying process was then taken a step further. When snowflakes melts, the crystalline structure turns into liquid, forming water, and when more heat is provided, water turns into its’ gaseous form, steam or vapour, the simplest form of water. The molecular structures of water and steam when simplify forms a rhombus and triangle.
Molecular structure of steam
Putting all of the molecular structures together, they form a cycle known as the water cycle. The water cycle is seen around nature wherever there is water and is a very important process as it maintains balance in the earth.
Different stages of water and itsâ&#x20AC;&#x2122; processes
Molecular structure of vapour
Molecular structure of liquid water
Molecular structure of snowflake
Figure . Sketch of the Water Cycle model
The crown-like model, the Water Cycle shows the transition of molecular structures of water from itsâ&#x20AC;&#x2122; different stages. The first triangle, which is placed above all other structures represents the simplest form of water. The structures were arranged in increasing sizes from the first triangle to the hexagons, clockwise to show the accumulation of molecules for the formation of water and snowflake from vapour, however the sizes decreases from the hexagon back to the first triangle, clockwise as the molecules from snowflakes breakdown back to itsâ&#x20AC;&#x2122; gaseous form. The smaller triangles in between is to clearly separate the different stages.
Clay model of the Water Cycle
Natural Form 3 : Wind Waves Wind waves are surface waves that occur on the free surface of oceans, seas, lakes,rivers, and canals or even on small puddles and ponds. Wind waves are mechanical waves, a wave that requires a medium to travel (ie. water). Wind waves in the ocean are called ocean surface waves. Wind waves have a certain amount of randomness: subsequent waves differ in height, duration and shape, with a limited predictability. They can be described as a stochastic process, in combination with the physics governing their generation, growth, propagation and decay.
Waves at the coastline
Breaking Waves Curving of waves are more accurately known as breaking wave. It is the breaking of water surface waves on a coastline because of the horizontal component of the fluid velocity associated with the wave motion, wave crests steepen as the amplitude increases; wave breaking generally occurs where the amplitude reaches the point that the crest of the wave actually overturns. It is particularly common on beaches because wave heights are amplified in the region of shallower water.
Formation of breaking waves
Precedent : Pattern Formation, Virtual Environments, Sem 2 2012 Lecture 1 All things are constantly changing, the change however is not random and it takes on certain patterns. Patterns can be found everywhere, in the growth of shells and plants, even among the huge city, where we have fixed structures yet there are still changes in between them, i.e. the human traffic. Many of the patterns having underlying rules and codes that we humans are yet to discover, such patterns help govern the formation of things around us. When we understand the rules behind it, we are able to apply it to other purposes
Inspiration : Circular Motion of Wave Particle The common pattern of the sea waves known by many forms up and down curves which alternates, the formation of the curves are however unknown to many. Through science, it is understood that the surface particles of the wave move in circular motion hence creating the curves we see. The circular motion of wave particles is the underlying code which governs the formation of the pattern of waves.
Particle near the surface move in circular paths Besides the perfectly rounded motion of the wave particle, when the amplitude of the wave increases, the particle path no longer form closed orbits, rather after each passage of each crest, particles are displaced slightly from their previous position and this phenomena is known as the stroke drift.
Stroke drift
Precedent : The Flosion Seating System 'Designer :
Amy Tang
As a multifunctional object it provides creativity while maintaining practicality. The individual components can be positioned as singular stools, or several can be put together to create a bench. By removing the cushions, you can also create a sturdy coffee or end table. According to Selector, the undulating flow of the systemâ&#x20AC;&#x2122;s curves was inspired by waves. The designer intended that the connecting of the pieces would inspire interaction and energy exchange between people. Besides the obvious beauty it brings to the home, the system has great potential for public and commercial applications, such as clubs, hotels and office spaces.
The Flosion Seating System
Inspiration : Double Waves Developing from the first concept of waves and circles, a second inverted wave with the circle of the same radius is place directly above the first wave creating a petal shape. Not all waves are in coherent, hence if one observes waves from itsâ&#x20AC;&#x2122; cross section, one is likely to observe the petal-shaped waves. Creating a closed loop provides better structural support to the petals than a cantilever wave, like the seating system above, creates a sturdy structure.
Petal-shaped wave
Key Concept : Circular Motion of Wave Particles As the depth of water increases, the radius of crcular motion of wave particle decreases.
Wave particle motion from shallow to deep waters.. As the depth of water decreases, the elliptical movement of particle flattens.
Circular motion of wave particles
The silhouette of the model looks very much like a flower with lots of petals; it is however inspired by ocean waves showing a series of progression in waves. In the deep ocean, waves are formed when the wind blows, although unable to quantify wind, a gust of wind will however create lots of waves propagating in different direction at different speed and amplitude, the wavy petals are like the waves, caused and formed by the same source (i.e. the same starting point) yet propagates and move in various direction. The first layer of petals are of much smaller amplitude (i.e. circle with a smaller radius), calm and mild, the second layer however has wavers of much greater amplitude (i.e. circle with a greater radius). This phenomena can be observed on the ocean, when the wind blows on the deep ocean, due to itsâ&#x20AC;&#x2122; depth, waves generated generally have smaller amplitude, as the wave propagates to the shore where the waters are shallow, the velocity of wave decreases hence increasing the wave energy causing an increase in amplitude, resulting in an increase in the wave crest.
Sketch of Wave Petals model
Paper model of the Wave Petals
Making A Choice...
For the final concept, a choice was to be made from the Water Cycle, the Lightning or the Wave Petals model for further development. The Water Cycle and the Wave Petal are essentially based on the same element, water, and it was decided that even though the Water Cycle has a more rigid structure and the Wave Petal is more flexible, both designs must have common properties that would allow them to merge together. The lightning had a very different element and was not as well developed as the other two designs, it was hence eliminated. The common properties of the Water Cycle and the Wave Petal were explored to develop the final concept.
Final Design : Water Cycle and Wave Petals
Final Concept : Temperature and Amplitude of Waves To merge the Water Cycle and Wave Petals, the ocean is imagined as a huge water tank, the ocean is where waves are most commonly formed and it is also a natural site where water cycle occurs hence merging both the designs together by their common property. One end of the tank is constantly maintained at 100Ë&#x161;c while on the other end, the water is maintain at 0Ë&#x161;c. During the boiling of water, hot water at the bottom rises to the surface creating wave like turbulences on the surface which then moves towards the sides of the tank where the temperature is lower, with this, waves are created. Assuming the ocean floor is parallel to the surface of the water, the hot waves with greater amplitude gradually loses energy as it move towards the cold region, resulting in waves with smaller amplitude when it reaches the cold region.
Hot Water
Sketch of the ocean as a huge tank
Cold Water
Key Concept : Wave Particles and the Formation of Wave Patterns Taken from the Water Cycle, the three different forms of water representing changes in temperature.
+
From the Wave Petals, wave petals of different amplitudes are used.
Incorporating the isolated structures from each model generally results in the following designs. The different structural forms of water are placed inside the wave petals so that they act like the wave particles, moving in circular motion creating the wave patterns.
The overall structure is an equilateral triangle, which represents water in itsâ&#x20AC;&#x2122; simplest form, vapour.
From A to C and a to c, the radius of the circular motion decreases as the waves move from hot to cold, showing a symmetrical structure.
Changes from vapour (triangle) to liquid water (rhombus) and then to ice (hexagon), showing a decrease in temperature. Sketch of Nine Petals model
The Nine Petal can also be supported on the shoulders. l
The Nine Petal can be worn around the neck like a necklace.
