The Finishing TouchAn Object of Linking Body and Mind

James Alexander McLeod

December 1999Blacksburg, Virginia

Thesis submitted to the faculty of Virginia Polytechnic Institute and State University

in partial fulfillment of the requirements for the degree of Master of Science in Architecture with a concentration in Industrial Design.

______________________________________________Mitzi R. Vernon, Chair

______________________________________________Bill Green

______________________________________________Robert A. Dorgan

______________________________________________William R. Sevebeck

this book is dedicated to the loving memory of my father, Edward Armand McLeod. watching him work with tools got me interested in making things. watching him provide his family with a loving home helped me see the important things in life. watching him as a minister called to serve GOD nurtured my young faith and brought me a richness in life which often surpasses understanding.

thank you, daddy.

Standing for line of sightSmooth pivot backswing

Downswing strike the ballFollow through

Break down these elements of putting,and it sounds simple, yet any playerwill confirm that one never entirelyescapes the element of chance involvedwhen trying to sink a putt. Can thisunknown quantity of chance be mini-mized for a more reliable outcome?Allowing for the human bodyÕs abilityto commit specific movements to memory, such as a master craftsmanwielding a tool, or a musician playingan instrument, can a player of golf develop this muscle memory and pro-duce more positive results on thegreen? With training, will the puttingtechnique be more dependable, andtherefore inspire more confidence in theputting stroke?

Train to link body and mindWhen the club strikes the ball

Know the stroke is true.

Though it would be nearly impossible to prove, it is probably safe to assume that early golfers had little knowledge ofthe concept of linking the body with the power of the mind to improve their skills on the golf course. There is evidence theancient Greeks used imagery techniques more than two thousand years ago, but it did not make its way to acceptance inwestern thinking, or sports training, until more modern times.1 During this history of golfÕs development, many of thechanges which took place that affected the game involved the evolution of the equipment.

These changes in equipment were all basically technology driven. When someone invented a way to make a betterball, better clubs followed. The process of technological advancement continues today, so much so, that some argue the equip-ment is making the game easier and less challenging.

While it may be true some of the new equipment is a little more forgiving, allowing the average player to play a littlebetter, it is difficult to imagine golf as any less challenging. It is, however, possible to imagine playing better golf, whetherwith a yard sale set of clubs, or with the latest nitro-titanium, laser balanced, custom fit wonder clubs. Imagining a bettergame of golf is something most players probably do, but how many realize their imagination may do more for them than anychange in equipment?

Imagining, in this context more commonly referred to as imagery, or visualization, is described as forming a mentalpicture of a possible outcome or result. This technique has a long history of use in psychology, religion, and healing. Thinkingvisually takes place in all forms of human activity, whether abstract and theoretical, or regular everyday behavior.2Visualization can be used as an effective tool in a number of areas, and in particular, is helpful in preparing for physical tasks.

A physical task repeated manytimes causes the development of mus-cle memory, which aids in future repeti-tion of the task. Research has indicatedthat imagery causes detectable amountsof electrical activity in the muscles thatwould be used in the actual physicalmovement, which contributes further tothe development of muscle memory forthe activity visualized.3 This way ofbuilding muscle memory may be nearlyas effective as physically engaging inthe activity.4

It is important to note thatimagery can take either a positive or anegative form, and both can have aninfluence on the activity. If the mentalimages are not focused on the best pos-sible outcome, forming a realistic andcomplete picture, then the outcomemay fall short of the expected result.The use of all of the senses to form thisvivid, mental image seems to work thebest.5 Thinking positively can do morefor the end result than just keepingoneÕs spirits up.

Mental imagery in itself is atechnique which can be practiced andlearned. It is a good first step towardtraining for a particular task. Can theprocess of imagery be aided by provid-ing cues? Would the introduction of anobject enhance the efforts of mentalimagery to achieve greater end resultswith the task to be learned? To begin toanswer this question begins the processof design.

