ShortPortfolio19digital

Se n s o r y Pe r ce pti on an d A r ch i te ctu ra l De s i g n Ann Margaret Lin (Lin, Tuo)

T he Body S e ns or y

The initial interaction with our environment is through our senses such as visual, audio, olfaction, proprioception, etc. This sensory input is the basis of our emotional output, it dictates how we feel about the environment.

And the emotion will ultimately influence how we react to the environmental stimulus, resulting as an action (ie.

We will walk slower if the environment became dark all of a sudden) .. Our body sensory plays an important role in the way we "see" our surroundings by interpreting the environment outside of our body and mind.

Here, the term "see" is used literally. According to a research from the advertising industry, consumers dedicate most of our focus to the visual sense and have very often neglected our other senses. Even though most people are given the 5 senses naturally, we tend to use the visual sense in 65% of the time.

This situation had exacerbated since the New Media Age. The impact of our advertising culture is the limitation of our other body senses while amplifying the interaction between only our eyes and the screen While most part of the architecture industry focuses on mega-size buildings and urban planning, there is an urgent need to get back to the "little things" things how us human connect with the space around us, how the space can be made to stimulate the frozen senses, and, hence, restart those senses we were gifted.

The experiment on how body sensory interacts with the space was carried on by analyzing Krumping (a style of street dance) and the extreme spaces of our daily life - toilets. While Krumping approaches from the inside mind to the outside space, the space of toilets approaches, in a contrary way, from the outside environment to the inside feelings. The experiment is to combine the two ways of approaching and find out how body sensory functions in space, therefore, provide a strategy for architectural design.

Left_Conceptual sketch of 5 interactive steps between human body and space: Mind, Sensory, Fabric(the skin of human body), Space, Inner Skin of Architecture(materials and details)

Mi n d

S ens o ry

The feelings and the feelings that shape all kind of moods an memories. It differs from people to people and this make it hard to be formulized. However, it can be stimulated by exciting the body sensory.

Including visual, auditory, motor, tactual, olfactory, gustatory, thermal and pain.

Fa b ri c , W ea v i ng o f t he Bo d y S ki n This is not literally the fabric we wear at the moment, but the way the body skin is weaved together with the fabric by the sense of touch, the way that body movement is weaved with the space by somesthetic sense, just like how we dance.

S pa c e The atmosphere created by light, smell, all the immaterial elements, or even the dust that floats in the air and changes time by time without a certain form.

Inner Ski n o f Arc hite c t ure Materials used and details designed to compose the space. These are often the material elements that holds up the entire space structurally. But also it can be sensory.

RI BA Comp et it ion Mec hanic al Comp et it ion

K r u m p i n g (Da n ce )

02

To i l e t

07

From Fa br i c t o C l o t h e s

12

A rc h i t e ct s

38

E x t re m l y Tr a n s p a re n t

46

6 0 cm B r i dge

54

Japanese Armour

58

Pe r s on a l B l o g

60

T h e M e adow B r i dge

30

Tr a n s f o r m e r Ta bl e

68

D r a w i n g s f o r C a n t e r bu r y C a t h e dr a l C om p e t i t i on

74

Pe r s on a l I n f o r m a t i on

76

02

01 K r u m pi n g Notatio n of a Bo dy's Min d

Krumping is a street dance popularized in the United States that is characterized by free, expressive, exaggerated, and highly energetic movement.[1] The youths who started krumping saw the dance as a way for them to escape gang life[2] and "to release anger, aggression and frustration positively, in a non-violent way."[3] Unlike Modern Dance or other performance that origins from the stage, Krumping is rarely choreographed; it is almost entirely freestyle and is danced most frequently in battles or sessions rather than on a stage. Krump dancers interpret their emotions into body movement, in an impromptu way, right after the chord or beats were played. By recording the dancer's moves, relations between body moments and auditory stimulations are discovered.

Top left_"The Objective Space and Time (left) and the Subjective Space and Time (right)." In the subjective space and time, the images of movement are weighted when the space, the body movement, matches the time, the music. The stronger they match, the more the image is weighted. Images extracted form Tight Eyez's, a Krump dancer, freestyle video (Sep 2013). "TIGHT EYEZ Krumping on BEETHOVEN 5th Symphony| Hiphop Photography".