The Nine Petals model is a merge of the Water Cycle and the Wave Petal, the key variable in the design being the temperature. A full circle was not made because as water becomes vapour in air, itsâ&#x20AC;&#x2122; movement are not guided by the same principles as the wave pattern anymore. Although with similar features from the previous concepts, they however relate to the natural concept differently. The three polygons for instance, the change from triangle to rhombus then hexagon in the Water Cycle meant a structural change from vapour to ice, in the Nine Petals model however, the changes in the polygon focuses on the change of temperature rather than the structural change of water. The meaning behind the sizes of the wave too varies from the Wave Petal model. In the Wave Petal, the change in the radius of the circle aims to bring attention to the relationship between the depth of water and the amplitude of waves, but in the Nine Petals model, change in the amplitude of the waves is related to the change in energy of the waves as it propagates. Generally, the amplitude of waves decreases in the anticlockwise direction as the wave loses energy from the hot to the cold region.
Side elevation of the Nine Petal Clay model of the Nine Petal
Reflection I had always been a science student which means I classify things into two regions, the right and the wrong. The past few weeks has been a real eye opener for me, I had a real shock when I was told in the first lecture that there are not right or wrong answers in this subject, and I had no idea how to work things out in the first week. As the weeks past, with the lectures and tutorials, I however begin to embrace the subjective side of things. The lectures helped me see things at a whole new level, to find underlying patterns in the ever changing surrounding. It was when further research was done after lectures that I realise patterns are all around us, and with that I was able to successfully accomplish Week 1â&#x20AC;&#x2122;s tasks in researching for natural processes and while working on the design, instead of recreating the shapes of waves, I managed to incorporate the underlying working theory into my design. The following lectures by guest lecturers who talked about forming patterns from mathematical equations and also patterns in structures had been a great inspiration for my designs as I was working towards the molecular structures of water and it has enhanced my designs. Readings, especially the Analytical Drawing by Poling, which discussed about how the forces in the structures are shown instead of the physical appearance, has also contributed to my final design, where the emphasis was not laid on the external shape of the natural processes. The design flow did not come easily to me, but tutorials and group discussions in seminars had assist me in expressing my ideas and also organising them. The clay-model making process was great, seeing ideas on paper being made into real 3D structures gave me a sense of pride and achievement. Learning up new technical skills such as Rhino and InDesign was very useful, as it has provided me with a platform to present my work better. Still clueless on how current model will turn into a lantern, I have confidence that it will worked out as I gain more knowledge and experience in the coming weeks. Although it is obvious that much improvement has to be made and that I am far from perfect, the past weeks has been a very meaningful start and I look forward to the rest of the semester with enthusiasm.
Reference List http://en.wikipedia.org/wiki/Breaking_wave http://adventure.howstuffworks.com/outdoor-activities/water-sports/surfing6.htm http://en.wikipedia.org/wiki/Wind_wave http://en.wikipedia.org/wiki/Snowflake http://en.wikipedia.org/wiki/Lightning http://www.dezeen.com/2008/10/07/mswct-tower-by-lava/ http://fineartamerica.com/featured/fractal-trees-francis-erevan.html http://photo.accuweather.com/photogallery/details/photo/119755/Snowflake+and+Frozen+Percipitation http://www.trendhunter.com/trends/multifunctional-flosion-system-wins-award
Process Analysis 1 – Ripples.
Source: http://www.truzzy.net/pictures/water-0 http://t1.gstatic.com/images?q=tbn:ANd9GcQWIvZXag4XSpt137q3qPHdb5aw_khzSThRB9B0U_HlZBOGnPPDqOa2T0oy7Q
Source: http://ivybetty.com/wp-content/uploads/2010/06/water-figures-linden-5-576x508.jpg
In my quest to analyse the mechanics of water displacement through observation I encountered ripple movement of the surface tension. Conduction of my own simple experiments and observations created some fascinating thoughts about how the molecules balance out the energy displaced by the patterns of wave movement seen when the surface tension is disturbed. The patterns found within the ripple wave response are hugely varied and difficult to quantify. Newtons third law roughly states “For every action there is an equal and opposite reaction”, i.e. the energy is cancelled out through wave formation.
Model 1, 1A and 1B â&#x20AC;&#x201C; extrusion.
Model 1- Ripple formation and extrapolation of simplified form. The point of impact of the water droplet causes water displacement. While the initial drop caused a depression in the surface tension, there is a reaction caused by the surface tension and the transference of energy. In slow motion the droplet penetrates and is absorbed by the water, but should there be sufficient force (height from which it is dropped) a droplet, or droplets are expelled back out, above the water. Due to the nature of the identical molecular density of both parts, the resultant reaction is due to the combination of the Archimedes Principal and the Newtons Third Law.
Model making exercises resulted in a simplistic ripple pattern modelled on my photos and drawings and a stylised, simplified version where the impact is exaggerated. Attempts at modelling this in Rhino were only partially successful.
Model evolution.
Using graphical, photographic and digital modelling I have endeavoured to allow natural model evolution. The ripple series sin this case did not appear to reflect a geometric pattern which is seen in wave formation in the rippling mechanisms of fluid mechanics. I redrew and rebuilt all the models to allow fro more freeform patterns to evolve within the ideation of the concept.
Series 1 â&#x20AC;&#x201C; Model 1. A Ripple formation
Model 2 series 2 against a known scale figure.
The freeform geometry of the ripple concept in situ against a scale model: the model form is out of scale with the figure. The idea is that the model is worn over the should, allowing the extruded water droplet element of the model to curve around the shoulder and neck. The second model attempt was more successful and looks in scale in relation to the figure.
Model 3 series 1 against a scale figure.
My Photos of fungal growth patterns.
Process 3 â&#x20AC;&#x201C; Fungi and Mycorrhizal growth patterns.
Commonly fungi or mushrooms represent the fruiting body parts of a much larger mycorrhizal organism, which is parasitic in nature, Fungi are multi-form and show a wide variety of patternation in nature. Not surprisingly observation of growth is only possible though time-lapse photography. My interest lay in the physical structural nature of the organism, from its visible parts to it complex mesh of mycorhizae in the decaying material it inhabits.
Model 1 â&#x20AC;&#x201C; fungal growth.
Morphing of models structured on fungi and mycorhizae.
Modelling of the process allowed me to think of the process as a single entity connected with a very simple interface. Attempts at modelling with Rhino were more successful after initial explorations. The use of lofting didnâ&#x20AC;&#x2122;t yield satisfactory results, so other tools were use to give dimension to the model. The screen grabs give some idea of results.
Models 2 . A flatten fruiting body or fungi â&#x20AC;&#x201C; lacks form and dimension (unsuitable for further development).
Model 3. A mesh and sponge representation of the mycorrhizae.
Source: http://www.petrasmirnoff.com/wpcontent/uploads/2010/07/enoki.jpg
Model Evolution Series 3 â&#x20AC;&#x201C; Fungal Growth. To allow for the structure of the fungal growth to be visually represented more clearly I created several new models in order to explore mycorrhizal growth patterns . Neither of the elements alone presented true exploration of fungal growth. The mesh patterns of model 3 and the original sketches of the fungi, which exhibit an appearance similar to the Enoki mushroom, gave rise to a second idea, a chimera of the two forms.
Model series 2, model 4 â&#x20AC;&#x201C; freeform fungal model. This model appears more successful in its representation of the geometry of the growth cycle and form. Using a more abstract analysis of the form allows for the geometric patterns found in the mycorrhizae, in soil as it grows and spreads. The emphasis is on combining the matrix found below ground and the simplicity of the fungi above.
Model 4 against a scale figure: front, left and rear elevations shown.
The modelling for this lantern shows a â&#x20AC;&#x2DC;chimeraâ&#x20AC;&#x2122; of the two preceding models combined. The complexity of the equivalent digital model could render this vest worn lantern too complex to reform by another person.
