Virtual Environments Studio Journal Name: Minh (Fiona) Tieu Student number: 643679

Virtual Environments Studio Journal : Week I Name: Minh (Fiona) Tieu Student number: 643679

Research Figure1: Dahlia

Virtual Environments Studio Journal : Week I Name: Minh (Fiona) Tieu Student number: 643679

MOVEMENT 1. Cut out a series of isoceles 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.

Figure 3: An analytical drawing of Movement

Virtual Environments Studio Journal : Week I Name: Minh (Fiona) Tieu Student number: 643679

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.

Figure 4: Analytical drawing of Symmetry

Virtual Environments Studio Journal : Week I Name: Minh (Fiona) Tieu Student number: 643679

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.

Figure 5: Analytical drawing of Balance

Virtual Environments Studio Journal : Week I Name: Minh (Fiona) Tieu Student number: 643679

Q: Briefly describe three stages of analytical approach advanced by Kandisky and how you have applied the process to your found pattern? Paul Poh's initiative on the course provided clear components of the course and what's expected of us. We were introduced to our first assignment, designing a lantern. From our reading for this week, “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. As for my pattern I've chosen the flower dahlia, a twirling pattern that combines with irregular triangles that overlaps one another. After re-scaling and modifying the colour on Adobe Photoshop,I did my analytical drawing based on the 3 steps by tracing then analysing the drawing using logic and hints of creativity.

Virtual Environments Studio Journal : Week I Name: Minh (Fiona) Tieu Student number: 643679

Rhino 5 Tutorials

Virtual Environments Studio Journal : Week II Name: Minh (Fiona) Tieu Student number: 643679

Workshop 1: Emerging Form Using strips of paper creating a 3 dimensional design based on our own selected natural pattern. In creating this 3 dimensional paper model, series of paper strips was cut in the same width. Strips are the being adjusted in length followed by exact/repetitive foldings and joining the strips in no particular order.

Figure 6: Paper modelling

1.Folded like so

2.Using a scissor to make the curve

Much like figure 1, except this 3 Dimensional paper model is extruded to emphasise its structure in an exaggeration manner.

Figure 7: Exaggeration

Virtual Environments Studio Journal : Week II Name: Minh (Fiona) Tieu Student number: 643679

Modelled Digitally using Rhino 5

1. This 3-D model are much like Figure 6. starting off with curve lines then extrude it using the command.

4. After finishing 1 patch of pattern, the pattern is being replicated. This is the top view of the 3-D model being replicated 3 times.

2. Curves line are repeated drawn and extruded. This is the perspective view.

5. Perspective view of the rendered model. ( Replicated 4 times, and slight rotations)

3. Side view of the 3-D Model

6. â&#x20AC;&#x153;Artisticâ&#x20AC;? format is used to make the model more clear in details, along with shadings.

Virtual Environments Studio Journal : Week II Name: Minh (Fiona) Tieu Student number: 643679

Final Perspective view of the 3-D model, in the 'artistic' format

Virtual Environments Studio Journal : Week II Name: Minh (Fiona) Tieu Student number: 643679

Q: Describe the formation process behind your found pattern? Are there specific moment of the transformation from your found pattern that you can emulate or stimulate in your emerging form model? Refer to highlighted comments in text. In this week's reading, “ 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. Dahlias was declared as the national flower of Mexico, it consists of triangular petals that circulates in a sparrow shape. This may help it to maximise the amount of sunlight absorbed in different angles. I'm most interested in the growth of my natural pattern, like many other flowers, dahlias would open up wide slowly showing its details. Much like the moment of “bursting” I would like to call. For my model I'm considering the movement of growth, meaning patterns of my design would vary in different scaling in creating the feel of growth and expansions.

Virtual Environments Studio Journal : Week III Name: Minh (Fiona) Tieu Student number: 643679

Week 4 Tutorial: 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.

Front View

Back View

Virtual Environments Studio Journal : Week III Name: Minh (Fiona) Tieu Student number: 643679

Week 4 Tutorial: 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.

Front View

Back View

Virtual Environments Studio Journal : Week III Name: Minh (Fiona) Tieu Student number: 643679

Scaling Model#1: Are held by leaning against the posture of the arm Model#2: Hollow space inside, simply insert your hand into the hollow space Model#3: Held by carrying, let it hangs down.

