Interaction-PLAY 2019

Inter

_PLAY

Inter_PLAY focuses on establishing a compatibility between design and construction, academia and community, theory and practice and learning and playing. This while looking for deep and complex relations that connect interdisciplinary fields related to children and their rights within an urban environment.

Content

2

Project Intro

4

Meet our team

8

Shift_PLAY

12

Build 2_PLAY

32

Inter_PLAY

50

Inter-Connect_PLAY

70

Domus_PLAY

88

Wander_PLAY

110 3

Interaction_PLAY

“

Inter_PLAY focuses on establishing a compatibility between design and construction, academia and community, theory and practice and learning and playing. This while looking for deep and complex relations that connect interdisciplinary fields related to children and their rights within an urban environment. This aggressive schedule presented a great opportunity to work with the City of Mesa to created new installations for the community.

Students were asked to build these installations in 6 weeks, which is completely new experience to them. The time schedule, budget, teamwork,and fabrication process are all different challenges for them to learn. In the 6 weeks, students learned and controlled every detailed step for a real project , from design, to communication with the client, to final installation of the structure. It was a great practice for senior students to step into the real world job content.

These projects were located in downtown Mesa for two months. Faculty Associates Ben Ayers and Maria Delasotta and Assistant Professor Milagros Zingoni led the studio.

4

�

5

THANK YOU for the generous support:

Mesa Art Center. Prototyping 2.0 City of Mesa Arts and Culture Department.

The Design School Prototype/Modeling Shop & ASU Maker Space

6

7

Meet our team

Milagros Zingoni IDEC, AIA International Associate, APA Assistant Professor, The Design SchoolInterior Design and Interior Architecture

Jesus Orozco Shoperintendent

Mark Fromeyer Shoperintendent

Benjamin Ayers AIA, Faculty Associate

Benjamin Bednarz Shoperintendent

Maria Delasotta, NCIDQ, LEED BD+C, Faculty Associate

8

Julian Silva Shoperintendent

9

ASU,Herberger Institute for Design and the Arts The Design School Interior Design Senior Studio Class of 2019

10

11

SHIFT_PLAY 12

SHIFT_PLAY is an interactive experience for users of all ages. One can climb, crawl, create, discover, draw or play, but ultimately, the user decides how they want to use it. SHIFT_PLAY is for the City of Mesa to make their own.

13

Inspiration

14

As a team, we wanted to create an experience which was constantly evolving. We began with a strong concept of manipulating visuals and distorting some aspects of the project. We were drawn to the idea of permeability as well as the unique nature of each face. Gijs Van Vaerenbergh’s steel maze in Berlin was one source of inspiration for our project. In this maze, there are moments where the voids in the walls line up and one can see through the otherwise solid structure. As a team, we found the contrast between the solid faces and transparent space intriguing. We also studied Felice Varini’s anamorphic illusions created through simple lines which inspired us because one could only see a complete image from one main point and if you move slightly the image becomes distorted. The illusions revolved around geometric shapes that would start on the floor or ceiling and move onto adjacent surfaces. The research on these projects helped us develop our concept based solely on perspectives.

15

The Concept

We began to look at the inspiration we drew and how it could relate to the City of Mesa. As a team we asked ourselves, “What makes a community a community”? After a few lengthy brainstorming sessions, our concept was born.

Shift is a representation of how a wealth of perspectives join together to create a community.

“When you change the way you look at things the things you look at change”.

16

17

The design process for our team began immediately after we identified our concept. After our initial brainstorming sessions in which we chose to focus on the idea of perspectives, we dove into creation of study models.

The first study model was comprised of individual boxes that only had two enclosed sides. As we moved forward with our design, we had to determine which design decisions would best support our concept. In this phase, we made material selections and structural design decisions which would maintain the integrity of our concept as well account for safety. Additionally, we decided it would be best for both the budget and strength that the structure be made out of ribs and tops, rather than the 12 individual boxes we had initially envisioned. Both meetings with the client and professors were very important as they steered some of our detailing decisions to what the client truly wanted. Overall, our design process was quick and succinct which allowed us to promptly begin fabrication.