Plate 77, from The Epitome Of The De Humani Corporis Fabrica; The IllustrationsFrom the Works of Andreas Vesalius of Brussels, Dover Publications, Inc.

2

This thesis began with a search for atopic which could be studied with apassionate interest. Finding a subject ofinterest and trying to raise it to a levelof passion would have been a mistake,since an in-depth study of such a subject would become tedious. Theidea of learning to love somethingmight not hold up under such scrutiny.

The game of golf is one which usuallyhas a definite line separating those thateither love or hate it. Though stillsomewhat new to the game as a rela-tively regular player, I felt my interestin golf would carry through, and carryme through a study developed arounda certain element of the game.

The Royal and Ancient Golf Club of St. Andrews, Scotland. 6

Golf balls:(l-r) featherie, gutta percha (guttie), Haskell. 7

Golf clubs: examples of early drivers, 1690-1870. 8

3

My initial approach for the thesis wasto study golf club design, specificallythe driver and the putter, as these twoclubs are generally subject to the mostpersonal scrutiny when a golfer ischoosing clubs. With this information Iwas planning to design a driver and aputter. I decided to narrow the focus toconcentrate only on the putter afterreading that putting accounts forapproximately forty-three percent ofstrokes in an average round of golf.

Above: Examples of different drivers. 9

Below: Various putters from the 1880s through the 1930s. 10

Background: Typical set of clubs from the late 1800s. 11

4

After reading ÒThe Tao of Golf,Ó byLeland T. Lewis, my attention shifted tothe act of putting itself. Many playersdo not give putting the same level ofattention when practicing as they doother elements of the game. With thisin mind, I wanted to concentrate ondeveloping a putting trainer.

Ò T h e h i g h e s t i s t h e s i m p l e s t , a n d y e t , t h es i m p l e s t i s t h e m o s t d i f f i c u l t . Ó

The Master Key of Tai Chi

5

As the image of a design emerged, Ilooked at products already on the mar-ket to understand their approach, andto help clarify mine.

Quite a number of putting trainers areavailable. To simplify the characteris-tics of these trainers, they can bedivided into two groups.

The first group primarily provides theuser with target practice. Hitting ormissing the target is the main source offeedback.

Electric Putting Partner

Putting Training Device

Trainermat

6

The second group consists of puttingtrainers which work primarily as strokeguides. These work under the premisethat training the actual putting strokewill produce better putting on the golfcourse. Some can be used in conjunc-tion with a target to help monitorresults.

The Puttband

The Track

The Putting Track

7

Influenced by Lewis and by Dave Pelz,who wrote the book, Putt Like the Pros, Ifelt that a putting trainer which func-tions as a stroke guide has the mostpotential to produce positive results forgolfers. The putting stroke can be prac-ticed to become more consistent, whichleads to better putting. In my researchI came across several stroke guidetrainers, though all of these lacked therange of feedback I wanted to experi-ence in a putting trainer.

Understanding the potential for suc-cessful use of imagery in training for aphysical activity, I wanted the puttingtrainer to provide more feedback to theuser to increase the likelihood for posi-tive mental imagery. This would beachieved primarily with the use of mir-rors to reflect relationships betweenclub, ball, and body posture.

The first study model was assembled tolook at the concept of creating a path toguide the putting stroke, with mirroredsurfaces providing visual feedback.

8

Model 1

In the early concepts, I wanted toinclude an adjustable putter as one ofthe components in the putting trainer.This element was eventually eliminatedas it could become the subject of a sepa-rate project.

The second model began to look at theconcerns of adjustability, compactness,and portability:

9

Model 2

Adjustability in the width of thepath and in the mirror angle.

Compactness of the product asa whole, which contributes to...

Portability for the benefit of theuser.

With the third model, certain elementsbegan to get more refined.

The rails were tapered to allow forsome variation in the path of theputting stroke, yet requiring the path tobe true at the moment impact with theball takes place.

