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Week 2 : Studio journal Stephanie Clark- 64018 With the help of Paul Poh and my tutor in this week work shop, I learned to create two 3D model of my pattern based on my analytical drawings. The only material we were allowed to use in the making of these models is paper. The analytical drawing I chose to base my models on is shown below as I think that this drawing really brings out the characteristics of my pattern and represent it best. I planned to extrude my pattern by tracing along the lines of the drawing. It would look somewhat like this However, before I could even start the models, I determined a few possible problems and places that need to be adjusted. Print to PDF without this message by purchasing novaPDF (http://www.novapdf.com/)

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Page 1: Virtual environments 2

Week 2 : Studio journal

Stephanie Clark- 64018

With the help of Paul Poh and my tutor in this week work shop, I learned to create two 3D model of my pattern based on my analytical drawings.

The only material we were allowed to use in the making of these models is paper.

The analytical drawing I chose to base my models on is shown below as I think that this drawing really brings out the characteristics of my pattern and represent it best.

I planned to extrude my pattern by tracing along the lines of the drawing. It would look somewhat like this

However, before I could even start the models, I determined a few possible problems and places that need to be adjusted.

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Page 2: Virtual environments 2

Squares have sharp corners which are hard to clue down on another surface. I thought if each separate part of my model is only connected by these corners it would be very unstable. So I came up with another design that would better the connection between each part of the model.

I thought if I placed one square on top of the other, I could make it more stable. The only problem was how to overlayed them without cutting them into strips of paper.

This is my solution

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Page 3: Virtual environments 2

The following pictures are my process in making the first model:

I made little cut in the square so that I could interlace the squares together.

Eventhough the square is a bit deformed at first, I found out that after connecting to smaller squares, the shape

This is the finished product

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Page 4: Virtual environments 2

The second model was meant to be an upgraded version of model one. We were supposed to modify the first model by creating symmetry, changing the scale etc.

I chose scaling.

I varied the heights of the sides of the square and eventually created the shape as shown on the left

I thought if I arrange the squares by rotating them 45° from the previous one I might create a very interesting shape. I wanted to use scaling to create movement within my pattern. What I was planning to do is to create a twirl using the difference in the heights of the squares.

The following images show my process in creating the second model:

Like the previous model, I made some cutes in the shape so I could connect them together.

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This is the final product. As the result, I was able to create a twirl and give my pattern a sense of movement

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Recipe for making pattern:

1. Create a square then extrude it. 2. Cut a slope so that:

the height of this side is twice the length of the height of the opposite side

this side must connect the vertices of the other adjacent side

3. Repeat step 1 and 2 only make the shape smaller than the previous one 4. Rotate the smaller one 45° to the left then interlace it with the bigger one 5. Continue to repeat step 3 and 4 until a complete twirl is created within the pattern.

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Using rhino and the recipe…

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According to an article written by Phillip Paul, all patterns in nature are symmetrical but can be distorted by other factors (called the inhibitors) such as wind, waves etc. The formation of patterns in nature can be categorized into 3 groups. The first group is chemical patterns, which are formed due to the reaction of different chemicals. The second group of pattern is called granular. The formation of this type of pattern is dependent on the surrounding environment and the weather. Lastly, there are the computation patterns which are created by the interaction between each particle within an object.

I believe my pattern falls under the “computation” category, as the pedals of the flowers are formed spontaneously to maximise its productivity as a plant. The pedals of the flower I have chosen are formed by layers and layers with each one growing bigger than the last.

As the flower grows bigger, more layers are added. The pedals are alternated from one another so none of them are blocking each other. They also grew at an angle to maximise the amount of sunlight and water they received.

The growing process of this flower is different to that of other flowers. It does not bloom by opening up its pedals but simply adds more layers of quadrilateral petals to expand its volume.

For my paper model, I wanted to highlight this unique growing process of the flower. I created many layers of different sizes of squares (which represent the pedals) to create a feel of expansion rather than blooming or busting. I also created a twirl (movement) by changing the heights of the sides to emphasize the focal point as that is the first thing we see when looking at the original pattern.

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this sky scraper is inspired by the DNA pattern and is designed by David Fisher from Dynamic Architecture firm. He has mimicked the structure of DNA and as the result; the twirling structure of DNA has added a sense of movement into the building. The texture of the building is also interesting. The blocks are placed at different angles along the curves and consequently reflect light at different angles. The lighting effect of this building puts emphasize on the curves and

contributes to the sense of movement of the building.

This is a lotus building located in Vietnam. The architect has adopted the characteristic of the lotus flower into the building but has varied the scale and the angle of the pedals to create movement and emphasize the focal point (in this case the top of the building) by providing our eyes a direction to follow.

Both of these buildings have served as my inspiration. I’ve learned the different techniques of creating movements from these two buildings, all of which I’ve used in creating my pattern. The varied heights of the sides of the squares, like the blocks in the first building, will create a very interesting light effects , as they can highlight the twirl in my pattern. The squares in my pattern are interlaced with varied angles which means the tallest sides of the pattern are all connected. This creates a continuous line which also allows our eyes to follow to the focal point.

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Week 3 – Studio Journal

The following pictures are my clay models:

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I’ve picked 3 models to further develop them

I like this structure as an overall shape of the lantern. Not only does it have all the characteristics of my original pattern, the scaling of the cubes also create hierarchy which enable people to concentrate on the focal point.

This is a 1:5 scale model

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This is how the lantern will be held. Since the overall shape it curved and the top is generally bigger than the bottom, it looks really unstable. If I decide to go with this design, I would need to adjust the base or the curviness of the structure so that it can stand on the palms without falling over.

This is the direction I want to audience’s eyes to follow. It draw attention to the hands, where I’ll possibly put the LED light.

Plan view

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This is the 2nd model I picked

This structure can be created by extruding my pattern then twist it to create the curves along the body. The top part is bigger than bottom which also creates hierarchy, similar to the first model. It also looks like a flower from the top view.

This model has also been inspired by David Fisher’s DNA building

The scaling of this model is 1:5

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I’ve thought of two ways in which this design can be held. With its bottom being smaller than the top, the lantern can be difficult to balance using the first method. The intense effect can be similar to that of the previous model. Since the pattern is further extruded in this model, the light will be more focused in one direction, which is not what I’m aiming for. If I am to follow through with this design, I’ll need to make some adjustment to the façade to allow light to avoid focussing the light in one direction.

The second method of holding the lantern is more interesting and I won’t have to worry about balance as it is fully supported by the arm. Like all of the other methods of holding the lantern, this method also put focus on the hand, where the light source would be. However, arm movements might be restrained .

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This is the 3rd model I picked:

This structure can be created by overlaying the rectangular prisms in order of sizes. I made the structure curved inward so that I could wrap around something.

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The lantern can be wrapped around the arm as shown in the two sketches. Since the model does not wrap one whole round around the arm, the user can move their arm with ease, without having to worry around squashing the lantern.

This model also has the main characteristic of the original pattern (growing layers of squares) and it draws the attention down to the hand.

Out of the three models, I like this one most because the shape is more stable and I wont have to change anything in term of its function.

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Inspiration for light effects:

The light effects of these patterns really did inspire me. When the lights are turned on, the patterns on the facades of the building will be imprinted onto the ground. If the thickness of the pattern increases ( as the one on the left), the light will be more focussed . I am aiming to placed patterns with reasonable thickness over the facades of the structure so that the light wont be too intense, just enough to imprint their pattern onto the surrounding objects.

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