SLQ Wiki engagement:grumpus:workshops:spirits

Monday 23 August

anonymous@undisclosed.example.com (Anonymous) — Tue, 24 Aug 2021 16:45:54 +0000

Monday 23 August

Monday 23 August Session

Facilitator Name/s: Courtney Ingle and Pauline Maudy

Workshop Date: Monday 23 August 2021

Workshop Location: Fabrication Lab, The Edge, State Library of Queensland

Number of Participants: 2

List the Imagined Things number or name that was used as inspiration: Squigg was selected from The Well after viewing and listening to a few Imagined Things.

What did you think was successful about the workshop? Participants were enthusiastic. Introductions were effective. We introduced ourselves, and described what inspires us, and something we have made recently. Participants discussed that it was lovely to use children's ideas. Plenty of hands to assist. Capturing images and video.

What did you learn about the workshop? Best to describe the two parts of construction as engineering and then skinning. Describe the timings for each activity. Monitor their expectations on what they can do within the time.

Can you share any ideas for future implementation? Mailing list to sign up to participants who may be interested in further Grumpus programming / exhibition etc.

Are there any actions arising from this workshop? Finish skinning two participants items.

Can you share any memorable moments or quotes from participants? Lovely to create children's ideas. Discussion into how we would best light the sculptures.

What was/were your favourite Designed Thing/s from the workshop? Both were Squigg, but I was interested to see they both were quite flat sculptures.

Addressable Scalable LED lighting Platform

anonymous@undisclosed.example.com (Anonymous) — Tue, 01 Jun 2021 17:28:13 +0000

Addressable Scalable LED lighting Platform

rj45board_testsketch.zip

ws2811_12v_rj45.zip

Movements for Lampshade Designs

anonymous@undisclosed.example.com (Anonymous) — Tue, 01 Jun 2021 17:30:52 +0000

Movements for Lampshade Designs

Upon reading about the lampshades element in the Grumpus Project, the idea arose of introducing movements to the design possibilities of the lampshades. This would potentially broaden the range of approaches the end user/ participants would be able to utilise, and hopefully add interest for the observer. A variety of movements were explored through prototyping different ideas capable of being used with the basic lampshade design:

standing or hanging,
mounted on a hollow tube
centrally lit with LEDs
constructed from cardboard or paper

. With these requirements, the ideations/prototypes evolved using similar materials and simple techniques.

Moving Origami Lampshade

The first concept attempts to introduce movement through the lampshade being able to invert up and down. This has proven to require more research into how to manipulate paper or cardboard to behave in such manner that would allow the lampshade to move whist still able to remain intact - flexible joints and a suitable actuator will be required.. This lampshade design uses a pattern similar to a simple origami fan, with angled folds to create a flare in the lampshade profile.

The pattern provides a starting point for some ideas that might utilise this technique of folding papers in a series of mountain and valley folds to create similar result.

Solar Shade lampshade

A different approach to introduce movement into the lampshade design was using origami patterns that were developed by NASA for use in space. This approach aims to show the application of origami beyond art and into real world application, thus creating interest for the participants. The pattern was acquired through NASA’s Jet Propulsion Lab - JPL. https://www.jpl.nasa.gov/edu/learn/project/space-origami-make-your-own-starshade/ The problem faced with this approach stems from the sheer amount of complexity behind the pattern acquired. Whilst looking simple, it is hard to reproduce and scale up or down since the mathematical foundation is not easily understood and would probably be too complicated for the scope of this project. Another issue faced when using this particular pattern is the mechanic for opening and closing the shade itself - what could be the driving mechanism?.

Breathing lampshade

The third concept explored has been the most viable in terms of introducing exciting movement for the lampshade design whilst still being relatively simple to construct.

The lampshade itself was constructed to be expandable and collapsible depending on the location of a central anchor between the top and bottom halves. For the lampshade to be able to move in a controlled manner, one end of the lampshade was secured to the supporting post using double sided tape, and the central collar is left free to move Strings are the preferred method to move the lampshade between its different states for it is a cheap and easily accessible material, and strings fit easily through the central cavity of the support. One thing to note when using strings is the tension is critical: if the tension is too loose, there won’t be any movement, if too tight, the strings might snap.

Moving forward

Further ideas developed by participants can use some of the examples shown to introduce moving elements into their design. While hopefully making the concept more exciting and fun, this does add a level of complexity and extra manipulations in order to achieve a good result. Possible workshop content that is curated to introduce movements to lampshade design is recommended.

Installation will also require trialling combinations of servos and string to find the most economic and reliable actuator, and a build that is supported by the power available after installation. An enclosure that fits within the footprint of the installation will also be needed, and safety requirements around heat and electrical wiring will need to be explicitly addressed for the approval process .

