Hannah Tucker

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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.

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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