18

Design Process

19

20

PAINT

PAINT

VINYL & PAINT

VINYL & PAINT

CHALKBOARD PAINT

3/4� BIRCH PLYWOOD

Material Exploration Our project was constructed mainly of birch plywood due to it’s cost, sturdiness and smooth faces. For the graphics, we debated on whether we should use vinyl or paint and ultimately, we ended up using a mixture of the two. We used the vinyl to ensure sharp, clean lines and paint for the smaller areas and edges. In order to help connect the project to its site, we pulled our colors from the Downtown Mesa website.

Additionally, we incorporated a chalk wall on the east side of the tower and a peg board on the south, which featured colorful, interactive pegs.

We finished the structure by sealing each exposed face with a clear, water-based sealant. All materials used were exterior grade.

21

Design Development Due to our tight deadline for the design, this phase mainly consisted of working on construction details. In order to conceal all joinery and still finish the project on time, we used dado connections for the top to rib connections. Additionally, pocket screws were used to secure the ribs of the structure to the base. To ensure accuracy, we used the school’s CNC router to cut all of our pieces. This includes the holes in the peg board, holes for chalk, as well as all 3D letters.

22

23

Construction Documentation

Our documentation was limited for this project because we truly tried to build it as a kit of parts. From the joinery details to the size of the openings, everything remained fairly standardized. This allowed us to stay on the same page as a team speed up our construction time, and eliminate as much material waste as possible.

BUTT JOINT DETAIL

SCALE: 6” = ‘1’-0”

FLOOR PLAN

SCALE: 3/8” = ‘1’-0”

24

DADO DETAIL

EAST ELEVATION

SCALE: 6” = ‘1’-0”

SCALE: 1/2” = 1’-0”

25

Fabrication

During fabrication, we encountered several issues we had to quickly adapt to. Our main problem was the instability of the structure. Once everything was fully constructed, we found it was slightly wobbly.

After we added 2� headers to each opening to reinforce the ribs, our problem was solved. We were also delayed in applying our graphics due to the space and little light required for our projector set up. Once these graphics were completed, we were able to sand and seal the entire structure. This was also slightly delayed as we had to schedule our sealing around our classmates’ time line to reduce the amount of dust getting in our sealant.

26

27

Final Installation

During the two-month duration of the installation of our project, we discovered the City of Mesa was utilizing our structure differently than we had anticipated. Visitors started using the chalk and wooden pegs to draw on the adjoining wall and sidewalk as well as our actual structure. While it was heartbreaking to see the cleanliness of our project disappear. It was interesting to see people project their perspective onto our project, which was the interaction we were hoping for.

28

29

Our Experience “This project has taught me the importance of communication, to trust the people around me, and how to design outside of my comfort zone.

- Jillian Kelley “Working on our design-build project extended my knowledge on the value of design iteration. Additionally, the process helped me discover my strengths and weaknesses as a designer”

- Stephanie Hernandez “Designing SHIFT provided me a unique perspective on the designbuild process and its many intricacies.”

- Clarissa De La Cruz “Working on SHIFT I learned the value of communication within a group and how rewarding it is to see the hard work pay off.”

- Carrie Huft “I learned the value of designing something and building it with a team.

It taught me how to overcome personal challenges.”

- Hannah Bresee

30

31

Built 2_PLAY

Built 2_Play is an idea that embodies the first nature of our youth; play and playing. It is encrypted in our DNA that we touch, climb, crawl, build and play.

With the natural element of wood and adhering to children’s natural instincts of climbing and crawling, Built 2_Play inspires the creativity of children and offers the exploration of playing collaborating or independently. Our basic kit of wood parts reflects the idea that creativity is built within us at a young age and inspires the human mind to explore.

33

Inspiration Data

34

INVESTIGATION • EDUCATION • CONTRADICTION

35

Design Process

36

37

Material Exploration Wood, wood, and more wood. Wood is a symbol of playtime from Lincoln Logs to tree houses. The raw element of wood embodies the concept of the genuinity of children’s exploration within play-time. The natural element of wood and how it can be constructed piece by piece, represents the natural instincts of children to build and explore.