Model#1

Model#2

Model#3

Virtual Environments Studio Journal : Week III Name: Minh (Fiona) Tieu Student number: 643679

The Infinite Staircase by Olafur Eliasson in Germany In regards to week 3 lecture, â&#x20AC;&#x153;Camouflage and Effectsâ&#x20AC;?, 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.

Virtual Environments Studio Journal : Week III Name: Minh (Fiona) Tieu Student number: 643679

Olafur Elliassion This is another example of Olafur Elliassion's artwork that I thought was quite fascinating in relation to the lighting effects. Consisting of triangles and semi sparrow feel.

The Magic Carpet- John Leung I thought the concept of the inference of pattern to create movement was quite clever. I'm aiming to in cooperate this concept within my lantern design to create a sense of movement.

Virtual Environments Studio Journal : Week III Name: Minh (Fiona) Tieu Student number: 643679

Tracing Pattern was traced and drawn as close to one another as possible noticing that the size and pattern of each individuals are not identical

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2

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Experimenting Pattern was drawn out and cut along the outside lines, follows by folding, the middle area was then cut out as well. By folding the pattern gives the design more texture ad form.

Virtual Environments Studio Journal : Week IV Name: Minh (Fiona) Tieu Student number: 643679

Discussed how Heatherwick uses design to create spatial effects? Use one Project to illustrate you discussion.

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 also since the bottom part was lowest in value, by re-arranging the shape of the building creates a greater commercials value.

What are the keys differences between abstraction and reduction? Can you relate these ideas to process analysis you undertook in M1 (and the reading by Polling)? It is said that models are “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.

Virtual Environments Studio Journal : Week IV Name: Minh (Fiona) Tieu Student number: 643679

Method 1: Produce contour by tracing profile curves. The outline of model #2 gave me a very simple contour so I've decided to contour model #1 as well, seeking for a more complex, unique and intriguing contour to work with.

Virtual Environments Studio Journal : Week IV Name: Minh (Fiona) Tieu Student number: 643679

Model #1: Panelling After contouring my model, panelling tool was used to create grids in order to create surfaces. Squared based triangular prism was used to create a 3-D panel. This panel suggest that there are some errors within the shape that creates a messy interface.

Model #1: RE- contouring Another contour was created by tracing profile curves. Several ovals was drawn in different sizes much like the clay model the lofting was used in creating the contour. Individual ovals was adjusted creating a more intriguing structure, keeping the contour neat and clean for paneling.

Virtual Environments Studio Journal : Week IV Name: Minh (Fiona) Tieu Student number: 643679

Contour orthographic

Top View

Perspective View

Front View

Right Side View

Virtual Environments Studio Journal : Week IV Name: Minh (Fiona) Tieu Student number: 643679

Contour orthographic

Top View

Perspective View

Front View

Right Side View

Virtual Environments Studio Journal : Week V Name: Minh (Fiona) Tieu Student number: 643679

Panelling from Grid: After creating grids from the contoured model, different surface was added using panelling tool

2D Box

3D Pyramid 1

2D Tribasic

3D Pyramid 2

Virtual Environments Studio Journal : Week V Name: Minh (Fiona) Tieu Student number: 643679

Exploring Panelling Tool

Rather then continue to use geometric shapes from rhino as the surface, I'e decided to use the pattern design that I've created earlier. Using grid and 'panel custom 3Dâ&#x20AC;?, using the same pattern with the same extrusions I've managed to create the surface of the design as illustrated below. The resulted image looks very messy and confusing rather than unique and intriguing. So I've decided to continue to experiment different surfaces, aiming to create a logical and intriguing pattern.

Virtual Environments Studio Journal : Week V Name: Minh (Fiona) Tieu Student number: 643679

Experimenting: Using similar patterns in creating surfaces

Virtual Environments Studio Journal : Week V Name: Minh (Fiona) Tieu Student number: 643679

Development of Pattern

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. 1. Paper Strip (3cmx9cm)

Design 1 With a centre point, the outer edges was stuck to one another.

Design 2 Much like Design 1, except the outer was stuck on in an angle.

2. Identical paper strips x 5

Design 3 Much like Design 2, except the angles are more exaggerated.

