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Henry Tran Student No: 613985 Virtual Environments

Semester 1


Creating Pattern Tile

Chosen Pattern: Coral

Inverted Black and White

Analytical Drawing 1: Movement

ridges leading from circular centre down to edges convey depth

joints and adjoining edges make clear tensions, keeping structure stable

edges (where units meet) form groove paths running along entire structure

Analytical Drawing 2: Balance

polygons: either pentagon or hexagon (with some irregular outliers)

5 sets of parallel edges

ridged texture more prominent on top half of each section (base unit)

no perpendicular edges: always branching at non-90 degree angle

Analytical Drawing 3: Symmetry

though imperfectly, left and right sides of pattern mirror each other

symmetry of individual units

Recipe for Creating Pattern

1.Construct a set of similarly-sized circles on a plane 2.Draw a dotted* line** between one circle and each of its adjacent circles 3.Repeat until all circles have been exhausted 4.Trace over dotted lines to create solid polygons surrounding circles * allows room for error ** best results if drawn as symmetry line between two circles

Paper Modelling

Simple extrusion

“Aperture� effect

Rotate + Move


Paper Modelling In constructing my first paper model, I simply extruded from the surface of my pattern tile three individual base components, i.e., polygons. I used these three base units as a template for further experimentation.

For my second model, I decided to connect my three base components in such a way that would allow for upward construction (along the z-axis).

With my third model, I cut slivers in each of the units’ edges to make folds. My intention was to create tapered units, but I was pleased by the aperture-like effect I inadvertently created.

With my last model, I successfully created the tapering effect I had desired.

Rhino Modelling

Extrude from surface individual base units

Select one base unit

Select one base unit

Select one base unit

Select one base unit

Copy and rotate

Copy and rotate

Mirror and move

Mirror single unit multiple times

Move each unit individually upward on zplane

Using new conglomerate unit, mirror multiple times Repeat

Clay Modelling

Clay Modelling 1:5

I am drawn to curvilinear forms and for this first 'petal' model, I wanted to create a volume that would emphasise flow and movement when held. My intention was to have the form move upward and out of the hand. In my scaled down model for my mannequin, I experimented with two more petals to create a more enclosed flower.


In attempting to enclose my lantern even further—all the while maintaining a curving volume—I created this spiral/spring model. I liked the way that the model came to resemble stacking teacups, which in its entirety produced a quality of dynamism and movement.


Upon further consideration of my base pattern, I decided that perhaps a more rigid and geometrical structure would be more suitable than a curvilinear one. However, I wanted to maintain the abstract quality found in my first two models. With this model, I wanted to emphasise structure while at the same time playing with shifting angles throughout the piece.

Lighting Effect: Cutting During Professor Loh’s lecture on ‘Camouflage and Effects,’ I was most struck by the effect produced by light cutting. The image of Tadao Ando’s Church of the Light was especially profound for me. What I find so alluring about this simple effect is its ability to amplify contrast and therefore emphasise the material structure. In the case of the Church of the Light, the slits not only produce the shape of the cross, but they also draw attention to the shape and grandeur of the concrete. I hope to exaggerate my own lantern’s volume and shape by using this effect.

Analysis and Reflection

Module 1 was certainly an intense, albeit worthwhile, way to kick off the semester. Though I am new to the design process and am still lacking in technical skills, I found the three week's culmination of lectures, readings, exercises, workshops and help sessions to be extremely effective in starting the ideation stage of this months-long process. Though I was initially nervous about selecting a natural pattern—what if I chose the wrong one?!—I am certainly satisfied with how well my coral pattern served me throughout this process. I have come to understand why the subject began with our selection of a natural pattern, and not a man-made one. As Ball illustrates in his “Pattern Formation in Nature,” natural patterns are “formed through simple, local interactions between many components of a system..that give rise to self-organisation and emergent structures and behaviours” (22). As we discussed in our very first lecture, natural patterns—harder to explain than they are to recognise—are seemingly complex forms that arise out of simple rules and reactions. The reading on Kadinsky's theory similarly encouraged us to understand structures and forms at their most basic level. Along those lines, we can apply the same logic in analysing and eventually creating our own patterns. Through recipes and diagrams, as demonstrated by Aranda & Lasch, we can even communicate to others how to go about reproducing a complex pattern. Though the Poling & Clark and Ball readings were very useful in helping me understand the nature of structures and patterns, they focused heavily on the theoretical side of things. I was extremely excited when the lectures moved on to the topic of patterns and their effects, which translated much more readily into practical application as we progressed through the module. Though I was initially very anxious about creating models—in all mediums—I found myself being ever-aware of and intent upon creating and experimenting with varying effects. What excites me so much about urban design and similar disciplines is their potential to create and manipulate spatial effects. I think this lantern brief is a great way of simulating such spatial manipulation. I honestly cannot wait to carry my budding design ideas further into fruition.

Week 4 Presentation  

Module 1 Journal

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