The vest, in turn, may be removed.
This is the progression of the vest:
initial design sketch
the design progression - development of sewing pattern
The dancer, with sail and vest on
A few more at the Picasa album
11.29.2009
Vest
The leather vest, worn under the sail, includes pockets and nozzles to hold the compressed gas canisters that inflate the shapes. Tubes connected to the canister run along the arms of the dancers and into nozzles hidden beneath the hand-pockets. When the shapes are fully inflated, the dancer can remove the sail by disconnecting the air tubes.
The vest, in turn, may be removed.
This is the progression of the vest:
initial design sketch
the design progression - development of sewing pattern
The dancer, with sail and vest on
A few more at the Picasa album
The vest, in turn, may be removed.
This is the progression of the vest:
initial design sketch
the design progression - development of sewing pattern
The dancer, with sail and vest on
A few more at the Picasa album
Mini Models!
I am still working on finishing up the larger scale (1/2" - 1'-0") models for my 12" figures, but I did manage to finish up the smaller scales yesterday.
The 3D printed models, using the MMAE Department's SLA machine. These are 4 options developed using the Rhino/Grasshopper script from below. The models are used as 3d diagrams, showing variation in structural patterns. The density of structure is derived from the width of the surface, so when it's thinner, there are more divisions. I will put these models (each about 3" long) on one of my final boards.
The 5 small models show basic shape options with different structural patterns. I realized when making them that the infinite library of shapes I had imagined was possible is slightly less than infinite- in fact, the library is quite restrained by several parameters, including: narrowing enough at at least one point to fit on the body, allowing at least 2 self-stable positions/arrangements, controlling center of gravity within a close proximity to the narrowed body connector area, conforming to or augmenting a natural body position.
You can see more photos here: The Picasa Album
The 3D printed models, using the MMAE Department's SLA machine. These are 4 options developed using the Rhino/Grasshopper script from below. The models are used as 3d diagrams, showing variation in structural patterns. The density of structure is derived from the width of the surface, so when it's thinner, there are more divisions. I will put these models (each about 3" long) on one of my final boards.
The 5 small models show basic shape options with different structural patterns. I realized when making them that the infinite library of shapes I had imagined was possible is slightly less than infinite- in fact, the library is quite restrained by several parameters, including: narrowing enough at at least one point to fit on the body, allowing at least 2 self-stable positions/arrangements, controlling center of gravity within a close proximity to the narrowed body connector area, conforming to or augmenting a natural body position.
You can see more photos here: The Picasa Album
11.17.2009
Grasshopper, Rhino, oh my!
Mike is a Grasshopper genius, and an amazing philanthropist! I was struggling with my studio/Digital Fab project on Friday, and he whipped up a Grasshopper file for me over the weekend. Not knowing much about GH, it's been a really great tool for learning the logic. Even though I took a class in Digital Project, and got pretty comfortable with simple constructions, the method is completely different. Grasshopper is more math-based, or rather.. it's a visual diagram of scripting... where as I found DP to be more physical-relation based (I suppose it's the difference between Euclidean and non-Euclidean geometry?)
Anyways, this is what the GHX file looks like:
And this is what it does:
I'm using Grasshopper to take a section of my unrolled 3d surface and apply a varying density of cellular divisions. The size is determined by how far apart the original surface lines are, so that when the surface (my "sails") are wider, there are fewer divisions. I am then using this base geometry to FlowAlongSrf and apply the truss pattern to my sail.
This is all really simple modeling, but is fun to produce loads of iterations.
I've also had some great luck! IIT has a really nice 3d printer in the MMAE department, but it's incredibly simple. No one, that I'm aware of, in the architecture department has ever used it, or even knows about it. I spoke with a few people in their building last week to discuss fabrication options (I wanted to see if they could fabricate a few of my details full scale) but no luck. However, I've been emailing the 3d printer guy back and forth, and he is printing my model pieces at no charge! (instead of having to pay $100). Not sure why, but I'm incredibly excited (and thankful!) that he's doing this!
Anyways, this is what the GHX file looks like:
And this is what it does:
I'm using Grasshopper to take a section of my unrolled 3d surface and apply a varying density of cellular divisions. The size is determined by how far apart the original surface lines are, so that when the surface (my "sails") are wider, there are fewer divisions. I am then using this base geometry to FlowAlongSrf and apply the truss pattern to my sail.
This is all really simple modeling, but is fun to produce loads of iterations.
I've also had some great luck! IIT has a really nice 3d printer in the MMAE department, but it's incredibly simple. No one, that I'm aware of, in the architecture department has ever used it, or even knows about it. I spoke with a few people in their building last week to discuss fabrication options (I wanted to see if they could fabricate a few of my details full scale) but no luck. However, I've been emailing the 3d printer guy back and forth, and he is printing my model pieces at no charge! (instead of having to pay $100). Not sure why, but I'm incredibly excited (and thankful!) that he's doing this!
