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  • [COMPUTER MUSIC]

  • EVAN TWYFORD: Three dimensional design for me was

  • always kind of the greatest form of creation.

  • Being able to take an idea from that very tiny amount of

  • energy, being this idea in your head, and then

  • formulating that into a fully functional

  • three-dimensional product.

  • Take that a step further, I always kind of wanted to

  • design the ultimate three dimensional object, right?

  • And so designing space vehicles, to me, was like that

  • ultimate form of creation.

  • It's like, what's the bad ass thing you could design would

  • be a spaceship.

  • And NASA really was kind of the final frontier for me.

  • My name's Evan Twyford, and I'm a habitability designer at

  • NASA's Johnson Space Center.

  • We in our group do conceptual design for

  • NASA's human space flight.

  • A lot of these projects are coming down as major kind of

  • campaign level design projects, where they're saying

  • hey, we're doing a mission to the moon.

  • We're working on a pressurized rover.

  • We've got this idea, and we want you guys to

  • help us make it happen.

  • Starting off with sketching and rendering, very

  • conceptual.

  • Take it to a full scale mock up phase out of wood, foam

  • core, low fidelity materials.

  • We use those to kind of sketch out the volume of how big the

  • vehicle might be, and how it would feel on the inside.

  • Part of what we'll do when we're designing a habitat is

  • we'll look at how the corners, how the edges are treated.

  • What type of paint schemes are going to go inside.

  • There was actually an issue with one of the colors that

  • they had painted on the International Space Station,

  • where one of the hatches was like a salmon color.

  • And the crew really disliked it, so we try to

  • avoid salmon now.

  • And then working out the details in a CAD system on the

  • computer, and developing a fully functional prototype.

  • And the type of design at NASA that we do kind of crosses the

  • line between fine art and engineering.

  • So it's a lot more problem solving, though, which is what

  • makes it really exciting.

  • So this is the SEV, the Space Exploration Vehicle on the

  • chassis, gen 1B.

  • For interior design for space vehicles, there is certainly

  • the problem of confinement, which is a psychological issue

  • for crew members over time.

  • So we have to deal with ways of designing environments and

  • designing products that will reduce the effects of feelings

  • of confinement in space.

  • So this is the interior of the SEV rover gen 1B, and most of

  • the interior design elements was a product of our team, as

  • well the robotics team that we've been working with on

  • this vehicle for some time.

  • And we've kind of been charged with making the interior of

  • the vehicle more comfortable, more luxurious, if you can

  • call it that.

  • Seeing as most of us haven't actually been to outer space,

  • it can make things very difficult sometimes, because

  • everybody has a different opinion, or different

  • assumptions that they're making about what that

  • experience is like.

  • So it's a very testing and evaluation intensive work

  • environment.

  • So we have to do whatever we can to ensure that these

  • products will work in their intended environment.

  • So sometimes that means flying products, or mock ups on zero

  • gravity flight in the parabolic aircraft.

  • Sometimes it means going out into the desert and testing

  • them in a very harsh, kind of desolate environment that

  • might be similar to what we would encounter in space.

  • There's always that kind of thing with designers between

  • are you going to be like, a stylist, or are you going to

  • be a problem solver?

  • And you can look at a product and say this accomplishes

  • exactly what we need it to accomplish, and that's what

  • makes it beautiful, and that's what makes it successful.

  • It's a very pure design problem that we're dealing

  • with, which is to create products and environments that

  • the crew will find useful, and will make them successful and

  • productive in their daily routines.

  • MALE SPEAKER: Go for main engine start.

  • T-minus 10, 9, 8, 7, 6, 5--

  • All three engines up and burning.

  • 2, 1, 0, and lift off.

  • The final lift off of Atlantis.

  • EVAN TWYFORD: The shuttle program and the International

  • Space Station were started in the '80s as sort of a longer

  • term analog for human space flight, and establishing a

  • permanent human presence in space.

  • To start to learn more about how humans would behave and

  • interact in longer term space flight scenarios.

  • I've kind of felt like a lot of people in general are maybe

  • not as excited by the International Space Station,

  • or by the shuttle program.

  • Or at least not as much as they were maybe in the '80s,

  • when the shuttle was brand new.

  • I just hope that we can really re-engage people in the right

  • way, and get people excited about space flight.

  • Because this next generation of space vehicles is going to

  • be the most bad ass that we've ever seen.

  • [ELECTRONIC MUSIC PLAYING]

[COMPUTER MUSIC]

Subtitles and keywords

B1 INT US space design space flight nasa flight interior

Industrial Design for Outer Space

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    林敬修   posted on 2014/07/16
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