STEFAN BJELOSEVIC ADRIAN DONG STEPHEN YUEN Module 2 Submission Virtual Environments
rack half opened rack closed
PLAN rack opened
rack half opened
EXPANDING RACK | SCALE 1:5
EXPANDING RACK | SKETCHES MECHANICS The expanding rack is comprised
whole range of movement between
of four components: Hooks,
each plank. Because it takes the
hinges, short wooden
form of an interconnected lattice,
and long wooden bars. Each
its changing form creates repeating
part is linked together to form
geometric patterns. The solid timber
a uniform lattice which moves
framework creates accurate poly-
concurrently with the rest of
gons rather than irregular shapes.
the rack. The hinges allow for a
MOVEMENT OF RACK
VIDEO CAPTURES OF RACK MOVEMENT
EXPANDING RACK | RHINO MODEL
3D MODEL MOVEMENT
This developmental model was inspired by the folding and panelling abilities of the expanding rack. Specifically, I was influenced by the way the rack creates patterns. I was also inspired by the way the rack moves on its own by moving only one ligament of the rack.
Not only does this developmental model move by itself, it also creates polygons with panels along the edges of the prismatic shape thus emulating the panelling and folding abilities of the rack.
MOVEMENT OF MODEL
balsa wood beams
ACQUAINTANCES & STRANGERS 0.2 metres
MEASURING PERSONAL SPACE
INTIMATE & CLOSE RELATIONS 0.1 metres
MEASURING PERSONAL SPACE
â€œpersonal space is not staticâ€?
All photos: Iwamoto, L & Scott, C 2012, Reef, viewed 3 September 2013, <http://www.moma.org/interactives/exhibitions/yap/2007_iwamotoscott#>
This is the design for a contemporary art institution in the United States. It encompasses the ideas of being non-static and continuously evolving in a subtle way. This provides insight to the idea of the perception of movement. This installation explored the interactions between different material systems made with their environments, and with each other. In terms of fabrication, two-dimensional templates with overlapping flaps for attachment are used to create solid forms. It also uses a system of interrelated, uniquely shaped pieces to form the overall surface pattern. This design assists in the exploration of the effect plastic has on perception and the continuous morphing nature of personal space. This idea can be combined with anemone-shaped structures on the body, with length dictated by personal space measurements included in this journal.
REEF LISA IWAMOTO & CRAIG SCOTT
BODY MAPPING CHANGES TO PERSONAL SPACE
Second skin expands and projects confidence Maximum amount of light can enter the skin and allow for visualization of the material
Skin is in a normal, comfortable position and the amount of light that is able to enter is only limited minimally
When movement occurs from side-on, the material causes an effect that simulates the ever-changing nature of oneâ€™s personal space.
With hands in pockets and head bowed, the large shapes around the shoulder region and abdomen contract slightly hence drawing in the personal space and visualizing contraction in the material Limited light can enter the skin around the chest area
This design maps out personal reactions to forced invasions into oneâ€™s personal space which can be measured in two scales: short-term reactions and long-term habits. The extended shape of the shoulders simulate the flinching reaction one exhibits as they raise their arms to protect their upper body. The protrusions of the stomach and the abdomen relate to the habit humans demonstrate as they lean or take a few steps backwards when another individual is too close. In general, this design uses the idea of the expanding rack panels as a means to map out reactions similar to contour lines. The closer the lines, the faster the reactions are and vice versa.
