Prue TrevaskisStudent No: 639 799Semester 1/2013Group 2

Module One IDEATION

Found Pattern

Microscopic Cross-section of Tree Roots

Analytical Drawings

TILING 1. Take a central point within a set 2. Construct a line connecting central point with six other surrounding points 3. Construct a perpendicular line to bisect each previous line 4. The latter lines form the boundary of the cell 5. Repeat for each point in the setNB: I found that I could not plot all the points in the set at once, even when assisted by my pattern tile underneath, as the shapes would become convoluted and could no longer follow the rules of the set entirely. Even when plotting one central point at a time there were some anomalies, however these proved to be much like the irregularities in my pattern tile.

PACKING 1. Place the cell circle shape 2. Surround with circles of vari ous sizes, do not place inside another circle or overlap another circle 3. For each circle placed, place another 180 degrees equidistant from the centreNB: This recipe if carried out correctly shows both balance of form and tone as well as symmetry of form.

Modelling Excersises

Rail Sweep

Pipe

Experimenting with Two Rail Sweep

Reading Response

The readings for this week were intriguing. While the reading on Kandinsky was some-what cryptic, I did find that many useful points were made on going back and looking it over a second or third time. While analysing my pattern, I found that phrases like “an investigation between the structural relationships among objects” and “the laws that govern forces that can be discovered in given objects” were really coming to mind. The reading taught me to see the pattern as its bare roots, and I really stripped in back to its bare roots in the creation of my drawings. The three steps that spoke to me were “1. To subordinate the whole complex to one simple overall form, which must be precisely drawn in 2. To realize the formal characterisation of individual parts of the still life, regard-ed both in isolation and in relation to the other parts 3. To represent the whole construc-tion by the means of the most concise possible schema”. I found myself largely coming back to these ideas in the process of my drawing. The most interesting part of it all was attempting to relate my pattern to the ideas of balance, movement and symmetry. I found this was the most challenging aspect for me, in order to create movement I ap-plied the lessons learned from the ‘Tooling’ reading, along with the idea given from the lecture, that you can create movement through frequency. I applied this by increasing the frequency of centre points in my analytical drawing and thus the frequency of lines and shapes. However in order to create symmetry and balance I applied a completely different technique from the ‘Tooling’ reading, using packing I was able to convey a dif-ferent idea inspired by my pattern tile. Ideas about relationships and the representation of information crossed over largely in this week’s readings and lecture, I aimed to look at the basic relationship of my pattern, and presented this in the most concise way possible.

Paper Modelling

Model one: 1. Cut a 3x12cm strip of paper 2. Fold six times (not necessarily at regular intervals) and join edges 3. Cut a 3x8cm strip of paper 4. Repeat step 2 5. Attach 2nd hexagon to the 1st at sides of corresponding length 6. Repeat steps 3-5, lessening the length of paper strip by 2cm each time. 7. Repeat steps 1-6 joining the smaller hexagons to the centre of the emerg ing extrusion

Paper Modelling

PROCESS

I began my modelling process experimenting with a variety of ways I could develop my form, leading to the creation of many small-er prototype forms. However I decided on a final process that, while the actual fab-rication of the lantern may differ, lends itself to a series of rules and steps emulating the hexagonal information presented in my ana-lytical drawings.

Model two: 1. Draw the net of a hexagon with a side length on 1cm like pic ture 2. Cut this net out and proceed to cut out inner hexagon 0.5cm from edge of 1st hexagon 3. Fold down sides of hexagon 4. Repeat steps 1-3 10 times, attach hexagons together 5. Repeat steps 1-4 3 times, increasing the side length mentioned in step one by 0.5 cm each time

Reading Response

My found pattern is a microscopic photo of a tree root, detailing the miniscule patterns that can be found in cell formation. Thus my pattern relies on the idea of cellular automata which the article ‘Pattern Formation in Nature’ (Ball, 2012) describes -the formation of each cell in my pattern is dependent on the state of its neighbouring cells. The reading also further details the idea of a concise recipe that can be carried out to create a complex system. Rather than a pattern having a “creator” instead the system has a set of rules that can be continuously repeated so that it is self-organised, as “self-organisation is an inherent property of complex systems” (Ball, 2012). In my pattern I wonder if I have oversimplified, there is a possibility I could go back to my original recipe and create a new set of rules in order to ascertain a “structurally dynamic and complex system” (Ball, 2012) that is satisfies the design brief on a higher level. However there is also a possibility that I instead can apply the “moments of transformation” to my emerging form. Using the analytical drawing of ‘movement’ as my information, I can apply ideas of oscillation and symmetry breaking. This will further the concept that pattern formation is not static, rather it arises from growth and change, that was introduced by D’Arcy Thompson in 1917. In my found pattern I can see that it has been affected by outside factors, much like sand dune patterns are af-fected by variants on a larger scale- my cells would be affected by the space in which they are developing and the nutrients they have access to. Thus this leads to variations in the hexagonal cells developed from my rule, potentially causing other “moments of transformation”. I do however acknowledge that I need to steer clear of any arbitrary relationships in my model making, something that has proven to be a challenge.

Precedent Study

This example of process based design is largely linked in to the same sort of design process that I am going through. Based on plant cells, in this case a leaf, the Times Eureka Garden at the Chelsea Flower Show utilizes complex generative patterning. Although the cell motif is repeated throughout the garden, I am mainly interested in the structure central to the design idea. The architecture of the building is based off a patterning process that repeats similar shapes according to a rule; however it increases its complexity by almost having different layers within each cell. The lighting effect caused due to the shadows of the struc-ture is complex and beautiful, akin to what I hope to achieve from my lantern.

This is a more loosely related example of how design can be born through the inspiration of plant cells. What I am mainly interested in here is the layering of patterns that Yu-Ying Wu has achieved. I find that the overlapping of the first two layers creates an aesthetically pleasing effect, this could heighten the effect of a lantern if it were to be applied.

Sketch Models

1. This first model is terrible. The modelling clay I am using is not conjusive to small parts so I found this extremely difficult. However the positives to this experiment were that I realised I in no way want a spherical shape for my lantern, and I also learned I do like the large gaps this model has, potentially to let the light shine directly through, rather than just illuminating a lantern skin.

Sketch Models

2. This model was equally terrible. I only managed to photograph it just before it fell apart, and even thin it is flimsy and cracking. In this model I attempted a overall hexagonal structure, but I found it difficult to manage and also not aesthetically pleasing at all.

Sketch Models

3. In this model I simplified the intricacies of what will be my lantern to deduce the overall shape. As a benefit I have made the decision that that lantern will sit lightly on the hand. The lantern will have 6 “sides” like a typical hexa-gon (which is my base shape) yet will be abstracted and convoluted in order to achieve the most interesting lighting effects. The aim I was going for did not really work and thsi model too fell apart before I could photograph it more. the aim I was going for can be seen on the next page.

Lighting Effects

Lighting Effects

The lighting effects I hope to achieve with my lan-tern will be layered, like the complex patterns cast as shadows in image one. The patterns appear-ing in the shadows will be intense close to the skin, however as they move out, will become blurred and indistinct. However unlike the first image, I also hope to create some kind of symmetry, and while not as structured as the shadows of image two, I will aim for some kind of balance. I also hope to illuminate the inner struc-ture of my form, which will highlight some aspects of it while creating darkness in others, hopefully this will bring out a constrast with-in the lantern itself.