Module One: Ideation - Week 1Virtual Environments (ENVS 10008)

Catherine Mei Min Woo562729Semester 2/2012Group 13

Natural Process: Creepers

Diagram 1.1

Diagram 1.2

Diagram 2.1 Diagram 2.3Diagram 2.2

“Creepers”

Vines grow upwards when support is provided and adapts through various

physical traits eg. fibrous barks

These plants are known as creepers, climbers, or runners

The purpose for such adaptation is ac-credited to evolution, whereby the plant recieves the largest amount of nutrients

with minimal energy output

Figure 1.1-1.2: Diagram of a creeper plant and the complex structure that is found to exist in the structural layout of the plant, which is also seen in Figure 2.1-2.3: whereby the same pattern exists through the seasons

Natural Process: Creepers

“Epaulette/Scarf/Shawl”

Inspired by the complex physical struc-ture of creepers, which supports itsef

when provided a surface to utilize

The idea of stringing lights together to form fairylights can be adapted to reflect

the aesthetic nature of creepers in full bloom

The idea of making a structure that can be draped across various structures and

still hold it’s own form has been inte-grated into existing designs seen in bags,

baskets and clothing

By adapting such complexity to the traditional accessories eg. epaulettes/

scarves/shawls can be reinterpreted into more elaborate deisgns and patterns for

this task

Diagram 3.1

Diagram 4.1

Diagram 5.1 Diagram 5.3Diagram 5.2

Diagram 5.1-5.3: Examples of how the complexity can be adapted into the epaulette/scarf/shawl as inspired from similar sccesories as pictured on the left

Diagram 4.1: indicates how the creepers can be reinterpreted as a complex but self-supportive structure, which allows the posibilitiy of creating an unusual but wearable complex structure

Diagram 3.1: An example of how fairy lights are used in photogra-phy to accentuate shadowing as well as an unusual distribution of light for aesthetic purposes. Also, such concepts of natural scarves are used in tribal communities for aesthetic and cultural purposes

Natural Process: Death

Figure 1.1

Figure 1.2

Figure 2.1 Figure 2.3Figure 2.2

“Death”

Occurs when a living organism/cell per-manently terminates the biological func-

tions that sustain the living organism

The process whereby biological changes occur after reaching maturity is known as

senescence/biological aging

Structrual rigidity of plants reduce and cause them to appear limp/wilt due to

structural changes caused by aging

Humans experience the same structual changes to their bone and muscle struc-

ture

When an organism dies and lose struc-tural control, gravity pulls them towards

the earths surface, forcing cantelivering organisms to ‘bend’ downwards

Figure 1.1-1.2: Diagram of a wilting plant and the curvature that is found to exist in the organisms death, which is also seen in Figure 2.1-2.3: whereby the same pattern exists in other organisms eg. Humans.

Natural Process: Death

Headpiece

Inspired by the psychological ties con-nected to the process of death and the physical curvature of dead/dying organ-

isms

Death can be precieved as a looming shadow and unavoidable, hence omi-

nous and threatening

The idea of shadows brings about in-teresting pattern centric possibilities for

shadowing of the headpiece

Death can also be precieved as the last stage of mortal enlightenment, hence ties

into the lantern concept

By adapting the curvature to the head-piece, traditional headpieces eg. hats

can be reinterpreted into more elaborate deisgns and patterns for this task

Figure 3.1

Figure 4.1

Figure 5.1 Figure 5.3Figure 5.2

Figure 5.1-5.3: Examples of how the curvature can be adapted into the headpiece as inspired from the headpieces as pictured on the left

Figure 4.1: indicates how the curvature can be reinterpreted as a “looming” or cantelivering structure, which allows the posibilitiy of creating “looming shadows” to tie in with the theme while creating opportunities for pattern implication

Figure 3.1: Illustrates the difference in psychological perception towards the process of death. Both are contrasting as one can be considered a “looming/ominous” event that is physically rep-resented as a shadow whereas it can also be uplifting and bright, like a lantern

Natural Process: Stalactites

Image 1.1

Image 1.2

Image 2.1 Image 2.3Image 2.2

“Stalactites”

Occurs naturallly in limestone caves that hangs from the cielings

Formed through the deposition of cal-cium carbonate and other minerals

precipitated in mineralized water solutions which drips from the tip of the stone

Hollow tubing known as “soda straw” which resutls in cone shaped stalagmite

(corresponding floor formations)

These formations also occur in concrete due to slow leaks or limestone presence in

the water supply

The manner of which light travels through the structures creates different settings

and tones for the immidiate environment

Image 1.1-1.2: Diagram of stalactites and the virtical cone shaped which is also seen in Image 2.1-2.3: whereby the for,ation of such structures is outlined

Natural Process: Stalactites

Statement necklace

Inspired by the structure of the stalac-tites, acessories based on this structure

may prove intriguing

Vertical cone shaped structures of the stalactites may also serve as a good light

neutralizer for thinner/sheer material

By analyzing the texture of stalactites provides an interesting pattern base to

develop (uneven but smooth and solid)

Image 3.1

Image 4.1

Image 5.1 Image 5.3Image 5.2

Image 5.1-5.3: Examples of how the cones can be adapted into the statement necklaces as inspired from the accessories as pictured on the left

Image 4.1: indicates how the area that can serve as support can be utilized by the cone shaped structures and can be reinterpreted as either, an entire piece or making use of the area around it

Image 3.1: Pictures of existing designs for accesories currently in the market known as statment pieces due to their aesthetic presence and bulk