Capstone Book

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Contents 12 Precedents

22 Material Studies

26 What? / Where?/ How?

50 Volume II

58 Design Iterations

84 Design

104 Details

112 Perspectives

120 Installation

-5-

“ How can space acts alive and react to the user’s movements? “ The building we are contained in is static and fixed while the people inside are constantly moving.

The architecture and interior designer should be able to respond to the constantly changing human needs nowadays. This idea came from the increased amount of time indoors and the static environment of the interior.

The project itself is constantly asking how space could react to the motion of humans and interact with users. Inspired by the live things out in nature, the shape of the sea anemone played a big role in this structure. Not only implementing the shape into the structure but also simulating a similar relationship with the sea anemone to Nemos to this structure to humans was the initial approach.

As the structure moves and elevates up and down, it creates a different perspective of the room without changing the existing condition. The series of capsules that are integrated onto the surface accelerates and highlights the intimate and direct interactions between the surface and the user. Moreover, it can offer several other features and meanings, such as a grown-up’s playground, a secret hidden space, an inhabitable space, and a surface that can transform your room into something completely different to give aliveness to the interior space. This project will continuously challenge and question how we view our traditional home and the way we interact within a space.

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VOL 01

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“Buildings in motion bring ‘democracy’ to architecture by allowing each person, at any given time, to shape their personal space as desired.”

This capstone continually questions how space can react to repetitive daily human movements in the house by creating an interactive space that mimics the nature quality using transforming materials.

Throughout the semester, the focus has been challenged to find materials that could depict a live organism that can transform over time from the outside factors. The idea has been further developed to link a deeper meaning of life and the life cycle, specifically inspired by the butterfly’s biological life cycle.

The followings are why the topic of aliveness, transforming the structure and living organism is essential. There should be a stronger relationship between the space and the users. Creating a more robust connection would enhance the experiences

inside of the building. This is also to fulfill the ever-changing needs of humans. As time passes, some changes appear, and Kolarevic described this “As the external socio-economic, cultural, and technological context changes, so do conceptions of space, shape, and form in architecture” (Kolarevic 17). This would also vitalize the static building and give dynamics in the space.

We need to solve these problems to challenge ourselves to avoid boredom and encourage a novelty in the space we spend most of the time. This living organism or transforming structure could reveal secrets or meanings. The Architecture David Fisher once said that buildings that are transformable by users bring democracy to architecture by allowing the change.

STORY

The building we are contained in is static and fixed while the people inside are constantly moving. The architecture and interior designer should be able to respond to the constantly changing human needs nowadays. This project is about how space could react to the motion of humans and interact with users.

It begins..

The idea of this project derived from the fact that Americans, on average, spend 90% of their time indoors. While the shelter is a basic need for humans, being indoor isn’t the most fantastic idea as humans are not designed to be inside the whole day. There are lots of psychological down effect from being inside all the time. It could be the lack of sunlight we are getting; it could be the static wall and the same environment causing people dementia and depression. If this idea can’t be changed quickly due to the circumstances, why not change a space to be alive?

Could we give the building a character so that the users and space could communicate and create a synergy?

These transforming and alive architects could provide users to experience the same space in various ways to enhance the indoor quality and appreciate the indoor space much better. Offering a natural feeling of slowly changing conditions could mimic the living organism, fulfilling the familiarity.

Furthermore, incorporating motion into space could offer another dimension the users could connect with its surroundings.

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Precedents

1. Nassia Inglessis 2. Cedric Price 3. Theory 4. Sense : Air 5. Sense : Sound 6. Sense : Texture The later parts of the precedents were categorized under the specific senses I wanted to emphasize during the research. There is a different project under each sensory tab that I looked at, hoping to accomplish in similar manners.

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Nassia Inglessis “We have a need for transformation and we should make our living environments transformable... In a natural environment, you immediately become part of its ecosystem—our movement is in relation to changes around us. You leave your imprint as you walk through grass or tread a path through the forest. Instead of being something t hat we must adapt to, can an urban environment be something that adapts to us?”

The recent work of Nassia Inglesiss, the Urban Imprint begins with human centric approach. It is an interactive installation which visitors can reshape physical parameters with thier own movement.

Key words : adaptive, alive, imprint

Cedric Price The Fun Palace Cedric price was the first to adopt concepts from cybernetics and use them to articulate a concept of “anticipatory architecture”. The fun palace was an environment where the users and building could continually interact.

