Pattern Investigations

The Union of Eight Octahedron Pairs

Thomas Parker Williams

This pattern is assembled using a geometric construction comprising of eight intersecting octahedron pairs.

Octahedron is composed of eight equilateral triangles, four of which meet at a single point.

Below is a plan of an octahedron shape, which is the bases of the pattern.

When fixed at two main points the shape below is formed. This shape is connected at different angles to create a more complex irregular pattern.

‘Space Warp’ Wallpaper

Karim Rashid

The concept of the wallpaper was based on the movement in nature.

This pattern consists of free flowing curves, made up of single lines, spaced closely and evenly apart from each other. Over lapping lines create a criss-cross pattern, altering the tone and level of transparency in the curves. The pattern is repeated through a mirror image effect.

Symmetry is used to create a dense and repetitive pattern

Painting of Pavia, Italy

This city, is made up of primarily pitched roof buildings of the same height and similar sizes,

repeated and compactly arranged.

Buildings are facing and forming public squares; fronting the main line of movement; however most are clustered with small narrow streets in-between.

Hierarchy of the buildings are illustrated with a side main path splitting the city in half; breaking the tightly arranged buildings and leading to a potent landmark.

Repeated form, modified in scale and orientation

Composition in Red, Yellow, and Blue

Piet Mondrian

This painting is formulated by ‘The golden Rectangle’.

A rectangle is divided into a square and a smaller rectangle. The smaller rectangle can again be split into a square and rectangle as the primary shape did and this sequence continues.

The smaller rectangle, that sits in the original has the same aspect ratio, meaning that the length of the smaller rectangle divided by the width, is equal to the length of the original rectangle divided by its width.

Above is a geometric pattern sequence, with the final diagram incorporating primary colours like most art of the De Stijl period.

Shinjyuku Vertical Campus

OMA

Rem Koolhaas

The vertical campus was created through the subtraction of geometric shapes, as apposed to the addition of space.

Starting with a solid block, the circulation and core of the building is decided and carved into the block. The rooms and internal spaces are then also cut away from the solid.

Above is a simple diagram of a solid square, with geometric shapes being removed, to illustrate the basic principles of the pattern design.

I then produced the above diagram of a solid block, in which a main core is established.

Main spaces emerge through the subtraction of geometric shapes.

A vertical arrangement of rooms attached to the primary core is formed.