Second Skin: Sensory Deprivation A誰sha de Barros Lopes & Nichole Wong
Our second skin explores the idea of sensory deprivation, specifically hearing, as means of avoiding social interaction in order to remove oneself from the context of the situation. Emotional Effect:
To achieve a sense of isolation
Aïsha’s Lantern
Nichole’s Lantern Top
29cm
Front
22.5cm
Subject: Interior Lantern Materials: Paper, steel and bamboo Dimensions: radius-11.25cm; extended height-29cm; wire frame height-31cm; wireframe width-9.5cm Evaluation: This lantern is most likely mass produced. The choice of materials is not only cost effective but gives the lantern interesting properties. The bamboo and paper sectioning on the panels is also used for its structural properties, allowing the the extended form to be rigid and self-supporting. The continuous wiring gives the lantern its shape. It was noticed that towards the top of the lantern, the lantern is more rigid due to the bamboo curving at a smaller curvature. At the bottom of the lantern, there are two circular hooks which allowed for the detachable wire frame to be attached. Without the wire frame, the lantern is unable to be self-supporting.
Section
scale 1:5
25
Nichole’s Lantern-Sketches
A close look at the sectioning shows that the folding can be compared to that of an accordion.
The lantern only extends in one direction and is very clear which way is considered the ‘right way up’
To allow curving of the paper panels, the ‘skin’ of the lantern is actually made up of eight seperate panels.
This sketch shows the wire frame supporing the lantern
Ideation and Development Second skin as a defence mechanism Snails are animals that we can learn from in regards to aspects of personal space. In my opinion personal space is when one feels vulnerable and requires a defensive mechanism. According to Sommer this defensive behaviour among human beings is represented as the ‘flight’ that occurs (Sommer, NA). Snails use their shell as a defensive mechanism and thus provides them with their own personal space. In addition, snails progressively construct their shell, forming sections that create a profile. Both these concepts will be integrated in my design.
Sectioning inspired by the wire frame of the lantern The idea of a personal space is to warn off potential intruders from getting too close. This led me to think of my own experiences and situations where people might not want to be in close proximity with you. Thus, the idea of ‘leaking’ out surfaced. This sketch design shows further sectioning of sectioned constituent parts therefore creating a ‘leaking out’ effect and will provide more flexibility in the second skin’s movement and form.
Precedent no.1
deCOI ARCHITECTS deCOI ARCHITECTS is a small architectural firm that focuses on developing new technological practices. Their project One Main Street utilises the concept of section and profile, which is evident throughout the entire form. The understanding and analysis of the geometrical surface is what has created such a precise and aesthetic design, one that has been likened to a Terre Meuble. One Main Street is a commercial building design that consists of curvilinear continuity at a detailed and spatial level. It presents a built form completely digitally fabricated using the CAD-CAM design-build process. The process allows for a complex design to be simply constructed. Furthermore, this process enables a non error, cost and labour efficient construction, which is a result of a unitary fabrication of sectional elements. Through this process a formal aesthetic design emerges. The utilisation of the ‘weeping’ tool path has enabled for efficiency in surface continuity and coherence at both macro and micro scales. For example, the inflection in the ceiling is echoed in the benches and door handles. The design comprises of essentially the floor and ceiling that is constructed out of sustainable plywood, which has been formed with the deployment of numeric command machining. In addition, the functional elements of the building, like the rest of the design, have been fabricated as stocked sectional elements cut from the plywood. In addition, the “material substance of each space has been nuanced according to the character and mood of each client during the fabrication period” (deCOI ARCHITECTS 2011), allowing for increased articulation in surfaces.
Precedent no. 2
Hussein Chalayan Hussein Chalayan is a British fashion designer who has been known for utilising innovative materials in his designs. His inspiration are not only drawn from fashion but across an array of disciplines including anthropology, history, technology and science. It is clear from many of Chalayan’s collections that the designer is concerned with more than just creating a visual spectacle or something that is satisfies the basic principles of fashion. His runway shows allow him to express important concepts and forces the viewer to reconsider and engage with them. Design has a performative function: to allow the view to question what is really before them One point that Chalayan stresses in many of his interviews is that his design philosophy is about ideas. He is interested in using fashion to explore and to tell a story.
It was interesting how many viewers after having attended the runway show were so emotionally affected. Some were even said to have been crying. This collection really epitomises Chalayan’s philosophy, how everyday objects are merely constructed and can be reutilised for other purposes. Although the forms of Chalayan’s designs are quite simple, what it represents creates a powerful impact.
Similar to the second skin design brief, Chalayan in this collection is exploring how one responds to the external setting, in this case, weather. It is inspired by the idea that the emitted light of the garment can uplift the wearer from lack of light in winter. It can also be seen as a symbol of hibernation and internalisation.
The following precedents represent the notion of personal space in various forms with certain elements influencing the design that we have developed.