The mirror was divided into two partsfor more adjustability and to allowmore visual information to be receivedby the user.

10

Model 3

To develop the function of the rails, Iwanted the adjustability to be highlyvariable, and the mechanism to be easyto use. I also wanted the rails to havesome visual contrast with the base toenhance the mental image of the paththe putter must travel for a successfulputting stroke.

Magnets in the rails provided a simplemechanism for adjusting the rails.

Painting the bottom of the rails createdenough contrast when viewed fromabove to make the path well defined.

11

Magnet test model

The model became two distinct parts:the stroke guide, and the compoundmirror. This gives the user more flexi-bility with placement of the mirror,varying what information is reflected,and also allows the two components tobe used independently according tohow the user wishes to practice.

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First complete working model

To conduct some research on theputting trainer, several of these firstworking models were made and givento different golfers, who varied in age,number of years of playing experience,and in overall skill level. This provideda range of useful feedback about theeffectiveness of the trainer during use.

Below are some of the comments fromthe test users:

ÒIt seems the feedback could bestronger. There is no consequence if theclub touches the rail. Perhaps sound,or the rail tipping over might intensifythe stroke action.Ó

ÒFeet position helped to keep consistentstroke.Ó

ÒThe bottom mirror helps me thinkabout my body in relation with the ball,but the top mirror helps me think aboutthe mechanics of my shoulder move-ment and not moving my head.Ó

ÒThe feedback is sufficient to tell mewhen IÕm off, but some more lines par-allel to the face at address would helpme see my mistakes more exactly.Ó

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User Study

In order for the mirrors to be set in anyvariety of positions, a simple adjustingmechanism was needed. This was noteasily solved because the compoundmirror assembly with two mirrors andtwo hinge points was often prone tocollapsing in on itself. Early attemptsat an adjustable prop rod provided theneeded stability, yet were not very easyto adjust when trying to change themirror position. Off-the-shelf lockingclips were tested, offering a quick solu-tion, though ease of adjustment wasstill not satisfactory. The model givenout to testers had a combination systemusing a prop rod and an easel-typebracket. This did not give a very broadrange of adjustability for the lower sec-tion of the mirror.

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Early prop rod

Test model easel bracket

The mirrors became fully adjustable byusing a telescoping prop rod for eachsection. The rods now provided a verysmooth action to adjust the mirrors,and they nest compactly in the supportbase when the compound mirrorassembly is folded for storage.

15

First telescopic supports for mirrors

The hinges on the compound mirrorallow the two mirrors to be positionedat different angles during use, and alsoallow folding the whole assembly flatfor storage.

Early tests looked at rigid hinges, andalso at forming a hinge with the acrylicof the mirror itself. These hingesworked with a limited range of motion,and sacrificed compactness.

16

After rigid hinges proved unsuitable,flexible hinges were tested. Differenttapes, such as book binding tape, wereused with the expectation that the flexi-bility and strength would make adurable hinge. The connection of thelower mirror to the support base is notas demanding, and the tapes worked asplanned, but the joint between theupper and lower mirrors failed with thetape due to the weight of the uppermirror.

A similar failure occurred at this jointwhen flexible vinyl sheet was used as ahinge sandwiched between two piecesof acrylicÐthe vinyl could not supportthe weight.

The sheet vinyl still seemed like aviable hinge material, and differentadhesives were tested with the acrylicmirror, to find one which producedminimal hazing, or blush.

Using opposing strips of vinyl whichpass from the back of one mirror to thefront of the other proved to be a veryflexible hinge with the necessarystrength to support the upper mirrorthroughout its range of movement.

17

Book binding tape hinge

Vinyl sheet failure

Adhesive tests

Opposed vinyl strips

Material selection for modeling wasbased on availability and fabricationtechniques. Some materials were usedbecause they could be cut with a lasercutter to make precise parts. Theacrylic mirror, the acrylic base support-ing the mirror, the rubber surface of thestroke guide, and the acrylic rails wereall cut with the laser cutter. The metallayer in the stroke guide base wasmade using conventional methods.

