Ideation Guo Yu Student No: 634209
Semester 1/2013
Group 9
Natural Pattern-Microscopic Alcohol
Champagne
Daiquiri
Martini (Chosen Pattern)
According to week 1 lecture and Kindisky, forms of representations and rules that create complexity in nature can be expressed through structural relationships within patterning. And there are three steps towards this expression. Firstly, define a general geometrical from of the objects. Secondly, define tension or connections between those geometry shapes. Finally perform a simplification to the overall form. My chosen natural pattern is the microscopic cocktail, Martini. Through my experiment of reinterpret this pattern following Kindisky’s way, I find out the ideas that introduced in the reading can actually been translated as revelation of orders behind those patterns. The pattern of Martini is formed because of mix of several different alcohols. The order of the pattern is created by shaking, so bubbles of pattern can be formed. While drawing my chosen pattern, I find that my pattern actually generates completely random geometric forms, but still have strong connections between each other. Also because my pattern has great range of scaling, it creates a sense of movement. I also used the idea of solid lines and dotted lines introduced in the reading, which the solid line represents the scaling movement and the dotted lines represents the visual connection between those movements.
Analytical Drawing-Movement
Analytical Drawing-Balance
Analytical Drawing-Symmetry
Analytical Drawing-Recipe
A key point I find out while creating my recipe, is that the three representations actually has strong relationship with each other. Which means they can not exist separately, and must be bonded together as an integral. I feel those ideas introduced in both readings and lectures are also crucial to my further designing and modelling
Precedent Research-1 Emerging Form
Hotel Puerta Repetitive Rhythm Patition Walls, by Plasma Studio The Hotel Puerta America is a new radical design hotel in Madrid. What struck me about it is the repetitive triangular patterning and the degree of similarity to my chosen pattern. The design is essentially extrusion of irregular polygons from one point. And the combination of various sizes and shapes of them allows it to create a sense of movement. I decided took this idea of extrude from one point as my emerging form.
Emerging Form Recepie & Process
Modeling Process: Because of the complexity of my chosen pattern, I found it is quite difficult to model it within small scales on paper. So I decided to remake my models form the workshop in a much bigger scale. It is based on the four steps and I have also included a visual diagram of procedure. Firstly, cut a random triangle on paper at least 10 cm^2 in surface area(1). Secondly, measure one side length of the triangle and base on this length cut another triangle which includes this length in one of its sides(2). Then use sticky tape to stick the two identical sides together(3). Finally fold the junction of the two triangles, so it could stands up(4). Repeat the step, make sure all junctions are firmly attached, so it forms a polygon extruded from one point(5).
Extension-Moments of Transformation In my new model, I also experimented a variety of moments of transformation introduced in the reading according to Philip Ball. The ‘Martini’ liquid is a mixture of various alcohols. So it is able to generate a self-organised arrays of patterns. Although none of the patterns are identical to each other, but they shares a common attribute of boundary and symmetry breaking; as the centre point of each polygon attract its apexes to form a radiating arrays of lines, pointing outwards. In this case, I try to cut a series of blended strips on each surface. I also experiment and adapt a few alternatives based on the same concept, so that the visual impression of my model appears richer. Another transformation moment associated with my pattern can be interpreted by the process of making the cocktail. Shaking can result in producing aggregation of similar sized pattern. In general, bigger patterns tend to attract bigger ones and repulse smaller patterns, smaller patterns tend to attract smaller ones and repulse bigger patterns. This can be noticed in the original image of my pattern. And I have also used Rhino to generate digitalized models representing this relationship.
Rhinoceros Digitisation
Precedent Research-2 Formation Process No. 1
The Golden Moon, by Kristof Crolla and Adam Fingrut This pavilion is essentially conceptualized based on a Chinese Lantern that immerse sound and light experience. The basic natural pattern for the structure is flame. Flame is a very free-formed pattern that usually does not generate uniformed repetition of shapes. In this case, the designers derive natural flame patterns into each separate rhombus pattern. What interesting about flame patterns are that they tend to focus on one point at the top. So there is a sense of movement and balance included within the pattern. To interpret these ideas, the designers of the Golden Moon let the rhombus flame units follow a pattern based on an algorithm for sphere penalization. The penalised patterns gradually changes so that it creates a very dynamic space; and moves so all of them points to the tip of the sphere. Also by putting the axis of this cladding grid not vertical but under an angle, the dome gets an asymmetric
electrocutional. The gaps between the rhombus units create a perfect space for light to went through. In fact, if translate it to a actual lantern, it will generate a direct and extruded shadow affect. I think I have already simplified my chosen pattern in the previous process. What my main concern now is how they can be presented. Thinking of how to utilize this fantastic looking design. I was particularly interested in the spherical shape. I can simply just switch those rhombus units in this design to my emerging forms. I think this could be the formation approach for the general shape of my lantern. Also the design mainly used the direct shadow effect, which could also be one of my approaches further on.
