As people walk down the stairs , the hand channels mirror them. Once they get to the bottom of the stairs their mirrored shadows disperse into a matrix emanating out the the hand channel and along the wall.
Cameras take footage from above the stairs and map them along the LEDs in the hand channel.
Hand channels are diffused with acrylic. LED running on wall is also diffused.
Team: Arnab Chakravarty, Gilad Dor.
For our final, we are working the topic of more-than-human centered design. As we collectively face environmental degradation in the context of the Anthropocene, the question we are asking ourselves is whether we can build systems that include non-human voices and agendas. Can we design everyday technologies to amplify our connection with the non-human instead of hiding them away? Is there any space for designing objects of technology with principles of empathy and kindness instead of efficiency and usability? Here, we would like to anchor our project in the principles of Para-functionality as defined by Anthony Dunne in the book “Hertzian tales“ and the idea of eccentric engineering by Tega-brain.
The form of our final project is tentatively titled ‘Plant radio‘ where the functionality of a radio and a plant is intertwined into its form and function. The plant is embedded with moisture, light and humidity sensors and the users have a big dial with which they can change the radio station. The radio station plays as expected when the plant is being kept well. However, if the plant is not being taken care of it will randomly change the radio station to another station that is close to it’s mood (sadness, hurt, melancholy). The user and the plant engage in a subtle tug of war which doesn’t have a fix apart from taking care of the plant. The aim is to make the viewers and users think about the nature of out computationally mediated interfaces.
Soil/moisture/light sensors -> Arduino -> VS0153 mp3 board -> FM transmitter
Attribute: Household object
Tabletop object with 1 to 1 interaction between the user and the device.
My first experience with a James Turrell piece was with Breathing Light at LACMA in several years ago. I was visiting LA for a few days and spontaneously went to visit LACMA, as my friend lived a couple blocks away. I did not know of Turrell so had no idea what I was getting myself into, and I was absolutely floored with the experience. I went back to the piece once more that day and again on my last day in LA. After that I hoped to see any Turrell piece I came upon.
Breathing Light is a part of Turrell’s Ganzfeld series; spaces meant to create similar experiences to the german word Ganzfeld that describes the phenomenon of the total loss of depth perception as in the experience of a white-out. The light seemingly has no source and objects in the space of the piece have no perceivable shade. When looking down into the opening of where the light is at its strongest there becomes a feeling of infinity peering deep into your soul.
Unsure how this could apply here.
The space was totally visible.
The light created a seemingly total absence of shadows, giving an ethereal feeling to the space.
In the space I remember being drawn to the concentrated point of where the light was strongest.
In relation to the function of modeling, the absence of shadows and ethereal feeling definitely gave to a a total non-establishment of time and location.; eerily unworldly.
The emotional content that the light intended to create an intensely emotional space for myself.
The amount of light was a perfect medium, it didn’t feel too intense to view that lots of LED light system do.
The color of the light was a range from pink to purple, but after being in the space for a period of time I remember seeing shades of blues and red begin to appear. Although, when looking at a photo I took from the outside of the piece and from the photo from Turrell’s website, I think that my brain was tricking me while in there.
The direction of the light surely emanated from the corridor that it was strongest but it’s reflection throughout the piece made it seem that the space never ended.
The light was all consuming of the space, no part of it was unlit.
Soft edged entirely, it felt natural to be in this artificially lit space.
The color of the light seemed to gradually change in the space, but I’m unsure what caused / why that change occurred.
For the longest time I have wanted to make a bedside table, because at the moment I have been using my yoga mat as a place to for my phone to sit at night while it charges. On the day that I decided to begin working on the design for my bedside table, the artist Tom Sachs released his “Shop Chair” for sale for $2000 on his website. I have been a massive fan of his work and process for a very long time and took his chair as an inspiration and jumping off point.
I replicated the design of the chair’s legs as best as I could in Vectorworks, as I also am hoping to make the chair myself soon. From that design I reformatted it to fit the dimensions that I have available to me as a bedside table - 24 H x (15x15) W.
Gallery of Test Cutting
The first goal I wanted to cross was to cut tests of the legs that would friction fit together without the need for glue, and I would work out the table top portion later on. I had some leftover wood from The Box that I could use for tests, as I wasn’t the nicest ply and was a bit rough, but it was just about the same material thickness overall with the polished birch ply I got from Home Depot.
There was a good bit of working through the kinks of the new spoil-board bowing, as well as my wood not being the most flat after sitting in the shop for 3+ months. I wasn’t cutting through deep enough on my test cuts, and at a point I paused the job and there was a cutout of power from something else in the shop and my job lost all zeros. Thankfully I had written down the distance of my drawing from the page center in Vectorworks, so I found the first circle that was cutout, and drew a line from the Bottom Center point of it to the page center. It was at a 30 degree angle and about 5” from the page center, so I grabbed a compass and ruler and and marked that in my material to be my zero. I was just off by 1/8 of an inch to the right.