Spirit of the Rumpus Wild Session Plans

anonymous@undisclosed.example.com (Anonymous) — Wed, 08 Sep 2021 14:08:22 +0000

Spirit of the Rumpus Wild Session Plans

Spirits of the Rumpus Wild are small paper based sculptures inspired by stories and items drawn from The Well. Focused on light, shadow and shadow play, the sculptures are internally illuminated and installed alongside the collaborative large sculptures as a field of floating, glowing sculptures in the gallery space. Each sculpture comprises of three parts, a lantern, lighting components and stand/base.

This workshop outline is for the Lantern component only, as input is required to create the other parts.

Basic Outline

Time requirements (prep): 2.5 hours

1 hour CNC cutting of corrugated and single core cardboard strips, 1 hour of other material prep including rolling paper sticks, mixing glue and sharpening knives, ½ hour to set up workshop and pack down.

Time requirements (workshop): 2 hours / 3hours (session plans below for both)

The workshop is designed to take two hours, require little-to-no technology to deliver and be transmissible to any interested parties. The complexity can also be scaled.

Materials: cardboard (corrugated and single core cardboard/ boxes, paper (cartridge or printing), tapes (masking or clear), glues (PVA and/or hot glue), baking paper (cheap and not glossy), bamboo skewers,

Tools: box cutters, scissors, cutting mats, staplers, hot glue guns (if available), glue paintbrushes, small budgets with lid to mix and store glue

LIGHTING COMPONENTS

Time requirements: 1hr (this is a guess - TBA?)

– need input from Byron/others who know how long this takes?

Materials: TBA

Tools: TBA

STANDS

Time requirements: 0.5 hr (this is an optimistic estimate, probably 1hr would be better)

Materials: TBA

Tools: TBA

3HR WORKSHOP (can be scaled down)

INTRO

(15 mins)

Workshop safety and evacuation procedures (5 min, if required)
Introduction to the Great and Grand Rumpus and Spirit of the Rumpus Wild and their contribution in the space (5 min)
Introduction to materials and tools and tool safety (5 min)

DESIGN

(45 mins)

Discussion of geometry and shapes and how to utilise in construction (5 min)
Demonstration of construction techniques and (15 min) *refer to handout
1. Rolling paper to create sticks – shapes and joins
2. Corrugated cardboard - shapes and joins
3. Skinning with baking paper
4. Adding shadow elements
5. Making a stand (if required)

Dive into the Well and idea selection (15 mins)
Design, drafting and working out dimensions (geometry and calculations) (10 mins)

MAKING

(60 mins)

Construction using shown techniques (facilitator to roam and assist where required)

SKINNING

(30 mins)

Skinning using shown techniques

WIKI DOCUMENTATION

(20 mins)

Photo release forms, creative commons and wiki documentation

PACK UP

(10 mins)

Note: where participants finish early, they can make the stands, perhaps multiples for the group

2HR WORKSHOP (can be scaled up or down)

INTRO

(15 mins)

Workshop safety and evacuation procedures (5 min, if required)
Introduction to the Great and Grand Rumpus and Spirit of the Rumpus Wild and their contribution in the space (5 min)
Introduction to materials and tools and tool safety (5 min)

DESIGN

(15 mins)

Discussion of geometry and shapes and how to utilise in construction (5 min)
Demonstration of construction techniques and (5 min) *refer to handout

Rolling paper to create sticks – shapes and joins
Corrugated cardboard - shapes and joins
Skinning with baking paper
Adding shadow elements

Quick dive into the Well (unless participants have already) and idea selection (5 mins), (maybe facilitator chooses an idea for each group as this may be an overwhelming time constraint, also, we need computer access for this)

Drafting and working out dimensions (geometry and calculations)

MAKING

(60 mins)

Construction using shown techniques (facilitator to roam and assist where required)

SKINNING

(15 mins)

Skinning using shown techniques

WIKI DOCUMENTATION

(10 mins)

Photo release forms and wiki documentation

PACK UP

(5 mins)

Tips & Construction Techniques

General tips for working with cardboard

Cardboard (and paper) are ubiquitous, cheap (or free), recyclable and versatile. They can be fashioned with basic tools, and joined with common, safe glues. Their ready availability and low cost also makes them ideal for iterative design. Like all materials, cardboard has unique properties that require specific techniques for best use.

