Week Two Task-Ideation

Because of the complexity of my chosen pattern, I found it is quite difficult to model it within small scales on paper. So I decided to remake my models form the workshop in a much bigger scale. It is based on four steps and I have also included a visual diagram of procedure in the following page.

Firstly, cut a random triangle on paper at least 10 cm^2 in surface area(1). Secondly, measure one side length of the triangle and base on this length cut another triangle which includes this length in one of its sides(2). Then use sticky tape to stick the two identical sides together(3). Finally fold the junction of the two triangles, so it could stands up(4). Repeat the step, make sure all junctions are firmly attached, so it forms a polygon extruded from one point(5).

In my new model, I also experimented a variety of moments of transforma-tion introduced in the reading; that can be found in my chosen pattern. The ‘Martini’ liquid is a mixture of various alcohols. So it is able to generate a

self-organised arrays of patterns. Although none of the patterns are identical to each other, but they shares a common attribute of boundary and symme-try breaking; as the centre point of each polygon attract elements to form a radiating arrays of lines, pointing outwards. In this case, I try to cut a series of blended strips on each surface. I also experiment and adapt a few alterna-tives based on the same concept, so that the visual impression of my model appears richer.

Another transformation moment associated with my pattern can be inter-preted by the process of making the cocktail. Shaking the mixture can result in producing aggregation of similar sized pattern. In general, bigger patterns tend to attract bigger ones and repulse smaller patterns, smaller patterns tend to attract smaller ones and repulse bigger patterns. This can be noticed in the original image of my pattern. And I have also used Rhino to generate digitalized models representing this relationship.

Modeling & Formation Process:

New Model Model from Workshop

Virtual Environments, Semester 1, 2013_Guo Yu (Hugo) 634209

Rhino Modeling Screengrabs

Case study of a Process-Based Design & Complex Generative Patterning

This pavilion is essentially conceptualized based on a Chinese Lantern that immerse sound and light experience. The basic natural pattern for the structure is flame. Flame is a very free-formed pattern that usually does not generate uniformed repetition of shapes. In this case, the de-signers derive down into each separate rhombus pattern. What interest-ing about flame patterns are that they tend to focus on one point at the top. So there is a sense of movement and balance included within the pattern. To interpret these ideas, the designers of the Golden Moon let the rhombus flame units follow a pattern based on an algorithm for sphere penalization. The penalised patterns gradually changes so that it creates a very dynamic space; and moves so all of them points to the tip of the sphere. Also by putting the axis of this cladding grid not vertical but under an angle, the dome gets an asymmetric electrocutional. The

gaps between the rhombus units create a perfect space for light to went through. In fact, if translate it to a actual lantern, it will generate a direct and extruded shadow affect.

Thinking of how to utilize this fantastic looking design into my own piece. I think it would be good if I at least experiment the spheric panelisation on Rhino for my own pattern. Also looking back on my model, there is only direct shadow affect. In this case, shadow effects would be an area I must experiment in the next process.

The Golden Moon, by Kristof Crolla and Adam Fingurt