Module 1 : Ideation Name: Tan Yee Ann Student No: 573608
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Natural Pattern 1
Natural Pattern 2
Analysis 1.1
In stage 1 we explored different natural patterns to generate pattern by the method based Polings’s readings on analytical drawing. I picked 2 different natural pattern to develop. I started of with the underbelly of a starfish which shows a radial pattern with similar hands on each side. Analysis 1.1 For this design I started of by extrapolating the outlines and then using shapes and lines to simplify the form. Followed by a translation to symbolise movement of the starfish.
Module 1 : Ideation Name: Tan Yee Ann Student No: 573608
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Analysis 1.2
Analysis 1.3
Analysis 1.2 For this iteration, I connected the dots of points that are similar to each other on the diagram. These lines shows the interconnections between the objects. After which I joined the points together to create the 2nd design. Analysis 1.3 For this design I took a different approach. I focused on the shades of the imagery. I then extropalated simplified forms and drew concentric circles to show the interconnections of objects. Finally I distorted it by pulling the lines in a cirular rotation, to emphasise on the swells of the ocean currents.
Module 1 : Ideation Name: Tan Yee Ann Student No: 573608
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Natural Pattern 1
Natural Pattern 2
Analysis 2.1
The second natural pattern is a picture of leaf veins. The leaf veins follow a grandular patterning. Analysis 2.1 For this design i started with a simple extroplation. Followed by showing the interelations with each unit by connecting the corners to the center. Next a futher simplifciaction and subtraction of lines. Finally a additions of colour to distinguish the sub units and also to create texture and create a 3-D effect. Creating a form of movement in the Z-plane.
Module 1 : Ideation Name: Tan Yee Ann Student No: 573608
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Analysis 2.2
Analysis 2.3
Analysis 2.2 For this design I extracted lines based on drawing straight lines through the picture, followed by simplicification of the design. The final stage is a warping to show the movement of lines when a water droplet is over the design,streching the object. Analysis 2.2 This design I focused on the internal units of each segments. I noticed the repetition of the units. The units are interlocking with each other within the segment. Resulting in the final iteration.
Module 1 : Ideation Name: Tan Yee Ann Student No: 573608
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Natural Pattern 2 Paper Modeling
Model 1 From the 2 natural pattern I chose the 2nd pattern as I felt that there was more room for development for the design. For week 2’s task we were suppose to repeat the same process as we did for week 1 with the freedom of the 3-D plane for this assignment, through the creation of paper models. (Model 1) For the creation of this model I started from the basic design and extruded the design. After which I simplified it by selecting an unit as my base pattern. after that there was scaling and extruding of the layers. (this idea was discontinued as I felt it would not create aesthical qualities for its shadows it will cast.)
Module 1 : Ideation Name: Tan Yee Ann Student No: 573608
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I took the same approach as my analytical analysis 2.1 where I simplified the form. This time I extruded the form. I expirmented with hexagons and pentagons. I had tried different arrangements and different forms.
Model 2
Analysis 2.1
Model 2a 1
2 Model 2b
Model 2c
Module 1 : Ideation Name: Tan Yee Ann Student No: 573608
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Model 2b
Analysis 2.1
Recpie 1.0 (it devloped further later) 1. Using the base pattern extrude it by 3 cm. 2. With in the internal segments connect all the corners to the center. 3. This segement is to have an extra petrusion of 1 cm. (4cm from the base of the object) From base unit (Model 2b) derived from analysis 2.1. I tessalated a radial pattern. The pattern is made up of pentagons. This design was the design which I decided on to make render on Rhino. This design has a beautiful form. It would also create a unique and intricate shadow. Lastly it would also create a nice illumated object when it is modelled and panneled. Hence finalising on this design. It will provides a virtual effect, where the light gets brighter as it reaches the edges due shallower depth. The visual effect created also shows a balance between the shadows it will cast the object and the object when it is illuminated.
