This module explores the integration of pattern and surface by merging artistic inspiration and natural forms. The pattern is derived from Giovanni Bellini's Madonna of Alzano, while the surface is defined by a given Tasmanian Terrain. Using Rhino, the design process focused on harmonising the fabric folds' fluidity with the terrain's topography, emphasising light and shadow interactions.

The Grid Study utilised point and curve attractors to manipulate grid lines, creating dynamic panel distributions. The Panel Study refined these grids, using pyramid panels to mimic fabric movement and enhance light-shadow effects. By combining these studies, a Hybrid model was developed, embodying the fabric's qualities. The final artefact was crafted through further modifications, like 3D rotations and nuanced grid adjustments. The composite outcome, merging the artefact's top view with the fabric pattern, symbolizes the seamless integration of artistic and natural elements.

During the Hybrid design, I prioritised not only integrating the fabric and terrain but also ensuring a developable model suitable for physical fabrication, avoiding overlaps and intersections. For the composite, the artefact’s top view was placed over the fabric, extending its folds beyond the original square edges to amplify the terrain’s flow. Photoshop’s smudge tool expanded the fabric area, creating a convergence point that highlights intersecting folds, further emphasizing the movement and flow.

Giovanni Bellini, Madonna of Alzano, 1480-1481, Milan

Throughout this module, a deeper understanding of the connection between surface and pattern was achieved through composite design in Rhino. By analysing the flow directions of the fabric piece (Madonna of Alzano) and the Tasmanian Terrain, mutual characteristics such as shadow areas and directional movements were identified and correlated. Rhino tools like offsetting and shuffling points were instrumental in refining these features.