Rhiannon Russell, 607660Semester 1 2013, Group 7

Module One: IDEATION

The Dandelion.

I chose to base my pattern on the composition of a mature danelion because its pattern is simple, but also has multiple layers that allow it to become a complex structure.

When the ball is full it rep-resents a complete circle with all the stems in the same stage of develop-ment.

As the seeds begin to disperse with the wind, the immediate image and pattern is altered. Howev-er, the original repition of the seeds is still apparent.

7KH�GDQGHOLRQ�ÁRZHU�LV�DOVR�WKH�RQO\�ÁRZHU�WKDW�represents the three celes-tial bodies of the sun (yel-ORZ�ÁRZHU���PRRQ��EORZ-EDOO��DQG�VWDUV��GLVSHUVLQJ�VHHGV��

Movement

The mature dandelion represents movement as HDFK�VHHG�LV�DWWDFKHG�WR�D�SDSSXV�RI�YHU\�ÀQH�hairs that allow them to disperse over long dis-tances in the wind.

In my analytical drawing I aimed to emphasis the path of the largest seeds that would soon be swept away by the wind. In doing this I outlined their stems with dotted lines, and connected them together with respect to size and conse-quently their ability to move.

Symmetry

The shape of the ‘blowball’, while not being perfectly symmetrical there are still numerous parts that face one another around an axis.

This analytical drawing highlights the 5 most prominent seeds and their tips. It demon-strates that between each prominent seed there are two slightly less prominent seeds. Then again one less prominent seed between these. The drawing also highlights that the central circle and its surrounding darker area is the point that acts as an axis of symmetry.

Balance

Balance is evident within the dandelion through evenness. Each seed has a stem that is almost LGHQWLFDO�LQ�OHQJWK��QR�PDWWHU�ZKHUH�RQ�WKH�ÁRZHU�head it is located.

Another element of balance that is portrayed within this analytical drawing is that of equilibrium, where opposing forces are leveled. The two op-posite trapeziums when placed together are of equal length. These trapeziums are created by highlighting the 8 most prominent seeds and join-ing them together in groups of two.

Analytical Drawings.

Step TwoAccentuate the boldest 5 seeds using thick lines to show the focal point of the dandelion.

Step ThreeTrace over the two most prominant seeds between each bold line.

Step FourDraw a dotted line over the seed that lies between each previously drawn line.

Step FiveShade the dark area of the dandelion on the outside the circle.

Step OneDraw a circle around the central ÁRZHU�KHDG�

Symmetry Recipe.

Step OneDraw a rough outline of a dandelion seed with a hole in the middle to represent the head.

Step TwoTrace the shape and cut them out.

Step ThreeJoin four pieces together to form a circle. Repeat another 3 times.

Step FiveWeave the other two pieces the other way around within the sphere.

Step FourJoin two pieces together to form a sphere.

Paper Model #1

Step OneCut stips of paper at various widths and lengths.

Step TwoTwist them into circles and glue the ends together.

Step ThreePlace pieces together in a ring to represent the outside of the dandelion.

Step FourRotate pieces so that they are all at different angles.

Step FiveMove pieces up and down so that they do not all lie on the x-axis.

Paper Model #2

To produce my model in Rhino:

1. Create a circle ontop of each ot the seed heads of the dandelion.

2. Transform each shape to better resemble the outline of the hairs ontop of the seed.

3. Extrude each shape to different lengths

4. Rotate each shape

5. Move the shapes around slightly so that they intercept and touch eachother, as well as shifting them off the x axis

Rhino 3D Modelling.

Design Modelling.

Within this model I focused on continuing the form of my second paper model of round cylindric shapes joining together to create a round, ring shaped object. Howev-er, I altered the process slightly by combining the idea of cyclinders and rings together and then using a repetition of the same shape to rotate around a common axis. As D�UHVXOW��WKH�PRGHO�HPHUJHG�DV�D�UDWKHU�EDVLF�ÁRZHU�OLNH�structure.

For my second model I decided that I would move away from using cylinders to use solid shapes. This was in response to the brief of making a lantern and thus needing shapes for the light to respond with. In essence ,�VROLGLÀHG�P\�URXQG�VKDSHV�DQG�DJDLQ�GUDZLQJ�IURP�P\�paper model, merged the shapes together to create an abstract form in the shape of a ring and then protruded more circles at different angles from this base structure.