SHELLSTAR PAVILION MATSYS This pavilion is an iconic gathering space in Hong Kong. An intriguing aspect is the asymmetrical/abstract form of the pavilion which creates a spatial vortex that draws in the audience. This is similar to the idea of drawing people into oneâ€™s personal boundaries when one is in a comfortable state. It creates an illusion of movement especially with varying sizes of the holes. This effect of the illusion of movement can be utilised to simulate the transforming capabilities of the expandable rack. The openings in the structure compose an interesting pattern with shadows on the ground that mirrors the pavilion itself when sunlight hits the structure. This in turn reinforces the idea of movement. The design includes 1500 individual cells composed of planar surfaces to simplify the fabrication process. The coroplast is translucent in order to produce a visual effect when lights are positioned underneath the pavilion. All photos: Lo, D 2012, Shellstar Pavilion, viewed 3 September 2013, <http://matsysdesign.com/2013/02/27/shellstar-pavilion/>
Intensity of light determines arm orientation The higher the arms, the more psychological protection it provides towards oneâ€™s personal space
Body composition (eg. density, arm/shoulder orientation) dependent on speed and target of projectile Head turns sideways in response to projectile
Arms raised at different heights depending on the distance
Arms raised in preparation for flight
BODY MAPPING INSTANT REACTIONS TO PERSONAL SPACE INVASION
CONCEPT SKETCH AXONOMETRIC
BODY MAPPING LONG-TERM REACTIONS TO PERSONAL SPACE INVASION
no eye contact
fidgeting with collar
hands behind back
BODY MAPPING SKETCH
Photo: Scott, C 2009, U2 Expanding Screens, viewed 3 September 2013, <http://www.carolynscottphotography.com/tag/u2-360-tour/>
This 360 degree video screen was designed for the U2 concert tour. Like the expanding rack, it uses the same mechanisms to contract and expand as its inspiration: the Hoberman sphere. In turn, by studying its movement, it can provide insight on how to produce a similar effect on a smaller scale. The use of lighting also reinforces the illusion of movement which intensifies the same physical, spatial effect. In terms of fabrication, relatively light-weight materials (such as aircraft aluminium) are used in order for the entire structure to be held together without collapsing. This illustrates that materials of lightweight should be used in the production of the 2nd skin design. Also, the symmetrical nature illustrates that all structure that adhere to Hobermanâ€™s idea needs to be in this form for it to move in unison.
EXPANDING VIDEO SCREENS HOBERMAN ASSOCIATES, INC. BARCO
Photos: Hoberman Associates & Buro Happold 2009, U2 Expanding Screens, viewed 3 September 2013, <http://spaceinvading.com/entry/project_id/U2-360_Center_ Stage200907011246475319>
locking the head in an awkward position to symbolise an uncomfortable feeling of invasion of personal space
arms pull down as a sign of comfort and relaxation
design unfolds using the expanding rack mechanisms
elaborate design represents showing true self when relaxed
This design features an exoskeletal design affixed to the arms of the wearer. As the name suggests, the frame acts to retrain a great degree of movement.
This particular design bears resemblance to our own concept. Here, the outlining superstructure encapsulates the wearer. Furthermore, the design is attached to the wrists and its movement is controlled through this attachment. Our design utilises string which is controlled by the arms but still incorporates a similar concept.
This particular precedent relates heavily to the open configuration of our design. In our concept, the structure is suspended via the neck, a vulnerable area of the body, which may lead to feelings of constriction, similar to that of the precedent.
RESTRAINING GESTURES JUSTIN TSANG Photo: Tsang, J 2010, Restraining Gestures, viewed 3 September 2013, <http://projectsreview2010.aaschool.ac.uk/html/units. php?unit=61&name=501>
Photo: Villa, C 2011, Maman, viewed 3 September 2013, <http://designmeow.files.wordpress.com/2012/04/maman-louise-bourgeois-photocatalina-villa-4.jpg>
These sculptures adopt the form and shape of a spider and are constructed from ribbed bronze. Many are over 10 meters high, and more than a dozen in various configurations exist around the world.
The varying sizes and lengths of the spiderâ€™s legs can be adopted in our design to reinforce the idea that personal space is always changing and is not constant around the body.
Explorations related to the structure of each arm in the design can be undertaken to visually investigate and relate back to the idea of personal boundaries and a second skin. Therefore, it can be llustrated to the audience that personal space is not static.
MAMAN LOUISE BOUGEOIS
Photo: Pignel, C 2011, Maman, viewed 3 September 2013, <http://www.clisthene.org/le-musee-guggenheim-de-bilbao/bourgeois_maman4_2001/>
Photo: New America 2011, Maman, viewed 3 September 2013, <http://anewamerican.blogspot.com.au/2011_04_22_archive.html>
The first prototype was made by 1.00mm cardboard using the card cutter.
The card is not thick or durable enough to withstand both the strength of the string when pulled and gravity.
String was used to thread the segments together rather than paper as an elastic and contractable material was needed to enable the expanding motion.
The second and third prototype used a thicker material: 3.00mm boxboard cut using the laser cutter.
Even with the stronger material, it required more rigidity to counter gravity. Therefore, different threading patterns were explored to investigate the most rigid option.