Process 3 â&#x20AC;&#x201C; Heart function. Source: http://hearthealthywomen.org/images/news/heart _valves.jpg
Source: http://upload.wikimedia.org/wikipedia/commons/thumb/6/6 e/Glanzstreifen.jpg/250px-Glanzstreifen.jpg
Source: http://preview.turbosquid.com/Preview/2010/12/08__19 _00_00/HeartWireFrame.png16fb436a-a607-4c87-899bd57b5467980eLarger.jpg
The human heart represents a self partially self regulating organism, capable of self contraction, known as a syncytium. The fibres are interwoven and different to any other muscle. Experiments have show the heart can live in a nutrient and oxygen rich compound outside the body totally unharmed, while it continues to partially contract. The complexity of the muscle is not random, nor the way it contracts.
Electrical signals from outside the heart regulate the electrical signal passing through the heart muscle to cause contraction in an organised pattern. The passing of the electrical pattern throughout the muscle can be monitored and shown in an ECG (electrocardiograph). Sketches showing the patterns of conduction and contraction (above) helped me reform a concept for the heart model.
Source: http://www.beliefnet.com/health andhealing/images/EM00027_ma.j pg
Modelling of the heart led me to an oversimplification of the heart model. Its representative of the dualistic view of the major heart chambers. However the results of digitisation are more significant of the common ECG pattern.
Model 2.
Model Evolution Series 2 â&#x20AC;&#x201C; Heart Function.
Sketches (above and below) showing the breakdown of the heart components and the connecting vessels/ organs involved.
lungs
(R) atria
(L) ventricle
(R)) ventricle
(L) atria
Connective blood vessels.
The model I initially built to display a primitive heart organically appears to simplistic in origin and although it represents the dualistic element of the heart functions it does not portray the tubular geometry from which the heart springs genetically. It is in essence a single whole tube, from heart vessels to capillaries. Therefore I decided to utilise the teachings of Kandinskyâ&#x20AC;&#x2122;s analytical methodology to sketch a devolved view of the heart and blood movement throughout this system accordingly, to reflect organic structural components of the heart and its connection to the lungs.
Heart model 3. Series 1 â&#x20AC;&#x201C; 3d in relation to a scale figure.
The heart model forms an interesting pattern with a great deal of flexibility in the possible design combinations available to me. However the lantern may not fit into the required dimensions set for the module and would be difficult to manufacture due to the left shoulder mounting, which requires the item either have an engineered hinge in paper, or be slid over the body and should from the left side.
Precedents.
Source: http://www.zaha-hadid.com/design/elastika/ Examples of various designs utilising nurbs for they’re construction.. Immediately left is “Elastica” by Zaha Hadid, situated in the Moore Building, Miami, USA.
Design methodology has been evolving since early programs which allow nurbs and other forms of 3D modelling came into being in the last 20 years. Architecture over the last decade had become more organic in its conception and evolution, through to its construction.
A stairwell designed by Jorinde Voight. Source: http://jorindevoigt.com/
Source: http://www.newarchitecture.biz/2010/12/blogpost.html
The â&#x20AC;&#x2DC;Villa Nurbsâ&#x20AC;&#x2122; project designed by Enric Ruiz -Gelli, gives an example of architecture and construction of a building designed using nurbs. This specific example was built in Empuriabrava on the Costa Brava, Northern Spain. The surface in reality is a mixture of plastics and ceramics, designed to protect against strong sun, with shade like structures and protected against heat loss with bubble like structures designed in plastics as part of the skin. Source: http://www.villanurbs.com/
The organic bicycle storage facility below was designed using nurbs geometry, is in Novi Sad, Serbia Source: http://behance.vo.llnwd.net/profiles18/269412/projects/13396 95/e26d705d740f9b6f27dee0806d9c8bd4.jpg
Process selection for development â&#x20AC;&#x201C; Ripple formation.
Precedent: Corian waves surface created using nurbs.
Source: http://static.dezeen.com/uploads/2009/11/dzn_CorianSuper-Surfaces-Showroom-by-Amanda-Levete-LT-09.jpg
I chose to create my lantern using the ripple formation as my major source of inspiration. When selecting the subject material to develop I considered precedents existing as well as the potential for development of the overall strength and structure of the lantern.
Readings. Philip Ball (2012) Pattern formation in Nature. The reading asks more questions than giving answers. There is an intriguing element to the reading, implying that self organising mechanisms are in play in nature. I found the implications of this article almost too large to comprehend, but definitely worth the effort. Scientists from all backgrounds have hypothesised for centuries that there is more than random mutation in nature. Does this hypothesis have an bearing on how we see nature, how all life develops? It shouldâ&#x20AC;Ś.its certainly does for me. The remains the possibility that ultimately we are all resultant from mathematical variation and pattern, adding to the much heal theory that maths is the ultimate universal language. Clark Poling (1987). Analytical Drawing. In Kandinskyâ&#x20AC;&#x2122;s Teaching at the Bauhaus. The reading suggests that the premise of breaking down an object to its base patterns, as used by Kandinsky in his teaching to students. Kandinsky taught the visual analysis of an object through a series of sketches, in order to better understand the object, its purpose and represent that item in a simplified graphic form.
Lecture, Readings and some panelling exercises. The way the lecturer demonstrated how 2d can be transformed into 3d was interesting and thought provoking. The paper artist was amazing and made me think of the way which we make a turn here or a fold there can influence what we have at the end. It made me decide I shouldnâ&#x20AC;&#x2122;t be too worried about starting again or unravelling what I have started to design. Kandinsky used the principals of dimensionality and abstraction to extrapolate a base geometry in analysing elements or objects. He taught that there are geometric reasons to draw in a certain way. Although interesting his teachings were based upon 2 dimensional analysis of 3 dimensional objects. In order to adapt the way we perceive the 3d world and analyse it in a 3d way requires more technology and more mathematics to comprehend the intricate details in a way which we can translate that material back into the 3d world.
Some explorations in panelling.
Bibliography: http://behance.vo.llnwd.net/profiles18/269412/projects/1339695/e26d705d740f9b6f27dee0806d9c8bd4.jpg http://hearthealthywomen.org/images/news/heart_valves.jpg http://ivybetty.com/wp-content/uploads/2010/06/water-figures-linden-5-576x508.jpg http://jorindevoigt.com/ http://www.petrasmirnoff.com/wp-content/uploads/2010/07/enoki.jpg http://static.dezeen.com/uploads/2009/11/dzn_Corian-Super-Surfaces-Showroom-by-Amanda-Levete-LT09.jpg http://www.truzzy.net/pictures/water-0 http://t1.gstatic.com/images?q=tbn:ANd9GcQWIvZXag4XSpt137q3qPHdb5aw_khzSThRB9B0U_HlZBOGnPPDq Oa2T0oy7Q http://preview.turbosquid.com/Preview/2010/12/08__19_00_00/HeartWireFrame.png16fb436a-a607-4c87899b-d57b5467980eLarger.jpg http://www.villanurbs.com/ http://www.newarchitecture.biz/2010/12/blog-post.html http://upload.wikimedia.org/wikipedia/commons/thumb/6/6e/Glanzstreifen.jpg/250px-Glanzstreifen.jpg http://www.beliefnet.com/healthandhealing/images/EM00027_ma.jpg http://www.zaha-hadid.com/design/elastika/
Rita Liao Student no: 605490 Semester 2/2012 Group 13
Concept one: Pollen grains All of the following design concepts are related to natural, biological processes. I began by selecting three biological structures which have an interesting, slightly unexpected appearance, then looking beyond their physical appearance, at the function they are designed to perform. The lecture in week 1 focused on this notion of not merely looking at things on the surface, but at the way they change through space and time and how this results in pattern formation. this central theme is elaborated by Ball (2012). By not just looking, but trying to gain an understanding of things, I have found in all three of these concepts that structure and function are inherently linked; the processes these structures are designed to undertake ultimately determine what they look like.