Bottom Left_Notation models of the body movement.

1_Paggett, Taisha (July 2004). "Getting krumped: the changing race of hip hop".

TheFreeLibrary.com. Dance Magazine. Retrieved July 30, 2009.

2_Jones, Jen (September 1, 2005). "Behind the Scenes of David LaChapelle's Documentary "Rize"". Dance Spirit. Retrieved September 24, 2009.

3_"Krumping". RapBasement.com. Retrieved October 30, 2009.

Notation of the body movement being transferred to a 3 dimensional physical model.

Seeing the musical notes and beats as a repeating cycle, the linear form of the notation of body movement can be bended into curves or circles.

The 5 cycles of musical notes that have been found in the previous linear notation.

5 repeated music cycles. Each orbit represents a cycle.

The perimeter of each orbit matches the length of time period of each cycle. The orbits were pushed and rotated due to the timing they showed up in the notation and the way they linked.

Sketches of the space of toilets.

The second stage of the experiment: Re-compose the space of toilets with the notation of Krumping.

07

02 To i l et s Sen sory E x periment in E x treme Spaces

Toilet is one of the extreme spaces in our daily life. It is physically small and rough. It is often in a simple box shape without extra decoration. It is often designed in the lousiest corner in a building. Sometime it is quiet and lonely. People concentrated on its functional use though it does, sometimes, become an emotional shelter for them.

No matter we are escaping from mountains of work on our office table or hiding oneself from an exhausting social occasion, toilet seems to be a nice place to go. Staying behind the door, the time seems to be slowed down and we can take our time to relax, think, or even, wipe our tears. Compare to dancing, toilets appears to be extremely static, the limited space only allows the body to move slightly.

By placing the sensory body in an extremely small space and blocking the massive information that aims directly to the eyes, the body tend to concentrate more on what’s outside of the toilet walls. We get to know the city in an acoustic way and we feel the weather by the touch of the air.

Left_Collage of the analyzing process from Krumping to toilet.

08

A n a l y si s o n th e 5 C y c l es o f Kru m pi n g Notatioin

is carried on via Grasshopper analysis and Processing scripting.

After setup a few moves and gestures as parameters, the notation of body moment was recorded and interpreted by Grasshopper. The results were carried on further and built up in Processing as a spatial notation. Sensory fragments (musical notes) here are recomposed and linked together base on the motion of each cycle and the distance between each of them.

Left_Notation of sensory reaction draw by Grasshopper.

Right_Scripting process of the 5 cycles of Krumping notation.

Far Right_Display of the script in Processing.

29

11

The S u b j ec t i v e Time and S pa c e

happens when Krumping moves meet the beats, when our visual is blocked and the little things we used to ignore refreshes our sensory, and when we subjectively concentrate on the stimulations we've receive and response with an emotional and physical feedback.

While the New Computer Age is asking for a lifestyle of efficiency, people had lost their connection with each other and the environment. The sensory body had become numbness. It is important to rebuild the connection in a more sensory way.

Top left_The subjective time and space of a toilet. Escaped the orthogonal form, the shape of a toilet is rebuilt by spatial elements such as light, wind and sound.

Bottom left_The objective elements recomposed subjectively via body sensory.

03 F r om F a b ri c t o C l ot he s

12

Weavi ng the Old Fabric Mar k e t

Project type_Academic work Time spent_Feb 2014 - May 2014 Instructor_Lin-wei Chen Located in the old town of Tainan City, the old fabric market is one of the many historical monuments built back in the days when Taiwan is under Japanese rule. Though the whole site is half-ruined now, the old fabric market maintain its function, compare to nowadays window shopping, in a slowmotion way.

The design concept is to renew the ruins by extending the slow-down atmosphere in the old fabric market. Compare to the time period one spent to pick up a new dress in a fashion cloth store, to custom an extraordinary dress in the old fabric market can be a slow journey that costs weeks or even months.

By slowing down the custom process, one need to touch to feel the right fabric, connect with the tailor, visit the market to and fro to try on the unfinished dress, and truly use all the given sense to connect with the atmosphere.

The project can be divide into two parts of designing: redesign of the historical ruin and the prototype design of the fitting room. Elements such as cotton, pipes and columns are used to influence the body movement and weave the interactive space. The shape of the space changes by the touch of passengers and the touch of wind from time to time.

