Spatial Experiences
Just as we shape the environments around us, they also shape our experiences and engage our senses. Designers have an integral role to play in the design of physical environments where people live, work, learn, and play. Through an understanding of users and interactions, designers are able to craft experiences that tell stories, aid usability, evoke emotions, entertain, etc. In this project we will use a kit of parts to design spaces and experiences. It will include the exploration of modules, grids, and patterns that will lead to three dimensional forms in a consistent manner. We will also experiment with a few design elements, such as scale, color, and lighting, that designers use to shape user experiences and perceptions in space.
Parts create a whole.
Module: each of a set of standardized parts or independent units that can be used to construct a more complex structure, such as an item of furniture or a building.
Grids are used in both 2D and 3D design as a way of organizing space. We will experiment with using 2D modules to create 3D structures that have visual complexity, while being formed through a specific set of rules that govern their geometry. We will also consider the role of interaction in the formation of spatial experiences.
Brain Dump Space:
- A single module can be transformed in several different ways.
- There is interest and beauty in repetition (although they are often read as oppositions)
- Rhythm
- Rules in how the pieces are connected: How to achieve growth and expansion through different ways of connection? ( → like with people)
- Additive nature and growth lead to dynamic modular experiences
- Patterns, recursion, repetition
- Change and growth, but cohesive
- Simplification of form → simple system of rules and algorithms. Changing rules → new destination.
Recursion: “defining a problem in terms of itself”. The solution to the problem relies of the previous solutions.
Tessellations: patterns that fit perfectly together on all sides. — How can the concept and function behind a 2D tessellation be used to make a 3D structure (4D? including the idea of the experience as a whole)
Recursion vs iteration: Iteration has a constant change; the changes in recursion evolves every step, depending on previous step.
Feb 4:
Create three different modules, with 10–15 of each module. Make two different three-dimensional structures with each of the three different modules, using only one module in each structure.
Randomness: is there value in it? At what step in the process should it be clear and mapped out how the modules are connected?
Complexity and curiosity: How can a level of “wonder” still be retained in a structure based on repetition?
Structural soundness: The structure is strongest when constructed in a way that does not go against the natural integrity of the material. How much control and creative freedom do I truly have over its construction?
Further explore:
- different tabbing systems, more than just slitting into each other
- folding and bending — surface area vs. volume
- cohesion and connection: where does the structure “start” and where does it “end”? How can it feel whole?
Small Group Crits
Initial observations from & of peer work:
Realizing that the slits/tabbing systems are still part of the structure as a whole. They add a decorative element and “sense of sense”. It could both add and possibly detract a sense of intrigue, when the connection systems are revealed like this.
I find that there is a beauty in the natural curve that forms from the buildup of tension through the forced connection of 2D linear forms.
Intrigue comes from: when the construction is hidden, intentional “randomness”.
Thinking about experiencing these modules as spaces: there are different experiences at different scales.
What “potential” do these structures have? Do they look like only part of a whole? How much could they be added to?
There is both an outside and “inside” to the structure.
Efficient and multi-functional use of surface area. There are two sides to each module. Each side can serve a unique function. At a large enough scale, the edges of each module can also be viewed as a “side”. It is not just the structure, but also the modules, that are truly multi-dimensional.
Just Play: creativity and discovery
Further Experimentation
Inspiration: https://pin.it/13oQUDw
Also: the Guggenheim, Met Cloisters, Sydney Opera House, pineapples
Some more shapes I made to experiment with as modules. Made these shapes on Adobe Illustrator so there was symmetry with the curves.
Problem solving: could not fit the pieces together in the way I wanted (on right), so I remade the module piece to be half of each of the original design, wedged together down the middle. Transferring an idea from 2D to 3D means fundamental changes may need to be made; 3D is not just a reflection of 2D.
Decided not to go with the orchid idea (for now) because it felt awkward piecing together → there was not an “obvious” direction for a structure with that module to grow.
Other things I’ve learned:
- Chipboard has a grain direction. It bends easily one way, and hardly bends the opposite way.
- How can I make something “grow, exponentially” without just increasing the physical area of the module pieces? → especially curves
Iteration 1: “connection”
I thought it would be interesting to create a structure around the action “connect” because at its core, connection is how modular structures function. I wanted to create a structure that enhanced the feeling of connection between people as they walked through it; as the structure became more and more connected — through tighter spaces — the people would become more connected as well.
Notes:
Make full utility/efficient use of space.
Considerations must be made for how this new structure would alter the existing natural environment. A structure takes up more “space” than just its volume. — it can offer shade, alter the way noise travels, obstruct or direct foot traffic. I’m creating a space, not an object.