38

39

Design Development Curiosity.

It’s an idea that empowers children to learn and to grow. Curiosity is the first step in the process to play. It is in children’s nature to climb, crawl, peek, and overlook. Through the use of horizontal 2x4’s, a tunnel, and climbing blocks to a platform, children can unlock their creativity individually or collaboratively.

40

41

Construction Documentation This structure is constructed by assembling a kit of wood parts together. Made up of 4x4’s, 2x4’s and plywood, Built 2_Play can be easily assembled and de-constructed. Each wall is an individual component screwed together for easy access.

42

43

Fabrication The construction and fabrication stage was a three week process. The first component built was the base. Each wall was built separately and the two larger walls were split in half horizontally for easy lifting. After the walls were bolted to the base, the platform was set on top of the overlapping 2x4’s. Lastly, the steps were cut by a CNC machine and screwed into the platform and base. After sanding the wood, sealant and paint were applied.

44

45

Final Installation

46

47

Our Experience First off, we would like to send out a HUGE thank you to all the individuals who helped us cross the finish line: Our amazing professors, Maria, Ben and Milagros and the incredible instructors at the Herberger Prototyping /Modeling Shop.

It’s been proven time and time again that we never accomplish anything on our own. Without the collaborative efforts we made as a group, this project never would have been completed. Through thick and thin, we worked with each other and managed to design and build one our most substantial projects to date. Regardless of our individual backgrounds, personality types and methodologies, we came together to give back to the youth of our community and provide a one-of-a-kind experience.

We throughly enjoyed working in coordination with the Mesa Arts Center and ASU, and we are very confident in our newly found skills as we finish out our experience at ASU.

-Mariah Bonds, Erica Klipfel, Mikayla Mertz, Brooke Petsch, Ali Schierbrock and Laura Wiskerchen

48

49

Inter_PLAY

Inter_Play is a static installation that we would offer a quite rest spot for both parents and kid . Comparing with other dynamic installation, Inter_ Play is the introduction of the whole project, which display each single spot with their brief introduction and principles.

51

Inspiration Data

52

When people think about playground, dynamic activities are the primary idea; therefore, we challenge this idea by proposing an “static interaction”. As a static spot, we inspired from“We make objects that just let people play to get their own understanding. We don’t call ourselves educational.”Observation ,transform, thinking , rest, perspective, each of them could also bring a unique experience in static way. We expected Inter_Play become a place rest your mind.

53

Idea1

Project Intro

Design Process &Development Inter_Play focuses on two features that offering a seat for resting, and showing people project brief. Our mission from designing an static playful installation became a functional spot during the process, and tried to optimize the function. We developed concept to different aspects. Base on “observation”,”perspective”,and “transform”, we use frame to explore more variations,and construct the model with geometrical positive and negative space. Our final work has similar appearance of bookshelves, with functions of viewing, resting, reading, etc.

Intro

•Board can be rotated •Seating for both side

Seating

Idea 2 Project Intro group intro

Seating

• Introduaction for each group

•Seating for both side

54

55

Step 4

Step 1

Push Inward

Pods Introduction

Empty

Project Introduction

Step 2

Step 5 Empty Extend

Step 3

Add Partition

Step 6 Remove Add Description Board

The final model has transformed between positive and negative space, and became a integrated structure with functions of viewing, resting, reading,etc. We expect it to be filled with a charming scene and variety.

Remove Empty

56

57

Construction Documentation 1'-9"

1" 1'-32

3'-8 1" 4 1'-8 1" 2

1'-6"

1'-6"

1'-6" 1'-8 1" 4

7'

1'-6"

1'-6"

1'-33 4"

1'-6"

1'-5 3" 4

1'-8 1" 4

1" 1'-32

6'

1" 1'-32

1'-5 3" 4

1'-8 1" 2 1'-9" 1'-8" 3"

2"

2'

1'-8 1" 4

3 3"

58

59

Components

1

2

1" 1'-32

1'-6"

1'-6"

1'-6"

1'-6"

1'-33 4"

1" 1'-32

1 1'-32

1" 1'-32

1" 1'-32

1'-6"