Pollen grains are a vital structure in the reproductive cycle of flowering plants. These microscopic grains serve a purpose in protecting sperm cells in their journey from the male flower to the female flower, carried by insects or by the wind. The outer surface layer of pollen protects vital DNA from dehydration and radiation. Once fully formed, the pollen grains are dehydrated before being released, and rehydrate at their destination before releasing their contents to fertilize the flower.
While there is no explanation for the diverse forms seen in pollen grains of different species, there is a hypothesis as to why some of these structures are the way they are - namely, to allow the grain to expand and contract without rupturing. In this aspect, the grain structure is analogous to that of a cactus, which also goes through cycles of hydration and dehydration in its lifetime, corresponding with periods of drought and rain. By abstracting this process of expansion and contraction over time, the result is a shape with oscillating curves which grow from small to large, creating a virtual representation comparable to the physical form of a growing nautilus shell.
Lichens are composite organisms formed by a symbiotic relatioship between fungus and a photosynthetic organism, generally algae. The fungus grows around the algal cells, as depicted in the cross-sectional diagrams above, and the final physical form of the lichen is determined by the fungus. Lichens can reproduce by both sexual and asexual means - by the release of spores, as well as by a mechanical process where sections may break off to recolonise in a different location.
Concept two: Lichen
The lecture in week two mentioned the idea of underlying mathematical structures in nature. In all of my concept analysis, I have tried to extract some of these related patterns.
The lichenâ&#x20AC;&#x2122;s physical form is fractal-like in nature. Some parts of these structures can be broken off easily and carried by wind or clinging to animals to new locations for new, genetically identical organisms to grow, so that one can become many, the many become many again, and so on. This self-repeating process mirrors that of a single lichenâ&#x20AC;&#x2122;s growth pattern as it branches out from a central point.
Concept three: Tumbleweed Tumbleweed is a dried plant - which can be from several species- that has broken away from the ground and is carried by the wind over the terrain. As it travels, any irregular twigs and branches may snap off, resulting in its distinct rounded form. This tumbling process is part of the plantâ&#x20AC;&#x2122;s reproductive cycle as the seeds on the plant are scattered over the land through which it travels.
As the tumbleweed travels, it becomes more a more rounded - a process not dissimilar to the gradual weathering of rocks, but on a much shorter temporal scale. At the same time, it leaves behind a trail of seeds and other particles, the seed trail allowing new tumbleweed plants to grow and repeat the cycle.
The three concepts I have chosen to develop further are the ones which I thought had the most potential for innovative design. From my exploration of pollen came a discovery of its structure and function in the transport of reprodictive cells, and the hydration/dehydration process involved. This then led me a new concept- to examine the similar properties of cacti which allow the plants to survive in extreme climatic conditions. The lichen concept, however, was abandoned as the processes it undergoes in reproduction are not really as interesting as its physical form might suggest. The third concept I have continued with is that of the movement of tumbleweed, which cannot be separated from the plantâ&#x20AC;&#x2122;s reproductive cycle.
Proposal one: Hydration/dehydration of pollen The basis for this design proposail is a time lapse of the life of a single pollen grain, from its synthesis in the male flower, follwed by dehydration, transport to the female flower, hydration and finally fertilization, where the grain itself ruptures in the process of pollen germination, not unlike the gernimation process of a seed. The design of this structure is open-ended, symbolising that while the grain itself may have reached the end of its functionality, the whole process of plant reproduction is not yet complete; it is only a small part of a greater cycle.
These wire models demonstrate how this lantern proposal might be shaped and worn draped around the wearerâ&#x20AC;&#x2122;s neck and shoulders. The long. thin middle section may be constructed in many twists as is suitable, following the contours of the body while being symbolic of the pollen grainâ&#x20AC;&#x2122;s journey through space and/or time.
Proposal two: Tumbleweed motion This design takes its concept from the repeated tumbling motion of a tumbleweed plant. The movement is jagged at first, as the irregular shape of the plant in its initial state impedes its motion, however gradually it becomes smoother as parts break off and irregularities worn down in the process of moving over terrain. Constructed as a 3D design, the lantern might have a series of sharp, geometric shapes at one end, which gradully dissolve into softer, rounder forms - as indicated by the wire model.
Proposal three: Growth of a cactus These sketches indicate two variations for the shell of the design: firstly a curved form which is derived from a sketch analysis which graphically depicts the cactus plantâ&#x20AC;&#x2122;s growth, resulting in a nautilus-like form. The second variation is a further abstraction using more angular lines, resulting in a shape which embodies greater movement and dynamism. This design could be worn in a similar fashion around the neck as the Pollen latern, however this could be made to extend upwards, protruding from behind the wearerâ&#x20AC;&#x2122;s head. The lantern could be open ended, showing that the process may be continued.
Precedent one: Alba Prat
Pratâ&#x20AC;&#x2122;s designs are highly sculptural pieces which seamlessly adhere to the contours of the body despite being made from rigid materials. As fashion items, the shape of the wearerâ&#x20AC;&#x2122;s body is at the core of the design concept. I will be following a similar process in my further exploration, in order to create something which may be worn closely to the body.
Precedent two: Elisa Strozyk - Wooden Textiles
Strozykâ&#x20AC;&#x2122;s work blurs the line between two tactile sensations that usually would not be associated with one another. The Wooden Textiles series are essentially small wood panels attached in an ordered, geometric matter onto a textile base, so that the panelled surface is able to expand and contract with the folding of the base fabric. The resultant visual experience is a surface which appears both fluid and solid at the same time, creating a crumpling effect.
Precedent three: Mast Studio - Volcano
Mast studio is a Danish architecture studio with a focus on the exploration of natural forms. This series of images is from a project for an exhibition pavillion. It shows the amount of complexity which may be achieved by a simple repeated pattern generated by computer, though the basic shell is very simple. This effectively means that the design was developed in two major sections: first the shell and secondly the panelling - a principle which informed my design process.
Out of the processes explored so far, I decided to focus on the movement of tumbleweed as my final design. I felt it had the potential to be extended further in avenues I had not yet explored, forcing me to challenge my exsiting way of design thinking.
Tumbleweed development: nt: p panelling ane ellin ng Tumblewind is driven by wind, and I came acr across crosss th tthese ese dynami dynamic ic images mapping wind patterns across oss the United d States. I have attempted to reacreate some of the eddie eddies es and swirls in the drawing on the right. These directional lines could be the starting point for a highly symbolic panelling design, for which I did a few ew concept sketches below, showing how the arrows might curve and d interlock around each o other. ther.
Analytical drawing
I was not satisfied with the previous analysis on the Tumbleweed in my design proposal, so here I go back to basics. In this series of drawings I have used the principles of Kandinskyâ&#x20AC;&#x2122;s analytical drawing as outlined by Poling (1987). This process of analysis involves three steps: simplification, analysis and transformation. The first step is to represent the object or series of objects as simply as possible on a 2D plane with the use of uniform lines. Here my starting point is the tumbling of a rectangle, representative of the irregular form of the tumbleweed at the beginning of its journey. Secondly, lines are drawn to display the relationship between objects, here- the relationship between each stage of the tumbling motion. Finally, Kandinskyâ&#x20AC;&#x2122;s method tells us to use only the analytical lines, to focus exclusive on them and elaborate the composition if possible, producing a drawing that physically may not be representative of the original composition, but is representative of the tensions and forces. What I have achieved here in this final step are a series of ribbon-like formations which embody the rhythm of a tumbling movement, and which appear to twist in a manner which echoes the double-helix molecular structure of a strand of DNA.
