Creating a Lantern via natural patterns Catherine Demetriou
Choosing my pa-ern My instant a)rac,on to this picture was the repe,,on of thorny points that eventually circled the flower. However, the picture did not fit the criteria of the assignment and its biological background did not bring me any interest
Ini,ally, I found the turtle shell amiable due to its hexagonal pa)ern that symmetrically repeated itself within each shape. However, in my pa)ern I longed for something more challenging
Ammonite Structure: I found the spiral intriguing as it seemed as though it was never ending. Similarly, its pa)ern that incorporated the concepts of mirroring and rota,ng were, to me, unique as they were somewhat abstract in their shape.
The shells spiral structure inspired many cathedral stair cases in Barcelona, Spain.
AGer conver,ng the picture to black and white I increased the contrast and enhanced the sharpness making the shells pa)ern and spiral network more visible.
Analy2cal Drawings
Balance 1. 2. 3.
Pick angle Plot one point at d degrees (d=137.5) from the origin Plot another point at d degrees from the last point on a concentric circle that is slightly bigger than the circle before it
Movement 1. 2.
Base element Move and rotate base element
3.
Reduce scale
Symmetry
1.3 Weekly Reading (Poling, Clark (1987): Analy2cal Drawing in Kandisky’s Teaching at the Bauhaus, Rizzoli, New York pp107-‐132) The first stage of my analy,cal drawing iden,fied with stage 1 of Kandisky’s teaching of Analy,cal Drawings. Having begun with a shell that consisted of a complex structure and pa)ern I, with the help of the Aranda/Lasch reading, created a simple and succinct drawing of the structure of my shell. The outcome of my first drawing was exemplifying and emphasizing the shape of the object by crea,ng a focal point and dividing it into 5 sec,ons that followed route of the spiral. This stage was mainly based upon the no,on of balance. The second stage, however, varied in that I aimed to show the movement of the shell through encapsula,ng not only the shape of the object but also its pa)ern and the way in which in moved. This stage of my analy,cal drawing would most definitely apply to the third stage of Kandisky’s teaching where by there would be “a variety of structural possibili2es” (Poling, Clark (1987): Analy2cal Drawing in Kandisky’s Teaching at the Bauhaus, Rizzoli, New York pg119 shown through the ammonite's abstract and rota,ng pa)ern. Finally, the third stage of my analy,cal drawing was based upon the concept of symmetry whereby, aGer magnifying the picture, I was able to iden,fy the symmetrical pa)ern that was hidden inside the spiral of the shell. This, I believe enabled me to recognize the importance of characterizing “individual parts of the s,ll life both in isola,on and in rela,on to other parts” as quoted in the Poling, Clark reading.
Three Stages of Analy9cal Approach: Stage 1: -‐transform complex form into one simple form -‐iden,fying individual parts of the s,ll life both in seclusion and in other objects -‐represen,ng the form in the most succinct manner Stage 2: -‐making tensions clear through linear forms -‐making tensions clear through broader lines and colours -‐structural network via means of star,ng and focal points Stage 3: -‐objects regarded in terms of tensions between forces -‐variety of structural possibili,es -‐concise, exact expression
-‐Above is my first model of my natural pa)ern where I aimed to transfer my two dimensional model into a three dimensional model using cut, paste and extrusion. In a)empt to emphasize the ongoing spiral of the shell, I cut a strip of paper that had a gradual increase in width from one side to another. To extrude the piece, I cut a spiral into the paper using my scalpel knife, frayed the end of the strip and stuck the frayed edges into the cut paper. I then wanted to iden,fy the hidden pa)ern that was within the spiral through crea,ng an oval shape piece of paper and gluing it to the walls of the spiral. -‐Below is the second model that I created out of my natural pa)ern. This task aimed to take a certain aspect of previous model and repeat a transforma,on process. Just like the first model, I intended to encapsulate the ongoing spiral of the shell yet also place importance on the hidden and repeated pa)ern within the spiral of the shell. I began by choosing a focal point (the exact center of the spiral). I then cut 5 strips of paper, each slightly longer and thicker than the other, glued them together to create a circular objects and pinched the ends, making 5 leaf-‐like structures. Finally, using the focal point, I placed each piece (from smallest to largest) at d degrees and glued the walls of each strip together to create a spiral effect.
My model on Rhino
The process by which I created my rhino model is very similar to my non-‐virtual model. Here, I chose (0,0) as my focal point, created a similar leaf-‐like object using the curve tool and simply extruded this object. AGer using the scale (1D) and rotate tool, I created a virtual product of my model.
My model on Rhino
Ex.1.7 Described the forma2on process behind your found pa-ern? Are they specific moment of the transforma2on from your found pa-ern that you can emulate or s2mulate in your emerging form model?.
Source: García-‐Ruiza, J. & Checa, A. 1993. A model for the morphogenesis of ammonoid septal sutures. GeoBios 26:157-‐162.
Two fluids with different densi,es are in contact and the less vicious fluid interrupts the more vicious fluid. (Source: García-‐Ruiza, J. & Checa, A. 1993. A model for the morphogenesis of ammonoid septal sutures. GeoBios 26:157-‐162.)
I wanted to extend my model from its flat looking surface. AGer researching the biological makings of my shell and taking into account that the complex pa)ern derives from two opposing fluids (one stronger than the other) I wanted to iden,fy this using my model. I did this using extrusion where the higher leaf-‐like shape would represent the stronger, more dominant fluid. This not only gave depth to my model but also represented it in a more organic and abstract nature.
My model on Rhino-‐further developed
EX. 1.10 “Plas2cine Model”
1 -‐takes the structure of my original model
2 -‐wanted to iden,fy the spiral effect of my natural pa)ern whilst emphasizing the its wide wall chambers 3 -‐wanted to create the same effect however using more of a layering effect
Wide wall chamber
EX.1.11 “Brightness and Effect”
OLAFUR ELIASSON, INVERTED BERLIN SPHERE (2005)
AGer the lecture in week 3, I knew that I wanted u,lize the geometric system of “layering” on my lamp. I, however, was truly inspired by Olafur Eliasson’s “Inverted Berlin Sphere” 2005 due to the striking geometric shapes that bounce off the wall and the simple yet beau,ful sun that projects onto the ground. The layered skin of the light liberates the triangular pa)erns from the 2 Dimensional world, crea,ng an “never-‐ ending” effect and almost making the wall seem like one could simply walk through it. The concept of an constant, ongoing aura is something that I would like to concentrate on achieving in the making of my lamp not only because I find this effect quite amiable, but also because the spiral of my natural pa)ern carries this endless sort of effect.