11.02.2009
World Without Us
I have started reading Alan Weisman's The World Without Us and wishing that I had taken the time to start it last semester when I was doing my urban decay studio project. His writing is clear, imaginative, and exactly what I had been dreaming about.
I also ran across these images by Andree Wallin on Pelfusion, which go hand in hand with the scenarios Weisman writes of: what would happen to our cities, parks, world if all humans just disappeared? Nature, as I suggested in my last project, would reclaim it, and do so quite quickly.
New York City would flood within a week.
Even our most substantial structures would start to break down.
I also ran across these images by Andree Wallin on Pelfusion, which go hand in hand with the scenarios Weisman writes of: what would happen to our cities, parks, world if all humans just disappeared? Nature, as I suggested in my last project, would reclaim it, and do so quite quickly.
New York City would flood within a week.
Even our most substantial structures would start to break down.
11.01.2009
Studio Developments
Photo progression in the picasa album.
My dance theater has evolved into a wearable piece of architecture. The performance happens in three phases: the "sails" transition from (1) deflated costume that wraps the body, (2) inflated shapes connected to body to accentuate and extend (or restrict) movements, (3) independent free-standing structures able to move and connect with environment.
Scale model of inflated spiral shape, worn as backpack to accentuate (and limit) body movement. The spiral's gravitational midpoint is centered over the dancer, allowing dramatic size variation. Shape connects to body at shoulders, waist, and wrists.
Additional rigid structure must be added (or redesigned) at body point in order to maintain shape's integrity. Concave curves will not hold.
Study now will be directed towards development of stable shapes; focus will be on materiality (the shapes might have to be inflatable cushions) and pushing the limits of size.
Library of little shapes
My dance theater has evolved into a wearable piece of architecture. The performance happens in three phases: the "sails" transition from (1) deflated costume that wraps the body, (2) inflated shapes connected to body to accentuate and extend (or restrict) movements, (3) independent free-standing structures able to move and connect with environment.
Scale model of inflated spiral shape, worn as backpack to accentuate (and limit) body movement. The spiral's gravitational midpoint is centered over the dancer, allowing dramatic size variation. Shape connects to body at shoulders, waist, and wrists.
Additional rigid structure must be added (or redesigned) at body point in order to maintain shape's integrity. Concave curves will not hold.
Study now will be directed towards development of stable shapes; focus will be on materiality (the shapes might have to be inflatable cushions) and pushing the limits of size.
Library of little shapes
Digital Fab midterm
My digital fabrication midterm was to create a simple shape (the 'hat') using the CNC and any other digital tools necessary. Our group was assigned textiles, and through a strange shift of focus, developed our shape from leather.
It was a really interesting process, with one spectacular failure and one mostly successful attempt.
PROCESS:
1. Lasercut the 5 leather pieces (smelled HORRIBLE!) including holes and tabs for stitch variation
2. CNC the wooded form from 3/4" plywood
3. Handstitch the leather pieces together to create the rough form
4. Stretch and pin it over the wooden form
5. Soak entire thing in < 200 degree F water for several hours
6. Once dry, the leather can be removed from the wooden form. It retains its shape and stiffness.
Our first attempt at boil forming failed. Having heard from leatherworkers that you could soak and then stretch the fabric, we let the leather soak in a pan of water inside a warm oven for over 2 hours. Unfortunately, the water was too hot, the leather floated to the surface and baked for nearly two hours, and distorted as it shrank.
Both forms were made from 5 pieces of lasercut leather. The second form (here) used 4 different stitch types. Unsure about how the stitching would react, we wanted to test a variety.
The final attempt, as it is drying (and stiffening).
Detail shots in the Picasa album.
It was a really interesting process, with one spectacular failure and one mostly successful attempt.
PROCESS:
1. Lasercut the 5 leather pieces (smelled HORRIBLE!) including holes and tabs for stitch variation
2. CNC the wooded form from 3/4" plywood
3. Handstitch the leather pieces together to create the rough form
4. Stretch and pin it over the wooden form
5. Soak entire thing in < 200 degree F water for several hours
6. Once dry, the leather can be removed from the wooden form. It retains its shape and stiffness.
Our first attempt at boil forming failed. Having heard from leatherworkers that you could soak and then stretch the fabric, we let the leather soak in a pan of water inside a warm oven for over 2 hours. Unfortunately, the water was too hot, the leather floated to the surface and baked for nearly two hours, and distorted as it shrank.
Both forms were made from 5 pieces of lasercut leather. The second form (here) used 4 different stitch types. Unsure about how the stitching would react, we wanted to test a variety.
The final attempt, as it is drying (and stiffening).
Detail shots in the Picasa album.
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