Stefan Bjelosevic Student No: 640320
Module 1: Ideation Submission
Dotted lines indicate rack in fully open and closed configurations.
MEASURED DRAWING – 1:5 SCALE
PLAN VIEW Fully Open Rack
I measured the rack using a traditional ruler, which I then replicated onto the page. Due to the innate symmetry of the design, replication is relatively straightforward once one diamond is drawn, and the internal angles are established. In addition, when drawing the closed rack, I used a technique similar to that described in Miralles’ ‘How to layout a croissant’. I photocopied the rack and then drew the outlines of the material, hence allowing me to devise another practical means of mensuration other than that of simply utilising a ruler.
Half Open Rack
SECTION VIEW All dimensions are in millimetres.
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Upon inspection, the expanding rack appears complex in nature, and is â€“ but below the apparent cloud of complexity, there is a very simple pattern that gives rise to this larger system. The rack is composed of two differing lengths of wood, arranged in a diamond pattern that is repeated several times. The system is held together with hinges comprised of bolts, a small washer and a nut. As the entire system is interconnected, the movement of but one plank causes a subsequent expansion or compression in the rest of the system.
Component can rotate
When removed from the larger system, a plank attached to another can undergo practically unlimited rotations in any direction.
Two larger parallel planks are bisected by a smaller plank, which is fastened with screws.
The hook used in this particular rack is of antique nature â€“ it consists of a large, sculptured elaborate knob set into a base which is then fastened onto the planks below. The hook is quite archaic in appearance.
Hinge system can rotate about the screw set into the wood, as the rack is compressed or expanded. The plank and hinge are free to rotate in either direction when removed from the rest of the rack.
When disassembled, the hinge system is composed of a plank of wood, a small screw about 10mm long, a washer, and a nut that holds the part together.
MATERIAL LOGIC BEHIND THE
EXPANDABLE RACK PAGE | 2
DIGITAL MODEL & PHOTOREALISTIC RENDERS
By importing the measured drawings on page 2 into Rhino V5, I was able to create an orthogonal drawing of the rack, which I then converted into separate planar solid components. The entire procedure was relatively simple, but effective. Upon completion, I wished to challenge myself further, and used Rhinoâ€™s inbuilt photorealistic render tools to render the Expandable Rack in a light pine timber texture. I also paid close attention to the detail of the screws, which I managed to faithfully replicate. The overall result was an excellent representation of the form, shape and texture of the original.
PLAN FRONT VIEW
OVERVIEW OF THE DIGITALISED EXPANDABLE RACK
PLAN SIDE VIEW
UNDERSIDE OF THE DIGITALISED EXPANDABLE RACK PAGE | 3
My more detailed sketch featured a refined ideation of my final product. I attempted to detail the many intricate curves and the excess material I would cut from the model.
MORE DETAILED SKETCH
When I considered how I was going to represent my panel and fold system in a manner that explores volume, my mind instantly arrived at origami; the intricate curves and folds of a model were an excellent manner in which to explore the concept of volume.
FINAL MODEL PHOTOGRAPH
With my rough concept sketch, I endeveoured to simply map the extremities and the general structure of my final product. At this stage, I did not attempt to draw some of the finer details.
I researched methods of origami online, and formed several stars, which I then wove together to create my final design. In order to explore how the structural integrity of the model would be affected, I removed some of the excess material on the innards of the model. This gave me my final shape. It was interesting to observe that the particular method in which the model was folded was sufficient to self support the superstructure, even when excess material was removed.
PANEL & FOLD SYSTEM
ROUGH CONCEPT SKETCH
EXPLORATION OF VOLUME PAGE | 4
DESIGN CONCEPT SECOND SKIN DESIGN 1
Mesh forms a protective panel around the individual.
Eyes are exposed whilst face is hidden – increases social distance.
This design calls for a second skin that challenges the perceptions of interpersonal space. Here, a mesh-like superstructure of polygons and hexagons forms a web of sorts around an individual’s most exposed areas – that of the head, chest, back and arms. This idea was derived from the expandable rack – the notion that a panelled structure can spread uniformly into a tessellating and regular pattern. In this idea, the mesh is attached to the body by means of small cuffs and rods that consist of hinges, actively allowing the individual to move the skin closer or further away as they desire. For instance, one might wear the mesh extended when in the presence of unknown individuals, and retracted when in the presence of friends or family.
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Mesh in expanded (defensive) position. Mesh in retracted position, decreasing social distance.
Exposed head, allowing for social distance to be decreased.
This design calls for a second skin that extends the ideas set out in the first design concept. Here, large panelled wooden structures curve around the back, and extend as extrusions down the arms and hands. The material on the arms is a heavily folded scale-like patterning, that is essentially skin tight.
Expandable structures that can be adjusted according to personal space requirements.
This particular design also originates from the expanding rack; hinges on the wooden structures allows them to be extended and retracted as needed, as do the polygonal hand extrusions. This concept explores the idea that our personal space is not always directly in front or behind us, but also parallel/perpendicular to our form. The wooden panels force distance, as do the hand extrusions. I have chosen to have the arm material skin tight however, to emphasise the idea of being comfortable with oneself.
Tight folding pattern on arms, encourage self comfort.
Expandable extrusions that can be adjusted according to personal space requirements.
SECOND SKIN DESIGN 2
DESIGN CONCEPT PAGE | 6
DESIGN CONCEPT SECOND SKIN DESIGN 3
Sharp, threatening points.
Eyes and mouth are exposed whilst face is hidden – increases social distance.
This design calls for a second skin that challenges the ideas of practicality, but also that of primal human instinct. In this design, an upper torso/head shell constructed out of folded material is placed on an individual’s most vulnerable area – the head. This particular design was adapted from the volume exploration undertaken earlier. The sharp, regular edges of the shape literally act to ‘fend off’ those who intrude in the personal space of the individual. For practical reasons, but also to allow for communication with friendly individuals, there is a small space open on the face allowing for exposure of the mouth and eyes.
Points act to ‘fend off’ those who intrude into personal space.
Rest of body is exposed, whilst most vulnerable area (head) is protected.
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Module One Final Submission Virtual Environments Semester 2, 2013 The University of Melbourne