Module1-Yiran Dong

MODULE ONE: IDEATION STUDENT JOURNALS SEMESTER 1, 2013 VIRTUAL ENVIRONMENTS

Yiran Dong 580414 Tute 11

Faculty of Architecture, Building & planning, University of melbourne

contents SEMESTER 1, 2013 VIRTUAL ENVIRONMENTS Week 1 task

3-8

Pattern Recipe Analytical Drawings Rhino-exercise

3 4 5 8

Week 2 task

9-13

3D-extrutsion of pattern Emerging forms Relevant example: The Urban Cactus-- Amsterdam, Netherlands

9 10 13

Week 3 task 14-18 Lantern models Using the image of Janpanese Lantern to describe the effect of lantern model 1 Using Emerging form 2 to achieve the effect shown on the image

14 17 18

Reflections-Week 1 and Week 2 readings 19-20

Faculty of Architecture, Building & planning, University of melbourne

Pattern

Recipe: tiling 1. to set a point in the centre of every stone to represent the location of each stone.

2. to take a set of points 3. to choose a point as acenter to connect with other points

.

4. to construct a bosector between one point and all the others

5. the voronoi cell is bounded by the intersection of these bisectors 6. to erase all the points and unnecessary lines

Analytical drawing: Symmetry

The areas with yellow ink are the areas with big stones, the rest areas are filled with smaller or tiny stones

Analytical drawing: balance

Analytical drawing: movement 1.

A point represents a stone 2.

Base element 3.

represent the space a stone occupies 4. The stones, which are on the edge is usuallu bigger than the stones, which are in the centre.

scaling

Rhino-exercise

0405: Freeform curves

0303:Rotating objects

0605: 2-rail sweeps

0604: 1-rail sweeps

0609: pipe command

3-D Extrusion of pattern

Front view

Side view

The analytical drawing I chose to make emerging forms is movement, which illustrates that there is a decreasing scale from the edge of my pattern to the center. When I observe this analytical drawing, I discover that this drawing is generally formed by two types of polygons, which are pentagons and quadrangles. Therefore, I decide to pick a pentagon and a quadrangle to make my emerging form. I choose them as my basic element.

Top view

My basic element: A pentagon attached to a quadrangle Bird view

Emerging Form 1 2. rotate by 72 degrees

1. mirror

3. ratio: 1: 2: 4

In the emerging form 1, I choose the middle point of the bottom line of the pentagon as the axis to make a mirror image, which results in the formation of a new mixture that two adjacent sides of pentagons attach to two quadrangles respectively. The following step is that I choose a point, which is on the line of the middle point of the bottom line of the pentagon, to be a centre. Then I rotate the new mixture of a pentagon and two quadrangles by 72 degrees to form a regular pentagon, which is surrounded by five mixtures. After that, I use different scales to make 2 more regular pentagons by repeating these steps and place them in different level. Also, the scale ratio of the three regular pentagons and their surrounding mixtures of a pentagon and two quadrangles is 1:2 :4. The regular pentagon with the largest ratio is on the bottom, while the smallest regular pentagon is on the top. Moreover, the regular pentagon in the higher level usually rotates to left by 36 degrees than that in the lower level. As a result, my first emerging form is formed by following the rule I found in the analytical drawing of movement that there is a reducing scaling from the edge to the center.

Top view

Front view

Side view

Bird view

Emerging Form 2 Decreasing scale

1. scaling

2. rotate 360 degrees

Bird view

Top view

Bird view

Top view

The second emerging form I made is much simpler than the first. This time, I use the reducing scale in the quadrangle from its top to bottom. It lets the quadrangle look like a pyramid. Then, I utilize the top of the pentagon to attach to the bottom of the quadrangle. The next step is that I rotate the mixture of the quadrangle and the pentagon forwards by few degrees so that it can form a pattern of flower on the top when the quadrangle in the mixture rotates on its vertex to attach to the other side of it. Hence, this emerging form also gives us a sense that the scale from the edge to the side of the pattern is reducing.

Top view

Front view

Side view

Bird view

Rhino-emerging form 1

Side view

Top view

Bird view

Rhino-emerging form 2

Front view

Top view

Back view

Bird view

Relevant example: The Urban Cactus-- Amsterdam, Netherlands Similar to my emerging forms, the Urban Cactus also uses the methods of scaling, rotating and moving during its design process. This design may start from a shape of a kite and it is rotated by 360 degrees to form a shape of a flower. The next step is that we place these ‘flowers’, which rotate by different degrees, in different levels. This is how this design is made. In my emerging form 1, I also put the same shape with different scales in different levels, while I rotate my basic element by 360 degrees to form a shape of a flower in my emerging form 2.