Samples shown on the left are the typesof rubber tested for the putting surface,and the thin sheet metal sandwichedbetween the Òjar-lid openerÓ rubbersheet used for the final base.

18

Rubber samples tested for surface material: (l-r) non-skidcarpet base; fiber-reinforced neoprene; jar-lid opener sheet.

Stroke guide base sandwich of jar opener rubber andsheet metal.

The laser-cutter used to cut many of theparts is computer controlled andrequires drawings generated in CADsoftware which can export DXF files.This composite drawing represents allof the parts cut with the laser.

A. Upper mirror.B. Lower mirror.C. Mirror support base.D. Stroke guide base. (lines and name

were silk-screened)E. Stroke guide rails.

A.

B.

C.

D.

E.

19

A graphic logo was developed to takeadvantage of the laser-cutter score set-tings. Some test cuts on an extra pieceof acrylic mirror helped to scale thelogo for the final prototype.

20

4

7.5

14.5

16

17

24.5

7

Portability was one of the desired fea-tures for the trainer from the beginning.Early case designs were often rigid inan attempt to use them as a structuralelement in the support of the mirrors.This was never satisfactory in allowingthe mirrors to be fully adjustable.

A soft-sided case is easier to handle, isless prone to damage from bumps, andthe padding provides adequate protec-tion for the putting trainer. A soft casecan be carried alone, or easily attachedto a golf bag for transport.

A pattern for a soft case was drawn onthe computer, enlarged to full-size on alarge format photo-copier, and takenwith fabric and fasteners to a tailorshop to have a case made to test withthe final model. The case functionsmuch like a tool-roll, wrapping thepieces securely, with a simple loopstrap for a handle.

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Storage Case

Details of the Final Model

The telescopic mirror supports.The vinyl hinge.A rail magnet.The base marks on the stroke guide.The name and logo etched into the railsand the lower mirror.

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23

Setting Up the Model

Final Storage Case

The Finishing Touch

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Final Prototype

As the putting trainer was taking a more complete and final form, I began to realize the thesis was more than theproduct. This thesis has become more about the process of education, a process of exploration and discovery. It hasbeen about realizing capabilities, limitations, and the ability to work through limitations. It has enabled me to beginto ask the right questions, and the ability to seek and produce the right answers.

When I worked in photography I developed a way of seeing to produce an image. I have now begun developing anew way of seeing, a new vision encompassing a wider field of view. My focus now is on design, and I questionwhat I or, collectively, what we are capable of; is there something more, something better, for a thing, an object, apossibility.

With apologies to Larry Norman for taking an idea from his song, Walking Backwards Down the Stairs, and adaptingit to my situation, this is my summation of a process of design.

Beg inn ing wi th a v i s ion o f an ob jec t , an idea , a p i c ture in the mind o fwhat we wish to c rea te , we s t rugg le to keep i t wi th in our v iew as wedescend to the beg inn ing o f the process o f des ign . We ask ourse lvesques t ions . We sugges t so lu t ions . We des ign the answers , i f theanswers can ex i s t , in the hope o f c l imbing back up to somewhere nearthe beg inn ing and d i scover ing tha t the essence o f tha t f i r s t v i s ion doesex i s t in what we have made . Beg inn ing wi th an end we beg in towardtha t end . Beg inn ing wi th an end the journey beg ins .

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For my thesis I designed a putting trainer. I tried to create an object which can assist in forming a link between thebody and the mind in order to perform a task successfully. The success of the thesis is that it has helped me learn toapproach design with a broader perspective, and to understand the importance of simplicity so that I may strive tofocus my vision to discover the essential. Find the essence. Know the stroke is true.