This spidery building was formed by a scaffold or framework and operated by the cranes lifting and shifting the space to allow different functions depends on the needs. In the sense of the architecture, the fun palace wasn’t a single space but more like a socially interactive machine. key words : interactive, social, multi-functional

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Attention Restoration Thoery Attention retention theory, developed by Rachel and Stephen Kaplan in the 1980s in their book The experience of nature: A psychological perspective, argues that people can concentrate better after exposure in the natural environment. Nature environment contains a soft fascination which provides effortless attention such as the moving clouds in the sky, the leafs rustling in the breeze, noise of streaming water. For the long time, nature has been known as a source of energy and peace in philosophy.

“The Kaplans describes a series of characteristics that an environment must have to be restorative. Fascination: the ability of an environment

to generate awe in people; the amount of awe can give the directed attention a rest as the involuntary attention appears in its place. Being away: a feeling that can be objective or subjective in form, e.g. a person can be far away from a location or can let his or her mind go from everyday life and worries.

Extension: the connection between each element found in an environment; the feeling of being able to travel through the environment in order to look for the information it provides.

Compatibility: characteristics found in an environment that meet the preferences and goals of a person.”

Conversation Thoery

Converstion thoery is an idea proposed by Gordon Pask, in the 1970s. This idea originated from this cybernetics framework and attempts to explain learning in both living organisms and machines. The fundamental idea of the theory was that learning occurs through conversations about a subject matter which serves

to make knowledge explicit.

The theory describes an interaction between two or more cognitive systems, such as a teacher and a student or distinct perspectives within one individual, and how they engage in a dialog over a given concept and identify differences in how they understand it.

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Air - Expanding motion The brethable wall installation by Plastique Fantastique creates the structure that public will be embraced between breathing walls constantly changing their physical volume, creating a perceiption of being inside of a living organism.

Air - Expanding motion The Breathing Skins technology is inspired by organic skins that adjust their permeability to control the flow of substances between inside and outside. Pneumatic muscles regulate the amount of incident light, views, and air passing the Breathing Skin.

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Sound - Breathing Articulate a tension between the orderly patterns of Modernism and the chaotic forces of life. The installation is carrying an emotional depth and the acoustic hum of natural phenomena.

Texture - Slimy & Sticky Fingertips increase touch sensitivity due to mechanoreceptors right underneath the surface of the skin. The added texture will increase the stimulation in the moment of the space.

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Material Studies

1. Latex + Sponge 2. Plastic wrap + Liquid Slime 3. Foam + Body 4. Plastic bag + Orbiz 5. Bubble wrap + Jello

This series of studies were done to discover the materials that would work best with the idea of the project. The slimy texture materials were used to mimic the live organism and the focus was to create layers using two different mediums that are similar to the layers of the human skins. Throughout the study, the noise of the two conflicted materials was recorded and the study looked further into the relationship between the two different mediums and the behavior of the materials using hands.

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Expand & Squeeze

Bury & Suction

Stepping &

& Foaming

Scatter & Bounce

Bounce & Suction - 25 -

What?

RICE PAPER

After several material studies with different mediums, the rice paper was the most intriguing one to use for this project. Rice paper showed the most potential of transforming with the additional elements from the outside factor such as water.

The discovery of this material was remarkable since the material was able to change it’s formed entirely when it met the water. The original form of the rice paper was rigid, textured, hard, and stiff.

When it was soaked in the water, the rice paper started to loosen up its form, clung on to each other, and became stretchable.

Using the different motions that each stage of the rice paper offered, I’ve conducted body studies with the rice paper to discover how it could interact closely with the different body motions more than just in the smaller scale of body parts.

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..... upper body

scrucnched body .....

inside the structure .....

..... on the body

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Where?

HOME

During the pandemic, there were lots of people who were stuck at their house regardless of their desire. It would be lucky if you were living with your parents or roommates but living by yourself and having a limitation to socialize with the outside world probably would’ve been a nightmare for those who can’t always be inside. Looking at the same

space, the same arrangments and organizations make space uninteresting and which is why people change up the wallpaper, furniture, or even just a new lighting.

While the familiarity creates comfort in the house, could we suggest other functionality of the house offering unfamiliar idea?

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How ?

