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.

Catherines Journal
Catherines Journal

Assignment for Uni