The team undertook an intensive design process with multiple stages to develop their proposal.
Stage One: Parametric Modelling
Using Grasshopper for Rhino, the team developed a model of a sculpture that integrated a set number of polygons that correlate to the number of programs, degrees, diplomas and certificates at Sheridan. The digital model was revised through several iterations.
Stage Two: Application of Sheridan Brand
The Sheridan brand master pattern, which is created from the six faculty patterns and represents the entire institution, was mapped to the surface of the model. Find further information about Sheridan’s brand here.
Stage Three: Paper Modelling
The team used Pepakura, a free open-source software, to ‘unfold’ the polygons making up the sculpture to produce multiple 3D paper models. The team reviewed and critiqued each paper model iteration and made modifications to the design before arriving at a final version.
Stage Four: Materials, Mock-up of Joinery, Surface Texture
To explore the best course of translating their models to a final sculpture, the team experimented with materials, mocked-up the strategy for joinery, and tried different sizes and depths of the CNC-etching they propose to use to apply the Sheridan brand to the polygon’s surfaces.
Stage Five: Sourcing, Costing + Budgeting
An important factor to consider in the design process was keeping the project within budget. Based on their modelling and experimentation, the team estimated the quantity takeoff (materials and labour required) to complete the project.
Stage Six: Projection Mapping onto Paper Model
To test their projection mapping technology, the team developed a small-scale demo using their final paper model iteration.
Stage Seven: 1:1 Prototype and Projection Mapping Test
The team built a prototype of a fragment of the sculpture to test the project’s components, including its projection mapping, in full scale.
Stage Eight: Meta-Tagging of Visual Assets
Throughout the process, team member Duncan Foy travelled around Sheridan’s campuses to gather visual imagery of creative processes. To make the content accessible for script programming, each visual asset had to be meta-tagged with specific information about content.
Stage Nine: 3D Mapping Script Programming
Team member Scott Wilson has continuously developed and revised script that translates visual assets into a 3D projection that can be mapped to the surface of the sculpture.
Stage Ten: Logistical Planning for Fabrication + Installation
The team has begun developing a logistical plan for the fabrication and installation of the sculpture that will be revised as the project moves forward.