1'-6"

1" 1'-32

7

8

3

1" 1'-32 1" 1'-32

1'-6"

1'-6"

1'-6"

1'-6"

1'-6"

3" 1'-6" 1'-34

4

2

1'-6"

1'-6"

1'-6"

1'-6" 1'-33 4"

1'-6"

11 1'-3 1'-3 "" 22

1'-6"

3" 1'-34

1'-6"

1" 1'-32

6

1'-6"

11 1'-3 "" 1'-3 22

1" 1'-32

1 3

4

1" 1'-22

1" 1'-22

1" 1'-22

1'-2"

5

1" 1'-22

1'-6"

Elevation - South

2'-11"

1" 1'-62

Elevation - East 1" 1'-22

1" 1'-22

1'-2"

1" 1'-22

1" 1'-62

1'-5"

1'-33 4"

1" 1'-42

6'-3" 1" 1'-22

1'-6"

1" 1'-62

1" 1'-22

1" 1'-22

1'-2"

1" 1'-22

1" 3'-114

1" 1'-62

1'-5"

1" 1'-32

1" 1'-52

2'-11" 1'-33 4"

1" 1'-22

1" 1'-42

6'-3" 3'

1" 3'-114

1'-6"

6'-3"

3'

3'

1" 3'-114

3'

3'

1" 3'-114

1'-6"

6'-3" 1" 3'-114

2'-11"

1'-6"

1'-33 4"

1" 1'-62

3' 1" 1'-62

6'-3"

6'-3"

1" 1'-32

1" 1'-52

1'-5"

1" 3'-114

1" 1'-42

1" 3'-114

1'-6"

6

7

8

1" 3'-84

1'-9"

1'-33 4"

1'-9"

1'-33 4"

1'-6"

1" 1'-82

1" 1'-82

1'-6"

1" 1'-82 1" 1'-82

6'

1" 1'-82

5

1" 3'-84

1" 3'-84

7'

1'-53 4"

Elevation - West

1'-6"

1'-53 4"

1" 1'-84

1" 1'-82

1'-9"

1" 1'-84

1'-8"

1" 1'-82

1'-53 4"

1" 3'-84 1"2' 1'-84

1" 1'-84

1" 1'-84

2"

1" 1'-82

1" 1'-82

3" 1'-24

1'-8"

3"

3"

6'

1'-53 4"

2'

7'

1" 1'-84

3"

3"

1'-8"

1" 3'-84

1" 1'-84

1" 1'-84

7'

6'

7'

3"

7'

1'-6"

1" 1'-84

7'

1" 1'-84

1" 1'-84

1" 1'-84

1" 1'-84

11" 1'-8 " 3'-824

1" 1'-84

1'-6"

1'-53 4"

60

1" 1'-84

2'

1'-6"

Elevation - North

1'-33 4"

1'-53 4"

1'-9"

1'-9"

3"

1" 1'-82

1'-33 4"

2"

1'-23 4"

2"

3"

61

1'-9" 1'-23 4"

1" 1'-82

1'

2"

3"

Fabrication Our fabrication has 4 steps which are measure,carving, building and installation. The first step is to measure carefully and make pencil marks.

After cutting every pieces out, we used nail gun and glues to assemble.

We also learned to use CNC machine and laser cut to make logo and display information board. Last, we sealed wood with clear coats 3 times and installed separating parts together at site.

62

63

Step 1: Measurement

Step2: Components Carving

01 Using miter saw cutting wood strips to build the frame 02 The CNC machine in the ASU Design Shop cut the Inter_Play logo.

03 Group members putting down the second coat on each presentation board.

Step3 Structure Building

04 Loading the finished pieces to the site

Step 3: Final Installing

64

65

Final Installation In order to transport the whole structure in a safety way , we deconstructed each block, and assembled the final installation at the site.

66

67

We faced different challenges from this unique project, such as time-schedule, teamwork, urgent problem, and even failure. We learned more skills from the solving problems process. As interior design student, we designed and built this installation with our passion and insistence. It exceeds our exception that bring more connection between people and other spots.

