Actual Design Process, Fabrication, and Reflection

Introduction

Starting this project, I was originally inspired by a longstanding argument I’ve made: “no flat tables in space.” While this might sound ridiculous at first, the point is simple—space demands a different approach to design due to its vastly different environment. Much of our current crew systems hardware simply retrofits terrestrial solutions for this microgravity environment. With this approach however we aren’t designing for space or the native environment; we’re designing against it. 

Take the flat table. On Earth, gravity forces us into a singular universal orientation— only one way up and one way down —so a horizontal surface makes perfect sense. In microgravity, however, there is no inherent, static, or physically constrained up or down. A group of astronauts can gather around an object from completely different orientations whereas on earth, all people must gather round the table in a singular orientation. Thus, in space, a traditional flat table isn’t just inefficient; it’s absurd. Someone will inevitably find themselves looking at the underside of the table—or trying to use it sideways.

That contradiction was the spark for this project: exploring how design, specifically the aesthetics of design, shifts when the constraint of fixed directionality disappears. I wanted to understand how a lack of constrained frame of reference changes our perception of design and the subsequent aesthetics itself. Does viewing an object from multiple angles alter how we design objects and what aesthetics we use? Are new design principles needed to create beauty in multidirectional environments? Does our internal “yuck/yum” scale shift based on perspective? Ultimately, what does design look like when orientation is fluid?

To guide this investigation, I chose neuroaesthetics as my foundation. Neuroaesthetics examines how neural processes shape aesthetic experience, blending psychology, perception science, and human factors research to create designs that are both visually and emotionally effective. 

Early Ideation and Exploration

As discussed in my last post, I began with a simple thought experiment: sketching an object surrounded by two people—one standing upright on Earth, one floating freely in microgravity. This forced me to confront how traditional designs rely on a fixed frame of reference and how, in space, that framework collapses.

Those first sketches focused on creating an object that encouraged movement and shifting perspectives in a terrestrial based setting. I liked the idea of forcing the observer to move around the object physically, challenging their sense of orientation. However, building a large, movable object to meet the requirements of the project quickly proved impractical. I pivoted to working with a smaller object that I could move easier and could still capture the essence of omnidirectional design.

At this point, I dove deeper into practical illusions—physical tricks that alter perception without digital effects. Artists like Thomas Deininger and the creators behind OK Go’s The Writing’s On the Wall provided critical inspiration. Practical illusions felt like the perfect tool to explore aesthetics when directionality dissolves.

First Physical Experiments

My first prototypes were rough but extraordinary valuable to my understanding of practical illusions. I quickly learned two major lessons: (1) the angle between object and viewer is critical, and (2) some visual elements remain partially visible across angles such that certain views must consider the impact on each other. I mapped these observations mathematically, sketching out projection geometry and calculating how visibility changed across viewing positions. I have pasted images and a lonk to the video below. 

Movie link to see how it moves: IMG_8253

I then created and printed a part that would look like a cutaway of a cylindrical space station. I thought that the nature of this shaoe would be conducive for showing how angle can effect perception of a space. I moved in to CAD modeling to help me think through the conceptual structure, but it was ultimately insufficient without the tactile reality of holding and rotating the object. Physical experimentation was essential for understanding how the human brain parses these visual cues in real time so I moved to physical fabrication following some experimentation in CAD. 

Iterating and Advancing the Design

With this insight, I moved into serious fabrication. I carefully masked off sections of the object and painted them based on targeted viewing angles. Each color was chosen based on psychological associations—leveraging color-emotion research that shows colors like red, blue, and yellow trigger predictable emotional responses across cultures.

Following the initial tape and paint job, this i swhat I landed with, which is pretty close to the final design. Below are images and a movie of what this looked like (same as last weeks post).

Movie to see object moving: IMG_8289

Building on this, I decided to add a new challenge: perspective illusions. Inspired by OK Go’s spatial tricks, I incorporated linear alignment illusions, where stripes and patterns only “lock” visually from a very specific viewing angle. This made the object more interactive and cognitively engaging—rewarding the viewer for finding the correct perspective.