Right_Photograph of the physical model

14

15

co n tex t

The Old F a b ri c M a rket

Standing alone in the old town, the old fabric market had become isolated by layers of new buildings. Fortunately, the atmosphere back in the old time is preserved inside the market though the whole site is decaying due to the isolation. The trace of old pipes and wires can be found everywhere in the market. Most of them are not functioning anymore but, all together, they play an important role on weaving the atmosphere together.

Left page Top_Site model Bottom left_Colourful fabric displayed in the old fabric market Bottom right_Concept painting Right page Top left_Floating dust pointing out the trace of light Top right_A spider web hanging in front of a window found in the historical ruin Bottom left_Layers of old pipes found in the old fabric market Bottom right_Atmosphere inside the fabric market

16

Ways of M ea su ri n g Mappin g the Old Market step by step

By measuring the site with a more sensory tool - counting steps - the paths in the old fabric market can be presented as a notation like the underground system.

Though it's not professional or usual to measure the site by counting steps, it is a more sensory way to reflect how our bodies move inside the space. We may slow down and take more steps while there are more stimulations coming from the surroundings; we may speed up while the space is in a linear form or the environment just simply bore us. Also, even walking on the same route, the length of path might still be different. The differences can be caused by reverse direction or such.

After measuring the site, elements that influence the body movement were picked up from the fabric market and then extended into the historical ruin. These elements, such as pipes and cotton, became the main material that shape the space.

Top_Maps made in the process of measuring the old fabric market Left_Final mapping of the old fabric narket Top right& right_Concept model of reprograming the ruin

19

W ea v i n g R eprogram the Custo m Jo urn ey Reprogram the old fabric market by weave together different routes that are set up for 5 different types of users: 1.Customers who come for custom dress.

2.Friends who come with the customers.

3.Tailors.

4.Tourist.

5.Explorers.

Top_Sketches of movement Left_Photograph of physical model

A N ew P u b l i c S pa c e 20

Co lumn s/Pipes/ Co tton

Columns, pipes and cotton are weaved together in the historical site to perform a new public space that dances with user's body.

The historical ruin is composed by four rows of square RC columns and all together they form a strong linear space. The first step in this stage is to plant in new cylinder columns that breaks the linear space into a homogeneous field. By this, the body slows down and begin to wander in the space.

As long as the space becomes a field, the second step in this stage is to insert numbers of pipes. Some of the pipes are functional while others are not, but most of them play an important role as defining the movement. They are thin and light, hanging from the lifted ceiling. These pipes may not be obstacles to the vision, but as the users pass by, they become elements that influence the body movement.

The final element that's used to define the space is lines of cotton. Being hung from the ceiling, these lines of cotton are floating in the space and interacts with the touch of users or the touch of wind. It doesn't have any certain form. It is re-shaped every time while the wind blows or any activities happen inside the ruin from time to time.

Top left_Photograph of physical model (ground floor) Bottom left_Photograph of physical model (2nd floor) Right_Concept model of cotton

22

Studies on C o l umns 12 cylinder columns were planted in to the site to transfer the space from linear to field. After a few testing in Rhino, these cylinders were arrayed in the same module as the original RC columns.

While the old structure was held up by hanging steel columns from the ceiling, the new cylinders are extended from the upper floor to the base, intend to provide continuity. Each of the cylinders is spot lighted by sun light coming from the sky window. As season changes, the light comes from different direction.

Top left_Photograph of physical model) Top right_Lighting testing in Grasshopper Right_Cutting plans of the ceiling

23

S t ud i es on Lin e F ragme nt s of C o tton

The density of lines and the length of each fragment is defined by their rule in space. While some of them are hung at the same height to provide a "soft ceiling" for a static space, others are hung to the height that can be easily touched.

Layers of density were set up after the main programs are defined. To assemble massive line fragments of cotton, boards with located tiny holes are designed to make sure each line fragments located on the right place.

Left_Photography of final model Top right_Concept drawing of the density of cotton.