TRANSFORMING MATERIALS

Focusing on the common movements and activities that occur at the residential on daily basis such as sleeping, getting ready, and accomplishing tasks of the day, we can think of how this material and structure could be applied to the body.

Each movement from different activities throughout the day can utilize this structure. The hand figures at the behavioral drawings represent the behavior of the movement of the structure to the body.

The structure becomes something that we could be inhabiting from the inside and experience how the movement is affected through the different motions of the day.

Considering the benefits of nature, space mimics a live organism or cell. The adaptive and interactive architecture forms an organic shape inspired by nature of offer familiarity into the residential using human sensoriality such as air, sound, and texture for comforts.

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to nest It all begins from the motion of awakening. The structure is nesting the human inside providing a sanctuary place and acting as a second layer of the bigger space, the bedroom. Linking back to the idea of the biological life cycle of the butterfly or the human, this falls under the womb part and being inside of the birth of creation.

The structure itself is rather hard at this stage to protect the body inside. The transparent material allows the outsider to be able to recognize the creature being inside of the structure.

The user is to break this structure every morning to move on to the next activities which indicate the start of the day and the start of the life cycle.

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to envelop Borrowing the idea of transformation of the rice paper, the second movement is taking care of oneself. This activity is happening in the wet area and using the additional element, the water. Whether showering or washing body parts, exposure to any liquid forms could change the status of the rice paper that’s laying on the outer part of the body.

Continued from the first activity, the structure is carried through the different activities afterward. After the structure touches water, the form slowly begins to soften up and stick closer to the body, creating the enveloping motion.

This idea derived from my childhood experience in the shower. Standing underneath the water with my head facing down, my long hair would create a cave like peaceful inner space surrounding my body. I enjoyed this moment as it felt like somebody was hugging me without anyone being there.

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to limit Sometimes, limitation provides comfort. Having a boundary and limit could make the users feel protected. This stage happens in the midst of the day. Eating alone is what many people are afraid of out of all the alone activities.

The structure has been softened up a bit from an external element from the previous activity. It then slowly formulates back to its original form after a long time of exposure to air. As it is going through the change of the status of the form, it is providing both the soft and rigid feel to the user inside.

Every movement from the torso with arms when nourishing is somewhat limited from the structure covering the body.

Some of this part can further guide to a certain form when the structure starts to harden up.

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to connect This stage is the last step of the life cycle. As my whole semester was spent mostly in this room, the only chance I could connect myself to the outer world was through the one window in the room. I would often imagine or get inspired by the outside noises, or what it allows me to see from the small puncture of the room. This moment was providing a sanctuary spot for me to rest my eyes on or thoughts to take some pause of what I was doing at the moment.

Imagining the structure can be hung to the existing architecture, it is allowing it to be used as a passway to connect the inside world to the outside world without any obstacles in between.

As the drawing shown in the right, the structure has moved on to the upper part of the body. This implies that the human is ready to get rid of the structure and move on to the new one (life cycle).

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VOL 02

Last semester, the project was about constantly questioning how space can react to repetitive daily human movements in the house by creating an interactive space that mimics the nature quality using transforming materials. The focus was challenge myself to find materials that could depict a live organism that can transform over time from the outside factors and further developing it to link a deeper meaning of life and the life cycle.

The project has been developed over semesters to create a structure that surrounds the body inside a room that acts as an alive being. By limiting the user’s range of motion, this structure will enhance both privacy and comfort within the space. User feels a sense of ownership from within the structure and which alters the way they interact and view the space.

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the prologue So the pandemic started, and everyone finally got to be together 24/7 as they were forced to be inside. Ironically, I feel I had more time alone. It’s almost like my body avoids any kind of interaction and pushes me towards a long, quality private time. I’m sure this time changed everyone in different ways, and mine was spending time alone and reflecting on myself. This setting reminded me of when I moved to a new city without knowing anyone except this one friend from my school. We were colleagues and, at the same time, a roommate.