1. Scott, Phil. ÒThe Mind of A Champion.Ó Natural Health: Jan-Feb 1997: 98.2. McKim, Robert. Experiences in Visual Thinking. Monterey: Brooks/Cole, 1980.3. Samuels, Mike, M.D., and Nancy Samuels. Seeing With the MindÕs Eye. New York: Random House, 1975.4. Jones, Lesley, and Gretchen Stuth. ÒThe Uses of Mental Imagery in Athletics: An Overview.Ó

Applied & Preventive Psychology, v.6(2), 1997: 101-115.5. DuBow, Wendy. ÒDo Try This At Home.Ó WomenÕs Sports and Fitness: May 1997: 77.6. Peper, George, ed. with Robin McMillan and James A. Frank. Golf In America.

New York: Harry N. Abrams, Inc. p. 42.7. Golf In America. p. 180,182,185.8. U.S. Forest Service advertisement. ÒNo Trees. No Woods.Ó Only You Can Prevent Forest Fires.9. U.S. Forest Service ad.

10. Golf In America. p. 189.11. Golf In America. p. 190.

Works Cited

Other Sources

1. Lewis, Leland T. The Tao of Golf. San Jose, CA: R&E Publishers, 1995.2. Pelz, Dave, with Nicholas Mastroni. Putt Like the Pros. New York: HarperCollins, 1989. 3. GOLF MagazineÕs Encyclopedia of Golf: The Complete Reference. New York: HarperCollins, 1993.4. GOLF MagazineÕs Complete Book of Golf Instruction. New York: Harry N. Abrams, Inc., 1997.5. Margolin, Victor, ed. with Richard Buchanan. The Idea of Design: A Design Issues Reader.

Cambridge, MA: MIT Press, 1995.6. Montgomery, John. ÒImagined Movements May Give People a Leg Up on Actions.Ó

The Washington Post: 30 March 1998: A3.7. Norman, Larry. ÒWalking Backwards Down the Stairs.Ó Upon This Rock. Beechwood/J.C. Love Publishing Co.

Capitol Records, 1969.8. Hamburg, Janet. ÒCoaching Athletes Using Laban Movement Analysis.Ó The Journal of Physical Education,

Recreation & Dance, v. 66, no. 2, February 1995: 34-38.9. Rieber, Lloyd P. ÒA Historical Review of Visualization in Human Cognition.Ó ETR&D, v. 43, no. 1, 1995: 45-56.

James Alexander McLeod

EDUCATION

Master of Science in Architecture, Industrial Design ConcentrationVirginia Polytechnic Institute & State University, 1998

Bachelor of Science in BiologyVirginia Polytechnic Institute & State University, 1983

EXPERIENCE

C o l l e g e o f A r c h i t e c t u r e a n d U r b a n S t u d i e s , VA Te c hLaboratory Instrument Maker, July 1998 to present

G a r y B u s s S t u d i oPhotographerÕs Assistant, December 1995 to August 1996

P h o t o G r a p h i c S e r v i c e s , VA Te c hPhotographer, October 1988 to December 1995

T h e R o a n o k e Ti m e s - N e w R i v e r B u r e a uPhoto Stringer, April 1991 to July 1995

B l u e R i d g e R e g i o n a l B u s i n e s s J o u r n a lPhotographer, March 1995 to August 1996

E w a l d - C l a r k , I n c .Sales Clerk, June 1987 to October 1988

G i l l i e Õ s C o n f e c t i o n e r yAssistant Manager and Cook, August 1983 to June 1987

OTHER EXPERIENCE

GRADUATE ASSISTANTSHIPS

Teaching Assistantship, Product Portfolio Class, Spring Semester 1998

Photographer for the DeanÕs Office, College of Architecture, Fall Semester 1997

Photographer for the College of Architecture, Spring Semester 1997

AWARDS AND HO NORS

Instructional Fee Scholarship, 1997-1998 Academic YearTau Sigma Delta National Honor Society, member since April 1998The Honor Society of Phi Kappa Phi, member since December 1997