Right_Cutting plans of the assemble board Bottom right_ Photograph of physical model

25

26

Privacy of a fitting room Private

Public

Density of cotton

P ro t o t y pe of a F i t t i n g Ro o m Sen se of T ouch

Left alone in the fitting room, a person has to try on many moves to ensure the dress fits. The moves were hinted by inserted mirrors and mat glass. As the body moves, the unfinished piece of dress begin to sway with the body and together compose a sequence of elegant outlines that projects on the cotton wall. Pipes were weaved to held up mirrors and cotton to form a wall. They are bended due to functional reasons, for example, providing hooks for cloth measures while the tailor visits.

Far left (from top to bottom) _Time fragments of incidents that happen each time a customer visits the old market and tried on the dress _A more detailed time fragments of what happens in a single fitting room while the customer is tryin on the dress. 11 moves were designed for the customer to dance with the unfinished dress in the fitting room. _Studies on mirrors and eye sights/body movements and the sense of touch. _Diagrams of the density of cotton and the privacy of a fitting room.

Left_Study model of a single fitting room.

Behind_Hand drawing of a fitting room plan

27

29

Photograph taken on the final review day

04 R IBA C o m p et it io n

30

The M ea d o w B ri d g e

Project Type_Professional work Award_First Prize Time spent_July 2013 - Aug 2013 Site_Salford, United Kindom Cooperation_Tonkin Liu /Arup Personal contribution_Grasshopper model testing/ laser-cut machine operation/schematic design/design development/plasticine model making The Meadow Site Salford is changing, from major developments to city parks, revitalized waterways and green spaces. For The Meadow site, we propose a new landmark pedestrian bridge, connecting The Meadows from The Crescent across the River Irwell to open up access to The Meadows and ensure that it becomes a wellused resource for the local community, while also attracting new visitors to the area.

"A place-making project that encompasses architecture, landscape and cutting-edge engineering."

By studies of shape, structure and perforation, we try to create a bridge that is poetic, innovative and elegantly engineered with sinuous curves seamlessly linking the Meadows with the new public space to be created. To apply the concept of Shell Lace perforation, we discussed the structure to and fro till the final decision was made..

Top Left_Site plan Left_Photograph of The Meadow site Right_3D print model of the bridge

Th i n S inuous D e ck

The image of sinuousness comes from the concept of lovers seat, while two winding curves grow from two sides of the river and meet halfway on the middle top of the river, also creates public space for pedestrians. By perforating the deck , based on floral pattern that origins from The Meadow site, the image of the meadow is extended across the river from The Meadow site to the City.

By applying the Shell Lace structure to the deck, we prevent the deck from being twisted or bended and had the perforation lighten the weight of the deck. A twisted arch is used to support the sinuous deck at the middle point of the bridge to solve the problem of the span.

Twi ste d A r ch

By folding, twisting and perforating the arch, we create a cross-river span that is able to hold up the deck without any supporting structures within the river. The perforation is used to lighten the arch both visually and physically, and creates a pleasure view of the bridge for the pedestrian and for the neighborhood while the bridge and its projection in the river merge into one.

op left_3D print model Bottom left_Image of the meadow bridge Top right_Plasticine models made in study process Bottom right_Concept line drawing

33

Deck composition plan 1:100 - The pattern is based on the Fibonacci "sunĂ&#x;ower" spiral - Flowers arranged in a two lines composition - Flowers diameter varies from 1800 to 2400 mm (18 to 24 in the model) - Circular holes are 50 mm in real bridge (0.5 mm in the model)

34

P erf o ra t i o n st u d i es

The study process is carried on by setting up ecological and economical parameters in Grasshopper. As a pedestrian bridge in the nature, it is important that the bridge itself should not do any ecological damage to the site. The span has to be long enough to avoid rooting in the river, but also, has to be strong enough to support the whole structure.

We proposed a way to perforate both the deck and the arch. This not only cuts down the weight of the structure, it also provides a more transparent view to the neighborhoods.

To approach this idea, we looked for the lightest structure.

Parameters were set to achieve the two main target: The least material use and the stable of the structure. The stable of the structure was carried on by Arup. The least material use was studied via Grasshopper. After each pattern of perforation was tested, we calculated the total volume of the bridge and then hand out the test model for structural analysis.

