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MINH (FIONA) TIEU I STUDENT NO.: 643679 SEMESTER 1, 2013 I GROUP 7 Virtual Environments



INSPIRED NATURAL PATTERN: DAHLIA Dahlia Dahlia consists of irregular triangles rotating, creating a notion of movement.

ANALYTICAL DRAWINGS Movement 1. Cut out a series of isosceles triangles in different scales. 2. Starting with the smallest triangle, outline the triangle moving in a circular motion overlapping one another. 3. Continue to repeat step 2 with a larger triangle. 4. Repeat step 2 and 3 until pattern is completed. Symmetry 1. Draw a circle 2. Find the centre point 3. Draw curved lines connecting the centre point to the arc. 4. Repeat step 3 until the circle in filled evenly with curved lines.

Balance 1. connect two curved lines to create a pointy triangle. 2. replicate, making sure they faces directly as one another. 3. on their right hand side, draw similar shape triangle overlapping one another. 4. Erase any lines to portray the the first triangle lays on the top. 5. Repeat step 3 and 4 until there's a total of 4 triangles for each full triangle.

IDEATION Virtual Environments

“Kadinsky's Teaching at Bauhas” by Clark V. Polling, gave me a deep somewhat complicated meaning of the term” analytical drawing”. According to Kadinsky, analytical drawing allow students to think logically as they demonstrates both analytical and synthesis process through the 3 stages of analytical drawing. Before approaching the 3 stages of analytical drawing we are required to complete a research task in finding a pattern of nature that fits within the provided categories. In doing so, encourages us to view our pattern in a thoughtful manner. Follow by the first stage, in which we are required to simplify our pattern into geometric shapes. Stage 2, identify the tension within our pattern the emphasise it using bold lines. Lastly, stage 3, in which we are required to further simplify are drawings. “abstractions of reality”, meaning the models are made by reducing the complexity of reality to a level where it could be described and managed. In other word, abstraction is about reducing the amount of information within objects. In contrast to Reduction, it is said as “re-writing the description without altering the context”. Abstractions are much like Analytical drawing where we simplify our patterns then highlighting certain parts in portraying intended principles. Follows by a recipe which I thought are like reductions, so we are adding information within the context of our natural pattern.

PAPER MODELLING 1.Folded like so

2.Using a scissor to make the curve

Modelling on Rhinoceros 5 The Paper model was then extruded using Rhinoceros 5, individuals pattern was then tiled next to one another to give an overview of the whole design and how it would tessellates. At this stage, there's a much like diamond shape between the patterns.

Extrusions The paper pattern is extruded to emphasise its structure.

IDEATION Virtual Environments

“ Pattern Formation in Nature” by Phillip Ball highlights how natural patterns are created. There are chemical patterns, are explained through the apparent markings on animals. Granular patterns, which are patterns formed through the differences in gravity, atmospheric pressure, wind speed and so on. Lastly, Patterns as computation, meaning they are self- organised patterns that are made by interactions of physical particles. For my natural pattern, it'll be under “Pattern as computation” as it is formed spontaneous to maximise its productivity as a plant. Phillip Ball also suggests that some patterns are formed randomly. This may help it to maximise the amount of sunlight absorbed in different angles. Therefore the concepts of rotations and repetition is emphasised within the my pattern design, complemented by a mathematical process of tessellations .

FORM: CLAY MODELLING Model #1 Much like the concept of my natural pattern, this sculpture consists of twirling and is emphasised by scale in the middle.

Model #2 This sculpture was rather different due to its form, random spheres were squished together creating a variety of irregular shapes. Smaller scaled sphere was squished in the gaps in creating this structure. Model #3 This was a random sculpture inspired by the folds of my paper model created earlier The hollow space allows the model to be lighter and much easier in handling.

IDEATION Virtual Environments

Front View

Back View



The Infinite Staircase by Olafur Eliasson in Germany In regards to week 3 lecture, “Camouflage and Effects�, I was intrigued by Olafur Eliasson artwork in one of the slide show so I've decided to further research his accomplishments. As I feel that I can relate to some of his many brilliant artworks. The infinite Staircase caught my eyes due to its continuous line of movement, hint of sparrow was used to highlight the concept of movement in this context. By observation, I'm feel that this could've been achieve by twisting a circular shape in various of ways.

DESIGN Virtual Environments


Olafur Eliassion The Magic Carpet- John Leung This is another example of Olafur Eliassion's artwork I thought the concept of the inference of pattern to create that I thought was quite fascinating in relation to the movement was quite clever. I'm aiming to in cooperate lighting effects. Consisting of triangles and semi sparrow this concept within my lantern design to create a sense of feel. The atmosphere that he created he so intriguing, movement. every aspect of his design fulfils its capacity, creating the spatial effects. Thomas Heatherwick suggests that larger scales building appear to be soulless and cold whilst much smaller scales object such as ceramic pots are soulfulness. Throughout the video, I’ve came to defining spatial effects as making use of space in the most efficient way. For example, he spoke about the power station that was built in Britain; it was bound to be 250 foot high with surrounding neighbours. With surrounding houses of civilians, Heatherwick also made use of the height of the structure by offering a much like sky view for visitors. Also he mentioned the apartment that was built in Malaysia, in the context he created spatial effects by making the bottom of the building small and have a larger upper body. In doing so 90% of the site was turned into a rainforest and Virtual Environments also since the bottom part was lowest in value, by re-arranging the shape of the building creates a greater commercials value.


