ARC30003-2023-MONTAGUE-COMMS-JOURNAL_A5_Part2

B1. design concept

Before 3D modeling anything in Rhino I resorted back to pen and paper to brainstorm possible designs to achieve an omni directional model. After a few iterations, a mechanism relating to an umbrella was the most efficient system to deploy a retracted shape into a circular-shaped shield.

fig. 49. Images of the Madinah Piazza Shading Project

B2. design precedents

I researched shading devices that resembled the umbrella mechanic that I want to utilize in my physical model. The Madinah Piazza Shading Project is a development that implements multiple large umbrella style forms to shade large open spaces for locals to pray. It was a common problem that there was never enough space for people to gather and pray at the mosque, however these machines allow for cover from the elements and create a usable large open space. I love this creative form of ephemeral style architecture and want to use the same level of creativity for my model exhibition.

fig. 50. Images of the Umbrella and flower art installation

B2. design precedents

This art installation uses umbrellas hanging from the ceiling with flowers hanging from them to create a chandelier art piece. I love this art piece as it forces its viewers to look up and entirely immerse themselves in the atmosphere it creates. I want my exhibition to have a similar aura that draws viewers in and allows them to interact closely with its mechanism. The model will have depth and invoke emotions that relate to Perseus’ journey to slay Medusa. Another element I liked about this piece was its ability to be deconstructed and reinstalled at various locations. My models will have the same benefits and have versatility to its display options.

fig. 51. 3D model of retractable skin layer

B3. design development

Once I understood the overall vision for the model, I began experimenting with new paper folds to determine how the skin layer will function. The first iteration was a layer that would spiral into itself by rotating around a center axis. This would require the bone components to operate by twisting or rotating to expand the skin layer. This would be a great motion for the physical model, however would be a complicated execution to achieve a retractable display.

fig. 52. Preliminary motion of retractable skin layer

fig. 53. 3D model of bone mechanic and motion to retract and expand

B3. design development

When modeling the final fabrication model I used grasshopper to create a range of inputs that would result in simulating the range of motion the physical model will have. This works to confirm the motion I want to have in the model but doesn’t include any of the details and components that will go into the model. The next step will be to bake the model into Rhino and detail the joints ready for fabrication.

fig. 54. 3D model of bone and skin mechanism combined

B3. design development

From this model I developed accurately scaled parts to be fabricated in the laser cut machine. Given the machine only cuts from a singular direction, I orientated all of the important cuts to be done mechanically whilst the pilot holes and connections can be done manually whilst construction the model.

fig. 55. Line drawing of final model’s motion

B3. design development

The motion of the model expanding the arms holding the skin layer will be provided from the lower plate that will slide up and down the central spine. This movement will push the rigid arms out and cause the sin layer to expand until it is tort. Once the arms reach a 90-degree angle to the spine, the motion is complete and can now be retracted back to its original position.

Skin layer

Top plate

Primary arms

Arm supports

Bottom plate

Spine

fig. 56. Exploded axonometric of final model with each component labeled

B3. design development

The components within the model are simple as they consist of 2 plates, various lengths of rods and a skin layer that will be cut to size after the fabrication of the model.

7mm Plywood

Primary arms

Arm supports

Spine PLA Plastic

Top plate

Bottom plate

Polycarbonate

Skin layer

fig. 57. Various iterations of the model’s arm connection detail

B4. design detailing

The arm components went through various iterations until I arrived at the conclusion that the supports would slide through an opening in the center. I needed this joint to be strong enough to withstand the pressure caused from the bottom plate sliding up the spine. I also wanted to reduce the amount of components and waste, therefore installing hinges for each arm wouldn’t surfice. With this final version, the model’s waste is decreased and the fabrication process made easier. Now all the rotations throughout the model will occur within the pin connections which are extremely durable.

B5. design situation

The idea of the exhibition is for multiple models to be wall mounted and displayed around the perimeter of the room. This would allow multiple viewers to interact and activate the model without distraction. I wanted the interaction between viewers and the model to be an intimate and individual experience, therefore allowing each user an opportunity to use the mechanism themselves would facilitate that.

fig. 58. Render of model’s being displayed and opperated by viewers

fig. 59. Connection plate that mounts each model to the wall, enabling its rotation

fig. 60. Section detail of model to wall connection

B6. design attachment

The wall connection would use a simple custom fabricated bracket that would attach to the bottom of the spine. This bracket features a single direction pivot point to allow users to adjust the model up and down to face them. Another added benefit to this bracket is adding a randomizer element to the overall exhibition as each model will be facing a different direction.

part c- communication

C1. poster design

C2. reflective practice

fig. 61. Assignment 2, poster layout sketches

C1. poster design

To streamline my workflow when commencing the next stage of this project, I sketched out each poster format. This will remove the production of any necessary graphics and allow me to focus on creating aesthetic and detailed drawings that will be used for the final presentation.

fig. 62. Poster 5 final design

C1.1 poster 5 final design

The final poster layout was a simple grid of images to showcase the various iterations of the mechanism. Utilizing white space was important to avoid the poster appearing cluttered or claustrophobic. After feedback from my tutor, I experimented with scale by increasing the bottom two images to emphasize them as the most important graphics on the poster. This hierarchy will draw the viewers eyes to the final model first then investigate the other graphics.

fig. 63. Poster 6 final design

C1.2 poster 6 final design

This poster layout focuses on exhibiting the model and pulling the pivoting detail out and illustrates the various versions that optimized its fabrication and durability. The feedback I received for this poster was to include many techniques I’ve used throughout other posters such as motion lines or blurring to display movement. Another additional enhancement was exploding the graphic of the overall model to allow the viewer to see each component individually within its context.

fig. 64. Poster 7 final design

C1.3 poster 7 final design

For the final poster I wanted to combine technical drawings overlaid on an atmospheric render. This method displays a realistic representation of the models exhibition whilst layering important information over the top. The feedback I received for poster 7 was to have the viewers interact with the models more directly and continue to push the overlaid information further. This includes incorporating the linework techniques used previously.