Without knowing anyone, we spent the majority of time together for four months without any break from each other, either we wanted or not. Here is a similar context of being with the same people all the time. It never crossed my mind, but one day, I realized that older people usually spend most of their time inside and only with their one significant other. Back when Corona started, one good thing about it was that I could spend time in Korea, and I went to my grandparents several days a week to entertain them since I could never spend quality time with them for being far. After several visits, I’ve realized that there is a dedicated spot for each of them. Not even exaggerating a bit, every visit, my grandmother and grandfather were sitting at the same spot just like they promised not to take each other’s seat or crossed invisible

fences of each other. She will always sit on the left corner of the sofa and my grandfather could be found on his chair in front of a computer in a separate room. Whether it’s intended or not, I believe that all humans behave this way. It was just easier for me to notice because I had an outsider view. When there’s a new eye into a situation, you can get a better idea of a situation.

This was when I realized to think about personal space in an individual house.

I started to think of my home, how my family behaved inside the house and where their go-to spot. Then I thought of myself and how my space changed in different spaces and made myself comfortable in a new setting. Every new space, there was an implied spot for me. It’s almost like I was scared to step outside of my comfort zone; I was just used to the same setting I became magnetic to the area. We may feel protected and safe for being inside our house, but unless you are entirely alone in the house, we tend to create a deeper level of a private space inside a space. Whether it’s just you putting an invisible curtain around you by putting ear buds into your ears or holding up a book and starting to read in a big comfy chair that surrounds your body, we have our way of doing so. That’s when I grew my interest in this personal space and how this all began.

C W F F M S G M S G M S G M S G M S G M S G

Cradling Contouring Sinking Molding Wrapping Absorbing Clinging Streching Filling Engaging Fixing Hanging Giving Floating Cradling Contouring Sinking Molding Wrapping Absorbing Clinging Streching Filling Engaging Fixing Hanging Giving Floating Cradling Contouring Sinking Molding Wrapping Absorbing Clinging Streching Filling Engaging Fixing Hanging Giving Floating Cradling Contouring Sinking Molding Wrapping Absorbing Clinging Streching Filling Engaging Fixing Hanging Giving Floating Cradling Contouring Sinking Molding Wrapping Absorbing Clinging Streching Filling Engaging Fixing Hanging Giving Floating Cradling Contouring Sinking Molding Wrapping Absorbing Clinging Streching Filling Engaging Fixing Hanging Giving Floating Cradling Contouring Sinking Molding Wrapping Absorbing Clinging Streching Filling Engaging Fixing Hanging Giving Floating Cradling Contouring Sinking - 51 -

Density of Material Layering Privacy

+

What’s the

Surround the body Contouring Comfort

+

Customizable environment Manipulating Ownership

=

How is it

Zone

Biomimicry

imitates the relationships of those functions similarly in nature

+

quality?

t alive?

A Being

Temperature

implementing lighting elements to enhance a visionary quality

+

Transformable or malleable enough to be Responsive and accommodates different needs in human behaviors

=

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prologue For the next few moments, I recall when there was another given space inside a pre-existing space. It draws people’s attention and interest by offering a new space inside of ordinary space, which helps people engage with space better with much appreciation.

Let’s go back to the time when we were building a fort out of chairs, blankets, and pillows. It felt so special as we have created some kind of our own space that’s only dedicated to us. Now you may question why we need to feel more private if you already have your room, and closing the door can give you the privacy I’ve been talking about. A closed room also can act similar to the idea I’m suggesting, but whether the room is big or small, it has some kind of freedom with excess space that we don’t always use or occupy. This freedom affects the perception of space and the way we feel.

Too much freedom will lead to a lack of attention and effort to every inch of space. You begin to associate a bit far from them and at that moment, you lose ownership of the space. Here’s a story of Infants, a just-born baby, feeling anxious when they see their arms stretched out or “free” in space. If you are familiar, You may often notice that they are usually wrapped around a tight fabric that constrains their movement, and in fact, that gives them some kind of comfort.

Woah. Limiting a movement provides you comfort. Yes, A human feels ownership of the space when it’s within an arm range where everything can be reached when you stretch your arms.

When I was little, I would play hide and seek and I remember loving the moment of being inside an enclosure such as being inside of a closet, underneath a desk, as it would make me feel as I was in a different dimension. Unusual space gave me a new perception of ordinary space and it just was interesting as it wasn’t normal and I enjoyed the excuses of being in an odd place and no one will question the reason for doing that. During summer, when mosquito zombies appear from nowhere, my father would install a mosquito net for me to sleep inside at night. Though it was see-through and everyone could see me, I felt very protected, and it felt like I was in a camp. Not only it saved me from getting bites from mosquitoes but it also created additional space, and the net became an indication of a space limit from the others. The net was also different from being inside the room because it was installed around my bed, had a flexible wall, and wind from a fan would fluctuate the net, which seemed like dancing with my dream. The way I entered the mosquito net sets a part from the traditional entry experience. Unlike a traditional way of opening a door, it doesn’t have a door. I would have to lift the bottom of the net and quickly shove my body to the net.