Lantern Model 1 This week, I made three lantern models, which are based on the two emerging forms I did last week. Model 1 simply utilized the recipes of emerging form 2, which are included the attachment between a pentagon and a quadrangles and the decreasing scale of the six quadrangles. Firstly, when I observe my emerging form 2, I find out that the six quadrangles, which are attached each other, forms a star shape with six angles. Therefore, I made a surface of the star shapes, which is form by six attached quadrangles. Secondly, I follow the recipe to make a pentagon to attach to a quadrangle. However, in this time, I determined to let the pentagons to be perpendicular to quadrangles to make a volume. Thirdly, I considered the other recipe that there should be a decreasing scale in my model. Hence, I made a larger star shape with six angles, which is formed by six larger quadrangles. Then, I place it at the bottom of my model to show a decreasing scale. When my model is completed, I begin to think of its possible effects to ensure that the effect of my model is relevant to my pattern. I think that the effect of my model may be that six rays of light will cross the six pentagons, while six quadrangles shaped light are reflected on the top and bottom. The overall effect will be a decreasing scale of light from the edger to the center, which is quite similar with my pattern.

Front view

Bird view

Top view

The effect I want to achieve

Lantern Model 2 The second model I made is based on emerging form 1. During the process of make the model, I look at this emerging form from a new angle. I discover that the symmetry of the pentagon and the quadrangle looks like a kite, so we see each level of my emerging form as a formation of five kites. When I twist each kite by using clay, I notice that it is like a flower, especially when I put all three levels together with its appropriate ratios. The following step is to consider its possible effects. I think that its effect will be like numerous irregular shaped stones lying on the wall. Next, I start to think where I suppose to place my lantern on the arm. I have already had two models, which are needed to hold on the hands. I think that my third model must have a different way to carry it. Then, I added a flower with a larger ratio to my model, which will let it be able to place on the arms. The effect of the changed model is quite good as well. The addition of another flower on the back will make the shadows on the wall more complex and it will be like many big stones are divided into smaller stones. Also, the effect this model might show exactly describes the condition of the original pattern.

Side view

Top view

Front view

Bird view

The effect I want to achieve

Lantern Model 3 The second model is also derived from emerging form 2. This time, I just rotate this emerging form by 360 degrees to form a volume that there are 5 emerging form 2 attached. Next, I use its possible effects to check whether this model expresses the elements of my pattern or not. The effect of the model is possibly six pentagons are encircled with six smaller quadrangles on each side of my model. It also illustrates a decreasing scale in its effect, which is the key element of my pattern.

Front view

Bird view

Top view

The effect I want to achieve

Using the image of Japanese lantern to describe the effect of lantern model 1 There are many types of light are introduced in the lecture, including direct, layered, cut, filtered, extruded and diffuse. However, I think that the directed light is the best choice to show the effect of my model. It is because it is going to be messy if I choose other types of light. I only want the effect of my model is clear enough to show the scale of it. For instance, if cut light is utilized, iy will hard to differentiate which effect is caused by the cross light or my model. When the two effects mixed together, I will be very difficult to measure the scales. Hence, I think that direct light is the most appropriate choice to me. A picture of Japanese lantern’s effect indicates the effects of my model when directed light is applied. Similar to the Japanese lantern, the shape and the order of the quadrangles on the top and the bottom of my model are same. The lantern shown in the picture is symmetry of a decreasing scale of flower shaped layers. It means that the size of the highest layer is usually smaller that of the lower layer if we only see the top part of the lantern. Therefore, both of the forms of the lantern in the picture and my model are similar that there is a decreasing scale from the top to the bottom. In addition, although there is a bubble inside the lantern in the picture, actually it is the directed light to the top part of the lantern due to symmetry. Therefore, I believe that this picture indicates the similar effect with my model when a directed light is applied.

Furthermore, if we replace the effect’s shape from semi-circles to the head of anrrows, this effect will be exactly same with the effect of my model, which is that six quadrangles heads of arrows.

are encircled by six

Using Emerging form 2 to achieve the effect shown on the Image In order to create the same effect the Japanese lantern had buy using emerging form 2, I decide to use 3 emerging forms with different ratios, which will be one after another. In other words, the emerging form with a smaller ratio will be under that with a larger ratio. If we do so, there is going to be a similar effect occurs in the emerging form.