C2. reflective practice

The posters I initially sketched changed as I received feedback each week and catered more closely to the criteria. I am pleased with how the posters turned out but I’ll be interested to see the comments on my submission as I’m sure I can push them further for the final task. I learnt many new layout skills during this task and I look forward to investing more time and intent with posters and journals in the future.

part d - conclusion

D1. conclusion

D2. list of figures

D3. bibliography

D4. appendices

D1. conclusion

Overall I am really happy with the outcome of the posters and with all the additional feedback combined into a great result. The model achieves the vision I had from the outset and over the past weeks I’ve worked to optimize its construction and functionality. After experimenting with both bone and skin structures for months, I have many new complex ideas for physical models. I would’ve loved to push the boundaries with the model’s movement and incorporated electricals, however at the time I wasn’t as comfortable with the mechanisms. A learning that I had throughout this unit was my lack of confidence and creativity when creating layouts and diagrams. I haven’t thought about the importance of displaying my work correctly and effectively to this level and I’m grateful to have learnt those skills over the 3 months. I have seen clear progression in my poster layouts and I will carry those skills throughout my career.

D2. list of figures

fig. A. Perseus beheading Medusa statue

fig. 1-4. Midjourney images generated from the prompt “Perseus’ Journey”

fig. 5-8. Midjourney images generated from the prompt “Perseus’ Shield”

fig. 9-12. Midjourney images generated from the prompt “Painting of Perseus’ saving Andromeda”

fig. 13-16. Midjourney images generated from the prompt “Heroic Perseus”

fig. 17-20. Midjourney images generated from fig. 14 with variations.

fig. 21-24. Midjourney images generated from fig. 16 with variations.

fig. 25. Perseus rescuing Andromeda

fig. 26. Painting of Perseus with Medusa’s head attached to his belt.

fig. 27. Perseus petrifying the King’s guards

fig. 28. Artistic interpretation of Perseus

fig. 29. Painting of Perseus petrifying the King and his guards. fig. 30. Artist interpretation of Perseus on the cliffs where Andromeda was chained to a rock

fig. 31. Statue of Perseus with a winged helm and Medusa’s head.

fig. 32. Painting of Perseus slaying Medusa with the winged horse with Andromeda in the background.

fig. 33. Preliminary poster 3, version 1

fig. 34. Preliminary poster 3, version 2

fig. 35. Preliminary poster 3, version 3

fig. 36. Preliminary poster 3, version 4

fig. 37. Preliminary poster 3

fig. 38. Preliminary poster 3 execution

fig. 39. Poster 3 initial assignment submission

fig. 40. Bone mechanism workshop and trial

fig. 41. Skin model experiments created through various paper folds

fig. 42. Hand sketching final bone and skin model

fig. 43. Bone and skin model

documentation

fig. 44. Bone and skin model laser cut components

fig. 45. Bone and skin reflection model complete fabrication, retracted and expanded.

fig. 46. Exploded axonometric of bone and skin reflection model

fig. 47. Series of long exposure images of reflection model in motion

fig. 48. Hand sketches of possible options for the final model

fig. 49. Images of the Madinah Piazza

Shading Project

fig. 50. Images of the Umbrella and flower art installation

fig. 51. 3D model of retractable skin layer

fig. 52. Preliminary motion of retractable skin layer

fig. 53. 3D model of bone mechanic and motion to retract and expand

fig. 54. 3D model of bone and skin mechanism combined

fig. 55. Line drawing of final model’s motion

fig. 56. Exploded axonometric of final model with each component labeled

fig. 57. Various iterations of the model’s arm connection detail

fig. 58. Render of model’s being displayed and operated by viewers

fig. 59. Connection plate that mounts each model to the wall, enabling its rotation

fig. 60. Section detail of model to wall connection

fig. 61. Assignment 2, poster layout sketches

fig. 62. Poster 5 final design

fig. 63. Poster 6 final design

fig. 64. Poster 7 final design

D3. bibliography

MidJourney Inc, The Editors of the Website. “MidJourney” MidJourney Inc. 12 July 2022, www.docs.midjourney.com/ docs/models, Accessed 1 March 2023.

GreekMythology.com, The Editors of Website. “Perseus”. GreekMythology. com Website, 07 Oct. 2021, https:// www.greekmythology.com/ Myths/Heroes/Perseus/perseus. html. Accessed 11 March 2023.

Britannica, T. Editors of Encyclopaedia. “Perseus.” Encyclopedia Britannica, December 9, 2022. https://www. britannica.com/topic/Perseus-Greekmythology. Accessed 11 March 2023.

Theoi Greek Mythology, The Editors of Website “The Myth of Perseus and Medusa Explained” Madeleine, 13 September 2019. https://www.theoi.com/articles/ the-myth-of-perseus-and-medusaexplained. Accessed 11 March 2023

The Collector, The Editors of Website

“Who Is Perseus in Greek Mythology?” The Collector, Edited 17 March 2023. https://www.thecollector. com/who-is-perseus-in-greekmythology. Accessed 24 March 2023.

SL Rasch, The Editors of the Website. “Madinah Piazza Shading Project, The biggest convertible roof in the world“. SL Rasch, 2011, https:// www.sl-rasch.com/en/projects/u26-piazza. Accessed 18 April 2023.

Therapy Fun Zone, Tonya, “Paper folded flowers” Therapy Fun Zone, 7 November 2022, www. therapyfunzone.net/blog/paper-foldedflowers. Accessed 25 April 2023.