-Zili Huang Dejian Pan Junru Shao Minghan Wei Ye Zhang Yiran Zhao

68

69

InterConnect_Play

Our project is based upon connection. From the beginning, we imagined constructing a series of special moments where children could interact with our installation throughout the entire site.

71

Inspiration Data

72

It was important to us to create an experience that everyone of all ages could relate to. We were inspired by the physical connection of the bead game and the adjacency to Milano Music. Similar to the leap frog game, we wanted to created a connection throughout the entire site.

73

Design Process Our design process involved a lot of trial and error and exploration of materials. We first came up with a concept that would connect with everybody’s project. So therefore we decided to go with a project that would in a way would link and accommodate between the projects. We used various tools and machinery such as the CNC router and metal bender to bring our vision to life.

74

75

Material Exploration

We explored the use of many materials such as concrete , steel, and pipe before ultimately deciding on birch plywood and conduit. The concrete and steel were disqualified due to their weight and transportation difficulties. These materials proved to be the most cost effective without having to compromise our design intent.

76

77

Design Development In the middle of the site, amidst the other installations, we designed a life size “bead game” where children can explore paths and connections.

The game features wooden spheres that twist and turn along two tracks of conduit. Additionally, we have placed “cajones” (musical instruments) in between each installation where parents and children can share music through beats and rhythms.

78

79

Construction Documentation This process was all about trial and error! We didn’t have a lot of construction documention, because we were not able to get accurate dimensions with the machine we used. We had to ask many questions about every single detail. We wanted to be best informed so we would ask various people the same question to get various point of views of how to create our objects. We had to be informed about materiality, tools, and construction methods.

80

81

Fabrication This was a long process that required failing, learning, fixing, and continued learning. We had an idea of what we wanted each track of conduit to look like, but the metal bender could not guarantee 100% accuracy. We had to try assembling many different pieces together before we found the right fit. Not only did we have to seek materials, but we also had to learn how to use tools, and the best process for creating each object. This process required a lot of dedication, accountability, and team effort.

82

83

Final Installation Although we were tired, the day of final install we played music and made the best out of the situation. You could catch our group dancing and building at the same time. We had a few minor hiccups on install day but nothing that we couldn’t solve with help from our process, our team, and a few good jams!. Unfortunately, many people did not realize the cajones were supposed to be used as drums and used them in other creative ways.. As expected, both kids and parents interacted and connected through the bead maze.

84

85

Our Experience Interconnect was designed to create connections all around. Our aim was to connect each of the team’s pods, but in the process we created connections in the community and also within our group. This was a unique experience that required innovation, creativity, imagination, and a lot sweat and tears.

We are proud of our product and hope that the community enjoys and connects.

-Andres De La Rocha, Vanessa Duran Lozano, Lauryn Nelson, Emily Nicoll, Aiyue Wang, Chloe Zuniga

86

87

Domus_PLAY

Domus_PLAY is inspired by a child’s experience in an imaginative playhouse. Pursuing this, we adopted simple materials, forms and colors to create a destination of fantasy to initiate interaction and communication between visitors.

Domus provides a familiar and recognizable environment for the neighborhood to play, interact, wonder, discover and connect in a community.

The installation consists of various interactive elements to engage peoples’ senses as well as promote independent and collaborative interactions.

Visitors will also have a different visual and dimensional experience at different positions around and inside the structure.

Domus is your home in the neighborhood.

89

Inspiration Data We wanted our structure to invite families to PAUSE, PLAY and OBSERVE. We also wanted our structure to be something that gets the kids to interact with the structure. We started by using a box-shaped pod as a filter for making design decisions to portray interactive communication.

90

91

Design Process Our intent was to create a sensory experience, through the use of a variety of interactive elements. These elements where then organized into the familiar shape of a simple house. We challenged the geometry of a typical house appearance to introduce a component of surprise and kindle imagination.

92

93

Material Exploration

Wooden dowel rods Copper wind chimes

We kept our material choices varied and simple to give people a senatorial . The intent of using copper material for the wind chimes is to create special noise by touching while the polyester bungee cord gives people the flexibility to go through it. Meanwhile, the main use of the plywood sheets were for structural strength and simplicity. Additionally, the casting of the colorful shadow in the ground was created by the plastic acrylic sheets.