Left page (from top to bottom) _Concept drawing of floral perforation _Final solution of perforation _Concept drawing of floral perforation _Elevation of the bridge Right page Top_3D print model Bottom_Structual analysis image received from Arup

Cutting plans for the laser-cut model of The Meadow Bridge

38

05 Ar c h i t ec t s S tu d i o as an Art G allery

Project type_Academic work Time spent_Feb 2011 - Apr 2011 (7 weeks) Instructor_Lin-wei Chen This project is to design an architect studio that also opens the to public as an art gallery. The form of this project consists of two building mass: One that located at the corner as a welcoming hall and the other one placed in the back encircled as a walking gallery and the main office.

The welcoming hall is an one-story high-ceilinged space that slows down and freshen the visitors that enter from the noisy city. It is the start of the movement. By a few steps of stairs, the welcoming hall links to the gallery and the studio.

Workshops and projects are displayed together with the art works as a part of the gallery. Visitors not only get to see static drawings hanging on the wall, but also get to participate in the atmosphere of art and design.

Studies on movement and lighting had been carried on by perspective sketches and study models. The form together with natural lighting are designed for a fluid movement for visual sense and to form a rhythm atmosphere.

Left_Image of physical model

39

Ways of A ppro a c h i n g

According to researches of public movement around the site, a few main approaching paths to the project are set and carried on for further movement study base on visual sense.

40

Rh y t h m o f V i su a l S en se

The site locates next to an artificial river and is surrounded by lots of trees in Taichung City. While approaching it, the way those trees are located along the flowing river creates a rhythm atmosphere that is rare to find in this noisy city.

The image of the project is fragmented and framed between the trees by the branches like a piece of art while one approaches.

S t u d i es on M o v em en t

The design concept is to extend the rhythm from the context into the site. The rhythm flows from the outside into the art gallery (and the studio) continuously without a pause,

Top_Site plan Top left_Photograph of Physical model Bottom_Design plans Right_Skethes of studeis

41

28

Lighti ng S t ud i es

Inside the gallery, natural lighting became the main element of the continuous rhythm. Studies on lighting are carried on by cardboard models, based on the designed movement, the art piece, and the working space.

In d i re c t Lighti ng

Diffuse lighting are used often to mentally provide a more poetic atmosphere for the gallery and to functionally become a better light source for working and art work viewing.

S h a d ows

Shadows had also been considered in studies. Shadow is not only a background for light, but also it creates a more relaxing atmosphere. The combine of light and shadow composed a rhythm that is similar to the rhythm found in the context, but interpreted into another form.

Left_Image of the interior of the physical model Right (from top to bottom) _Lighting studies on the entrance of the linear gallery _Study model on form and lighting _Free hand render lighting of A-A' section

43

Photograph of Physical model

06 E xt rem el y Tr a n spa ren t Interactive Sen sory Instal latio n

Project type_Academic work Time spent_Oct 2012- Nov 2012 (six weeks) Instructor_Hao-hsiu Chiu Cooperation_Fang-yu Wu/Ann Margaret Lin Personal contribution_Grasshopper model testing/design discussion/detail design/material testing/manufacture This was a team work in parametric design studio. We were ask to pick a site in the new media centre, design with Grasshopper and manufacture.

Photograph of the installation

47

48

Des i gn Co nc e p t

The idea is to provide a playful spatial installation in the middle of the New Media Centre using an extendable material - fabric.

Fabric is a kind of material that stretches easily, curves easily, and is an ideal material for manufacturing 4 point surface.

By projecting certain types of videos on to the surface, the movement in the video begins to accelerate due to the different curvature of the surface, and provides a more fluid image.

By using these surface as a element to define a space, the projection is no longer 2 dimensional but a fluid space and people are allow to walk in to the projection and interact with the fluid image by touching the fabric.

M ate r ia l Tes ti n g

To assemble the fabric in one piece and limit down the cost of material, we needed to test the extension of the fabric first to set up parameters for computing.

The whole computing is carried on by Grasshopper. The basic principles are: 1.We experiment the extension of fabric 2.There are only limited location for us to hang those fabric at our site, so the limited locations are taken as one of our parameters too.

3.After the site and the materials are all set up, we find the ideal shape due to body moments and interactions we wished to

extended 1.5 times

extended 3.3 times

extended 1.5 and 2.6 times

extended 2.1 times

51

happen in the installation.

4.We then double check the results, see if it fits the limits of material.

C o m pu t i n g t h e P ro j ec t A rea

5.The last step that has to be finished in Grasshopper is to compute the total area of projection by setting up a virtual projector. We were looking for the largest project area.