Once I completed the cutting and joining of the test I went about designing the tabletop portion of the bedside stand. I found this bedside table on etsy that I liked its use of a hexagonal shape.
The cutting of the final piece went without any issues. The pre-polished, cleaner plywood I got from Home-Depot was the same width as the test material I had somehow, and the designs didn’t need to change too much, outside of the arm I designed for the tabletop to sit on.
Even though I used all of the screws I had available to mount my wood down, the second piece of wood had about 1/32” of material left so it needed a little TLC. I sanded all the sides just a bit and the snuggly fit together like a breeze. I first used the mallet to get the legs together, but then moved to a trigger clamp to close it up.
I got the top on but felt that I would snap the arms if I didn’t give them any support. I turned the piece over, placing the tabletop portion on a table. I took one of the Jorgenson clamps and one of the leftover circles to finish the clamping. So extremely satisfying watch that last gaps of air disappear.
Overall I am extremely pleased with this piece. Danny Rozin gave me some great comments about the design of the arms and I plan on redesigning it down the line.
Working within the guidelines of having an organic element, conveying surrealism, and emoting anxiety; Morgan and I had to choose an aspect of tech and to design and build a critical object around it.
We decided to work around the topic of systemic bias, more specifically that of predictive policing and their use of artificial intelligence. This piece from Propublica was eye opening to us and helped to shape the framework of the awareness machine we created.
The critical object we created was based around the idea of of a feedback cycle where data that has an innate bias in it continually gets fed into a system where the output seems uncontaminated but contains remnants of the biased data within it.
The system we created was an organic representation of those black box systems. Having a dropper of durian essence, an extremely pungent fruit that can fill a room quickly, fall onto a flower which acts as the output of the system. The liquid then creates an odd sensation where a flower which is usually associated as beautiful and pleasant smelling is now revolting. The final piece of the system is that the flower has a chance of falling into a blender and being chopped up. This is partially to make a statement about how the American criminal justice system can be a crap shoot and to say that it can have permanent effects on those who fall into it for one reason or another.
For the first assignment on the big CNC, Nick Gregg and I decided to work together again.
We initially set out to route the same form we hand routed but were quickly overwhelmed when setting pocket directions on the CAM.
We chose to take one form from the many and add some text to explore the many ways the router can be used. As detailed at the end of the documentation, we were unsuccessful in routing out the whole circle.
We attribute this to the thickness of the region that wasn't cut through — the measurement taken prior to milling was 0.635 — the exact depth that we were cutting (as specified through CAM’s “ cut through” menu — 0.05 depth.
At that point we debated setting the zero origin z slightly lower and re-starting the file.
We decided against this in fear of damaging the bit. This did bring up the question: what is the proper procedure when this situation happens?
In July 2017 I was on a cross country and one of my favorite spots that I visited was Monument Valley. In the visitor center of the park there was sculpture of the silhouette of the two definitive structures of the park, West and East Mitten Buttes. I always had thought of ways that I could use this piece as an inspiration. I had found some really nice 15 ply plywood that I wanted to use for this project, but as the day went on there were too many people on the Othermills for me to get to my final ply, and I ended up just sticking with my test runs.
This was my first time using the Othermill Milling Machine.
We were given a skill builder but I had seen a photo on my phone of sketches a friend of mine had done and wanted to make on of the sketches.
I happened to be near Canal Plastics last week and snagged one of the small 2x2” acrylic. I had to play around a lot with the sizing and the turns for the character as the 1/8’’ bit can only handle so sharp of turns.
Thankfully since you can update it in the Bantam app it made playing with the corners so much simpler.
I think I’m going to try to make a series of these Weird Dogs and send them to my friend, but I will size up on the acrylic pieces and maybe get some smaller bits.
The Support Whip is an emotional support device that provides the necessary pleasure that us ITP students desire by torturing ourselves, while also receiving the validation and support we all need.
Nick Gregg and I decided to work together on the Hand Router assignment. We went through the skill builder, trading off turns routing the piece of wood.
Once we had cut out the general design of the circular shape, we decided to sketch with the router throughout the inside of the shape.
Nick would choose a depth and start cutting a path, and he would trade it over to me to do some cutting. We went back and forth until we felt fulfilled. Finally, we cut the shape out and titled it “Road Map To My Heart” 2019”
These photos got out of order towards the end, sorry.
As we increasingly look at the world around us through our smart phones, the prospect of looking at the real world as it is becomes disconcerting.
The Comfort Frame solves this problem by always providing you with the comfort of a phone frame, mediating your visual perception of your surroundings.
Available for purchase at all museum entrances.
Collaboration with Sukanya Aneja.
1 - After the Build, Comes the Failure
I will be posting a separate documentation solely for the building of the box.
This is the original p5 sketch that I was using as the reference for the interpretation of reality onto my matrixes. Another student Elvin was doing a similar idea and since we were both working off of Shiffman’s Brightness Mirror he shared his code with me for sending live video to a matrix. I attempted to use this with p5serialcontrol but even with Shawn’s help we could get it going.