FORM: CONTOURING Overall Form The form of the Clay model #1 is refined in terms of heavy curves/ twirls, enables the pattern to flow and tessellates more easily,

DEVELOPMENT OF PATTERNS Using Paper Using the same concept of paper folding from the original pattern design, instead for a more assembled and logical design. I've decided to instead of creating random sequences of the flower, it'll be consisted with 5 identical paper strips that goes around with a centre point where they all meet. Implementation In order to create a full centre, I've decided to add another strip of paper as we all know that we need 6 triangles to create a full round of 360 degree. With the same procedure except this time I used 6 strips of paper rather than 5.

DESIGN Virtual Environments


1. Paper strips x 6

2. Circulations

3. Sticking

4. Three Edges was joined at the centre

5. Lighting Effects

DESIGN Virtual Environments

DEVELOPMENT PROCESS: RHINOCEROS 5 Development I've then decided to make the overall outline a regular hexagon, this will allow the pattern to fit well together without having gaps. The centre circle made it difficult for the pattern to be unrolled, so I've decided to also straighten up the lines in the centre. This does not only allow the structure to be unrolled by this will stiffen the structure, strengthens the structure. Prototype In making the first prototype, several problems was obtained: The measurements of the model did not match up. As you can see, instead of joining the end of the strip of paper to one another, it had to be moved to the middle in order to complete the cycle. This led to another problem, which is that since the overall shape is no longer a hexagon the pattern did not join.

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New Pattern Design Much like the previous design, same concepts of rotations are applied. The 'pedals' are structured quite differently, in having the pedals like so allows more light to be emitted from the inside, creating a more vivid shadow effect

Complexity The number pedals are increased to emphasise the complexity of the dahlia's natural characteristics. Its simple it terms of the concepts of the pattern yet intriguing in terms of its repetition that gives the sense of complexity.

Development of Pattern After panelling the design on the form, I felt that the design are still too complicated in terms of making. Also my original natural pattern was a dahlia flower that consist of triangles rotating creating a sense of movement. In terms of the new pedals, creates a sense of rotations within the design but I feel like the centre withdraw the simplicity of the natural pattern. I believe that it is to important to develop the design yet retaining the main concepts of the natural pattern. Therefore, the centre is simplified by removing the triangles and left with a hexagonal centre. The makes the design feel light weighted and more intriguing rather then filling the design with triangles.

DESIGN Virtual Environments



“Making becomes knowledge or intelligence creation. In this way thinking and doing, design and fabrication, and prototype and final design become blurred, interactive, and part of a non- linear means of innovation”. Digital environment allows to take control of the structural process of our designs, also by working digitally allows us to have a variety of representational formats. Tessellation consist of collective pieces fits together with no gaps forming a plane or surface, much like puzzles. It can virtually be any shape that has a tight formation. In relating to my design, it is important for the structure of my individual panels to tessellate to one another in order to create its given form. Unwanted gap will result unwanted shadowed pattern, by tessellation out patterns allows our lantern to be more precise in terms of form and details. Folding is a process in which revolves 2 dimensional shapes into 3 dimensions objects. After unrolling the surface of my design we then add tabs to our 2D format in creating our 3D model. Also folding enhances the stiffness of the structure. William Mitchell suggests that architects share straits of designing within their capabilities, meaning they tend to draw “what they could built, and built what they could draw”. Now days, the complexity of one’s design are based upon the capability of machineries. Two dimensional fabrication: CNC are most popular in terms of fabricating. This was the type of fabrication that we used in modelling our lantern.

FABRICATION Virtual Environments

Model Making Materials - UHUH Glue - Stanley Knife - 5 x 300gms black paper - Cutting Mat

Paper The thinner, 300gms black paper was used to emphasise the delicateness of the natural pattern. Thicker paper will create a stronger foundation yet the structure will appear too stiff. Also, my pattern design consists of folded curves along with a curvy form, therefore thinner paper allows it to do so.

FABRICATION Virtual Environments


Foundation A triangular pyramid within the model creates a foundation for the lantern, this helps to avoid the lantern from collapsing due to its delicate form. Also it is used to hide all the wiring of the light source. Light bulbs are placed evenly around the pyramid, unseen wires are hidden by having cut lines around the pyramid then sliding the wires inside the pyramid then sealed up with stick tape. By placing the light source around the pyramid allow light to be shone evenly onto the surface of the lantern.

FABRICATION Virtual Environments


FABRICATION Virtual Environments

FABRICATION Virtual Environments

Digital processes enables us to simplify the complexity within design, into geometric and mathematical generated code. This increases the certainty and reduces the risk when it comes to model making. Digital technology are in the side of side of its user, in terms of model making, I had difficulties in obtaining the correct form through rhino. My pattern design was quite challenging, individual panel was unrolled on its own. Each pattern design consisted of 8 strips of paper, I had 9 rows and 8 in every row. In total I had 576 strips of paper, each strips are to be placed in the right order and facing the right direction when attached. Overall digitising my model was really challenging, the only risk in this context was time. The laser cutter helped to reduced time yet if it's done incorrectly even more time are consumed. Digital process consist of numeric manuals, its useful in the hands of professionals. I wasn't so pleased with the final outcome, the form wasn't quite successful. Also, the night of the lantern parade made me realise that light does not only reflect and create shadows, it can be seen through. I feel that I've been focused so much on the pattern that shadows, the lighting effects of the lantern rather than the imagery. White paper might have been more successful, as my pattern design was be able to glow in the dark as well as having lighting effects. Lighting effects on white paper might give a clear shadow due to the white paper, more light source could be added to avoid this issue. My pattern design would then be seen more clearly along with the lighting effects. The light source for my lantern was too deem, because I've been testing the lighting effect in pitch dark room rather than room with deem lights.

REFLECTION Virtual Environments

REFERENCES Virtual Environments

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