Public art → social infrastructure. How can this structure freely improve the lives of everyone in the community?
Comfortability in using the structure as a shared space.
Foster connection → realize passage of time.
Class Notes
- Current structure is very “triangular”. Try including a multitude of shapes of increasing sides to achieve “recursive” pattern.
- Generative design
- Current structure is also very repetitive in an uninteresting way. Want to explore beauty in the shadows, which can be achieved through increasing number and type of shapes.
Feb 11 Exploring how color alters the space.
I was interested in achieving optical illusions through the use of color gradients. My existing structure was already playing with the an illusion of depth, so I wanted to try to use a gradient to enhance or maybe reverse (and therefore “undo?”) the depth from the color.
Critique:
TOO SIMPLE.
Q gave me a few ideas on how to achieve illusions in a more curious/complex way was to think about the ways light hit and moved on my structure throughout the day.
An example: http://www2.artcenter.edu/mdp/gallery/gallery_masters_pop_jiyeon.html
We also talked about how translucency/transparency couldn’t really be achieved through chipboard, but a similar effect could be achieved through reflective surfaces.
Feb 13: Trying All Over Again
I decided to revisit the drawing board and look back at my inspiration from the start of the project; I wanted to add complexity through mathematical order in my structure.
I looked at many examples of computationally derived designs, generative design, and patterns of exponential growth.
I became really inspired by the beautiful geometries of dreamcatchers. Funnily enough, this wasn’t from any of my google searches of the above key terms, but because there is an Autocad software named dreamcatcher. I realized that the complex webs of dreamcatchers could be created through the same (aka modular) teardrop shapes, overlapping at the exact right spots.
It was then that I decided: I WANT TO MAKE A DREAMCATCHER.
Feb 14
Dreamcatcher didn’t work.
Although I had learned that chipboard only liked to be bent in one direction, from the experience of actually working with the material in my hands, I learned that chipboard also would not be capable of having 14 slots cut into it, while still curving in a natural teardrop. Instead, the chipboard liked to bend completely at a slot when curved.
I still played around with the loops of the chipboard and how they could interlock in a similar design as the dreamcatcher, but in a different way dimensionally.
I also spoke with Jiyeon Chun today because we realized that the module she’s trying to finalize is very similar to my latest version, and the module I’m trying to create is similar to her explorations.
This idea is similar to what I’m trying to achieve with the “I WANT TO MAKE A DREAMCATCHER” mindset, because I want something that looks geometrically interesting from a birds-eye view, but grows upward near the middle — creating this warped experience with space, where as you walk more into the middle of the structure the pattern of the structure grows tighter but there is also more space.
I started scoring and folding my modules, which I realized added overall volume to the structure, therefore increasing potential for growth.
I iterated on my original plans of achieving “connection” through my structure. Originally, I had thought that a “tighter” and growingly claustrophobic space would foster connection, but I now wanted to create something increasingly spacious, grand, and vast feeling. While altering the spaciousness the structure offered, I also wanted to start more heavily considering the effects of changing quantity and patterns of light allowed in depending on the person’s placement in the structure.
I was also inspired by feedback Q gave Tara, mentioning how her structure could be used for stargazing. I think this can add an interesting function to my own structure. As it was something that grew upwards near the middle, it was a structure that fostered your eyes moving upwards. I wanted the rhythm of it to be intriguing in a way that moved your eyes followed it towards the sky.
Acts like stargazing or cloudwatching are so simply beautiful and romantic in a way that also fosters the act of “connection” — whether it be to the people you are with, yourself and your own thoughts, or just the vastness and unknown mysteries of the universe.
I decided to work off my previous “U” shaped module, to create an “S” shaped module, which essentially just added an additional “U” on the opposing side. Hopefully, this would add more intriguing potential for growth, as I felt like the previous module shape was limiting me to only being able to form triangular structures. In the previous critique in class, Q also advised me to try to form more “shapes” than triangles to achieve a more interesting overall structure.
I really like the idea that my shapes would fit together to form a 3-dimensional modular structure, but that they also fit together perfectly as 2-D pieces. (similar to my earliest exploration, using pie pieces of the same circle and trying to reconstruct them in 3-D). I was curious about how this rhythm could end up showing up in my final structure.
I was also interested in exploring how the shape could achieve growth and dimensionality when fit together in a way that would naturally be otherwise “flattening”, but isn’t because of the subtle thickness of the material and slight tension.
Margot had told me 2 important things (related to physics and the way tangible products work):
- Chipboard will only connect perpendicular-ly at cut out slots.