A ssem b l y a n d M a n u f a c t u re

We spent two weeks on assemble and manufacture the installation. As a starter in Grasshopper, we forgot to set our heights as a parameter too. The installation was almost 400cm tall and it become very hard for us to reach the highest fixed point.

But still we accomplished and it was very fun.

53

Photograph of the installation taken at the New Media Centre

07 6 0 c m B ri d g e 54

Man ufacture & Material T estin g Project type_Academic work Time spent_Sep 2012 (one week) Instructor_Hao-hsiu Chiu

The main task of this small project is to design a selfstanding bridge structure with a over 60cm span and manufacture it with the laser-cut machine with a cutting limit that's less than 60cm.

Since the bridge can’tt be made one-piece, we are asked to test the materials we choose and design base on the physical behavior of materials.

Left_Beehive units Right_Photograph taken on the final review

B eeh i v e Un i t s 56

I proposed to assemble the structure by using the prototype of a refined beehive structure. A beehives is composed by numerous hexagonal cells. By finely fixed together, these cells formed a strong self-standing structure. By refine and redesign the hexagonal unit, I proposed a prototype of a unit which the bottom side of it is slightly compressed and its bottom area is slightly reduce to form an arch bridge.

A rc h

The prototype units are mass-produced, and then glued on a fabric-like paper to form an arch. Because of the slightly-reduced size of the bottom of the units, these units are fixed together closely while the arch is under physical forces, but become loose like fabric while the physical forces are removed.

The upper part of the bridge consists of an amount of units that carries pressure.

The lower part of the bridge is a sheet of thin fabric-like paper that transfers tension. While carrying its self-weight and free-standing as a bridge, the physical behavior of materials had become its form.

Left (from top to bottom) _The arch _The loose position _The structure can be bended and carried easily Top_A hexagon unit(left) _Prototype of a refined hexagon unit(right) Right_Line drawings of the physical behavior Bottom right_Cutting Plans of a unit

60 cm span

pressure

curvature

tension

Top_Typology of weaving Bottom left_Photograph of Sane units Right_Logic of the weaving of Sane units Far right_A 3 dimentional testingon weaving

08 J a p a n ese Ar m o r Typology of weave

Project type_Academic work Time spent_Feb 2013 - Mar 2013 (three weeks) Instructor_Ming-zheng Lai This was a small research on the weaving of Japanese Armors. While the Romans develop with metal armors, the Japanese have evolved another type of armors that consist of hundreds or thousands of Sane Units.

Sane Units are weaved together, the perforation on a single unit is perfectly designed to be weaved together and form a strong surface to protect the soldier.

This research is to study the weaving of the units, to find the logic of Sane Units weave and to test the possibilities of weaving.

09 Pe r s on a l B l o g 60

Manu f acture & Materi a l T estin g

Project type_Academic work Time spent_Dec 2009 - Jan 2010 (four weeks) Instructor_Fang-yi Lin Since the internet became popular, personal blog had become an regular thing for people to write down their life or post pictures that they want to share. But what if personal blogs are no more virtual? What if blogs exist in real life as a space? What would we want to share in a 3 dimensional personal blog?

This personal blog is designed for my close friends and myself. Consist of numerous recycled PET bottles, the transparent structure hided us behind the leaves on the tree in the woods. Two PET bottle seats were designed to be installed onto the tree on different heights. The lower one for my visiting friend, and the upper one for myself. By sitting close on the tree, we get to share the same pleasant environment and the same beautiful view together.

All material used were recycled, including the recycled timber and the recycled PET bottle, as an idea of respecting the nature. The site was observed carefully and the blog was designed and manufactured carefully to make sure it cost no damage to the tree.

Right_Photograph taken on the day of final review

29

T ec t o n i c S t u d i es a n d D et a i l s This stage of design includes studies on recycled PET bottles, studies on timber structure, and studies on details of the joint.

Recycled PET bottles were collected am assembled to form PET bottle seat, a 3 dimensional surface that fits the sitting behavior. The recycled bottles were placed side by side and tied together with iron wires to build up a strong structure to carry the body's weight. As one sits on the PET bottle seat, the bottles carry pressure while the iron wires transfer tension.

Iron wires in the back of the PET bottle seat weave together to form a surface.

