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DIGITAL DESIGN + FABRICATION SM1, 2015 M1 JOURNAL - Profile + Section

William Oliver Douglas Garvin 538 599

Rosie Gunzberg - Tutorial 5

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Measured DrawingsTo most accurately interpret the volumetric shape of the model it should be viewed on an angle so we can view the profiles and sections in conjunc-tion therefore I have chosen an isometric as the first drawing that will be displayed.

Each individual component of the model has very little width (or length?) essentially a 2 di-mensional object and an inferred volume is not readily perceptible. However, when the pieces are placed together as instructed, our brain begins to connect the surfaces and based on past experi-ence a recognisable volume emerges.

x plane

y plane

z plane

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Front Elevation Section AA

Section AA

Section AA

420 mm

230 mm

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Analysis

As previously mentioned, pieces have very little width, and combined with small scale, are not perceived as volumes. As the diagram demonstrates pieces really only exist in either xz space or yz space. When perceived from the incorrect axis they are virtually invisible and at the elast incomprehensible.

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yz pieces

xz pieces

These diagrams show the different xz and zy pieces in the actual spot on the model without the each other. It becomes clear from this diagram that the most important pieces are the pieces with the most holes. These pieces allow for ease of placement, simpli-fying the whole structure.

It is also important to highlight the type of joint used to create this model. because the joints themselves are orthogonal when-ever a piece connects it will be perpindicular to the previous one.

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Digital Model

The most appropriate way to begin to digitalise the model was to trace the outlines onto paper and then scan them into rhino and place with the bitmap command.

The next step was to use the extrude surface command to give the pieces some width.

Finally pieces were painstakingly placed with the move command and the gumball.

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Finalised Rhino Model

The dimensions are the same as the physical.

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Sketch Model

The model I have chosen as my sketch utilises my explorations of the object. I chose to experiment and place together pieces with 2 or more slots but less than 5. By eliminatiing these pieces that have many slots the structure of the stegasaurus loses its entire structures as it relies on these pieces most to create its volume. This shows the importance of these pieces.

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Maurizio Cattelan, All, 2008

This precedent shows the effect of placing a skin over an object. The objects are inferred to be bodies but this information is never actually revealed. The at-mosphere in the room this creates is a very sombre one. One of death without actually showing death. By placing a skin over a section and profile will help to resolve the omitted elements and give more understanding, potentially more emotion.

The image to the right shows my further exploration of skin. By placing a foil skin on my sketch model shapes appear that previously were not there.

https://imageobjecttext.files.wordpress.

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In Personal Space: The Behaviour of Design, Sommer counterpoints a relationship between inferred superiority and personal space. Depend-ing on what sort of space desired a person may want to appear “supe-rior” in order for their personal space to be adhered to. Someoone may also wish to be inferior, perhaps to become more approachable, less of a threat.

Superiority may be achieved by the augmentation or exaggeration of body parts or features. This is a very animalistic approach and there are many examples in the animal kingdom e.g. the frill neck lizard.

http://www.lucymcrae.net/

Superiority - Augmentation - Exaggeration

Sketch Design #1

As a precedent I have chosen to use LucyandBart’s “Evolution”. It dis-plays enlarged parts of the body. The chosen parts, lighting, poses and bauble shapes used provokes more of a sensual feeling than one of su-periority. However, it is a very successful augmentatiion to achive this.

My design seeks to emphasise the top upper part of the torso and back, climbing around the neck. i think the triangular pyramids create a sense of rigidity and austerity that would dissuade people from entering personal space and allude to superiority over the masses.

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Lucy Mcrae as a precedent again. This design emphasises dehumanisation. When the subject dons this costume their appearance changes, almost to a part of nature, certainly barely human.

Non-Person - Deformation - Isolation

Sketch Design #2

In my designs I have attempted to isolate a person, makethem unnaproachable by either deforming them or reducing their humanity. The first design the figure has a deformation ex-truding from the side of the head, similar to a tumor. This is likely to provoke feelings disgust and repulse a dissuasion for potential invaders of space.

The second design removes the humanity of the subject. Without a face a person cannot be communicated with well and will be percieved merely as an object, especially with an orthog-onal design like box.

http://www.lucymcrae.net/

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Sketch Design #3

Aura - Ambience - Atmosphere

The final design concept incorporates ideas of an aura mentioned by Sommer. The aura that a person would wear would attempt to instill an emotion, perhaps light up to notify people of how the subject is feeling ap-proachable or not. A personal atmosphere indicator.

My design visualises an aura as a cloud like space that looks ike it is in motion, highlighting the possibility of change.

Due to the weightless nature of an aura, my second draw-ing indicates that the aura might be the skin on top of a structure similar to the model. these shapes underneath may give hint to certain objects with emotional tears.

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Appendix

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