Module 1 : Ideation Name: Tan Yee Ann Student No: 573608
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The initial design was modelled . During the modeling phased I decided to further develop my design. I inclded scaling of the base pattern and rotation to the loft.
Module 1 : Ideation Name: Tan Yee Ann Student No: 573608
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Recpie 1.1 (based on model 2b) The recipe will be explained layer by layer.
Layer 1: Base design Layer 2: 1.The section of the base design is raised by 3 cm 2.This layer would scale (Scale2D) by scale factor of 1.25 3.Next the layer would rotate anti-clockwise by an angle of 10 degrees Layer 3: 4.The first layer is duplicated and translated up by 6cm(2x the distance between layer 1 and layer 2) 5. This layer is not scaled. 6.This layer then would rotate anti-clockwise by 20 degrees. (change of 10 degrees from the second layer) 7. Next the contours lines (layers) would be lofted. 8.This is then repeated for all the components of the base design. 9.The only exception is the central core it is raise a total of 7 cm (3+4).
Layer 3
Layer 2
Layer 1
Module 1 : Ideation Name: Tan Yee Ann Student No: 573608
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Recipe for Model 1 The recpie for this is similar in concept.
Model 1
Recipe 2 (model 1) 1.Start with the base unit (leave cell shape) 2.Extrude the layer by 2 cm 3.Raised a smaller unit scaled by scale factor 0.9 and translated 0.25cm upwards. 4.Duplicate the layer and traslate it up by 0.25cm and rotate it in the anti-clockwise direction by 10 degrees. 5.Then duplicate the layer and translate it upwards by 0.25cm and scale it back to the base size, using scale 1/ factor (1/0.9) 6. Repeat step 1-5 another 2 times. 7. Loft the curves together
Module 1 : Ideation Name: Tan Yee Ann Student No: 573608
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This is a design I experimented. Using the base unit in my design. I did a further simplification by only extracting a few lines from the tessalation pattern from analysis 2.1. Recipe 3 1. Extrude the base unit by 3 cm 2. Reflect the object by one of its edges 3. Translate the object up by 1.5cm (mid point of the object) 4. Then repeat 1-3 *3a. This step an experimental idea. It is to cut and smoothen the edges.
Final decision of recipe/paper model: Recipe 1.1(via model 2b)
Module 1 : Ideation Name: Tan Yee Ann Student No: 573608
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Recipe 1.1 (from model 2b)
Desired out come of the lamp 1. Intricate shadows 2. Beautiful form 3. Alluring illumated state.
Reasons for choosing this design + This object will has beatutiful and intricate patterns. + The object has a nice exterior form. +The central core has more depth hence when a light is shining from within, the partitions of the core would glow. Due to the depth the light dispersed will be diffused. The periferal area will have a stronger light than the core. - The object however is relatively boring along the x-y axis. I will further develop the design as I explore the forms of which this design/ recipe can bring.
Module 1 : Ideation Name: Tan Yee Ann Student No: 573608
1. Intricate shadows I intend to use the design from recipe 1.1 to be repeated around the form. The picture is the kind of effect I would like to achieve, howeve the spaces would be panneled, hence the light would not be as glaring as in the diagram. Etch Web Pendant Lamp designed by Tom Dixon (Tread Hunter 2013) 2. Beautiful form 3. Alluring illumated This light designed by the company Lazerian has a beautiful exterior and when it is illuminate the pannels(facets) still maintain distinct and creates a unique ambence (Tread Hunter 2013) Page 12
Recap of the broader perspective of the recipe 1.1: 1. Base unit (can any shape) 2. repetition (3 layers--> more repetition is also an option) 3. Scaling (at the middle layer of the object--> differential order of scaling is an alternative) 4. Continous Rotation (seen in the uniform rotation in recipe 1.1--> The angle can be changed, However I want to preserve the flow/continuity of the flow of rotation) 5. Complex center as compared to the periferal zones (This can be represented differently when modelling. eg relating the level of complexity with the degree of indentation on the model)
Module 1 : Ideation Name: Tan Yee Ann Student No: 573608
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Designed by: Paul Loh
This design is based on the 3 tiers in my recpie. It used a cone-liked shape as a representation of my 3 layers. The rational for the cone structure was to establish the relationship with the complex core to the more simplified center structure. The tip of the model has a similar prostrusion as of my design. The undulating surface suggest the differential angles to which the object has rotated. For this model it has had the central layer scaled sequentially instead of the central layer being wider. The way this object is held is like a torch or a shaft of a saber. Designed by: Angeline Lim
For this design the base unit was a triangle. It followed the 3 tier rule as well. It has a central core notated by a circular form. It is like wise rotated along the central axies. This design followed the exact steps within my recipe.
