COMMUNICATION

physical model

The goal of this project is to explore the interplay between iconicity and indexicality.

3D scan

Translating physical model into 3D digital model; after scanning, the physical form became two separate data file: the object mesh and a texture map

3D representation

After the texture map is applied onto the 3D object and the camera perspective is adjusted to the likeness of the original, the rendering is shown to have glitches. Those glitches are indistinguishable in their appearance, possibly came from the equipment's failure to properly capture bright and shiny surfaces.

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With the proper texture map, the degree of iconicity (likeness) is still high as everything is distinguishable and to high likeness to the original physical model. The degree of indexicality is also direct and true, as the form and depth of the object are directly captured by camera and directly derived from the original physical model.

Depth Map and Height Field

Taking the depth map of the model and deriving a new digital model by constructing a height field and exploring the iconicity. Exploring different outcome by repeatedly constructing the height fields using the model picture, the depth map, and the texture map as texture on the new digital model. Looking at how far I can manipulate a model until it crosses that threshold where the object being unidentifiable and seeing if that point defined?

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The iconicity of the model is closer to reaching to the point where it is unrecognizable after each step but the indexicality still remains true and direct in all the steps.

Creating Iconicity

Using the depth map, height fields, and texture map from previous steps to create and render a new space that resembles something recognizable.

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The outcome has become something very distinguishable to something new yet it does not resemble the original space at all. It however does technically have the same true status of indexicality to the original.

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New design can be created from processes that might not make much sense realistically. What is important is that the new communicates and reminds the person of something preexisting that they can somewhat interact and connect with. 

Digital Collage

The way computer and digital visualization looks can be very precised but stylistically the intangible quality of the rendering can be lost to the limitation and over saturation of the process in  mechanical reproduction. 

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This step explores the strengths of digital manipulation and how it can seamlessly transform an image into creating many different new takes.

Analog Collage

This step uses analog collage techniques to manipulate the various previously digitally altered images.

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The physical and irreversible process of creating the collage through folding, tearing, cutting, and binding have force the mind to strategically think ahead of every steps. Each of the physical steps parallels the overall gesture of the design. A natural sense of depth and layers automatically exists in the physical quality of the paper. The appearance of the seams, the folds, and the creases has created an aura that is nonexistent in the digital collages. The appearance of it informs the identity and programming of what this space should be. In the case of it being used as a retail space, it feels like it would sell products that are raw, organic, historic, and natural. The overall atmosphere of the space feels damp and cold. It makes people search for something warm.

I name the final outcome the hallmark design for Books and Beans, a proposed bookstore/coffee shop.