Second Skin: Sensory Deprivation A誰sha De Barros Lopes & Nichole Wong
Lanterns and sectioning
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n these sketches the varioius elements that create the structure of the lantern are shown. The wire structure connects to the circular hooks on the main wire skeleton and clams on to the top of the other side enabling extension of the body from a flattened state.
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.
The wire makes up simple sections that can extend and compress, ultimately changing the shape of the paper wrapped around it. A close look at the sectioning also shows that the folding can be compared to that of an accordion . It was also noticed that towards the top of the lantern, the lantern is more rigid due to the bamboo curving at a small curvature.
The lantern is made up of eight individual panels
Accordion like folding
Emotion Effect:
To achieve as sense of isolation
lantern in collapsed state
Sensory Deprivation
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ur idea of a personal space is the ability to isolate oneself. 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 their environment. Another example may be when watching horror films one tends to deprive themselves of sight, hearing and touch using their arms. Therefore, sensory deprivation allows one to be alone in their thoughts without any external hindrance.
Precedent no. 1
An Introvert’s Transformation to Extroversion_ by Lillian Hoplyte Mushi
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his design created by Mushi relates to the concept of personal space and emphasizes the notion of isolation through the deprivation of senses. The project 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 fluctuation in body heat. These fluctuations of heat are related to the wearer’s emotions, primarily shyness and 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 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. 2
Atmospheric Reentry_by Maiko Takeda
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akeda’s project focuses on encapsulating the heard and upper torso in order to create personal space. He expresses his motives as wanting to “create ethereal experiences for the wearer through the pieces”. On top of that, the designs also represent the concept of sensory deprivation in limiting both sight and hearing. The adornments are made of transparent plastics spikes tinted with colour gradients 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 against the spectator, therefore providing the wearer an increase and their sense of personal space.
Measuring personal space
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he way that we measured personal space was to converse with a partner and vary the distance between us. As the distance between us decreased, we could observe how body language differed. 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.
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ïsha has an arm span of 150cm and a shoulder to shoulder span of 40cm. However, her personal space is relatively small in comparision to her spans, using only 90cm of space. These measurements were recorded from the spacings.
Measuring personal space
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ith 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.
READINGS Digital fabrication: Architectural and Material Techniques Lisa Iwamoto This reading discusses the emergence of digital technologies as a means of expanding architectural abilities, in particular the complexity of building geometries. The move towards digitalism has enabled architects to take control of the building process and in turn a new vocabulary is being learnt. Nevertheless, physical models continue to be used in order to understanding the aesthetic of the design, while digital models enhance the understanding of how building elements and systems fit. Additionally, the reading discusses forms of digital fabrication including, sectioning, tessellation and folding. Sectioning is described as a “process of taking cuts through a formed three-dimensional object� (Iwamoto NA p. 10). The challenge with sectioning is the difficulty in maintaining a continual surface that is composed of separate pieces. Nevertheless, it permits architectural diversification. Tessellation, similarly to sectioning, involves the formation of a plane or surface constructed with tightly fitted pieces. Tessellation is not a modern technique, however, it has been enhance with digital technologies to provide greater variation and modulation.
The final fabrication method, folding, transforms a flat surface into a three-dimensional surface. Folding is of interest as it provides new spatial areas within a building without it losing its original characteristics. Digital fabrication came as an architectural revolution, which according to Iwamoto (NA) has greatly diversified building forms.
Digital Production Branko Kolarevic This reading discusses the development and process of architecture as a result of digitalisation. Digital production has enabled the creation of unique geometries and styles that can be mass-constructed, in turn contradicting the concept of Modernism. Additionally, the reading explains the effects of digital production on architectures themselves and how it is enabling them to become a part of the fabrication process. Architects are now developing software in order to suit their own designs. Furthermore, this reading identifies the various ways digital production can be used to manufacture material. Materials, as a result, are being more and more experimented upon. Designs are no longer choosing materials but materials are choosing the design. Kolarevic (NA) has clearly acknowledged the historical development of architecture and how digital production has influenced and impacted upon it.
SKetchEs
Sectioning AnD Materiality out or distort sound. It was found that while the newspaper produced an aesthetically pleasing effect, it did not really block out sound. However, the stockings proved useful and enabled further development and flexibility with the shape of the second skin. Another possibility that was explored was tieing of the stocking. This was unsuccessful with sound proofing.
Nevertheless, the juxtaposition of both material and geometrical shape prevented harmonisation between it and the headpiece, and as a result was seen as a separate ornament entirely. Various ideas were proposed, however, a decision was made that the plate did not encompass the section and profile concept effectively.
Glueing the stocking using paper mache methods were also looked at. But this did not make the stocking any stronger to futher test out other sectioning techniques such as using the stocking itself as a sectioning material.
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ur choice of materials for this project plays a determining role in the success of creating personal space and achieving sensory deprivation. This is because the material must above all, be able to be constructed in to a structure that uses sectioning as a material system. Furthermore, the type of material used will influence the degree of sound-proofing and/ or distortion. The methodology that we have adopted is to work from the material to design. The first material we tested to create sectioning was newspaper and stockings. Balls of newspaper were scrunched and pushed in to the stocking in hope to create a compact form that will block
The most successfull material is using bean bag filling. Not only does it distort sound, it is also aeathetically pleasing. The form that produced as a prototype showed that there is room for more sectioning in order to further the sectioning or enclosing effect to create isolation. The previous design and prototype that was experimented consisted of an aluminium plate that was used with the intention to improve the attachment of the headpiece to the shoulders of the wearer. Furthermore, it was added with the idea as to create greater complexity to the design.
Section and profile is understood as the creation of a continual large surface that is composed of separate pieces. The final fabrication model consists of numerous stockings, containing Styrofoam beans, which have been sealed and attached to one another. The interlocking of the stockings and the designated string ties has created multiple sections that create the profile.
Final Design
Rhino model