Module 1 : Ideation Name: Tan Yee Ann Student No: 573608
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Modeling based on 1:5 scale Clay Model 1
For my design I decided to create 3 spherical shape as my 3 layers. I decided to use forces to represent the complexity of the design.(in my paper model 2b the core was more complex to the edges). Upon kneading I noticed the creases formed by the clay. I then decided to include that as part of my base design. The form looked much like petals that are radiating from an origin. The fins enabled me to express the rotation. The model can be worn on the whole forearm.
Module 1 : Ideation Name: Tan Yee Ann Student No: 573608
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Clay Model 2 For this modeling I also started with 3 clumps of clay. I created a similar form to the Clay model 1. I then cut the edges (panneling creating facets). Then I engraved some patterns on the surface. This lantern shape is to be held like a torch. This latern has the effects of a tikki torch. I liked the idea of that the lantern is panneled such that the light will not be too glaring as compared to if there were slits/ holes on the lantern. The engrave patterns are suppose to show a textured surface. A panneled surface
This design is worn similar to the clay model 1.
Module 1 : Ideation Name: Tan Yee Ann Student No: 573608
Phil Cuttance’s Faceture series This design is when pieces of the design is scaled down and creeping along the forearm
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Modeling based on 1:1 scale Clay Model 3 This design is derived from imagaining the paper model on a larger scale. Hence the model will be viewed as trianglular extrusion from the central core. I then slice the sections and stack them up while rotating the the units slightly for each layer. Next I strech the edges to create a continous curve pattern along the form.
The trangluar form onto the forearm. The rotating swirls along the arm.
Module 1 : Ideation Name: Tan Yee Ann Student No: 573608
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Final interpretation of the lamp
Understanding the rational of the design: 1. Base unit (distorted spherical shape) 2.Repetition (3 repetition for the body of the lamp and 3 for the handle) 3. Scaling (The lamp follows the same interpetation of the design for recipe 1.1--> a larger sized unit in the central core. This is inverted for the handle.) 4. Continous Rotation (The rotation is on a smaller scale. The movement of the pattern.)
My final design is an object which in-cooperate different parts of each exploration. I will be using the form of model 1. The idea of faceted/textured surface from model 2. I will used the idea of blending the edges in model 3 hence there will not be any big fins as in model 1 but smaller scale fins.