The joints were linked together to form numerous triangles that stabilized the surface and to evenly separate the body weight that's imposed on the bottom surface of the PET bottles.

Behind_Study model on structure Top right_Iron wires and joints Bottom right_Tectonic study on PET bottle

63

64

T i m b er S t ru c t u re

Unlike an usual tree house, two PET bottle seats were attach directly on the timber structure to avoid damage to the tree. The structure shuttled around the tree, carrying two transparent seats in the air, and the tree structure became a minor support to the seats.

C o n st ru c t i n g t h e P erso n a l Blog

Before the construction, PET bottles and timber are collected from the recycling plant and other construction site near the campus. After the materials are collected, a light timber structure was first plant into the earth next to the tree. Later, the PET bottles were assembled in groups on the ground and carried to 5m height to be weaved together between the branches.

It is amazing that how much extra work one need to do to avoid hurting the tree while constructing the project.

Top left_Photograph of the upper seat taken from the outside Bottom left_Photograph of the upper seat taken from the inside Top right_Constructing the timber structure Bottom right_Construction site

66

Photograph taken on the day of final review

10 Tra ns f or m e r Tab l e 68

M e ch ani c al Desi g n Project type_Academic work Time spent_Oct 2009 - Nov 2009 (4 weeks) Instructor_Yeh-chiang Huang

This is the first project I designed and manufactured in a 1:1 scale in first year design studio. We were asked to make out own table with a concept that comes from drawing tools.

I proposed the motion of slide since it’s a very common behavior that can be found in many drawing tools. By using the motion of slide, I designed a work table that transforms by gravity and proposed 5 different kinds of adjustment designed for 5 different kinds of drawing/ model making behavior.

Two piece of deck are installed between the rails. The rails are designed carefully to carry the weight of the decks and to make sure the two decks move smoothly. The decks can be easily moved by the user horizontally, but not vertically. To slide and move the decks vertically will be too heavy and not efficient. Therefore, stones are hung beside the table and tide to the decks, by loosen the rails, the decks can be easily lifted by the heavy stones, and be adjusted to 3 different angles by locking the rail.

For video version, please watch on Youtube: https://www.youtube.com/watch?v=3q1h8WvOYF8 The video was recorded by one of the teachers on the final review day.

Behind_Calculations of the rails Right_Photograph of the table

C a l cu l a t i o n o f t he R a il s The rails were calculated carefully and precisely for the table to function smoothly. This stage can be roughly divided into 3 part. First, design the moving path of the decks and make sure they can move fluently without blocking each other's way. Second, decide the angle of the drawing deck. This based on the research on body behaviors while drawing.

At Last, design the rails. This is the hardest part in in the design stage, the rails not only has to function as rails but also need to block the decks to stop them from being lifted by stones. Also, the physical behavior of the material was considered to.

Left_Calculation of the rails Top right_Angles of the drawing deck

M a n u f a c t u ri n g the Table

It took 2 weeks to assemble the table by hand. The table structure was stabilized by removing the deck of the old table and fixed the new table on the old structure. Slabs of timber are piled up to build up custom rails. Stones are tied to the decks by cables and each cable goes through two pulleys that transfers gravity.

Top_Serial Photograph of 5 different adjustments designed for 5 different drawing/model making behaviors Left (from left to right) _Stones and cables _Two sets of pulleys are installed for the cables to work smoother while functioning _The rails allow the decks to move horizontally and, at the same time, behave like obstacles to prevent the decks from being lifted by the heavy stones.

74

11 Drawi n g s f or Canter b u r y Cathe dr a l Co mp e t it ion

Project type_Professional work Award_Shortlisted Time spent_Jul 2013 (0.5 weeks) Cooperation_Tonkin Liu /Purcell Personal contribution_Free hand drawings/presentation/ schematic design

Ann Margaret Lin (Lin, Tuo) Jun 2014 Graduated from Department of Architecture(BArch), Tunghai University, Taiwan(R.O.C) Jul 2013 Intern in Tonkin Liu & Architects, London, Aug 2013 United Kindom Jun 2008 Left National Cheng Kung University, Taiwan(R. O.C), major in Physics Jan 1989 Born in Stillwater, Oklahoma, United States of America

Contact: E:smilemarg@gmail.com Tel:+886-922-011-878