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Module 1 - Ideation Adam Galvin | 585356 | Semester 1/2012 | Group 08


Entropy The laws of thermodynamics are universal, and control all aspects of life. The cooling of all things, or expenditure of energy is inevitable and impossible to avoid. Entropy represents forwards motion & procession through life; That all things end at a base line. “The general struggle for existence of animate beings is not a struggle for raw materials – these, for organisms, are air, water and soil, all abundantly available – nor for energy which exists in plenty in any body in the form of heat, but a struggle for [negative] entropy, which becomes available through the transition of energy from the hot sun to the cold earth.”

The design both represents a process of entropy, and underwent a process itself. In initial representations, simple undulating sine waves were used (1). Later, exponential (2), and random (3) properties were added to better represent the concept.

Entropy in the context I am considering is the measure of randomness within a system. Therefore, it in itself is not a process which I can represent. Instead, I seek to express it’s nature through a process in which it is prevelant. Representing the lapse of time in this system will be recquired to communicate the increasing presence of entropy in a system. I plan to explore three actions in which this process plays a ma jor role; of melting, the mixing of fluids, or the breaking of waves. Finding the most apt embodiment of the process and then persuing it into a form which can be utilised as a lantern is my aim herein.

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Adam Galvin 585356 | Semester 1/2012 | Group 08

Adam Galvin 585356 | Semester 1/2012 | Group 08


Droplets

Melting

ing with would not retain it’s form for any extended period, causing the shape to droop to a degree that distorted the accurracy of the model. The model also had a distinctly “static” feel, wich wasn’t congruent with my aims to portray Fluid dynamics aren’t a scithe progression from predictence, but rather a matter of probability and statistics, with ability to psuedo-chaos. the inherent “randomness” increasing over time due to the dispersal of energy throughout the medium. The thickest white arrows represent definite movements I observed during experementation; the narrower showing less predictable movements.

A time lapse of plastercine deteriorating in a microwave; photos taken in 10 second increments. The rate at which the cylinder deteriorated is initially predictable, along with the form’s progression as it melted. At 1:10 the piece slipped on it’s self, an interaction that is hard to predict and model reliably. The process of melting was then accelerated by liquid pools of plastercine, causing different parts to melt at different rates, then to slip more.

My first model, scribbled over with arrows to try and hide it’s disgusting form. Representing the process of a boiling droplet of water being dropped into cool water from height.

I encountered a few ma jour problems creating this particular representation, mainly that the modelling clay I was work-

As much as this is an accurate representation of the process I am exploring, it seems like this particular embodiment could not be effectively communicated through a single, static piece of sculpture.

This accurately represents the process of entropy, as the number of members increase the process becomes more chaotic, and eventually devolves to an end point - a pool of liquid,

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Adam Galvin 585356 | Semester 1/2012 | Group 08

Adam Galvin 585356 | Semester 1/2012 | Group 08


Waves Predictability-1

Having observed a number of waves breaking I felt like I could create an accurate representation out of modelling clay with little trouble. The challenge was communicating the lapse of time as the wavebroke, though this proved easier than the represenation for droplets or melting. Time is presented as flowing from left to right of the image, This form is a representation of the process of a wave breaking, which is the process I wish to actualise as a lantern, effectively communicating the concept and progression of entropy within a system. Though the lapse of time is not completely intuitive, it is more so than the other designs as there is a clear and linear progression through the form.

Page 6 Adam Galvin 585356 | Semester 1/2012 | Group 08

The form placed against a graph better communicates it’s intent - The bell curve relationship between inverse predictability and time. The final phases only become more predictable

Time

as the amount of available energy reduces due to an increasing amount of entropy. As energy leaves the system, the system’s ability to change is reduced, eventually reaching a point

where zero energy remains, resulting in the form being completely predictable (albeit non-existent) again.

Page 7 Adam Galvin 585356 | Semester 1/2012 | Group 08


Abstraction - Precedents Presenting an idea in material form recquires that it be abstracted, that is transformed from a complex concept (Entropy), to a final form (The lantern).

Polyhedra - Precedents

line - the ability to communicate the form is based upon the use of a common and easily recognised element - The “spots” of a giraffe.

The Cutt cutlery set and I drew inspiration from Black Lines Chair pose a the works of Mark question: “How far can Brooks, a graphics dea design be simplified signer whose work whilst remaining true to communicates unique it’s original purpose?”. themes. Though the type By cutting down on osis too small to see, the tentanious parts, the text discusses the relamost basic & functional tionship between energy aesthetic is created, and and mass, which is incommunciates it’s purtuitively communicated pose in the most disin the “Disintegration” tilled matter possible. or coming together of the pictured giraffed. By extracting common The second layer of ab- elements of a wave in straction present in the my designs, I intend for design is the ability to my sculpture to be easintuitively read the colily read as representalection of shapes and tive of a wave, and of being a giraffe, despite deterioration. it lacking elements of colour or a distinct outParticle Accelleration Mark Brooks

Black Lines Chair Nendo Design

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Adam Galvin 585356 | Semester 1/2012 | Group 08

I tried to build a model out of soap, so that it wouldn’t wilt as time progressed. It didn’t go to well, so I decided to omit it from these pages. This soap however, is lazer cut! Designed by Yevgeny Razumov, the soap explores the simplification of common forms with the aim of creating an aesthetically pleasing means of encouraging people to use less environmentally harmful liquid soaps.

over time, as seen in the upper image - as it is used the edges soften, returning to a state not dissimilar to that of a regular bar of soap - the use is mapped through changes in form, which could be factored into the lantern, perhaps over the time axis. Doing so, however, risks over complicating a very complex piece which I would like to be as intuitive as possible.