Design Modelling.

For my third model I decided to try something different with my original idea of using cylinders. I started by joining a number of them together at different an-gles and ended up producing a sphere made up of rings. However, I do not think that this model will be very practical as a lantern because there are not enough VXUIDFHV�ZLWK�GHSWK�WR�VXFFHVVIXOO\�UHÁHFW�light.

Interactive Modelling.

For this model I used my design from the second model to create an object that is interactive with them arm. I chose to focus on joining my model with the wrist as it is a joint WKDW�LV�FRQVWDQWO\�XVHG�DV�WKXV�UHÁHFWV�HQGOHVV-ness, the main element of light. To attach the design to the wrist I used a basis grip that will slide on from one side of the arm and placed the design on top. This way the design is the most prominant feature and visible at almost anytime regardless of the position of the arm.

Lighting & Shadow Inspiration.

I hope to gain a layered lighting effect from my lantern through the use of overlapping VXUIDFHV���7KH�FORVH�UHÁHFWLRQ�ZLOO�EH�GLVWLQFW��while the shadow will become less obvious as it protudes into the distance. To do this I hope to use slits in my design to make very distinct light shafts. I also hope to accentuate the form of my lantern through the light that it pro-jects by highlighting different elements with light and thus constrasting them to other parts of the structure.

Lighting Sketches.

Precedent Research.

The Serpentine Gallery Pavilion is a multi-dimensional space. I chose to base my design on it because it has seemingly random elements that make a transforma-WLYH�SODFH�ZLWK�D�ORW�RI�UHÁHFWLRQ���,W�KDV�PDQ\�GLIIHUHQW�aspects that join together to form a whole in an usual way. I also like the use of different geometric shapes that DEVWUDFWO\�ÀW�WRJHWKHU��ZLWK�WKH�FRQVWUDVW�EHWZHHQ�JODVV�and timber.

The Serpentine Gallery PavilionFrank Gehry

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,�IRXQG�WKH�ÀUVW�ZHHNV�OHFWXUH�WR�EH�D�XVHIXO�UHIHUHQFH�WR�JXLGH�my design process. This was through the focus on perceptions, and the idea that patterns are formations that occur throughout nature and have relationships with art. While art can appear to be abstract, it can be factorised by rules and interpreted into steps and thus a recipe. However, how accurate can this be? Given that everyone has a different perception when they look at a subject, how can a recipe be followed to produce the same pattern each time? The truth is that it can’t. Everyone sees and understands things differently depending on their own knowledge. So while a set of rules and recipe steps can de-scribe what a pattern should look like, the end product is unlikely to be identical when produced again, as shown throughout the design process.

.DQGLQVN\·V�LGHD�WKDW�REMHFWV�FDQ�EH�VLPSOLÀHG�IURP�WKHLU�RUJDQLF�IRUP�WR�geometric structures was useful to refer to. The process of using three stages to form analytical drawings, while not necessarily applicable to the whole process, was useful when determining ways to move with the design. Start-ing off with a simple structure of geometric shapes, then creating tensions and further by adding emphasis once the idea had begun to develop.

The week two lecture focused on emerging form from pattern theory. Using Mark Gracia’s GHÀQLWLRQ��D�SDWWHUQ�LV�¶D�VHTXHQFH��GLVWULEX-tion, structure or progression, a series of fre-quency of repeated/repeating unit, system or process of identical or similar elements.’I can see that patterns can be transformed using different processes to create effects: move, rotate, mirror and scale. It alerts you to the idea that while the base structure is gener-ally kept the same when the pattern is trans-formed, the element as a whole is completely changed through the addition of another step or two in the formation process.

Philip Ball’s article on Pattern Formation in Nature, discusses the idea that patterns are evident thoughout nature and can be read-LO\�LGHQWLÀHG���+RZHYHU��WKHUH�LV�QRW�D�VLQJOH�theory that explains the formation of every natural pattern. Yet patterns often form in relation to a mathematical set of rules and repitions. Consequently, there are a number of commonly used basic structures. This was evident throughout my ideation work as each task while focusing on different principles all used the same basic geometric shapes: circles, rings, cylinders, etc. Yet they were put together in different ways to form different patterns each time.

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