None of this happens with a traditional original space.

Being inside a tub filled with water also feels like you are in an indifferent world.

Immerse yourself into the water, half of your body, half of your face, they all provide you different sensations. It creates a different layer of skin or space that’s invisible.

Home We may laugh at the little kids who think closing their eyes will somehow affect how others view them, and changing their own perception might change others as well. That’s right humans are easily influenced by what they perceive. Out of 5 sensories, vision is the easiest way to change the way we feel about the space by providing different scenery. Vision is the one big thing you notice first, and then all the rest of the sensory supports what you see to feel the dimension and space fully.

Why do we need this in a personal space? People are afraid of change when overly used to one’s place; however, they are never satisfied with one decision.

This surface allows the change to come to you under your control while maintaining the existing condition. This structure is a

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modern approach, proposing a new environment to your old, unconventional setting.

It is common for one to wish to be in another world away from everyone with a single click of a button. The structure’s abnormal shape is a perfect way to create a different atmosphere, but also, the organic function will lure one into the new space.

The next slide shows the spatial study that the author performed in her room to understand how much of space a person needs to feel those three qualities, privacy, comfort, and ownership within the space. The diagram series shows the daily movements within the room and illustrates how much space the author occupies within different activities and movements.

spatial

studies - 57 -

Design Iterations

1. Grasping 2. Floating 3. Absorbing 3-1. Poking 3-2. Peeking 4. Corsetting 4-2. Horizontality 5. Blooming Several ideas have been developed before moving to a one final design. These were mostly inspired by the form, function, and relationship with animals in nature.

Yet, following the biomimicry theme to achieve the being feature of the project. The focus for this charrette was to quickly iterate different ideas even if its development is at the minimal stage. This exercise allowed the author to browse and look at different parts and things in nature that caught the attention at the beginning of the project. As the design continued, many questions have raised which were carefully considered before moving on to the final design phase.

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01

01. Grasping The Grasping idea was inspired by the exotic shape of mushrooms and the functionality of the fly trap.

The physical model focuses on the shape of the idea and the clear drape represents the fluidity of the structure when the motion of the grasping happens. This idea was considered when struggling with the entry experiences. The how to diagram illustrates the human interaction with different statuses of the structure when it’s not being used versus when it’s being used.

Whilst designing the transforming part of this concept, one more quest needed to be answered, how the structure can be placed or used when users don’t occupy it.

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02

02. Floating The Floating idea was developed from the shape of the earth and the idea of the womb mimicking the gravity-free function. Going back to nature of world and thinking of how human were born, the author have imagined this to be an womb like architecture.

Perhaps designating a role for the user and the space sets the relationship and could raise the intimate reaction between the two.

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03

03. Absorbing This was derived from the sea anemone’s shape and simulating the relationship between Nemo and the sea anemone. To Nemo, it functions as a dwelling or protected area where they feel safe. This is most similar to how I envisioned space would be initially. Coming from the ceiling, the form continues to drip, which resembles a water drop, and from many angles, it reminds me of lots of things that can be found in nature.

The idea expanded its potentiality first by the location of the structure and second by adding another layer of functionality. It’s unclear what the specific material this will be made from; however, it will be easy to manage and flexible enough to form a different shape. It allows its possibility to be hung, laid, cornered, and the stretch part of the material will respond back to the user’s movements. Then I was able to iterate this design into two subcategories. One is poking and the other one being peeking, has a similar form and idea but the entry experience and how the user interacts with the structure is different. The Poking idea began by looking at the way the bees visit flowers to pollinate. In a way, we can see that the nectar of the flowers is poking its visitor. The shape of the structure imitates the beehives and

the round part pops when one enters the structure and pushes the pointy nectar parts. The way that round parts extend from their cell is to replicate the motion when the bees come out from the beehives. While I liked the outer part of the Absorbing design, I wanted to spark the interior moment as it seemed too flat. I think the way that structure changes its form when occupied by a user speaks loudly with my concept which I love about.