Corrugated cardboard (recovered from boxing) has a grain – it is strongest perpendicular to the corrugations. Cutting across corrugations will give a cleaner finished line than parallel, or even angled cuts. The chance of collapse (catastrophic folding) is greatest parallel to the corrugations, so (for example) vertical support elements will be strongest if the corrugations run vertically.
Fold lines are stronger if the material is crushed, rather than scored. Scoring means only a single surface layer must support all the strain, and rips can result. Use a rounded tool (maybe 5mm diameter), and pressure. Crush the INSIDE of the fold.
Wet glues take a long time to dry, which means for forming the base shapes, masking tape or hot glue are good choices. The visibility of tape is a consideration and can become a design feature or coloured white with a posca pen, so it doesn’t show through.
Many different grades of cardboard exist, from the very dense Kraft board (used to make the mounting washer for the lampshades), to single and double ply corrugated boards. They all have different thicknesses, and you need to allow for this when designing and constructing.
Cardboard requires sealing before painting, for best effect. Shellac is quick to dry, cheap and available from hardware shops. Watered PVA can work too, but will take longer to dry, and can reduce strength. Polyurethane (water soluble variants are available) could also work.
No name brand (not shiny) baking paper is used for skinning the lampshapes, an approximate 50:50 mix with PVA glue. Mess, drying time and storage needs to be considered for this stage in the process.

Specific tips for making lampshades

(NEED TO UPDATE)

Standard lampshade fittings mean some aspects of your design are already fixed.

The lampshade has to attach to the stand, Mounting washers, laser-cut from 3.5mm Kraftboard, with a 28mm central hole, and 12x3mm slots for attachment are provided.
The E14 bulbs used in these lamps have a diameter of 35mm, and have to fit inside your lampshade.
The LED bulbs used have a very long life (and produce very little heat). This means you can design a lampshade that entirely encloses the mounting, as long as you remember to fit the washer and bulb before sealing everything up (and test that it works, too!). Most traditional shades have big holes top and bottom to allow for bulb-changing and heat dispersion, but you are not necessarily constrained by this.
The final installation will be a garden of unearthly lights, so an entirely opaque lampshade (skinned with cardboard, for example) will not fit the design brief. A cardboard skin with artful piercing, or at least one window would. Even paper will allow light to be emitted, depending on thickness.
Size and balance are a constraint – paying attention to symmetry will be rewarded through ease of construction.

The attachment washer is shown below: slots are 3mm wide.

Construction techniques

By no means an exhaustive list, but these methods seem to work:

Using rolled paper as sticks, for straight edges
Rolling the paper is a little tricky and time consuming
Masking tape needs to match the paper, so the joins don’t show or be included in the design from the outset
Simple shapes light well
The baking paper skin sticks and stretches well on the curved edge
Rolled sticks don’t work for curves as they are too rigid and just bend

Corrugated Cardboard ribs, for curves

Cutting the strips is time consuming and needs a good knife hand (perhaps this could be done on a machine prior to workshops).
Masking tape needs to match the paper, so the joins don’t show or be included in the design from the outset, hot glue is perhaps a better choice for the corrugated cardboard.
The ribs are prominent and must become a design feature, they could also be thinned down as they are currently 20mm, the strength would just need to considered if this was the case.
The baking paper skin doesn’t stick and stretch as well on the corrugated side meaning it looks less schmick.
Need to consider size and strength of the material and double over if in larger sections.

Corrugated Cardboard ribs, for straight edges

Cutting the strips is time consuming and needs a good knife hand (perhaps this could be done on a machine prior to workshops).
Masking tape needs to match the paper, so the joins don’t show or be included in the design from the outset, hot glue is perhaps a better choice for the corrugated cardboard.
The ribs are prominent and must become a design feature, they could also be thinned down as they are currently 20mm, the strength would just need to considered if this was the case.
The baking paper skin doesn’t stick and stretch as well on the corrugated side meaning it looks less schmick.

Single core cardboard ribs, which can be vertical or horizontal

This method could be good for consistency between the large sculptures and the small sculptures (if this is important).
Cutting ribs is time consuming and a bit tricky (would probably need machinery).
The ribs are prominent and must become a design feature.
The baking paper skin hasn’t been tested on this prototype as yet.
the space around the globe would need to be bigger than shown.

Paper screen style lantern

This method has not been tested yet
This method could be used in combination with the baking paper skin so that you are creating a shadow play landscape
This method could be drawn and cut by hand, or it could be digitally drawn and cut out with machinery before being assembled

Origami inspired folded paper

This design would need a support to hold it in place (most likely a circular ring attached to the washer), which is not shown.
The thread seen is used to pull the flat, folded design into a circular shape, and would need to be secured in place to hold the shape.

Simple elements, repeated

The petals were glued to a disc attached to the washer, and several layers are possible, as shown. Gluing along the overlap between petals helps maintain the shape.
This is probably the easiest naturalistic design to create, provided some thought is given to symmetry and overlap when figuring the size of the base of the petal that will attach to the support ring.
A mathematical approach (calculate the circumference, and divide evenly to find the base length) is possible, too.