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Min Gee Suh 607048 2013. Sem1 Group 1

Module 1.

Analyical Drawings Fern – Original Pattern

Receipt for Symmetry 1. Locate a center point 2. Draw an even number of solid lines (4) that cut through the center point. 3. Find the mid angle between the two solid lines and draw a straight dotted line from that angle. (dotted line as a bisector) 4) With reference to the dotted line, draw two solid line at almost 90 degree. 5) Repeat step 4 with larger scale until the end of the dotted line.

607048 – Min Gee Suh

Rhino Exercises

Response to Lecture & Reading


Ploar array

Rail Sweeps & Union

Pipe commands

Week 1 lecture was an introduction to the course with its main focus on the different forms of virtual environment and the significance of representation. The lecturer also introduced the concept of symmetry (mirror along axis), balance (light, proportion, boundary of composition) and movement (repetition of shape, frequency of line). With this various aspect in mind, I was able to summarize the three stages of the analytical approach advanced by Kandisky as the following (Analytical Drawing/Polling): The first stage is primarily a process of simplifying the still object . Any unnecessary parts are eliminated while the most concise illustration remains for a more in-depth observation. The second stage or so called the ‘heart’ phase of the analytical approach is locating an existing tension or more explicitly, the relationship of the still object and its surroundings. During this stage, one should consider various aspects such as movement, symmetry and balance of the composition as opposed to the obvious. Any visible tension should then be represented in forms of solid line, thickness varying according to the significance of the tension. The ‘network’ or the non-visible, yet a crucial connection between the interacting objects are usually drawn in a dotted line. Colors are often used for clarification or to place an emphasize on the core tension.

After having identified the three primary steps, I have directly applied it to analyze the pattern I have chosen. Firstly to eliminate any unnecessary parts that could interrupt the analysis, I used a tracing paper to create the simplest illustration of the natural pattern. From that point on, I considered the overall balance, symmetry and any movement occurring in the schema. As a result, an abstract version of the natural pattern was created as shown in slide 1.


607048 – Min Gee Suh

3D Extrusion (Simplified) Rhino Model

The first paper model was based on the analytical drawing for movement and balance found in fern. The paper model was simply an extrusion of the lines stretching out from the central point. Thus, the most frequently used geometrical transformation was duplication (copy). The digital version of this model could be simply produced through Rhino by creating a line that intersects the central point and duplicating it while rotating it 360.

607048 – Min Gee Suh

Free Form Base (Emerging Form) Rhino Model


The second paper model was mainly based on the analytical drawing for symmetry found in fern. Rather than just extruding the surface as in model 1, the focus of model 2 was the emphasis of depth and the central point, thus a more accurate 3-dimensional view of the fern. As seen in diagram C, the lowest part of the fern (central point) has the smallest scale. To create a digital model,one ‘piece’ of fern(diagram A) was created through extrusion of lines and scaling. Then the polar array funnction was used to duplicate 6 pieces of diagram A through 360 rotation. Extrusion of lines

Scaling & Copy


C Gradual increase in scale to emphasize the increase and decrease in depth.

Rotation & Copy

607048 – Min Gee Suh

Pattern Formation Nature

In week 2 reading, Ball lists the various pattern formation commonly found in nature. He points out the understanding of pattern formation as an “endeavor that unites many disparate fields of science.” Therefore, the pattern formation of a fern is not just ‘static’ but as the Scottish zoologist point out, is highly affected by the factor of growth and repetition. More specifically, the pattern visible in a fern is highly affected by the exposure of sunlight as the plant usually grows in a way that receives them most effectively. As seen in the two picture above, the general pattern of the fern could be formed through a continuous repetition of movement and scaling for the overall symmetrical shape.

Precedent Examples Although not directly influnced, the general pattern of the fern can be found in various architectures such as the formation of the celling and the structure of the Ferris wheel. The overall form of the structure serves to emphasize the central point while the branches give the overall symmetrical form. Another advantage of this structure rather than the aesthetics is the strength to weight ratio as the branches support each other for greater efficiency. An interesting point to note is that the size of this formation could vary from the paper model of the emerging form to the size of the Ferris Wheel through a simple manipulation of movement and scaling.

Sketch Proposal 1 Folding

Figure 2. Th e overall form of the lantern

Figure 3. Lantern placed in shoulder

Figure 1. Half of the emerging form

Figure 4. Clay Model (1:5 Scale) of the lantern

For the first proposal, I simply divided the emerging form into half as shown in figure 1. As a result, I ended up with a simple, symmetrical shape which is easy on the eyes. Personally, the lantern seemed most suitable when placed above the shoulders, although one might have trouble moving his or her neck freely if the size gets larger. The overall effect that I want to achieve from this lantern is a simple yet dynamic cast of shadow which I will futher discuss later on.

Sketch Proposal 2 Folding

Figure 1. Paper model (1:5) of the overall form

Figure 2. Base of the emerging for

Figure 3. The overall form of the lantern

The second model is created through a fold of the emerging form. The exact same base of the emerging form as seen in figure 2, is folded accordingly to give the overall form of the lantern (figure 3). To create a model of this form, I used a paper model instead of clay due to the relatively complex form of shape. After some simple trials, I thought the lantern could be attached in the wrist while the branches extends outwards as roughly shown in figure 4. The shadow casted through the paper model was also very consistent and well layed out.

Figure 4. The model attached to the wrist

Sketch Proposal 3 Folding Figure 4. Clay model (1:5 Scale) of the design proposal

Longest extruded line used for the wrist grip

Figure 1. The base of the emerging form

Figure 2. The overall shape of the lantern

Figure 3. Lantern tangled around the wrist

As with the second model, the third model is also created through a fold of the emerging form. First I followed the instructions in the receipt used when creating the analytical drawing for symmetry to produce a base similar to figure 1. After the base was created (similar to the emerging form), I gave it an additional step by connecting the end point together to give an irregular spherical shape as shown in figure 2. The reason for incoporating an iregular shape is to break the symmetry which made the model too mathmatical and easy to predict. Although the production of the clay model (figure 4) was not a simple task, I was overall satisfied with the shape and thought the lantern would look more aestheticaly pleasing if made more delicately. Another pros about the model is that it could be easily held and attached to the wristwithout much interference with human movement (figure 3).

Effects in precedent

Figure 1. Shadow projection from the structure of the bridge

The picture above illustrates only a part of the effect I want to achieve from the lantern. As with the shadow projection above, it is my aim to produce a symmetrical and a well layed out shadow which is easy on the eyes. However as overly symmetrical shadow cast could be dull and repetitive, I would like to add some inconsistency by adding some irregularity and thorugh the distortion of the model.

Bibliography Image of Fern Image of Precedents Example - Shadow Effects

Week 3 607048 Min Gee Suh  

Module 1 Week 3

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