module 1 ideation

Module 1: Ideation

Virtual Environments

Semester 1 2013

Gianni Mancuso, SN: 637 278, University Of Melbourne

Virtual Environments Module 1: Ideation Journal

Identifying a Natural Pattern

I chose a natural spiral pattern found in a Nautilus shell. The pattern is a spiral, with logarithmic intervals.

It is also known as the Fibonacci spiral.

Analytical Drawings

SymmetryThrough the absence of the logarithmic path of the original curve, the spi-ral now dem-onstrates the properties of symmetry.

Top Right: The illustra-tion of movement within the fibonacci spiral. The repetition of the semi-circular shape and the its frequency create move-ment

Top Left: The basic spiral pattern, the ‘simple overall form’ referred to by Krandinsky. (Poling, Clark 1987)

Bottom Right: The illus-tration of balance within the fibonnaci spiral. The recognition of the lines (and the tension they enforce) creates balance between the spiral shape.


Recipe for a Pattern

1. Reference Point 2. Pick an angle 3. Draw a line in a circular motion, in a logarithmic manner

1. Draw a reference point, a circle, as the beginning point of the spiral2. Pick an angle θ3. Begin to draw a line in a circular motion, from reference point at the previously specified angle4. Ensure the line curves in a logarithmic manner, in a circular motion, and continually, albeit gradually.


Modeling - Extrusions and Emerging Form

Simple Extrusions from an analytical draw-ing depicting movementI chose to use the analytical drawing for movement as a base pattern due to its reliance on a semi-circular base shape that was repeated and scaled. I extruded these shapes up using paper and glue and then I removed the space between the base shapes to ensure that the model was a single en-tity. The result was a spiral based 3d pattern that utilised my base shape for movement to express the logarithmically increasing span of the base pat-tern, a Fibonacci spiral.

Left: The base pattern used for the simple extrusionBottom Left: Finished extrusion modelBottom right: A detail view of a single piece of the pattern


I stuck each semi-circle structure to another so that the 3d structure would go up half a semi-circle at a time, but re-alised that the disproportionate placement of mass wouldn’t allow it to be freestanding. Therefore I created a base of three spirals and then mirrored it, and therefore I came across the means in which I would construct my entire model; by mirroring. This allowed me to ensure balance and that the structure could be free standing. The main spiral was made out of two spiral pieces, which were then rotated slightly, and the scaled to match the decreasing scale of the original analytical drawing.

Creating an emerging form using base shapes

Modeling - Extrusions and Emerging Form

Right: Detail of mirrored central pieceLeft: Aerial view of detail


Rhino Screen Captures - Emerging Form

A perspective view of my original model. The

base was mirrored, however in original

models, it wasn’t

A revised detail of the piece. This revised piece from the emerg-ing form is tapered slightly

Above is a top view of the emerging form


To the left is a detail of the piece. A close-up of the mirrored spiral. The rationale behind this spiral was to ensure it was free standing.

Process Based Design - Case StudyThe Spiral Cafe - Birmingham

This building was designed by Marks Barfield architecture, and was designed based specifically on the Fibonacci spiral, and the nautilus shell. The Fibonacci spiral exhibits properties that the designer felt could be expressed in a highly architectural manner, while remaining true to the natural form of the pattern.

The internal structure resembles the structured sections of the nautilus shell. Therefore the designers had clearly identified these lines, as key structural components in the shell, and incorporated them into their design. This is similar to what I’ve done in several of my analytical drawings, specifically movement and balance, where I’ve used these sections to create a base shape that repeats itself, or a balanced shape that solely changes in scale.

Furthermore, from a pure design aspect, Marks Barfield have actually looked at the physical appearance of the nautilus shell to make conscious decisions towards the materials of the actual building. For example the outer shell of a nautilus shell is hard, and durable, therefore the designer has chosen the exterior ‘shell’ to be made out of rugged, durable copper. Similarly, the interior is smooth, delicate and specifically a bright, pearl colour.

This building exhibits the structural qualities of a nautilus shell, and thus inherently the Fibonacci spiral. However the designers have even incor-porated the physical, material aspects of the shell into the design process as well.

Image Source: http://coolboom.net/architecture/spiral-cafe-by-marks-barfield-architects/http://www.marksbarfield.com/ (2004)


Developmental Sketch Models -Overall Form


Through the use of clay modelling to explore overall form i came to realise that a uniform, diamond shaped spiral, my original design for overall form would not ac-comodate a handle. Therefore I experimented with a spiral. The nature of spiralling allows it to interact easily with the arms, and thus I chose to have my spiral interact with the body by spiralling around the arm.

The basis behind the overall form of my lantern will be a spiral pattern. However it will not be the strict logarithmic

pattern associated with my natural pattern. It will break away from that to create a random spiral that is rested on

the shoulders and gently spirals around the arm.

Developmental Sketch Models -Overall Form Continued


The clay model of my emerging form. Refer back to the semicircu-lar, mirrored shape designed using Rhino.


Scale Model of Emerging Form Design

Chosen Scale: 1:3


Lighting effects

After hearing Paul’s lecture on creating spatial effects using light, I began to explore various possibilities as to how I could create interesting lighting effect. With my spiral design I wish to create an effect in which the light emphasises a sense of movement, and in fact combines with the movement of the spiral.

