Before shin dimensional transition revised process document
- 1. Flow of the Wind Project I: Dimensional Transition Yewon Shin CD 215.105 Instructor: Asal Shakeri 02/29/2016
- 2. Process sketches processes initial idea sketch designing shapes on illustrator cutting more I had to try a varie- ty of shapes for the spacers different approach making a sketch mod- el with bristol and erasers as spacers developed idea with spacers cutting foam core
- 3. processes-continued final model This model is what I submitted as a final model at first. I modified this form slightly as I was working with my hands so not as much thought was put into the rotation part of this model. I should have looked more carefully at the stability and balance of the overall structure. These are the photos of my final model after modifying the spacers and the rotation and cleaning up the edges of the shapes. This ver- sion is definitely more stable and attention-grabbing than my original model before modification. Although it lost some of the resem- blence of the form of “flowing wind” as depicted in the previous model, I think this one suits better with the concept of structure for resting.
- 4. This is a sculpture that can be placed in any wind farm. The picture used as an example is taken in Northern Ireland depicting its wind energy production. This location was chosen because of its beautiful view of nature and wind turbines. The real size of the structure is 10” x 10” x 12” and the scale is about 1’=2”. Since this is a sculpture that people can interact with, it is bigger than a regular human size. The purpose of this sculpture is to act not only as an aesthetic component of a wind farm but also as a shelter under which the visitors can rest while looking around the wind farm. It achieves the objective that it should not distract the complete view of the wind farm and should be unified as a whole. The shapes chosen to be part of the structure are organic and may seem abstract when considered in- dividually; however, when viewed as one concrete form, these organic shapes resemble playful flow of winds. Inspiration to create this image came from the influence the form can give to people’s behaviors. My transitional form is more abstract than concrete because it is inspired by how winds flow in the air. The shape of each individual plane is very organic so the overall structure becomes informal and the repeating planes become graduated because the shapes of the planes change as they elevate. The shapes radiate and rotate around the center point in the center, creating a swirl. It is both visible and active since the structure lines are visible and they influence the form of the structure. The height of the spacers are equal, so the model has frequency. It as a path that is a form of an arch starting from the bottom to the top along its rotation. The original model’s unstable rotation and inconsistent spacers caused me to make major changes in those two elements. The most difficult challenge I faced was cutting out organic shapes out of thick presentation boards because I was not used to cutting curved lines especially with thick boards. Variables that strengthened my work after making major changes were rotation, shapes, and spacers. If I were to do it again, I would try more geometric shapes to see how the feel changes. The consistent spacers flow well with the organic form of the overall structure and add another aesthetic aspect to it. Final model and space Final Dimensional Transition Form Observation and Challenges
- 5. Final Form in Space Model: 5” x 5” x 6” | Model in space: 20’ x 20’ x 24’ | Scale: 1’=1/4”
- 6. Process From the Beginning to the Final Model Square to Square Organic to Organic Shapes Organic to Organic Shapes with Rotation Final Model Square to Square with Rotation Geometric to Geometric Shapes Geometric to Geometric Shapes with Rotation Inspirations: shapes of faces and Zaha Hadid’s curves in her architec- tural designs