ENVS10008 IDEATION MODULE 1

MODULE 1: IDEATION

rizal ambotang student no . 641233 | semesterr 1/2013 | group 5

INSPIRATION FROM NATURE

To generate patterns from nature i have looked at several natural objects and understand how the pattern formation.

I am inpired by Philip Ball’s (2012) reading where he highlighted the fact that the patterns in nature can be described by the interactions of the elements with its system. These interaction can be observed and explained through behaviors /formations Underlying concepts on all of these formations are 1) The concept of self-activating or autocatalytic 2) The concept of Self organizing, behavior that cannot be predicted from its individual properties but rather its surrounding elements.

3) Interaction between the surrounding elements that dictates the eventual emergent pattern.

This interaction can be explained through mathematical analogies (i.e. fabonacci sequence) or continuum equations i.e. diffusion or transport 4) Involves the boundary condition or stable state in that natural system.

Using these concepts I was able to generate a pattern that can be described by a recipe.

Synthesizing and pattern discovery From the assigned reading Polling (1987) I used Kandinsky’s analytical drawing technique to synthesize the pattern emerging from the natural objects that I have selected.

The Kandinsky’s analytical drawing involves 3 stages: Stage 1 Simplify the subject by removing all details and complexities Stage 2 Discover the underlying relationships between elements (tensions) as well as identifying focal points that creates these tensions.

Stage 3 Translation of objects into abstract representations.

From the patterns I have selected from nature (coral, polyp and cabbage), I’ve simplified these patterns by removing the details and tracing the overall shapes or lines of the objects. Subsequently, I was able to discover the connections (tensions) between different elements and developed focal points that provide the point of origination of these linkages. I represented these linkages/tension with appropriate lines or base elements and discover the emergent patterns.

I have also explored the different concepts of balance, symmetry and movement on the emerging patterns.

Based on the Tooling/Aranda (2006) reading, I was able to create recipes on how my emerging patterns can be developed.

Synthesizing patterns RED CABBAGE

SYMMETRY

BALANCE

Base element (hexagon)

Analytical Drawings & Recipies

Base element (triangle) 1) Divide the area by using Fabonacci square sides with the size sequence of 1, 1, 2, 3, , 5, 8, 13, 21 ,34

1) Draw a line from 2 opposite corners of the hexagons NOTE : This is the axis of symmetry where the pattern mirrors at half fold.

MOVEMENT

2) The spiral will be made from the quarter circles insides these squares.

1) Duplicate base element and rotate base element by equal angle

2) Scale the base t of triangle by 2x

SPIRALING

3) Rotate base elements along a spiral outward

Synthesizing patterns MUSHROOM CORAL

SYMMETRY

BALANCE

MOVEMENT

1) Draw a line between the opposing patterns.

Analytical Drawings & Recipies

2) This line is the axis of symmetry where the matterns mirror each other.

1) Draw 4 quadrants

2) Draw primary line ( thick lines) and alternate with secondary line (thinner lines) from the edges converging to the center of the 4 quadrants.

1) Initial element, drawn from the edge to the centre of the centre

2) The base element duplicated and rotated each around the centre, clockwise

Synthesizing patterns HARD CORAL POLYP

CHOSEN PATTERN & RECIPE SYMMETRY

BALANCE

Base element

Analytical Drawings & Recipies

MOVEMENT

1. Start with base 5 sided- elements

1) Draw a line between the opposing curves.

1) Divide into 5 quadrants 2) The curves mirror each other along the axis of sym-

2)Additional elements are added to each side of 5 sided of the base element in clockwise direction.

3) Subsequent element added to sides of the initial ring 4) Complete accumulation when all sides on all elements are occupied.

Modelling

Paper model - Pattern 1 Step 1

Upon discovering the patterns through the analytical drawing approach, I have taken the process further for my chosen pattern i.e. coral polyp for transformation.

Cut paper to 5 strips equal width, each for the pentagonal element of the base design.

Using paper to model my transformations I have added additional dimension to my base pattern.

Taking cue from the Ball (2012) reading on natural pattern formation, I have taken a moment of the transformation by selecting the initial element i.e.

5-sided element.

From the reading, Ball (2012), the 1st element simulate the process of self-activating (autocatalytic) where it define the the starting point of the development of the subsequent elements.

Step 2 Base element 5 sided- elements

Mark the length of each side of the pentagonal element from the base pattern .

Step 3 Fold the paper strip at the markings to create creases.

Modelling

Paper model (cont.)

The following 5 sided elements (extruded) in my pattern will self-organised along the edges of the initial instance. This rule is defined in my recipe which I’ve developed in the earlier pattern discovery process.

The above rules of interactions, mirrors Ball’s reading on pattern as computation. My pattern can be an analogy to the cellular automata. The cells are organised on grid and the replicating cells are organised through a local rule i.e. a recipe.

Step 4 Create base element by glueing the start section and the last section together to form the extruded element.

Step 5 Repeat (2)-(4) for remaining elements. Glue the elements together at the sides of the initial

Cellular Automata

Step 6 Assemble the remaining elements by following the recipe.