Continuing with different iterations to resolve the possible intimidation with the earlier design as its spiky, I was able to come up with the peeking idea.

Essentially both poking and peeking are similar in terms of the structure can be easily recognized by others if space is occupied or not. This idea grew after seeing an image of a lotus flower before it blooms. The design can be easily visualized if I mention it’s a giant bean bag that lost lots of foams inside and trapped inside this oddly shaped shell. As the one enters in and moves their way through to locate oneself inside the structure, it will push the fabric filled with foam.

While it contours the shape of the body, the leftover filling will start to peek out of the holes from the shell and this was to mimic Gould’s razor shell.

what

how

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where

- 71 -

03

+ 03-2. Poking

03

+ 03-3. Peeking

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04

04. Corseting the Corseting comes from the cocooning idea that appeared at the Volume I. This is collapsible like an accordion which will enhance the spatial quality when it’s not being used. The string/ tale at the bottom also allows the users to easily drag along the house as long as it’s on the track which shows it’s mobility. How one goes inside of this structure raises questions, but it’s meant to work as tight clothes that will corset one’s body and, in the meantime, comforts the users with the constraining feeling.

Then, the design evolved by turning the structure sideways. Impressed by the detailed plan shots of mushrooms, adding chiffon fins in the outer shell will enhance the structure’s spatial quality. Each ring works individually, and the tight stretch fabric connects the in-between moment of the rings, which will easily alter the form of the structure as the user enters this zone.

This design has the ideal shape and shows many potentials to grow, yet, missing the architecture quality as the users cannot interact with the form from outside.

what

how

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where

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04

+ 04-2. Horizontality

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05

05. Blooming

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+ how to + connection details

one

tw

wo

three - 83 -

00

In -

between - 85 -

Sur /su r/

prepositions.

1. on sur, dans, par, au bord de 2. about sur, au sujet de, vers, à peu près

sur-face 3. to à, pour, de, vers, sur, en

4. over plus de, sur, pendant, au cours de, tout près, tout droit 5. at à, de, sur, en, vers, à propos de 6. upon sur, à 7. onto sur 8. along le long de, sur, dans, avec

9. against contre, sur, vis à vis, en opposition avec, en échange de, en vue de

grown-up’s

secret

playground

surface tactile

fun

hidde

moment

inha

@ home vers.

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behaviours?

The name for this structure is a French word called Sur, a preposition that can be used as on, about, to, over, onto and goes on. It also came from the first three alphabets of the surface.

The English way to pronounce may sound like sir, a respectful way to address one in a position of authority.

Some of the keywords representing this structure are playground, hidden space, an elevating surface, tactile, playground, moment, fun, secret, and etcetera.

This drawing indicates four different behaviours and roles of the project. The author wanted the structure to be used as an adult’s playground, a secret hidden space, transforming space, and inhabitable surface.

When humans grow up, they are meant to be disciplined and

learn to be mature. Adults still want a playground; adults also want to have fun; we just don’t publicly ask for it. I’m sure it was everyone’s dream to have their own secret hidden space where no one can access it when they were little. There is a special connection to something that only you know. And this project will be able to act just like it.

Even though these are listed moments of the surface, it is not limited. As the users interact and explore more, they will discover more value of the character and different creative ways to use this.

The following images are the study model built to understand how the Sur could look like when its being interacted and drape overs on to different things. Even though it’s missing the silicone panel in the middle, it shows the clear shape and the potential functionality of the project.

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surrounding movements This is designed to accommodate any activities such as rest, taking a break, or do any other typical activities that happens in a daily life.

Adding this structure to the home will allow users to feel closer to the interior space both physically and mentally. When there are objects around humans especially in closer proximity, humans tend to feel comfort. As the users become a part of the structure when being inside while they are dictating and transforming the structure to their movements it will create different zones depends on the location of the user’s body.

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elevating surface The elevating surface is coming from the ceiling with motorized ropes along the surface. Since it’s coming from the ceiling, it is offering few different ways of manipulation to happen. First, the form can be manipulated by humans and second with the existing furniture underneath as the surface goes down.

There is a reason why the author wanted to have this not from the wall, not from the ground but from the ceiling. It is common for people to walk around from the ground. As the project began with an untraditional approach to break the norm of the residential world, the author wanted to offer different perspectives of the room.