94

Acrylic sheets

Birch plywood sheet

Bungee cords

95

1st round of model(s)

Design Development Final Rendering

2nd round of models

96

Rendered model before realizing we needed a sturdier structural system

97

Construction Documentation Our construction was completed by connecting various planks of birch plywood (see Fabrication) to build up the project. In this section, you will see what the project looks like in its schematic phase, including the joint method we used to connect the planks together.

98

99

Joint (1) CNC skylight cut (1)

Joint (1)

Joint (2) C N C skylight cut (2) Joint (1) Plan view

Joint (2)

CNC skylight cut (1)

CNC skylight cut (2)

100

Isometric views

101

Fabrication During the final three weeks before our final installation, Domus_PLAY’s main structure was built in the order below.

(1)

Wind chime wall Dismantled + Connected

102

(2)

Entrance Wall Dismantled + Connected

(3)

Domus signage wall Dismantled + Connected

(4)

(5)

Peg Board Dismantled + Connected

Large skylight Dismantled+ Connected

103

104

105

Final Installation

106

107

This Inter_Play project has been the most challenging and rewarding of our studios. We are glad we had the opportunity to benefit of such an important and different experience: it has been crucial in improving our skills.

Building the Domus has exposed us to the practice of working for a client on a very tight schedule, make the most of a budget, master the construction of a full scale project and deliver a safe and beautiful structure on time and at the best of our capability.

-the Domus_PLAY team: Areej Alder, Mary De Luca Williams Julia Jackson, Marissa Lewis, Xindong Li, Jiajun Qi, Boon Lee Tan

108

109

Wander _PLAY “Wander through the noise of the city to the quiet of the desert, and find play throughout the journey.”

Joyce Choi Grace Dudzinski Katelyn Lentz Thao Ngo Margot Stevens Taylor Stickelman

110

111

Introduction Wander_Play is one’s exploration through a series of sound and structures, each with instruments attached to the inside of the frames. The first structure represents the loudest part of the series: drums with bells and a bright pop of tangerine orange greets your journey. Chimes line the second structure and rain sticks mimicking the sound of desert showers are attached to the third structure. The journey ends at the final structure, where you find yourself in a nook absent of sound. Find peace and separation from the city as you look through the laser cut cactus design.

112

113

Inspiration Our inspiration of Wander_Play stemmed from the idea of the bustling urban atmosphere in contrast with the calm and quiet of the Arizona desert. A problem we wanted to bring to light is the issue that many children these days are overstimulated, especially by the urban world around them. To bring awareness to this idea, we drew the concept of a journey from the noise of the city to finding one’s solace in nature.

Inspired by geometric forms found in the desert landscape, the frames take on simplified geometric shapes, guiding your way to finding a place for pause, reflection and solitude.

114

115

In exploring the idea of geometric forms, we began playing with different iterations of structures where users could interact with the project as well as find a place of peace. At first the iterations were quite complex, ranging from multi-faceted pods to double level structures. With our time line and budget pressing us, we narrowed down these options and came up with a series of wood frames. Through our design process, we coordinated with the amazing team at ASU’s Design School Wood Shop, where they helped make sure our project was feasible.

116

Design process

117

01 Model:

118

02 Model:

03 Model:

119

Design Development To kickoff the design development phase of the project, our group came together to create a list of items that were needed for the completion of the project and for the construction documents phase. Our group began by taking inspiration from our physical model that we developed in the conceptual phase and started to explore the different possibilities of shapes and angles for the frames. Our goal was to find angles that were different, but still fit together and created an overall asymmetrical look from the front of the structure.

120

121

Once we all agreed on the number of frames and the different shapes for each frame, we went into designing each specific frame to fit our overall concept for the project. Each frame was designated a color and an instrument. Based on the sequence of each frame, we went from the more vibrant orange color to calming blue shades for the last frame. The instruments also went in order from the loudest being the drums in the front, to the quieter instruments being the rain sticks, and to the absence of instruments for the final frame.