- I wanted to build my previous iteration upwards, instead of linearly “forwards”. She advised me that I would have to have a larger base and build up from that.
What I ended up making:
I fitted the pieces together to create 7, 6, 5, 4, and 3-sided structures which I then stacked atop each other.
This structure also had a “recursive” growth that I was really interested in learning about early on in this project.
Adjectives I wanted to use to describe my structure: curiosity, awe, explore.
Adjectives my friends would use to describe my structure:
Negative comments this made me think of:
- Its kind of a hideous mound on the outside. At this scale the structure is probably ~70 ft tall, which is kind of disturbing. Like, imagine living on the fifth floor of your apartment building and waking up in the morning making coffee and seeing this structure outside your window like Jack’s giant beanstock growing into the clouds. I would be so sad, like I would want to sue my city planning department.
- It also looks very “stick-like” from the bottom. This was the one thing I wanted to avoid; I wanted my structure to grow vertically but gradually, from the natural tension and discreet layering of the module material.
Critique with Daphne: add color and pattern, go crazy with the inside. I’ve been scared of color because I want to perfect my form first, but “maybe color is the answer”.
Connor: Try having an accent color. Give away sense of “order” to it → have the accent color explain how the structure is formed. Try looking at the vessel, because what I have is basically an upside down version of it. The vessel is wonderful because it “is like hands cupping”.
“Sell the good parts of a shit car”, enhance the parts of my module I already really like. — I want to improve on the experience of looking up.
Dani and Margot: It looks like a cloud ❤. Dani called it “something [for her] to continue thinking about.” Contrary to what Connor said, they recommended to maybe have an accent color, because they thought it actually looks like there is too much order, and to maybe try to scatter color to have less order.
Further Experimentation
Feedback with Q: My structure will always look like lines/”sticks” from one specific perspective because there’s no scoring and folding. Try folding some modules to add dimensionality.
It looks more like the roof of a structure than the structure itself. Try to change up the scale, which will then change the entire function, and also make the entire module more visually enjoyable.
The structure follows a number system, which makes it formulaic (even though it looks like there is a random-ness to it). Try to use color to bring unpredictability to it.
It looks closed off on the outside, but very open on the inside. It is a space you have to risk and “discover” and wonder about whether you’re supposed to be there, but once you enter the space, you realize that it is so obviously built for humans to experience.
Finalizing: “To Gaze”
The Form
The Color
Process
I also recognized that there is a third “side” to these seemingly 2-dimensional modules: the edge. At an expanded scale, the edge actually makes a meaningful appearance to the entire structure, and are especially noticeable in the experience of my structure when looking from the bottom upwards. I decided to paint them a silver to add a regal-ness, elegance, and “clean” beauty to them.
The pearlescent paint was also interesting to use because it worked well with the verb “gaze”. It would shine with the movement of your vision, so as your eyes gazed upwards, the shine of the pearl would follow.
Version 1
Copper outside, decorative inside. The idea was to create a “surprise” once the person stepped inside the structure, and to overwhelm the viewer with visual elements.
Version 2: Final Module
I decided to flip the modules so that the copper side was on the inside and the decorative side was on the outside. When I showed Connor my first version with color, he had asked why I decided on a copper exterior, to which my only response was “I think it just looks aesthetic.”
However, thinking more about how the color can serve a function and complement the thought-out form of my structure, I decided to flip the pieces. — The decorative element on the outside would garner intrigue toward the piece and attract people to it. It could also signal or hint to how the structure itself is about “gazing” towards the skies. Additionally, while I had previously only been thinking about the structure’s function in terms of the experience once inside it, this pattern adds a function and something to appreciate to the exterior.
I also think the semi-reflectiveness of the copper has a similar effect to the pearl paint, where it guides the eye with its shine in the direction of looking upward.
Concluding Thoughts
The way that redwood trees grow is by sprouting around the trunk of a “mother tree”. There is a natural phenomena in redwood forests called “fairy rings”, where when the mother tree falls, her almost-identical saplings grow in a circle around where her trunk previously stood. If you were to ever stumble inside a fairy ring and looked up, you would see an open patch of blue sky, guided by the 250–300 feet these trees grow to be.
This is my favorite feeling in the world, and I wanted to create a structure where this feeling could be emulated and shared.
My main takeaway with this project:
I started this project finding it very difficult to translate my ideas and 2-D sketches into 3-D. However, once I got to physically making and experimenting with the material, I found that the serendipitous 3-D translations I was making could build on and mature my original intangible thoughts.
Like recursive patterns, where the following pattern depends, changes, and builds on the previous, the ideas in my mind and material in my hands only benefited from continuously building on each other — back and forth.