Analytical drawing - continued
Here I have built on the ribbons of movement extrapolated from the previous analysis. As a reference point, I used several (quite mesmerising) short pieces of video footage showing the movement of tumbleweed: Tumbleweed Invasion - www.youtube.com/watch?v=rNVcSIZyBuE Tumbleweeds - www.youtube.com/watch?v=4tiPOMd14eQ This footage showed the movement to be sometimes quite irregular, at times more akin to hopping then rolling smoothly across the land. In these drawings here i have exaggerated some areas and shortened others in order to reflect this movement. The final bottom-most sketch is intended to represent the tumbling process through time, consisting of single units of movement joined at the head and tail. At the beginning, movement is more irregular, shown by two large asymetrical curves. As the journey progresses, the irregularities of the plant are smoothed out, so that instead of bouncing, the tumbleweed can roll around more fluidly, like in the movement ribbons seen earlier.
Tumbleweed concept development: modelling lantern shell in clay
A long, ribbon-like shell is the essence of the design I have arrived at. Using modelling clay, these images show how this shell may be draped across the human figure. The viewerâ&#x20AC;&#x2122;s eye is naturally drawn towards the human face, so I have made this the starting point for the head of the lantern. The lantern continues to weave its way around the collar, over the left shoulder, finally trailing off around the back and waist.
Modelling lantern shell in cardboard
Here I have used cardboard to give the geometry of the design greater definition, referring to my analytical drawings a starting point. What has occurred here is that the two most prominent curves have become wrapped around the two shoulders in a bold gesture. The first curve begins upright, as the plant would be standing before it is broken off from its base and lifted by the wind. Then the movement is swept across the collar and rotates over the left shoulder in its second â&#x20AC;&#x2DC;unitâ&#x20AC;&#x2122; of motion, driven by the combined forces of wind and gravity. The trailing end is not fully present in this model, however it is intended to continue in a similar pattern.
Final clay model
The model here has been divided into its constituent parts as follows (anticlockwise from top-left): 1. Right shoulder piece- projects upwards and slightly outwards. Base section curved to rest on shoulder. 2. Left shoulder piece - similar to first piece but orientated horizontally, sweeping over shoulder. 3. Back- curve follows contours of the wearerâ&#x20AC;&#x2122;s back, flowing from top to bottom. 4. Tail - final section, can be wrapped around hips or side. It is intended for these pieces to be joined in some way, whether the paper shell of individual components are fixed together, or hinged, or connected by the electrical wiring inside the lantern. In terms of panelling, a possible concept would have more light being emitted closer to the tips of each component part - this is where the tumbleweed plant would impact with the ground and release most of its seeds.
Fibonacci Numbers & The Golden Design SHIVY YOHANANDAN Student Number: 558316 Semester: 2/2012 Group: 9
MODULE 1: IDEATION
I have decided to focus on Fibonacci numbers, which are distilled into the language of nature. Phenomena such as the logarithmic spiral, golden ratio and the golden angle of 137.508° seem to underpin the shape and form of just about everything in our universe. From microscopic phytoplankton and the infamous nautilus shell to hurricane clouds, galaxies and possibly the universe itself – Fibonacci’s divine set of numbers seem to hold the key to what I like to call Golden Design.
Fibonacci discovered this sequence by studying the growing numbers in rabbit populations.
Logarithmic spiral growth
The best source of ideas for cutting-edge technology is quite often hidden in nature's flawless designs. Biomimicry uses nature’s creativity to guide manmade designs. If nature had patents for all her ideas, she would be the richest entity in the universe! The three natural processes (or phenomenon as I prefer to call them) I chose for this project are related to one another. Nevertheless, there are subtle differences that warrant exploration of each one separately. My 3 natural processes are:
Leaf arrangement (phyllotaxis)
The golden ratio of Phi (ϕ) in man
NATURAL PROCESS #1: THE LOGARITHMIC GROWTH SPIRAL OF THE HUMAN OUTER EAR Rather than prodding some of the obvious logarithmic spirals found in nature, I decided to look closer to home and investigate the quasi-logarithmic spiral form in our very own ears. The human ear is divided into 3 parts: outer (pinna, auricle); middle and the inner ear (cochlea). Both the pinna AND the cochlea maintain this logarithmic form. Why THIS form you ask? Because although the size of the spiral increases as the organic form grows, its shape remains unaltered with each successive curve, a property known as selfsimilarity. This is possibly what Ball was referring to in his theory of self-organization. Possibly as a result of this unique property, the spira mirabilis has evolved in nature, appearing in certain growing forms such as nautilus shells and sunflower heads. It allows things to grow without altering their shape. This is why I chose this process. The logarithmic spiral can be distinguished from the Archimedean spiral by the fact that the distances between the turnings of a logarithmic spiral increase in geometric progression, while in an Archimedean spiral these distances are constant.
The polar equation for the spiral, where (BLUE-DOTTED line) is the distance from the origin, is the angle from the x-axis, and and are arbitrary constants. The logarithmic spiral is also known as the growth spiral, equiangular spiral, and spira mirabilis. The rate of change of the radius can be ascribed to the rate at which something grows:
The curly brackets highlight Fibonacci lengths. Fibonacci numbers underpin the logarithmic spiral.
From infancy, the pinna maintains the same shape as a fullygrown ear. Only the logarithmic spiral can make this possible!
PRECEDENT: WORK INSPIRED BY THE LOGARITHMIC SPIRAL
Leonardo Da Vinci’s helicopter design was clearly inspired by the logarithmic spiral.
The British Mosque with logarithmic spiral ceilings.
SKETCHES: PULLING-OUT THE FORM AND TRANSLATING IT INTO DRAWINGS
Using techniques learnt from Kandinsky’s readings, I attempted to analyse the cartilaginous structure embraced by the outer logarithmic spiral. It’s as though mother-nature had started off with a ball-mass of cells (tissue) and massaged them into the flattened connective bits that form the contours. These contours are no mistake: they are responsible for our acute audible range!
The spiral is nothing more than growth coiled-up to maintain minimum energy form (as suggested by Ball). The proposed lantern would be spheres or a more organic three-dimensional polyhedral, that gets bigger and bigger and coils on itself in the process. Â
NATURAL PROCESS #2: PHYLLOTAXIS & THE GOLDEN ANGLE IN PLANTS Phyllotaxis is the arrangement of leaves around a stem in plants (or more commonly, the arrangement of florets in the head of a sunflower). If we look at a top-view of a typical plant that exhibits this form, the leaves are often arranged so that leaves above do obstruct the passage of light to the leaves below. This means that each leaf gets a good share of sunlight and catches the most rain to channel down to the roots as it runs down the leaf to the stem. This property interested me & is the primary reason why I chose to investigate this process. This arrangement happens to follow the Fibonacci sequence. The golden angle, 137.508°, plays a significant role in the phenomenon of phyllotaxis. The golden angle is the angle subtended by the smaller (red) arc when two arcs that make up a circle are in the golden ratio. In terms of plants, it’s the angle that is created between successive leaves around a stem. At first glance the arrangement looked like two equilateral triangles overlapping in opposite directions (Star of David).
I derived this formula after finding a relationship between the triangle lengths of successive leaves. [y] is the longest side of the next triangle in seris.
Here is sample data I gathered from an African violet (Saintpauila sp.). I triangulated the leaf-tips and measured the lengths of the resulting isosceles triangles.
PRECEDENT: WORK INSPIRED BY PHYLLOTAXIS
SKETCHES: PULLING-OUT THE FORM AND TRANSLATING IT INTO DRAWINGS
My thought process behind translating this natural process was fixated on the quasiisosceles triangles that all the above precedence has hidden in their code.
I traced these triangles from the African violet plant’s phyllotaxis leaf arrangement by joining the tips of successive leaves.
I started off with strips of paper for my triangle sides. I cello-taped the corners while using the tracing paper as a template. This design was hopeless since the structure was not able to support itself. Â
I then decided to turn the strips into panels. The full-triangles were meant to simulate the quasi-triangular leaves on plants. The angle between successive leaves was the golden angle and this was measured using a protractor. Â
NATURAL PROCESS #3: THE GOLDEN RATIO OF PHI (ϕ) IN MAN
The proportions of your finger bones (phalanges) maintain this golden section.