How many people have experience or view their home in various ways throughout the

day? Everyone is set with their own height. Except you are laying down on a bed or sitting on a chair, there are not many differences in what you see on a daily basis. This means that majority of people cannot experience all the parts of the house.

Sometimes, we can see videos of the dog’s perspective on the world on social media. Even we all are in the same place, with different elevations, the world seems different. Views from looking down, view from looking up, views from the corner.

To fully experience the space, we need to change the way we see the space. Th is elevating surface will offer those different perspectives from different angles and different levels.

tube

stretched surface

body

furniture

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00

transformation

against the ceiling

begin to touch furniture beneath

touching the tip of a body

accessible height to climb up

draping over furniture underneath

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Here are elevation diagrams to show how the user performs within differ it’s untouched and the tubes facing down which will creates the environm person starts to climb up and is able to access the space above the sur progress downward and when it touches the existing furnitures underne surface comes down, it begins to divide the typical room in to two differe of this design. This will shift the perspectives of the way that human norm This offers the users to be in different levels within the room and which the existing site.

rent stage and level of the surface. When its all the way up on the ceiling, ment that you are underneath of an object. As the surface lowers itself, rface. As you can see here, its morphing the form from the top and as it eath it begins to partially fold and molds to different shapes. When the nt zones which is the upper and the lower and that’s the interesting part mally views and interact with the space as we are always on the ground. h will change the way we associated ourself to home without changing

- 99 -

Few highlighted features here are 1) how flexible the structure is as it can fluctuate with small movements, 2) how users can interact with lightings within different movements, 3) resistance from the capsule as you push down and it wanting to come back up 4) the bounciness from the structure, 5) finally how it completely transforms your original space when it drapes over the room.

The first moment, flexibility of the surface, is important as it is the main difference from the static environment the author has been pointing to as interior space. The way the surface fluctuates from any movements of the users and speaking back to the user allows that aliveness of the project. The direct interaction is the key to accentuate that space is play along with the audiences. Not only that the author has implemented lighting as another way to communicate with space. Another direct reaction creates that intimate reaction to space as it can be seen as that space is communicating with the owner.

The bounciness was implemented

later on in the design part of the project to highlight the fun and creative side of this project. An object can’t be both alive and be serious. The bounciness not only added fun to the project but also helped users to maneuver on the surface with some resistance from the bungee cords.

moments of joy begins here The resistance from the unit is another way to point out the hidden moments from the project. The spring inside of the capsule allows the capsule to move up and down but when they are pushed down, the users will be able to feel the subtle resistance from the back of their body.

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draping These diagrams are looking at different settings with different furnitures. A break down of different furniture in the author’s room and predict how the place will transform when the surface drapes individually over them. It’s interesting to see how the shape and the form changes to something different from the original shape as it drapes down. These are furnitures that can be easily seen in any of personal rooms and so users can imagine what the space might look like after transformation using the Sur. The transforming part of the project is the main moments and activity of this project. It can be seen as those invisible blanket from the movie where draping over this surface over the furniture erases the shape from our perspectives. In this project, the Sur helps transform space in to something totally different than what we have seen and lived on.

transforming - 103 -

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The elastic bungee cord has been added to the project as design developed to add more whimsicality to the project. Bungee cord works as a connection between the mainboard and the boundary edges that will allow the board to go up and down. The elastic rope in between will allow the surface to bounce and react directly to capture every small movement from the user.

As the structure drapes over the furnitures and reveals the form of the furnitures, there are some height variations from the underneath condition. This may lead to showing some awkward gap between the wall and the shifted structure. For the reason, there are some extra loose silicone panels hanging on the sides to help extend and cover up the gaps in between to create a cohesive surface as a solution.

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bracket attached to the ceiling

steel wire rope

1.5” H hooks for cord elastic bungee cord

PVC vinyl fabric sandwiching the silicone panel

silicone panel

extra silicone panel hanging

- 105 -

connection details + motion sensor As the bungee cords were introduced to the project, the motion sensor has been brought up as an additional function to bridge the gap of the flexibility of the structure to shift its height from the furniture underneath. Now, the individual light balls inside the capsules also can sense any objects underneath. As soon as the minimum of two light balls sense an object as the surface gets lowered, it will send a signal to its assigned bracket above, which will then stop adjusting that particular side of the height.

