Module 1 - Ideation Studio JournalVirtual Environments

John LyStudent Number: 641003

Semester 1, 2013 Group 5

The process of analytical drawings

Each individual student was required to find a naturally occuring pat-tern. Going through a multitude of images such as tree rings, stalitie formations, I inevitably chose a seahorse’s tail to form the basis of my analytical drawing. The seahorse’s pattern exhibits spiraling patterns due to the shape as well as packing from the small dots on its skin.

Analysis of natural patterns

We were then required to find patterns based on 3 digrammatic patterns of bal-ance, scaling and symmetry. Paul talks about how natural thing can be a means of represented through repetition and in this case the seahorse’s tail, have a defined ratio based on what is known Fibonacci’s number.

Fibonacci Spiral

The spiralling pattern is based on the Fibonacci sequence: 0, 1, 1, 2, 3, 5, 8, 13, 21, 34, ...

This creates a logarithmic formation and scaling that occurs readily within nature. The centre originally starts of small, but exponentially increases its di-mension. This is different to an Archimedian spiral, which has equal spacing all the way round.

The same patterns occurs infinitely in things such as snail shells, sunflowers and pine cones with the same geometric shape

Through Aranda and Lansch we are thus introduced to the idea that each patterns has an underlying pattern for a specific condition

Balance

Kandinsky’s method of analytical drawings suggest we can break things down into basic geometry The bal-ance can be formed by breaking down the avaiable space into squares with dimensions that correlate to the Fibonacci sequence

Recipe1. Locate centre point2. Draw a square starting with 1cm (10mm) dimensions.3. Drawing another square next to it, placing squares in an anti-clockwise spiral pattern.4. Repeat and base measurements based on the Fibonacci sequence until the dimensions of the space are filled (0, 1, 1, 2, 3, 5, 8…)5. Use the corners of the square to plot the spiraling pattern

Scale

Adapting the ideas of balance from the previous slide, I use it as a reference to form my scale form. There are a variety of shapes that can be broken down as a base shape from the seahorse tail, such as trapezium, tirangles, rectangles and oth-er quadralateral as show. With Fibonacci spirals the centre is usually small and compact before it expands in an exponen-tial manner outwards.

Recipe:1. Use the points plotted referred to in Step 4 of ‘Balance’ to form boundary.2. Use shown quadrilateral (or trapezium) as the base pattern3. Scale the shape increasingly from the centre and rotate as the boundary of points permits

Symmetry

The line symmetry can be found by rotating the original point around the centre point 180°. However as you can see there is also spatial geometry. It symmetry primarily is scene when it is extruded vertically along the z-axis.

Recipe: 1. Move the centre point to the centre of the space2. Plot points based on ‘Balance’ (Optional – Connect the points)3. Replot another set of points by rotation 180°4. Connect the point until symmetry is achieved

3D Extrusion

The 3D extrusion model is based on my ‘Symnetry’ and ‘Scale’ drawings. From here is combine the two and extrude the structure. While it creates an inter-esting pattern is flatness poses difficult-ing in further developing the form.

Emerging form

The emerging form frees the structure from a flat plane and elevates the truncated cylin-ders from its base. On top of the spiraling rotation of from the centre, the cross sectional is also spiral and when the light is positioned correctly can highlight this spiralling pattern.

Clay model #1

Adapted from my paper model, this model is primarily conceptualised to be held by the narow end and is created to a 1:5 scale. Due to the nature in whihc it is held and the angling due to the rotation, an individual light source is required in each column. This creates a dis-persed lighting effect and is meant to mimic fractal behaviour.

However this model design could be utilised more effectively by hanging it upside down and a light source which can emit light from wide area.

Clay Model #2

This model is meant to be wrapped arround the forearm which is approimately made to a 1:3 scale. Lights are made by small slits in the spher-ical structure with individual light sources from within the hollow structure. This composition is meant to create intereference of spiraling light. creating a layered effect. The structure is ilarger at the top so it does not impose itself awkwardly at the wrist.

Clay model #3

This model is meant to be a self sustaining model, that is placed along a flat surface, that is cut out to create a direct light pattern. Created on a 1:5 scale, it requires a small light source and the way hollow and would create a cork screw type of shadow. This form could be merged with my previous model to enhance its effects.

Picture curteosy of ArchDaily

New Taipei City Museum of Art Competition Pro-posal by Influx_Studio

French architecture firm, Influx_Studios adopts a spiral structure as a part of their proposal from 2011. There is a scaling, before it creates new layer where it decreases in diameter and begins to scale again. This highlights the external structure of the buildingis layered rather than continuous in a soft dispersing light.

Picture curteosy of ArchDaily

In many ways there are similarity with my emerging form and this building proposal as they have a similar shape. However instead of changing the scale in intervals, I could potentially overlap my cylinders in a man-ner that highlights its exterior and creates a layered effect. Additionally my 3rd clay form where there is a semi-sphere can be utilised to create a self supporting structure.

Reference list

Furuto, A, 24 August 2011, Plataforma Networks, viewed 25 March 2013 <http://www.archdaily.com/162806/new-taipei-city-museum-of-art-competition-proposal-influx_studio/>

Chandra, Pravin and Weisstein, Eric W. “Fibonacci Number.” From MathWorld--A Wolfram Web Resource. viewed 25 March 2013 <http://mathworld.wolfram.com/FibonacciNumber.html>

Poling, Clark (1987): Analytical Drawing In Kandinsky’s Teaching at the Bauhaus Rizzoli, New York, pp. 107-122

Tooling / Aranda, Lasch. New York : Princeton Architectural Press, 2006

Ball, Philip (2012): Pattern Formation in Nature, AD: Architectural Design, Wiley, 82 (2), March, pp. 22-27