The process was highly iterative. I would tape, paint, rotate the model, realize a misalignment, retape, repaint, and retest. Over time, my ability to predict view-based compositions improved dramatically. It was a constant loop of refinement: small changes leading to big differences in final perception.

Watching behind-the-scenes footage of other physical illusion projects helped too. These projects confirmed that successful illusions depend less on complex technology and more on careful testing, tiny tweaks, and embracing trial-and-error.

Design Timeline

WEEK 1-3

• Exploration:
  • Research microgravity design challenges
  • Study neuroaesthetics theory
  • Analyze illusions in visual art and media (OK Go, Deininger)

WEEK 3-4

• Skill Acquisition:
  • Basic practice with practical illusion techniques
  • Early experiments with masking and projection views
  • CAD modeling experiments (partial success)

WEEK 5-6

• Looping Phase:
  • Rough prototyping with scrap 3D printed parts
  • Iterative taping, painting, testing, refining
  • Analysis of angle-specific visibility

WEEK 6-7

• Shopping and Supply Acquisition:
  • Specialty paints (high contrast colors)
  • Fine detail painter’s tape
  • Adhesive tools for potential advanced masking

WEEK 8

• Final Fabrication:
  • Build final three-view illusion object
  • Add perspective-aligned designs
  • Fine-tune masking and paint applications

• Documentation:
  • High-res photography and video walkthroughs
  • Process sketches and angle diagrams
  • Written analysis for final submission

Detailed Fabrication Steps

1. Initial Sketches:
   Conceptualized interaction in microgravity-inspired environments.
2. Prototyping:
   Used scrap 3D parts to explore masking and illusion mechanics.
3. Color Selection:
   Applied color-emotion research to enhance emotional responses.
4. CAD Experiments:
   Modeled early projections (helpful but secondary to hands-on testing).
5. Precision Masking and Painting:
   Layered color fields based on optimal viewing angles.
6. Perspective Illusions:
   Added aligned stripe patterns only visible from precise perspectives.
7. Final Testing and Corrections:
   Small-scale refinements to improve clean visual transitions.
8. Full Documentation:
   Recorded photos, videos, sketches, and written reflections at every major stage.

Conclusion: Lessons, Growth, and Future Directions

In summary, this was an incredible opportunity to explore a topic that’s been on my mind for years. Getting hands-on, prototyping, and iterating through failure accelerated my understanding of omnidirectional, multiperspective design principles. The images below show the final object, note that I took these pictures outside the viewing case (moving aspect of the design) because it was difficult to take images of and the case is tailored for phsycial viewing.

Through research, I realized that this concept isn’t brand new—many artists and engineers have been using this concept in a multitude of ways. Rather than inventing something, I actually just found a unique application for these insights: integrating them into space station design, where perception and orientation matter deeply. This reframing excites me more than anything.

Reflecting on fabrication techniques, I now see how using vinyl adhesive materials or stick-on surfaces could have produced much sharper color separations. Wall coverings or textured vinyl could have created even richer illusions. These are ideas I plan to explore in future versions.

Another major evolution came in my ability to project and “lock in” views. As I gained practice, I became far better at predicting how angles interact. If I redo this project, I’ll push even further into multi-perspective illusions—stacking multiple illusion layers inside a single object for deeper complexity.

Perhaps most exciting, this work has immediate relevance to my job. In talking to one of our astronauts about this project last week, he mentioned how flipping orientation inside a corridor of the International Space Station can feel like entering a totally new space. This phenomenon—changing perceived pathways within a small, enclosed area—directly impacts astronaut psychology, spatial memory, and mental health. Blending illusions and dynamic design could profoundly impact future habitat interiors.

As for next steps, I’m planning to keep refining the project. I’m working on building a stand that allows the object to rotate and “lock in” at key viewing angles. I also ran out of time to fully explore how different lighting—especially colored lighting—would affect the visual illusions, but that’s next on the list and this exploration will continue through the Design Expo and likely beyond.

This project opened up a new intersection for me between aesthetics, human factors, and extreme environment design—and honestly, I can’t wait to see where this path leads.