The golden ratio is not only found in man. It underpins all of the preceding natural processes in this journal as well as most living things. It is the segmentation of life. Leonardo Da Vinci’s famous Vitruvian Man highlights aspects of this golden ratio as well. He postulated that our bodies are divided up into certain predictable and proportions that follow the Fibonacci sequence.
a
a + b is to a as a is to b; b + c is to b as b is to c and c + d is to c as c is to d.
In 2010, the journal Science reported that the golden ratio is present at the atomic scale in the magnetic resonance of spins in cobalt niobate crystals. The 26th Greek letter Phi (ϕ) holds the key to this ratio. It is obtained as follows:
b d
The reason I chose this process of natural proportions was because it seemed to resonate with Ball’s concept of selfsimilarity and consequently, selforganization.
c
This also happens to be a Fibonacci sequence!
PRECEDENT: WORK INSPIRED BY THE GOLDEN RATIO
Human finger (Phalanges)
SKETCHES: PULLING-OUT THE FORM AND TRANSLATING IT INTO DRAWINGS
Created cone cutting-sheet template from pantheon precedence. Drew-in circles subtended by the golden section squares. This would maintain conical ratio. Slit along radius and slid into cone shape. The 5 segments are in golden proportion. This resembles the logarithmic spiral from earlier as well.
D'Arcy Thompson said that the Nautilus shell is but a cone rolled-up. So I created a cutting-sheet based on the golden ratio and drew circles within the squares of this ratio. I made cones out of each member of this ratio and produced this structure. The cones increase in diameter based on the Fibonacci sequence. This structure could represent a human finger at worst, or a nautilus shell at best.
CHOSEN PROPOSAL: PHYLLOTAXIS & THE GOLDEN ANGLE I decided to peruse further design & development in the natural process of phyllotaxis. I chose this out of the three because it offered the most practical as well as functional model that I can work with. I wish to transform the 2D schematics and sketches into perspective and orthographic forms in the hopes of exploring other possibilities in design. I would like my design to mimic the arrangement of leaves in order to minimize obstruction of the lower parts. I envision a rain-water collection structure that could incorporate this design. A solar tower was my first preference since the leaves could act as unobstructed solar-panels (I was planning on using black for the “leaves”) while the tower would form a sort of straightened-up logarithmic spiral (almost conical). I eventually decided to reverse this logic and turn my phyllotactic design into a chandelier. Instead of absorbing light, it will emit light. The design is meant to maximize light distribution as a result of unobstructed “scales”.
NEW PRECEDENT LEFT: The Lupinus Chandelier (Chandelier Lupine) would be the ideal source for my ultimate lantern design. The sketch on the RIGHT illustrates how I plan on capitalizing on light distribution.
NEW SKETCHES
Radial organization of the meristem
More evolved sketchproposals based on the proposed phyllotactic chandelier design. The evolution of my phyllotactic lantern design incorporates Rhinoâ&#x20AC;&#x2122;s curve attractors for paneling the surface with 3D variable panels. The curve attractor would allow me to follow a predefined phyllotactic path (ascending order from the meristematic tip)
There are different phyllotatic patterns found in nature. I chose alternate. With an alternate (spiral) pattern, each leaf arises at a different point (node) on the stem, further minimizing obstruction from above! Different phyllotactic arrangements (from 120째 to the golden angle of 137.5째)
I wanted to section the Lupinus Chandelier plant to explore the cup-shaped leaves that would throw light well.
EVOLUTION of the surface 3D panel
I have had multiple epiphanies during my research into the natural forms and processes in this project so far. My biggest has to be the realisation that evolution is nowhere near as efficient as the omnipotent laws of physics. I can't help but compare the shape and form of the nautilus shell and that of a giraffe. It is nature's ultimate desire to mould things into a minimal, energetically efficient form (Ball's self-organisation, 2012). But what happened to the giraffe? Evolution happened. The giraffe used to be much more compact, and closer to its centre of gravity, before natural selection pressures kicked-in. While physics governs minimal energy, evolution tends to govern maximum survival. And sometimes it始s a tug-of-war between the two (tug-of-neck in the giraffe's case). The nautilus on the other hand seems to have preserved its simplicity without too much interference from evolution.
The lectures have broadened my imagination and left me with an open-mind towards design. They left a trail of breadcrumbs for me to follow: I became obsessed with BBC's The Code, hosted by one of my favorite modern mathematicians - Marcus Du Sautay. I watched all three episodes and it really complimented the course well. The seminar classes with Angela and my group guided me through the process from concept to design. I was fascinated by how many different, unorthodox techniques there were to interpret forms and processes in nature. I was always used to conventional methods of observation and analysis. But these workshops as well as the lectures have given me an extra dimension to work in. I took this approach of open-minded design when drawing ideas from both natural as well as man-made precedents. The key take-home message was to be open to other ways of looking at and decoding the world around us.
The proposed readings were very interesting to say the least. I shared many views that Ball had. Being a science student has allowed me to probe further and question many things that were otherwise trivial. Having a mathematical background has also helped identify with many of the reoccurring patterns in nature. My prior knowledge in science and mathematics has really helped me understand my chosen processes, and my newfound knowledge in architecture and design has helped me bridge-the-gap between concept and product. According to Ball, self-organisation can be described as the tendency of both living and non-living entities being shaped and molded in response to local interactions between components of a system. He considered this self-organisation to be the root of growth of patterns and shapes in nature. It is however under the control of chance and the simple laws of physics. It is the orderly, minimumenergetic formation that arises from interactions with the surroundings. An example of self-organisation includes the geometric hexagons in the honeycomb structure of beehives and the Giant始s Causeway, resulting from the tension lines created due to heating and cooling of molten rock. Another example would be the pattern found in sand dunes. This is the work of sand-grains and wind. The patterns in animal markings due to oscillating chemical reactions are yet another example of nature's intricate, yet random pattern formation. Kandisky's readings on analytical drawings has really allowed me to climb out of my scientific-bound mind, and look past the obvious shape and form and extract the rawness out of objects as well as intangible forms. I followed the three stages in his analytical approach and reproduced three separate drawings for each of my natural processes, each one representing each stage. I saw his technique as an evolutionary process and really related to that. Polling's key motive was to capture the constructive elements of an object through precise observation & representation rather than just outward, external appearance. This resulted in slightly abstract, but a more essential form that was unrestricted and influenced by other aspects. His goal was to strip down to the fundamental geometry through analytical drawing. By uncovering structural patterns, he was able to study forms in better detail. These analytical drawings provided a transitional link between still life and the abstract through geometry. I have also acquired skills in virtual design with the help of all those Rhino tutorials. I came to this subject with prior skills and exposure in Google Sketchup and have amplified them with more organic designs. The 3D virtual environment in Rhino has allowed me to investigate possibility and practicality in my proposed designs. I think it will really help me with my future endeavors in engineering & medical bionics.
http://www.botany.unibe.ch/deve/publications/reprint/TrendsPlantSci_6_187.pdf http://en.wikipedia.org/wiki/Phyllotaxis http://www.botany.unibe.ch/deve/publications/reprint/TrendsPlantSci_6_187.pdf http://www.metafysica.nl/ontology/general_ontology_29b.html http://www.maths.surrey.ac.uk/hosted-sites/R.Knott/Fibonacci/fibFormula.html http://en.wikipedia.org/wiki/Golden_angle http://en.wikipedia.org/wiki/Logarithmic_spiral http://en.wikipedia.org/wiki/Archimedean_spiral BBC The Code: Numbers BBC The Code: Shapes BBC The Code: Prediction http://mathworld.wolfram.com/Phyllotaxis.html http://mathworld.wolfram.com/GoldenRatio.html Ball, Philip (2012): Pattern Formation in Nature, AD: Architectural Design, Wiley, 82 (2), March, pp. 22-27 Poling, Clark (1987): Analytical Drawing. In Kandiskyâ&#x20AC;&#x2122;s Teaching at the Bauhaus, Rizzoli, New York, pp. 107-132 Ching, Francis D. K. (1990): Basic Orthographic Methods. In Drawing- A Creative Process, Van Nostrand Reinold, pp. 146-159
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4
Ri ght-T hei nt er val s , hor i z ont al movement s i mul at edbyver t i cal 5 bands L ef t-T i mel aps es cr een s hot sofanaur or a
I nanal ys i ngt hef or m ofanaur or a, t hi st echni quewoul dbeus ef ul i n s howi nghow anaur or amoves . As ens eoft he‘ f l ui di t y’oft he movementcoul dal s obeanal ys ed.