Initial Approach Formation Process No. 1
During the week 3 workshop, I found that it is quite impossible to make my exact emerging form by clay in the 1:5 scale. So I decided to further develop and simplify my patterns. Then combine them together. The exact process is quite simple. Firstly make two triangle based pyramid. Secondly attach one of each surface together. Repeat this process until a sphere generated. Each pyramid emphasise several units of my emerging form as demonstrated in previous model. So the texture of the surface will appear richer. I considered how the lantern should interact with my hand. A spherical object is usually a bit awkward to hold with hand, So I think the sphere should be hollow so a hand can hold up inside it.
Clay Modeling Formation Process No. 1
Evaluation When I got this model finished, I started to dislike it. Simply because it looks quite boring and no sense of movements can be captured. And the interaction between the lantern and the hand doesn’t appear to be comfortable. So I think I should restart the process again by looking into a different precedent with a greater dynamic feel and a greater sense of connection to the hand.
Precedent Research-3 Formation Process No. 2 Dubai Towers, by TVS This is a series of 4 towers intended to be built in Dubai. The 4 towers just like the previous precedent, resembled flames. I was particularly interested in its great dynamism. Unlike the Golden Moon, the Dubai Towers use curved triangles to emphasise the flame pattern. It creates a sense of movement which flames have been raised from the ground. It could be very interesting if transfer the flame movements on to the hand. (Demonstrated in the bottom image) As the flame can just raise from the centre of a hand. This also provides a good opportunity to make connection and interactions with hand.
Initial Approach Formation Process No. 2
Because the formation process has been based on the flame pattern, I now started to looking more deeply into the flame pattern. And I discovered that the pattern actually appears to be more curved than the design of Dubai Towers The modeling process is also quite basic. Firstly make a thin, tall triangular based pyramid. Then close the bottom so it forms cones on both ends. Start making the sides curve and spiral to both ends. Finally, increase the curvature gradually. The scale of my emerging form to this formation is about 1:20, so there will be an aggregation of patterns which increase the richness of the texture thus light effects. The patterns should be mosaic on each of the surface My initial thinking about interaction with hand is simply to hold it. At the moment, this appears to be relatively legit and easy to make.
Clay Modeling Formation Process No. 2
Evaluation This time I feel more satisfied with the outcomes. However, I think it might be good to consider a several set of these combined to form a truss of forms. A single one just looks like a torch which doesn’t appear to be very attractive. Also the way hand interacts should also be reconsidered, so it looks less like a torch.
Light Effects
Filtered Effect, thin lines filter the light
Direct Effect 1, repetition of small patterns aggregate light
I really liked all of the three photos. Each of them emphasised two specific light effect at the same time. The top left one shows a direct effect, but by very small scale of patterning. This allows it to filter most of the light and create a sense of denseness. The top right one demonstrates filtered light effect, but at the same time has directed effect. The bottom one includes both direct and extruded light effect. The idea of combined light effects will be my main approach. Just because it will enrich the variety and diversity of my lantern. On the far right-hand side, I included some sketching to demonstrate how those effects can be merged into my emerging form as well as creating a shadow effect. Direct Effect 2, through blending and layering extrude the light
Final Idea-‘Hands on Fire’
The final idea-‘Hands on Fire’ took on extension of the second formation process where the emerging forms of extruded polygons have been laid on curved triangles which emphasise movements of flames. The inspiration is from the two images on the left-hand side. One is a Photoshop image, and the other is a character from the Anime ‘Fairy Tail’. Both demonstrates a great sense of movement, and they look cool as well. Basically, the idea combines several formation units in different sizes at the bottom. This will allow hand to hold it, so it looks like it has been grown directly from the hand. I considered to use both black and white coloured papers to create the sense of interval thus another good way to emphasise movement. Each of the light effect which has been explained in the previous page will be used, so that one type of effect will completely cover one surface.
References http://www.yankodesign.com/2007/02/12/hotel-puerta-repetitive-rhythm-patition-walls-by-plasma-studio/ http://i.jootix.com/o/Vanished-Flameby-lowjacker-vanished-flame-lowjacker-hand.jpg http://en.wikipedia.org/wiki/Dubai_Towers_Dubai http://bengalsfan1220.wordpress.com/dubai-towers/ http://www.eikongraphia.com/?p=1962 http://www.mymodernmet.com/profiles/blogs/kristof-crolla-adam-fingrut-golden-moon http://thomasfortenberry.net/?attachment_id=9737 http://www.photo-dictionary.com/photofiles/list/7943/10722flame.jpg http://fairytailworld.com/wp-content/uploads/2012/12/natsu_wallpaper_1.jpg