If I was only using one wall with live video being displayed I could have used a Fadecandy with this code and it most likely would have worked well. But alas my ego caused me to have this massive canvas to work with.
2 - Post-Failure, Repositioning and Making Due
I was pretty disappointed that I couldn’t get any video going with what I imagined to be a pretty simple process, and kind of decided to drop live video. I was introduced to Dominick Chang, a second year student and he gave me his DMX King LeDMX4 PRO an OEM Board for direct Art-Net to RGB/RGBW pixel strip/array control. Basically but connecting this board to my computer by ethernet, and to the board’s ground and data I could address each matrix directly from MadMapper.
I did not take proper documentation of this project.
I was walking by the store Huckberry a few weeks ago (on my birthday) and saw that they were doing an event with Popular Mechanics. The Popular Mechanics instagram has a few photos of the event and the tools used.
I actually cut my thumb with the hole maker for the rivets. After the cut, I told them to put tape on the sharp side and it’s cool to see that they did.
I started this project by buying an RC Car at the Five Below store on 6 ave. in Midtown. My friend was visiting New York and we happened to walk inside randomly. I bought the RC car and a Nerds Rope.
I dismantled the body and took the motor that connected to the rear wheels off the frame. The car is RWD and I left the front wheels on the car.
I decided to go full junk shelf materials salvaging for the rest of the project and found some L shaped sheet metal to mount the frame onto a piece of plywood.
I had asked Julia to make Matt and I fingers as he and I were going to work together and make a nose picker tool, but alas finals tore us apart.
I nibbled the sheet metal to fit around the motor and then onto the frame of the body. I rotated the motor 90degrees and drilled a hole for the shorter end to poke through. I used long screws and put hot glue on the ends that poked through the second piece of plywood to act as makeshift plywood.
I then put the original wheel back on the axle that poked through as it had the proper thread and hot glued Julia’s finger to it.
Overall I’m actually really happy with what this ended up becoming.
I thought the name of the painting was '“The Creation of Man” but apparently its actually “The Creation of Adam”.
This week I was in Home Depot buying material for my P.Comp / ICM final and saw this electrical unit and figured I could make something weird out of it.
I decided to put a bunch of different gadgets and knick-knacks on the box and call it a day. I unscrewed the antenna off of an old Verizon flip phone I had at home. I then went over to Tinkersphere and picked up an 11-step dial, a dial handle, and a switch.
When mounting the power switchI had to cut bits off the the switch to get it to fit inside the screw hole of the enclosure. I used the drill press to make holes for the antenna and the dial to mount onto the enclosure.
After finishing all of that I decided to have one final look on the junk shelf and found a broken toy slot machine and salvaged the large LED lamp shade hat cover thing off of it.
1941 BMW 328 Berlin-Rome Roadster
“The ONS (the highest-ranking national sports authority in Germany at the time) commissioned Milan-based coach-builders Carrozzeria Touring to fit three BMW 328 Roadsters with advanced, aerodynamic roadster bodies in the hope of sending the cars into competitive action in the Berlin-Rome race in 1941. The result were racing cars boasting an extraordinarily impressive drag coefficient for the time. However, the events of the Second World War put the brakes on all further motor sport activities with German participation.” - Fact Sheet from BMW
“Plans for the long-distance rally from Berlin to Rome were already being forged at the political level as early as 1939. In 1940, three BMW 328 cars were taken to Milan so that they could be fitted with aerodynamic roadster bodies by coachbuilder Carozzeria Touring. These streamlined two-seaters were only completed in 1941. Ultimately, this development resulted in racing cars with an extraordinarily good drag coefficient for the time. The bodies were manufactured using the Superleggera design patented by Touring. The aluminium outer skin was mounted on a space frame fitted to the chassis of the BMW 328. This lightweight approach to design reduced the weight of the vehicle to approximately 720 kg. Significantly modified BMW 328 engines were fitted as the power unit to generate a maximum output of 110 hp instead of 80 hp in the series version.
The planned race from Berlin to Rome was postponed a number of times and was rescheduled for 1941. Regrettably, all further motor-sport activities with German involvement were precluded as the events of the Second World War unfolded. A number of other carmakers had also designed special streamlined vehicles specifically for this race which in fact never took place. The three BMW 328 “Berlin-Rome” Touring Roadsters had not taken part in a single race by the time the war came to an end, although after the Second World War came to a close, one of them competed in numerous races.” - source
References for the Build
For years this BMW has been my dad’s dream car, and several years ago he found a body-maker in Australia that had built a body and frame replica of the Berlin-Rome 328. My dad already has an engine, transmission, chassis and most other parts for the car, he only needed the body and frame.
For the build process I took the original design and used it as a template to build the miniature while also working from an inspiration of the wood frame build from Australia. I knew I wanted to design a push press kit and have a single spine going down the middle connecting each of the pieces.
I mapped everything out and did a first build with cardboard, then mat board, and finally with wood.