Virtual Environments Studio Journal : Week V Name: Minh (Fiona) Tieu Student number: 643679

Lighting Effects

Design 1

Design 2

Design 3

Virtual Environments Studio Journal : Week V Name: Minh (Fiona) Tieu Student number: 643679

Development of Design 3

Attachments: Identical patterns was created(x4), then stuck together by having a central point where the 4 edges met. Centre pattern: The new pattern are more assembled, however the central focus is still messy. So I've decided to join the side faces together creating a series of triangles.

Virtual Environments Studio Journal : Week V Name: Minh (Fiona) Tieu Student number: 643679

Development

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.

1. Paper strips x 6

3. Sticking

4. Three Edges was joined instead of 4

2. Circulations

5. Lighting Effects

Virtual Environments Studio Journal : Week I Name: Minh (Fiona) Tieu Student number: 643679

Research Figure1: Dahlia

Virtual Environments Studio Journal : Week VI Name: Minh (Fiona) Tieu Student number: 643679

Using Rhino After developing my pattern with hands on paper folding, the only changes was made is that instead of having curved outlines, it was replaced by straight lines. By implementing the straight lines allow the pattern to be unrolled more easily as suggested by my tutor. Top view illustrates a 2D outline of my design, lines were then extruded creating a 3D form. In using rhino made me realise that the overall outline of my design are pretty much an irregular hexagon

The final outcome are much like the paper model.

Virtual Environments Studio Journal : Week VI Name: Minh (Fiona) Tieu Student number: 643679

Virtual Environments Studio Journal : Week VI Name: Minh (Fiona) Tieu Student number: 643679

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.

Virtual Environments Studio Journal : Week VII Name: Minh (Fiona) Tieu Student number: 643679

Prototypes The design was unrolled as individual panels, in making this pattern individual strips are consistent. The method that's used in making this prototype are much like the method that was used in making the paper model that was done manually. The strips was placed closely to one another to save paper.

In making the first model, 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.

Virtual Environments Studio Journal : Week VII Name: Minh (Fiona) Tieu Student number: 643679

The first prototype failed, so I continued to develop my model. 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. 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.

Virtual Environments Studio Journal : Week VII Name: Minh (Fiona) Tieu Student number: 643679

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.

Virtual Environments Studio Journal : Week I Name: Minh (Fiona) Tieu Student number: 643679

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.

Figure 4: Analytical drawing of Symmetry

Virtual Environments Studio Journal : Week I Name: Minh (Fiona) Tieu Student number: 643679

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.

Figure 5: Analytical drawing of Balance

Virtual Environments Studio Journal : Week VII Name: Minh (Fiona) Tieu Student number: 643679

Form In considering the form of the design, from previous prototype the form was extremely difficult to achieve therefore I've decided to simplify the form, keeping the curve. Also I've realised that if the curves are too deep this was cause the pattern to interfere another another, overlaps. Also when panelling the form disappeared and revolved into pretty much a cylindrical form. So by compromising the form, lessens the exaggerations allows the pattern to be interconnected and balanced.

Virtual Environments Studio Journal : Week VIII Name: Minh (Fiona) Tieu Student number: 643679

Building the Future: Recasting Labor in Architecture/ Philip Bernstein, Peggy Deamer. Princeton Architectural Press. c2008. pp 38-42 -“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. The third Industrial Revolution / Jeremy Rifkin. Palgrave Macmillan, C2011.pp107-126 -Digital fabrication: From digital to physical 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. - Subtractive Fabrication: involve removal of volume of a solid in creating desired form, using electro, chemically or mechanically reductive process. - Addictive Fabrication: In contrast to milling, addictive fabrication consist of adding materials on top of one another layers by layers.

Virtual Environments Studio Journal : Week VIII Name: Minh (Fiona) Tieu Student number: 643679

Cutting This strip is for the centre of the design

Along with other 6 identical strips that surrounds the centre

In making the design, again the measurement did not match but luckily the mismatch wasn't so great. As you can see I had to fold an extra approximately 3mm to close up the design. Adjustment was then made to the cutting template.

Virtual Environments Studio Journal : Week VIII Name: Minh (Fiona) Tieu Student number: 643679

1. Lots of individual panels was cut and glued together

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2

5

3

6

Virtual Environments Studio Journal : Week VIII Name: Minh (Fiona) Tieu Student number: 643679

Module 3

virtual environments

Module 3

virtual environments