Nonetheless, the other sides will not stop and keep moving down to create the draping effect over the furniture underneath.

[ Plan view diagram ] - 107 -

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ceiling mounted bracket

1 steel rope

capsule

silicone panel

existing condition

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layers on layers

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pvc vinyl fabric top

silicone panel top

3 wire

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pvc vinyl fabric bottom

- 109 -

capsules These capsules have been implemented to the project after being inspired by the sea anemone. Incorporating biomimicry to the project, the capsules played a vital role in to the project. These have allowed users to have direct reaction from the surface. The capsules have slits on the side and have springs inside to allow them to move up and down. The spring will sit on the x shape wire in side of the silicone panel and adds resistance when it is being pushed.

elastic bungee cord

PVC vinyl fabric wire

PVC vinyl fabric bottom

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[ exploded section - zoomed ]

12”

spring

3” 8” light ball slit

1.5”

- 111 -

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guest room my room any personal space

As this site for this project is home. It was important to define where in-home this will be able to sit. There were lots of questions whether why it needs to be home and why can’t it exists outside in nature and etc.

The author wanted to improve the interior space and the quality of the indoor area with an interactive surface. Home is where humans most of the time nowadays. People tend to be tired of their settings on the same four walls.

The project was able to develop to speak more to its existing condition. It may vary by the people, but the author spent most of her days in her room and nowhere else. From a personal experience and desire, the project has begun with a private room. It didn’t make sense for this to be in a public setting because the project’s goal is to create a space that can mimic another live organism for the people who spend their time

- 113 -

]

alone. The author wants this to be a single user experience rather than multiple people experience as it was not the initial goal. When people are alone, they tend to acknowledge the setting way better and would be able to appreciate and interact with Sur better.

The Sur is also supposed to be customized and designed according to the length and width of your room from the manufacture. It is made to order, which means anyone can enjoy this at their place.

The following images show how different arrangements and settings can occur in different worlds above the structure.

However, it all has the same meaning and functions. It can be truly installed anywhere you wish to be but make sure, to begin with, a personal room to understand the author’s intention.

[ setting 2 ]

[ setting 3 ] - 115 -

the world above vs. the world underneath As shown in these perspectives, the surface can accommodate different activities and movements through out the day. Specifically the last elevation perspective on the next slide clearly shows the division between the upper surface and the below condition and that the users can interact with both space.

The project has some potential and can show

more development on the functionality of it when its not being used. As where the project sits, the current use of the underworld of the sur is being shown can be translated as a lighting panel or a light fixture. From the several lighting modes the surface offers, there is an option where the panel can just be turned on which will then work as a traditional light fixture above the users.

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- 119 -

Smart light Light balls are located individually at the bottom of each tube. The translucent material of the tubes will help transmit the light above the surface but also let it shine the underneath condition by having the light at the bottom. These light balls are programmed to react to their locations. Several different modes are offered and can be easily controlled via the phone app. The lighting not only enhances the visual quality of the space but also allows users with more vital interaction with a space they are surrounded by.

Several modes are offered to give ownership to the users.

1) When pushing the tubes, light balls inside the tubes go down as well, and lights automatically turn off.

2) Reverse mode of the first mode.

This mode reacts directly to one’s movements. Every little bit of a push will trigger the light ball to turn on.

3) Depends on the settings, lighting from tubes may not be necessary.

For the bright day with lights coming from outside or for specific activities that will require existing light conditions, the tube lights can be turn off.

ON

Mode 1 : Direct

on

mode 1

off

mode 2

Mode 2 : Surround

OFF

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Easy control from your phone anywhere at home This project is meant to be motorized and uses the app as the controller. Below are the imaginary app and shows the basic function the app can offer. The following diagrams on the left are installation steps to show it can easily be installed by anyone with few steps.

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unbox!

The box contains all the parts and pieces of the Sur. Sur is measured and built specific to one's room so it is designed to fit perfectly in the room. Now is the time to assemble.

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screw!

Sur hangs from the ceiling which means the brackets will need to be screwed to the ceiling before anything.

step

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hang!

One last but least step might look a little tedious but definitely worth it. Connect the cords through the holes on the Sur to add bouciness to the structure.

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Animated presentation Paige Chun LinkedIn chunhm@mail.uc.edu