Module 1 : Ideation Name: Tan Yee Ann Student No: 573608
5. Complex center as compared to the periferal zones ( The shape is based on model 1 which relates complexity with the indentation of the form. The main design is still maintained as a texturing effect.) The shadow - Gobular structure faceted based on the pentagon base unit -Central globe has seperate opaque partitions which is on the internal surface of the lamp. -Handle is smoothen for ease of grip. -The shadows formed will have a central zone of complete shadow and the edges will be slightly blured.(Due to the diffraction of light) Page 18
Reflection
Bold and italic = the critcal analysis
What I learnt from module 1
Week 1 In week 1 we learnt Poling’s method of analysing objects. He starts with extropolation of object’s outline/distinct features. Followed by the drawing of lines to represent relationships between objects. He also thickens lines and add colour to the design to enhance the links he tries to draw. Finally he takes another step from the ridgity and use curve lines and represents movement within the picture. The lecture summarises the approach with 3 concepts. 1.symetry 2. Balance 3. Movement. Week 1 we learned to analyse natural patterns and break down the steps to generate the natural pattern. I employed on certian techniques not mentioned in the readings. Stage 1(extropolation): I considered using shades and shadows as a method to extroplate data and I drew lines in between objects followed by a further simplification. Stage 2(lines of relationship) : I connected the points of similarity. I also connected points to signify the points of movement of the starfish by thinking out of the box away from the inanimatation of the picture. Stage 3 (using curves to show movement): I skewed the design to create a sense of movement based on the natural pattern. (eg the idea of water swelling, the idea of maginfication when a water droplet is on the leaf) Week 2 We have to generate a design based on the exploration we did in week 1. We further develop our recipe and learnt how to use some basic functions to generate design. The basic functions are 1.Move function 2. Copy function. 3. Scale 4. Rotation. We also learnt how cutting at an angle. Lofting creates a different effect altogether. We then generated a 3-D model using rhino. I developed alternate ideas of how the object should be formed by taking a step back and relooking at the designs I have created to explore more possibilities (From Designing Environments). I also reanalyse and used the different compositions derived from the 1st week to create a new design. I employed the use of Poling’s analysis again but now not bouded by the 3-D plane. As mentioned in the lecture 4 my design was indeed spontaneous and it lead to further developments on the way when I was modeling my Design. I understood from the readings the concept of conflicting recipe, and how it lead to a new design. The design which I created included a tessalation which radiated from an origin as well as a pattern within it where lines connect the corners together.
Module 1 : Ideation Name: Tan Yee Ann Student No: 573608
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Bold and italic = the critcal analysis Week 3 We explored the form of the object, and the functionality of how it is to be held. I learnt how to translate my recipe into a volumetric form such that it can become design for the lamp. We also explored the concept of scale, which differs greatly to the final design development. In the lecture we learnt of different effects a lamp can create. This week we decide on the type of effect we wish to acheive and work around the boundaries to create our clay model. In this week I have picked up ideas to create the structural form of my design. My Tutor Beatrice suggested to me to visualise the reationships of the recipe and subsitute them with a different element which resulted in my indented bulpous model design ( the 1st model). I understood the purpose of the design and hence to create a visual effect of my desire I decided to pannelize (creating facets) my design in (model 2). With this idea i will not get a glaring light while maintaing a complex structure. Finally my exploration of the different ways the lamp can be modeled. I derived the idea from a day to day activity of opening a door and thought how the lamp could be devloped with the same concept. The idea was desired as it is easy to attach and remove from the hand, and it was a functional design. The globular structure (final model) will be pannelized with internal partitions to create the shadow effect.
Module 1 : Ideation Name: Tan Yee Ann Student No: 573608
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How I derived my final design from the very start 1. Look up different types of natural pattern 2. Analyse the pattern and understand the recipe behind it. 3. Based on Poling’s reading on analytical drawing I derived with different approaches to generate a design, which I then broke it down into stages. 4. Then I selected a design I saw had development 5. With this set of initial recipe I then kept an open mind to changes and development. 6. The week 2 tutorial and lecture taught me to develop a model based on the design I generated, using simple transformations. I then simpified the recipe and created many iterations of paper models 7. With the much iteration I scrutinise my models and picked the one I saw had potential. 8. Then I used Rhino to model it out. 9. While modeling I developed it futher with functions that would be too tedious to be mannually done 10. Then in week 3 we learn the idea of scale and the different way we can interpret of the recipe. 11. I created different clay models of how the form would look like. 12. The form would then allow me to integrate my previous developments together. 13. This then lead to my creation of a globular structure which will textured by my week 2’s design. Bibliography 1.Tread Hunter 2013, Tread Hunter, viewed on 23 March 2013, http://www.trendhunter.com/trends/etch-web-pendant-lamp 2.Tread Hunter 2013, Tread Hunter, viewed on 23 March 2013, http://www.trendhunter.com/trends/lazerian-paperlights
Module 1 : Ideation Name: Tan Yee Ann Student No: 573608
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