I DE AT I ON
F ORM ANAL YS I S
T op-I ni t i al l ayer i ngof s t agger edf r ames Bot t om -S i mpl i f i cat i on andl i newei ght s
PROPOS AL1 AURORA
T hei deaoft hehor i z ont al movement bei ngcaus edbyver t i cal l i ghtbands i ss omet hi ngt hatI wantt ocapt ur ei n mydes i gn.S o,I f i r s tanal y s edt hehor i z ont al movementofaur or aewi t ha s er i esoft i mel aps edr awi ngst odi s cer n Us i ngs omet hi ngl i k eChr onophot ogr aphy , t hef l ui dmovementofwhats eems I t r i edt ogener at eaf or mt hati sl i k e l i k eal i ghts t r eak‘ f l i es ’acr os st hes k y. t hecont i nuousf l ui di t yofanaur or a. L ayer i ngonef r ameont opoft he F r om t hi ss i mpl i f i cat i on,t heaur or a ot herwoul dr es ul ti nacr owdedand canbes eent ogener al l ymove notver ydi s t i nct i vef l ui di t y.I ns t ead, s i nus oi dal l yands l i ght l yangl ed. t hef r amesar es paceds l i ght l yapar t , bef or ebei ngs i mpl i f i edi nt oamor e Asanaur or ai sus ual l yobs er vedf r om bas i cs qui ggl et hatcoul demul at e t hegr oundbyt hegener al publ i c, t hemovementofanaur or a. t hevi ewpoi ntofhow t heaur or a S omel i nesemphas i z edt or epr es ent t r avel st ogi veof ft hes ame t hedi s cr et eaur or ae. i mpr es s i on.
T i mel aps es cr eens hot sconver t ed i nt omi ni mal i s t i cl i nes .T hedi s cr et e aur or aewaswhatt heemphas i s wason
I ni t i al r oughs k et chonapos s i bl el ant er ns hel l bas edont heaboveabs t r act i on
Asabas i ct r i al ,cl i ppi ngt heabs r act f or mt hatwascons t r uct edpr evi ous l y r es ul t si ns omet hi ngnotunl i k e wi ndow bl i nds .
I DE AT I ON
PRE CE DE NT S
PROPOS AL1 AURORA
MODEL Al ant er ns hel l l i k et hi smi ghtendup bei ngver ycl os et oanact ual aur or a andi t sf eat ur es .T hei deat hatwas or i gi nal yenvi s i onedwasoft he l ant er nbei ngwor nasaf l owl ys car f , t hought hi sques t i onst hepr act i cal i t y ofl i ght ,andneedi ngapr opers hel l asoppos edt ot hatcur vewr appi ng Nebut ahous e,bymol odes i gn i noni t s el f . empl oyst hes er i bbons ;s omecur l ed, s omes t r ai ght ,whi chs hapes openi ngsf orl i ght ,wi t hvar i abl e opaci t i es ,aswel l asf r ami ngvi ews .I f oundt hatt hel i nesar er emi ni s cent oft hever t i cal s t r eak sofl i ghtt hat appeari naur or as .T hel i ght openi ngsandvar yi ngopaci t y coul dal s oemul at ebr i ght erand l i ght erar easofanaur or a.
Ar oughwr apar oundoft heabs t r act cur vet hatwascons t r uct edbef or e t ot es tt hepr act i cal i t yofus i ngt he cur vei t s el fast hef or mf oras car f l i k el ant er n.S omet hi ngwi t hs omany cur vest hatal s oneedst obegi ven ahol l ow t hi ck nes st ohol dl i ght s woul dmeanf oraver yl ar ges ur f ace ar ea.
I DE AT I ON
PROPOS ALT WO
NAT URALS E L E CT I ON Nat ur al S el ect i on,asat heor yofevol ut i on, i st hegr adual pr oces sofadapt at i onands peci at i on; det er mi nedbyhow wel l var i ant sofs peci escani nt er actwi t ht hei renvi r onment .T heconceptes s ent i al l yf ol l owst hes et hr eeconcept s : 1-T os t ar t ,t her ear emanyvar i at i onsoft hes ameor gani s m.
URAL PROPOS AL2 NAT S E L E CT I ON
2-S omevar i at i onshavequal i t i est hatal l ow t hem t os ur vi veeas i er 3-T hos et hats ur vi vear et henabl et or epr oduceandpas sont hos equal i t i es . Ul t i mat el y, overal ongper i odoft i me, s omes peci eswoul dhavebeenunabl e t os ur vi veduet ot hem pos s es s i ngchar act er i s t i cst hatar ei ncompat i bl ewi t h t hei renvi r onment ,whi l et hos et hatar el ef t ,havebeenabl et o‘ adapt ’asa s peci esf orhavi nganadvant ageous.T hati s ,‘ s ur vi val oft hef i t t es t . ’
Nat ur al S el ect i on: T hes t r onges t s ur v i v e, andbecomet he domi nant s peci es .
I DE AT I ON
PROCESS
PRE CE DE NT S
T heconceptofNat ur al S el ect i on canbeboi l eddownt oa t i mevs .var i antgr aph. Evol ut i ondi ct at est hatt her ewi l l be s omevar i ant st hats ur vi ve,and s omewi l l di eoutduet ot hei r i nadequacyt os ur vi ve.
URAL PROPOS AL2 NAT S E L E CT I ON
T heconcepthot el ,Bos col oNi cebyBj ar k eI ngel scombi nesdi f f er ents ect i ons ( commer ci al ,r es i dent i al ,of f i ceet c. )t oget her .T hi sbui l di ngs i mi l ar l yi ns t i l l ed t hought sofa‘ r ace’asi feachent i t yi st r yi ngt ocompet ef ort hehi ghes t t ower . I f eel t hatt her ei ss t r ongt ens i on,butal s ouni t ybet weent heel ement s ,how i t s eemsl i k et heyar epus hi ngateachot herwi t hs uchf or cet hatt hebui l di ngi s f or cedupwar ds . L ook i ngatt hi sr epr es ent at i on,I f eel connot at i onsofar aceora compet i t i onaswel l al l us i onst o vi nesors omet hi ngl i k es nak escoi l i ng andwr appi ngar oundpol es .
T het ens i oni nt hi scas e,i st he‘ s t r uggl e’ bet weeneachel ement .
I DE AT I ON
PROCE S SANAL YS I S Nat ur al S el ect i oncanbes ummedupby : ‘ S ur vi val oft hef i t t es t ’-Char l esDar wi n T ens i on. S t r uggl e. Compet i t i on.
