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Hannah Tucker Interior Design
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concept
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A narrative of my senior capstone, boiled down to a singular question - “How can wearable architecture be used to impact the body and spatial experience?”
body topography
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An analysis of the body as site, using tools that would be used in traditional site studies. The topography of our bodies becomes the structural frame for the wearable.
materiality The materiality of lenses – material properties, impact on space, and impact on wearer.
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lenses
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Highlights the size options created for varying levels of privacy for the wearer, as well as the importance of its location on the body.
lighting strategy
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Depicts the material interaction with light as each was selected based upon the effect created in various lighting conditions.
relationships Illustrates the relationship of lens to frame, frame to body, and body to space.
CONCEPT
taking up vs. becoming Do you take up space, or do you become it? To take up space we alter our environment by enveloping more space in our personal bubble. We wear space like a second skin, the amount of space we use in constant change. By becoming space, we remove ourselves from it, silent observers of the near environment without disruption of our own bodies. My capstone focuses on the space between the body and near environment, blurring the line of
separation. How can wearable architecture control this space, becoming or demanding. How does this impact the way space is experienced by ourselves and others? To do this, I’ve studied the architecture of the body and the impact that material interaction with light has on the body and space.
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CONCEPT
COLLAGE
PROCESS
BODY TOPOGRAPHY 03
BODY TOPOGRAPHY
analyzing the structure I began by analyzing the body as site, the same way that we would architecturally think about a natural landscaped site.
Seen here is the process to determine the topography as well as the construction of the armature.
To determine the topography, I cast the body in plaster and used a laser level at 5/8” increments. The linework generated from this study would become the frame of the wearable.
I chose to offset the frame from the body not only to increase the depth allowing for greater abstraction, but to provide a new shell for the body. This new shell extends the body’s structural core, offering an additional layer of armor.
06 BODY TOPOGRAPHY 125’ 18 guage wire
rosin core soldered joints
STRUCTURE
MATERIALITY
materiality of lenses 01: Taking Up Space
02: Becoming Space
Opacity: Semi-transparent Effect on Wearer: Pixelation Effect on Space: Shadow
Opacity: One-Way Opaque Effect on Wearer: Invisibility Effect on Space: Reflection
Distortion of Wearer
Distortion of Space
08 MATERIALITY
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FINAL SELECTS
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MATERIALITY
Effect on wearer: distortion Effect on space: shadow
TAKING UP SPACE
Material: polyethylene vinyl acetate
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MATERIALITY
Effect on wearer: invisibility Effect on space: reflection
BECOMING SPACE
Material: Vinyl
LAYERING OF LENSES
LENSES 13
LENSES
creating privacy To allow for varying levels of privacy, the lenses become interchangeable through a clipping mechanism. The eye and shoulder lenses remain fixed to create a constant in the the level of distortion, as well as provide a base for the clipping mechanism to adhere to.
The remaining two lens options begin to connect the eye to the shoulder, engaging with the negative space beside the neck. Thus, the largest lens has the maximum impact on the surrounding environment.
LENSES
attachment of lenses Using the fixed lenses located at the eye and shoulder, the additional lens options adhere to the front face. Not only does this provide a seamless appearance, but also allows for additional depth between each lens layer.
As the depth of the lenses increases, visual distortion and impact on the near environment is amplified. The depth of each lens is 5/8” to mimic the level of separation between each layer of topography.
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LENSES
CLIPPING MECHANISM
LENSES 17 LAYERING OF LENSES
Top: fixed lenses Bottom: Lens two
lens three (largest)
CONDITIONS DIAGRAM
LIGHTING STRATEGY 19
LIGHTING STRATEGY
behaviors in space Each lens material was chosen based upon their interaction with light and space. Before making final material selections, I tested the lens’ impact on space in natural sunlight, artificial indoor, and from within the body armature.
Each of the lenses reacted differently to the lighting conditions as the transparent lens reacts through shadow, and the mirrored lens reacts through reflection. Not only are the appearances opposite, but the location of the reaction relative to space was opposite as well.
SUNLIGHT
LIGHTING STRATEGY 21
ARTIFICIAL
External interior lighting
LIGHTING STRATEGY 23
Darkness: lit from within
RELATIONSHIPS
behaviors in space The sections are used to understand the depth cues of the lenses relative to the body, and relative to the space.
0’
0’
6’
6”
1’
1’
Rendered into the sub-sites to illustrate the relationship of lens-body and lens-space.
SUB-SITE ONE: SHA
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RELATIONSHIPS
0’
6” 6’
1’
2’ 2’
SECTION DRAWINGS
Sub-site SUB-SITEone: ONE:shared SHARED
SECTION DRAWINGS
Sub-site one: single
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6”
1’
2’
RELATIONSHIPS 27
Sub-site two: single
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6”
1’
2’
30 RELATIONSHIPS LENS TO FRAME
Taking up space. Relationship of largest lens to frame and attachment to body via shoulder straps.
In direct sunlight, the lens creates interior space for the body through shadow (taking up) and reflection (becoming).
34 RELATIONSHIPS PERSON TO PERSON
Becoming space. Interaction between two individuals results in warped reflection of the other person in the lens.
hannahtucker.work tuckerhannahr@gmail.com