Reflection: Week 1 reading answers and response

When I connected the centre point to the contours of the five parts. I found out that at a certain point, it can divided the five parts with similar areas while the big stones in the threeParts are well protected. As a result, I get my analytical drawing of balance. The third stage is transformation, which is to translate the still-life objects into abstract images. In this stage, we care more about the tensions and relations between things. This stage is used in my analytical drawing of movement, in which I get rid of all the contours of stones and five parts. Then, I was more focus on tensions between stones. I realized that the tensions between stones and the sizes of stones were getting smaller if we are closer to the center. Therefore, there is a decreasing scale from the edge to the center of the pattern.

After reading the article of tooling, there are two types of recipes are more fitting to my pattern, which are packing and tiling. However, there is a prerequisite in packing says that the distance between circles must be larger than their radii. My pattern is a stone land, where many stones with irregular shapes are closely arranged, thus there is a great opportunity to cause the overlap of each stone. This is why I chose tiling as my recipe. Firstly, I to set a point in the centre of every stone to represent the location of each stone. Secondly, I take a set of points. Thirdly, I choose a point as a center to connect with other points. Fourthly, I construct a bisector between one point and all the others. Fifthly, the voronoi cell is bounded by the intersection of these bisectors. The final step is to erase all the points and unnecessary lines. in the end, the pieces, which are divided by utilizing this method, exactly prove my assumption that in this pattern, a single big stone should be treated as a whole, when a group of small stones are seen as another whole.

According to the article of Analytical drawing, there are three stages are being introduced, which to are simplification, analysis and transformation. The first stage, which is simplification , is to convert the’ whole complex’ to ‘one simple overall form’. Then, we can use a series of the horizontal, the verticals and diagonals to find the axes of the forms. In my assignment, I realize that there are too many stones with different sizes and shapes in my chosen pattern. It will be too complex if I used every stone during the process of analytical drawings.

Meanwhile, this reading inspires me that I should make the complex form easier. I begin to think that which stones play a more significant tole than others and they should be the one I need to take into considerations. There are three stones I chose to take into account during the process of analytical drawings because there stones have much bigger size than other stones in the pattern of a stone land. The rest of stones are split into two pars due to the locations they exist. Therefore, a complex pattern is simply divided into five big parts, which are three parts with big stones and two parts with several small stones. The second stage is to designate the ‘development of the structural network’, which means that we need to look for the relationships between the different parts of the patterns and tensions between them. What I did is to pick a center point to connect to the contours of all the five parts of my pattern and all the corners of may pattern tile. I discovered that if the center point was good enough to fairly divide my pattern tile into two parts and it was exactly on the one of the diagonal of the pattern tile, symmetry might take placed. In this week’s lecture, we had been taught that there are two kinds of symmetry, which are center point and biaxis. This is how i get my analytical drawings of symmetry.

Reflection: Week 2 Reading response When I complete my reading, I realize that my found pattern probably went through the similar process with the Fingal’s Cave and the Giant’s Causeway that the molten rocks release the tensions between them. I think that all the tiny and big stones we saw in my pattern were actually separated from a big molten rock in the ancient time. When the molten rock gets cool and hard, each part of it starts to contract. However, the tension forces caused by the contraction of each part of the molten rock on the surface is usually larger than the tension forces within the rock due to the faster rate of cooling on the surface of the rock. The cracks begin to appear and they become bigger and bigger when the molten rock gets cooler. When the cooling process finalized, the wide cracks on the surface of the big ‘molten rock’ remain because of the balance of forces. Few years later, there is some dirt is blown to the rock to try to cover these wide and deep cracks, which results in the distinguishable dark cracks on the surface of the ‘molten rock’. These obvious cracks, which are full of dirt today, makes the parts of the ‘molten rock’ surrounded by them look separated from others. This is why we feel that my pattern is formed by numerous stones. In fact, all the stones shown in my pattern are all deeply bonded under the ground.

During the process of transformation of my found pattern, self-organisation is widely used that a crack will stop from developing when it intersects with another. When I am doing my emerging forms, I only place the objects next to each other instead of breaking their shapes. Also, in my recipe, self-organisation is also utilised to reduce the complexity of my pattern. The way I used is tiling. During the process of picking interaction points for differentiating big stone areas, I only pick the points, which will not interfere others. Therefore, my recipe looks very simple because the self-organisation drives me to get rid of all the points, which will make my recipe complex .