Stephen Wolfram (2002) introduced the elemantary cellular automaton that specifies the rules for the next colour in a cell. It’s represented by a binary formula of 110 = 01 101 110 (base 2)

Modeling Paper model - Pattern 2 - extrusion + rotation transformation I have also explored a different transformation using the extruded base element (from a moment of transformation) Similarly I simulated the auto-catalytic process by defining the base element and create a local rule (recipe) for transformation.

The recipe below.

Step 1

Step 2

Step 3

Step 4

Taken a specific moment of the 3D extrusion process, a 5-sided element was taken as a base element.

Copy and scale 1.2x of base element

Rotate 10 degrees counter clockwise

Repeat step (2) & (3)

Step 6 increase the height (3D extrusion) of each element by 0.5 cm increment

Step 5 Extrude each 5-sided element in paper model

Step 7 Assemble the 3D paper model using the recipe.

Modeling 3) Scale size + Extrude + Scale height + Rotate

3D Modeling

Using Rhino 3D modeling software I extruded the base patterns using the recipe.

1) Base elerment

1) Base pattern

3) Simple extrusion

2) Import into Rhino 2) Import into Rhino

Modeling 3D Model - Take 3 I further developed the base pattern (Pattern 1) in Rhino to extrapolate the possible form for my lantern.

Taking inspiration from a Lotus pod I extruded the base pattern and stylised the top face mimicking the shape and the circular pods.

Modeling - Shape exploration

Final shape selected

The plasticine modeling allow me to explore the overall shape and variations which can assist me further to design the lighting effect on the final lantern.

The final selection is derived from the initial 3D modeling which the top portion mimic the lotus seed pod.

I would like to explore the possibility of capping the tubular elements with flat caps with circular/oval opening to let the light out. The effects are documented on following spreads.

I may explore further the combination of Option 2 & 3 in relation to the lighting effect to accentuate the diffusion of the light as it exit the tubular elements.

Option 2 explore the possibilty of having the tubular element completely capped by a dome with no opening as such that the lights will be trapped and will act like light bulbs.

Option 3 explore the possibilty of having the tubular element partially capped by a dome with circular opening. The opening will let the lights out and projected circular shapes on the ceiling.

OPTION 2

OPTION 3

Scale - Lantern

The pictures explore the final shape and scale of the lantern.

The scale used is 1 : 6 ( the 30cm tall of the model is scale to 180cm tall of an average male) The pictures are not indicative of the handling of the lantern. This is further explored on the next spread.

Handling - Lantern

OPTION 1

With this oprion the lantern can be held by holding bottom of the stem. With this option the lantern can be lighted on both sides of the ends i.e. top and bottom. The light effect can be seen on the ceiling as well as the floor.

OPTION 2

With this option the base of the lantern will have 5 openings which fingers can be inserted into. This may be a litlle awkward but still an option that can be explored further refinement.

With this option the light source would only able to project lights upwards at the bottom opening will be covered by fingers holding the lantern. Again not an ideal approach.

Precedent - inspiration from built environment Saarland University, Saarbrücken, Germany Bowooss, a showcase pavilion built by the students at School of Architecture, Saarland University. It is inspired by nature to demonstrate the concept of sustainability in constructing system . The term Bowoss translated into “bionic optimised wood shells with sustainability” (Buczynski, 2012).

The shape resembles the shell of a bug. Additionally the pattern on the shell-like construction mimics a beehive with the stylised oval shape.

I chose this stucture as it represent the lighting effect that I wouldm like to implement in my design. The pattern with the oval openings provide interesting light effect as well as being functional as shading the inner structure for social gathering and relaxtion.

Lighting effect

Reflection Week 1 Introduced the idea of representation. Representation can be found around through art,technology,science and nature.

Also introduces to the idea of looking at complex patterns and analyzing these patterns through Kandinsky Analytical Drawing technique. The technique resolves complex objects into simplified lines and elementary forms that describe relationships between the objects. The outcome is an abstract representation of the objects which is free from the original arrangement.

Week 2 Introduced me to the idea of modeling. From the found pattern I am able to do simple transformation such as extrusion to create new emerging form.

Additionally I looked at other transformation processes such folding, bending, twisting etc.

I have aslo developed skills in documenting my model development by composing and taking picture of each stage.

Week 3 Looked at using clay/plasticine to form the overall object or shape of the 3D pattern. This process allowed me have the sense of scale to my design and develop my ideas further on the lighting design and the handling of the lantern.

SKILLS ACQUIRED : 1) Sketching 2) 3D modeling with Rhino 3) Page layout 4) Basic photostaging -

References BALL, P. 2012. Pattern Formation in nature. AD: Architectural Design, 2, 22-27.

BUCZYNSKI, B. 2012. Pop-Up Bowooss Bionic Research Pavilion Inspired

by Nature’s Efficiency [Online]. Available: http://inhabitat.com/popup-bowooss-bionic-research-pavilion-inspired-by-natures-efficiency/ [Accessed 19/03/2013 2013].

WOLFRAM, S. 2002. Rule 110, Cellular Automata [Online]. Wolfram.

Available: http://mathworld.wolfram.com/Rule110.html [Accessed 27/03/2013 2013].