My first reference image is the top right image, in which simple coat hangers have been arranged in a spiral pattern. The rotation leaves a gap, and it is through these gaps that the light effect is created. The spiral from my emerging form will create these rotating gaps.

Image Source:

http://www.archdaily.com/tag/germany/page/21/

http://retaildesignblog.net/tag/eco/

http://www.flickr.com/photos/johnreillyphoto/6288332546/


Lighting effects - Sketches of Effects

The overall aim of my lighting and spatial effects is for each small section of the emerging form to retain the majority of light. This will be aided by the extru-sion of my base shape, aswell as the slight tapering of this extrusion. As shown in the small diagram to the left, each section will retain light and create a glowing effect. The inspiration for this idea was the Campus Event space in Stuttgart.

Readings and Questions: Weeks 1


300 Word Reading Review & Reading Question

Respone to Reading; Analytical Drawing

Kandinsky’s approach to analytical drawing first involved observing the pattern and reducing it to what he called an overall form. This overall form must be simple and precise, and be identifiable with the original pattern. The analytical drawing that represents simple overall form must exhibit the same properties as the original pattern. For example, I applied this to a natural nautilus spiral shell, which exhibits a spiral pattern that can be reduced to a simple Fibonacci spiral. The overall form was easily represented by a logarithmically curving line.

The second step in Kandinsky’s approach was to observe the individual, seperate parts of the pattern in context to the rest of the pattern, as well as in isolation. This allows for interpretation of the tensions within the pattern, as well as recognition of the rela-tionship between lines and the frequency of lines. By isolating key elements of the pattern, you can come to understand the key components of the pattern, and how they work together to create the overall pattern. I applied this process directly in observing the relationship between my natural pattern and movement and balance. This step allowed me to analyse the small segments present within the spiral shell, and thus divide the pattern into a series of curved lines and basic shapes.

The final step in Kandinsky’s process was to represent the found pattern in the most succinct, analytical manner as possible. This involved stripping the pattern to its most basic elements. I did so in removing the superfluous elements of the spiral shell, and thus reducing the pattern to a spiral base. This step allowed me to find the most basic element within the spiral shell. The simplicity of the curved line allowed me to extract the curve, and alter the logarithmic nature to represent the concept of symmetry.

These three steps allowed me to construct simple and concise analytical drawings that represented the concepts of balance, sym-metry and movement.

Readings and Questions: Week 2


Reading Question: Pattern Formation In Nature; Phillip BallThe formation process behind my pattern is a totally natural process, that is in fact based around the growth of a cephalopod known as Nautilus. This animal grows and as it does so it requires increasing room, and therefore the shell grows to ac-comodate this. As Ball stated, the spiral pattern, as well as the sections within are based on the forces of nature, which are epitomised by the growth of an animal. In addition, the spiral is a logarithmically increasing spiral, and thus confirms another idea conveyed by Ball, that the features of many natural patterns result from math-ematical analogies, e.g. the logarithmic increase. Contrary to what Ball argues, the Nautilus shell has been ‘designed’ by the forces of nature to accomadate growth, therefore it has a blueprint, and a specific design that allows an animal to live and be protected within it.

The specific moments within my pattern that I can exploit are the sections, which I have transformed using tension line to a semicircular shape. This will allow me to demonstrate the aerodynamic, sleek design of the shell in the 3d plane. In addition to this, the specific moment within my pattern can be said to be the spiral, which I will use to guide the entire process of my design. The spiral ‘moment’ within the pattern will be the guiding principle through which I design my lamp.

(Ball, 2012)http://en.wikipedia.org/wiki/File:NautilusCutawayLogarithmicSpiral.

jpghttp://catphi.files.wordpress.

com/2010/09/fibonacci_good1.jpg

http://catphi.files.wordpress.com/2010/09/spiral_in_nature.jpgExamples of the fibonacci spiral in different forms, as Ball stated, pat-

terns can cross systems that have absolutely nothing to do with each other


Module 1: Ideation - ReflectionThroughout the Ideation module I have explored patterns, and the complexity that exists beneath their surface. The pattern I chose, the Fibonacci spiral, on a nautilus shell has been interesting, as it has allowed me to explore the many different aspects of a spiral pattern. I have drawn influence from this strict, logarithmic spiral pattern in addition the simple geometric concepts of scale, rotate and move to create an emerging form that will hopefully create an interesting lighting effect.

The design of my emerging form, and furthermore my overall form has been greatly influenced by this spiral pattern. I con-ducted research into process based design utilising this spiral, particularly the spiral cafe in Birmingham, and I have used this knowledge to determine the design of my lantern. I was originally going to create a lantern that was symmetrical, and relied on this symmetry to create a mirrored lighting effect, however after talking to Paul during a session, I felt encouraged to re-invigorate my overall form with a sense of randomness, however a randomness that will be guided by a spiral shape. In addition the ideation process prompted me to experiment with a variety of ideas during workshops, using rhino and using paper/clay.

During this ideation process, I have explored a variety of ideas, some of which have been used, some of which have had specific elements taken and used, and some of which have even been discarded. This process, along with the knowledge gained from self research and readings, have aided me in designing my lantern. The specific reading that I have drawn particular influence from would be Tooling by Aranda Lasch. It helped me to truly understand how patterns are made, and specifically how to create a meaningful, simple recipe for my original pattern. It is from this recipe that I derived the basis for my emerging form.