122

The last frame is very important for our overall design because it is the place for pause and reflection. We made design decision to enclose half of the frame to create a very secluded feeling space that was meant for pause and reflection. We wanted to make a big gesture that would still intrigue kids to explore the frame, even without the tactile instruments. We decided to laser cut small holes to create a cactus desert design, that would allow the sun to shine through the side of the structure and create different shadows depending on the time of day. This would then allow the opportunity for each person who went through the structure to have their own unique experience and interact with nature.

123

Construction Documentation

Step 01

124

Step 02

The original construction documents for Wander_Play showed each side of geometric shapes being held together by laying two pieces of ¾” plywood on top of one another. After discussing the logistics of this method with woodworking professionals, they suggested we cut down on material and cost by only using the ¾” plywood as the base and internal framing skeletons.

Step 03

Step 04

125

Step 05

Step 06

A few changes were also made to the design itself as the construction documents process went on. One major change our group did was simplifying the shapes and duplicating them, another major change we went through was fixing these geometric shapes and having their sides either going straight up or pointing inward. The reason behind this is because if they were to be pointing outward, we would need exterior supports to hold the sides up - requiring more materials and labor for a less attractive aesthetic.

126

Step 07

Step 08

We connected the sides by bending rackets to exact angles and drilling them in. For all the parts that needed connecting, the construction documentation process guided us into knowing where to attach additional ¾” plywoods in order to properly secure them. With the ¾” plywoods only covering the skeletal framings and the base, and the ¼” plywoods skinning the rest of the structure, we ended up needing 5 pieces of ¾”s and 10 pieces of ¼”, reducing the cost of our materials tremendously and creating an extremely stable structure.

127

Fabrication Step 01.

The fabrication for Wander_Play involved quite a few steps, which needed to be neatly organized and planned to meet the deadline. For cost and aesthetic reasons, we constructed Wander_Play similar to how walls are built. The whole installation sits on a 8’ x 10’ base made of plywood and wood beams. 3/4” plywood was used to cut the pieces for the frames with the table saw and trimmed according to the plans for each shape.

128

129

Step 02.

Once all of the frame pieces were cut and lined up they were put together using wood glue and a nail gun. Additional pieces of 3/4� plywood were added as anchors to secure the instruments. 1/4� plywood was then cut and used to skin the frames and painted according to their respective structure. This step really helped the organization because we were able to really tell which pieces went with which structure.

The painting and sealing steps were important to protect the whole of Wander_Play to be durable while outside on the site. After several rounds of sanding and sealing, we put the pieces together with bent metal plates to hold everything together. The bottom piece of each structure was made of 3/4� plywood.

130

131

Step 03.

While simultaneously fabricating the structures, the instruments and their mounting mechanisms were being built. The drums needed an additional mounting piece to screw into the structure. To allow for movement and interaction, rain sticks needed mounting pieces with turntable hardware.

Chimes were strung up with multiple strings, each to hold them up and allow them to hit one another without swinging around. All instruments were attached before install day to ensure that they functioned. Once all structures were put together, they were sealed, sanded, and sealed again, and prepared to transport to the site.

132

133

Final Installation On the installation day, most of the building work had already been completed. Each structure was transported from the ASU Design School Shop to the site after being built, so there were only a few final steps that took place on site. After structures were lined up and pushed together to be flush, they were secured into the base and given a final once over with a cloth. After our installation, there was some maintenance that was needed, but overall the on-site work was by far trumped in terms of the amount of time and energy spent doing physical work by that done in the shop.

134

135

136

137

Together, our team has learned a lot from this design build project. The main thing we learned is how to translate ideas and concepts into a practical application. We had to consider what things would be made out of and how pieces would go together. The requirement to create a physical product pushed us to think in the real world, a skill that is really important as we enter the workforce. We are proud that our result was a striking, interactive installation where users, younger and older, can experience a journey from noise to solace.

-Joyce Choi, Grace Dudzinski, Katelyn Lentz, Thao Ngo, Margot Stevens, Taylor Stickelman

138

139

140

141

142

143

144

145