Precedent no.3
An Introvert’s Transformation to Extroversion- by Lillian Hoplyte Mushi This design created by Mushi relates to the concept of personal space and emphasises the notion of isolation through the deprivation of senses. The projected according to Mushi is to “explore how introverts use isolation as a mechanism for social recharge as well as a way to navigate social situations”. Mushi has created a pleated hood that is able to change colour depending on the fluctuations of body heat. These fluctuations of heat are related to the emotions expressed by the wearer, primarily shyness or embarrassment. The design represents the battleground between personal space and public space boundaries. Furthermore it devises a means of forming a balance between blending in and standing out. In regards to the material, it is able to expand and collapse depending on the wearer’s mood, either introverted or extroverted. This design was displayed as the New Designers graduate exhibition in London.
Precedent no.4
(No)where (Now) here: Two Gaze: activated Dresses-by Ying Gao This project was inspired by the essay written by Paul Virilio (1979) entitled The A aesthetic of Disappearance. The project consists of two dresses that illuminate when a spectators gaze is upon it. The dresses are covered in photo-luminescent threads that dangle from ruched fabric. The concept of the design is about the questioning of presence and of disappearance. Nevertheless, the design also indicates the intrusion of personal space, as a result of the spectators gaze.
Precedent no.5
Atmospheric Reentry-by Maiko Takeda This project by Takeda focuses on encapsulating the head and upper torso. Takeda expresses his motives as wanting to “create ethereal experiences for the wearer through the pieces�. However, the designs also represent the concept of sensory deprivation limiting both sight and hearing. The adornments are made of transparent plastic spikes tinted with colour gradients and held in place between sections of acrylic joined by small silver rings. The spikes and colours used in the designs project a sense of fear by the spectator, and thus, provides the wearer with increase the sense of personal space.
Sensory Deprivation
The key factor of personal space seems to be ones ability to isolate themselves. Sight, hearing and communication are aspects that must be identified in the design. A real life example of this may be when commuters wear headphones to avoid interaction with the environment. Another example may be when watching horror films, one tends to deprive theselves of sight, hearing and touch. Therefore, sensory deprivation allows one to be alone in their thoughts without any external hinderance.
Measuring personal space The way that we measured personal space was to converse with a partner and vary the distance between us. As the distance between us decrease, we could observe how body language differ.
When there is greater distance between two people, the arms are raised but in a seemingly more natural position.
At a closer distance, the other person would occasionally make more obvious movements such as hands on hips and gesturing to create more space around her.
There is much more movement when a person feels that their personal space is being invaded.
With the design we intend on focusing on the idea of sensory deprivation. These last images representing personal space are based upon the concept, utilising the way in which eyes try to avoid and limit interaction.
Aisha has an arm span of 150cm and a shoulder to shoulder span of 40cm. However, her personal space is relatively small in comparison to her spans, using only 90cm of space. These measurements were recorded from the tracings.
It was found that when a subject is in an uncomfortable situation, they tend to avoid looking directly at the person they are interacting with. As can be seen, in most instances, the subject looks away to the side.
Process of design development
Achieving isolation effect: wind instruments This instrument is sealed at the bottom of each tube and sound resonates through the top of the instrument. The concave design on the top surface of each of the tubes compresses the air in to the tube and provides greater resonance and volume. By combining the functionality and geometrical aesthetics of the tubes with the concept of sensory deprivation, we have formed the basis of our project.
Process of design development
Tubes to manipulate and divert sound The exploration have profile and sectioning in the lanterns, study of precedents and wind instruments have led us to develop the first design which addresses both issues of sensory deprivation and the emotional effect of isolation. The ear piece is reminiscent of the sectioning that can be found from the lantern study and also Nichole’s initial sketch design of sectioning. This is reflective of Takeda’s design where fear is induced in the intruder and also encapsulates the head. Tubes extend from the ear and allows from extension and compression. We were interested in how this movement reflects some of the forms that were explored in Aisha’s shell designs.
Process of design development
Evolution of tubes idea
1.
This design consistes of a large earpiece on either side of the head. A tube extends from each of the earpiece and is able to wrap around the body. Although the design addresses the deprivatioin of hearing idea, we hope that our design would make the emotional effect of isolation more obvious and dynamic.
2. The key feature of this design is the
wraping of the tubes around the head. This creates more sense of isolation and enclosure. for compression and contraction depending on wheather the wearer wants to invite or reject social interaction. This is similar to an animal’s defence mechanism which was explored earlier.
3.
This design really puts an emphasis on hearing deprivation since it does not hinder the other senses such as sight. Instead of using sectioning to focus on aesthetics or compression and contraction, it was explored to contribute to sensory deprivation through materaility. Possible materials could be foam or newpaper.
Final Design
Sketch
Further development of previous ideas led to this sketch of the final design. What really interested us was the idea of tubing which would wrap around the body to create a three dimensional space enclosing the wearer and depriving them of hearing. This extends down to the body to heighten this emotional effect of isolation. The final sketch introduces a wire ring which sits on top of the head to stabilise the headpiece over the ears.
45cm
66cm
Final Design
Rhino Modal
Final Design
Prototype
In order to create the sectioning effect on tubes, we rolled up compact balls of newspaper and stuffed them in to stockings. Knots were tied at various intervals to further the sectioning effect. We considered newspapers and stockings because they are often asscociated with the concept of insulation. Hence, these materials were tested to see if they would deprive hearing when configured according to our design. The use of compressed newspaper prevents sound from passing through to the ear cavity thus isolating the wearer.