URAL PROPOS AL2 NAT S E L E CT I ON
T her ace
T hos ear et het hr eei deast hatI bel i eve r epr es ent st heconceptoft hes ur vi val oft hef i t t es t . Keepi ngwi t ht hebargr aphes quer epr es ent at i onof t heconcept ,I r edevel opedadi f f er entr epr es ent at i on t hatwasmor ecoul dbei nj ect edwi t hconcept sof s t r uggl e.Asment i onedpr evi ous l y,l i k ehow avi nescoi l vi ci ous l yar oundapol et o as cendupwar ds ,abat t l e wi t ht heel ement spus hi ng andwr i t hi ngoverand under ,s t r i vi ngf ort het op, i st hef eel i ngt hatI want ed t opor t r aywi t hmydes i gn.
Evol ut i oni sl i keat r ee, s ameor i gi n,butwi t h var i ant s ,butonl ys ome s ur vi vei nt heend I ni t i al conceptoft he bat t l et hati sevol ut i on
REF I NEMENT
T hi sf or m canbe wor nasahat
T hei ni t i al conceptwascondens ed i nt oat i ght erf i t ,emphas i z i ngt he t ens i onbet weenel ement s .T he bot t om par ts er vest or epr es ent t hebr anchi ngoutofvar i at i ons wi t hi nt hes peci es ,andt heycome cl as hi ngt os ur vi ve,t woel ement s nevermeetandend,asi ti snot conf l i ctwi t hi nt hes peci es ,but conf l i ctt os ur vi ve.
I DE AT I ON
MODEL Ri ght-Cl os eupf r ont Bel ow -S i devi ew
URAL PROPOS AL2 NAT S E L E CT I ON
L i keanent angl edvi ne,cr eepi ng andweavi ngbel ow andunder , butonl yonecanr eacht het op.
I DE AT I ON PROPOS AL3 E NT ROPY
PROPOSAL3
ENT ROPY Chaost hr oughor der . Ent r opyi ss ynonymousf orchaos , andi ti st heconceptbehi ndt he s econdl aw oft her modynami cs whi chdi ct at est hatovert i me, as ys t em wi l l ‘ di e; ’andevent ual l y PROCESS r eachanequi l i br i um. Ent r opyi t s el fi sameas ur eofhow muchener gycannotbeus ed.I nas ys t em, t hemor et hos eel ement si nt er actwi t heachot her ,t hemor ej umbl edand outofor dert hes ys t em becomes .Asener gyi sus edi nt hei nt er act i ons bet weenel ement s ,t her ei sl es sener gyavai l abl e;ent r opyi ncr eas es . Event ual l y,t her ewi l l benomor eener gyl ef tt of uel t hes ei nt er act i onst he s ys t em woul dr eachanequi l i br i um. T her el at i onbet weenent r opycanbedi s pl ayedwi t ht hes egr aphs .
T i mei scent r al t oent r opy,andt oi ncor por at et i mei nt ot hedes i gn,a hi er ar chywoul dneedt obees t abl i s hed.
I DE AT I ON PROPOS AL3 E NT ROPY
PROCE S SANAL YS I S T of or mul at eani ni t i al concept ,I deci dedt ot ak eal ookatanex ampl e ofaver ybas i cs ys t em;acupofhot wat er t hati cehasj us tbeenaddedt o. I nt hi ss ys t em,heatwi l l event ual l y r eachequi l i br i um,ast hehotwat er cool sandt hei cemel t sandt he s y s t em wi l l beatas t abl et emper at ur e. Asel ement si nt er act , anequi l i br i um i sr eachedt owar dst heend, i nt hi scas e, hotandcol dwat er par t i cl esi nt er act andevent ual l yt hes y s t em ( t hecup, ) wi l l cool downt oapoi ntwher et her e i snomor eener gyi nt hecupt of uel any mor ei nt er act i ons . T hegr aphi c r epr es ent st heener yf l owi nt hecup. T hel i ghti t s el f coul df ol l owt hi shi er ar chy t hr ought heus eof s hadows , wher ei t s t ar t sof cas t i ngvi ol entandr andom s hadows , andt henendwi t hr el at i vel y mor epeacef ul l i ght . T hepanel l i ngof t hel ant er nwoul dt hen becr uci al t or epr es entt hi sconcept . T hef or m of t hel ant er ncoul dal s o pos s i bl yf ol l owt hi spat t er n.
Hot
Col d
Aver age
t i me
L ef t E ner gyavai l abl emappedt oagr aphi c
Bel owE x per i mentwi t ht hes hadows , goi ng f r om er r at i cs hapest of ami l i ar geomet r i c s hapesasaf or m of hi er ar chy
I DE AT I ON PROPOS AL3 E NT ROPY
I NI T I ALCONCEPT I ni t i al concepti sbas edont hef or msands hadowsex per i ment , T hei deai st or epr es entt hei ncr eas ei nent r opyt hr ought heus e off or m ands hadows ,byt r ans i t i oni ngf r om ar andom bas e,t o amor egeomet r i ct op. T hi si ni t i al i deawasder i vedt obeus edas ahat .Bal ancei s s uesmi ghtbeapos s i bl e pr obl em.
PAT T ERN T het houghtbehi ndt hei ni t i al pat t er ni sofnopar t i cul arr eas on,t her e ar emanypat t er nst hatonecoul ddr aw upont hatcomef r om nat ur e, t heyex i s tal l ar oundusandi nt er es t i ngl y,evennat ur al pat t er nscan f ol l ow bas i cgeomet r yandmat hs . Pat t er nss uchasf r act al swoul dn’ t wor kons uchas cal e,es peci al l ynotwi t hani deas uchast hi s .Ot her pat t er nsIhavecons i der edt r yi ngar eat om conf i gur at i ons ,wi t hent r opy bei ngapr oces st hatcanoccuronaver ys mal l s cal e.Us i ngt wodi f f er ent s t yl esofpat t er nst oconveyt hehotandt hecol dcoul dal s owor k,but mi ghtbehar dt opr oper l yconveyi nawayt hati sunder s t andabl e.
Asment i onedbef or e,hi er ar chyi sani mpor t antas pect oft hi sdes i gn. I waswor r i edt hatt hi shi er ar chywoul dnotbepr oper l y conveyed. . . T or emedyt hi s ,I bl ew upupt hebas e,t ohopef ul l ymak e i tmor ei mpos i ngandnot i ceabl e,r el at i vet ot het op.
I DE AT I ON PROPOS AL3 E NT ROPY
RE F I NE ME NT
T op-Bef or e&Changes Ri ght-Af t er Bel ow-Ex per i ment i ngwi t hdi f f er entpanel wi dt hsands i z es ,andpos s i bl yat hi r ddi mens i on ( t hei ns i de)t hatal s ohasdi f f er entl enght st o emphas i s edi f f er entf or msands hadows .
Di f f er entpos s i bl epat t er ns
T heef f ect sof t hel i ghtwi l l beachi evedt hr ough t hepanel l i ng.I nt heend,anef f ectt hatwas i ns pi r edbyt hewaygl as scr ack s ,wher et he f r act ur es ( t or epr es entt hechaosatt hebas e) t r ans i t i oni nt ohex agons( T heat omi cs t r uct ur e of gl as scons i s t sof mai nl yhex agons )att het op.
I DE AT I ON PROPOS AL3 E NT ROPY
MODE L
REF ERENCES Bj ar k eI ngel sGr oup2012,vi ewed6Augus t2012, <ht t p: / / www. bi g. dk > Mol oDes i gn2011,vi ewed5Augus t2012, <ht t p: / / mol odes i gn. com> Eur opeanS paceAgency2012,vi ewed12Augus t2012, <ht t p: / / s ci . es a. i nt / s ci enceemedi a/ i mg/ bb/ 32320. j pg> k i r k i r ana2012,vi ewed12Augus t2012 <ht t p: / / k i r k ar i na. f i l es . wor dpr es s . com/ 2011/ 11/ chr onophot ogr aphy. j pg> YouT ube2012,vi ewed27J ul y2012 <ht t p: / / www. yout ube. com/ wat ch?v=s BWPCvdv8Bk >