In a literal sense, these soaps prove influential in providing ideas for expressing my forms through angular, simplified surfaces - Razumov’s soap is clearly still a bar of soap, just simplified. On another level, Morfoze soap tells a story

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Adam Galvin 585356 | Semester 1/2012 | Group 08


wave study. The edited version was then printed & sketched over, which I used as a basis for exploring breaking my form into polygons, which will be essential in future - There

+ Entropy

<

<

- Energy

+ Time

< The original image of the wave was opened in Photoshop and reflected along itâ&#x20AC;&#x2122;s axis to portray a basic 3-D form, which still shared the thematic and aesthetic elements of the initial

would be nothing worse than to design a for that I canâ&#x20AC;&#x2122;t use! Diagramatically, the arrows above are a rough communication of the key conPage 10 cepts involved. Adam Galvin 585356 | Semester 1/2012 | Group 08

Page 11 Adam Galvin 585356 | Semester 1/2012 | Group 08


Actualisation The previous page and the following page show my final concept models for my piece - as I plan on suspending it, the form is very difficult to construct in a manner which wont cause it to collapse. The previous page details the model in itâ&#x20AC;&#x2122;s actual state; the intended scale being 1:5, with a completed size of 1m*0.4m*0.4m. The following page is a more accurate representation of my intended design. The first image is a left or right side view, formed by rotating, duplicating, flipping, and merging the perspective view of the half-complete form.this results in some interesting intersections on the upper half of the image, which will need to be reconciled, but the interactions lower in the form represent a really fantastic intersection between multiple forms as their energy disperses. I extended and narrowed this form out more than the initial waveform to create a sharper point at the conclusion, and to emphasise the tapering and eventual end of the system.

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Adam Galvin 585356 | Semester 1/2012 | Group 08

Adam Galvin 585356 | Semester 1/2012 | Group 08


Panelling, Lights & Hanging The process of entropy is universal and impossible to avoid, so constraining the form to a wearable piece seems contrived - Why apply limits to a limitless concept? Having it stand alone, suspended by string draws greater attention to the nuances of the form rather than how it is worn and how it interacts with humans. Panelling and lighting will play a ma jor role in communicating the escape of energy from the form - the tendency for change to accellerate over time will be communicated by increasing the density of light panels towards the base of the piece. Only one light source will be used at the top of the piece, with itâ&#x20AC;&#x2122;s progressive dimming down Come To Nothing - Dirk Petzold

the length of the piece representing the loss of energy over time in a very literal sense. The top points of the lantern will emit the most light, heaping shadow on the lower parts.

Lighting & Suspension

The print on the right contains some beautiful elements that I intend to communicate in my design; the heaping of shadow around points of connection, the conplexity and density of lines relative to scale, and the creation of form from fairly ambiguous components.

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Adam Galvin 585356 | Semester 1/2012 | Group 08

Adam Galvin 585356 | Semester 1/2012 | Group 08


Reflection I’m not really sure if I’ve done the right thing; if I’ve filled the criteria. My design is something I’m (relatively) pleased with, which is a start, but my presentation feels clunky and somewhat inadequate. Other people’s forms seem far more expressive, mine is a clinical lump - Is it too surgical to be natural? I struggled with the process analysis - after a failed attempt at building (yet another) set of trees, I decided on the process of entropy - Rather than addressing the question of what I wished to represent, I found myself trying to find an answer as to how to represent it - admittedly, there are three “concepts”; two rejected, and one developed. It seems illogical to attempt to create three forms developed to a full extent, as the quality of the final form suffers as a consequence. Rather, I chose the most fitting expression of my theme and tried to transform it into the best outcome I could create. To sketch my final form seems illogical - The outcome is a 3-D form, not a 2-D one, and I’m comfortable with working on three axis. It seems pointless tocreate anything other than the roughest of illustrations before actualising them in clay. It seems strange to have to create clay models, even - if the process can be determined mathematically, if it’s a predictable and consistently reproducible process that we’re expected to be representing, why not define it mathematically and generate it computationally? I’ve loved this subject so far, and spent more time on it than I should have; I just find some of it’s eccentricities frustrating.

Page 16 Adam Galvin 585356 | Semester 1/2012 | Group 08

Virtual Environments Module One  

It's four AM and I need to sleep

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