MODULE 2 Cara Brogno and Shane Siy Cha
Sensoree; The Breathing Wall ‘Sensoree’ is an art technology design lab which brings together a team of individuals to explore abstract notions and produce creative and insightful designs through Sensory Computer Face (SCF). Some design themes include body architecture, interactive installations and sensitive technology, inspired by investigations of proximity, telepathy, intimacy, intuition and humour between man and machine. The designs seek to promote ‘extimacy’ or external intimacy. One of their works, ‘The Breathing Wall’, was conceptually designed by Kristin Neidlinger. Kristen is a designer of experiences who aims to provoke sensory meaning through her work and visually enrich and magnify physical embodiment through unique design. ‘The Breathing Wall’ is an interactive installation which reacts to human movement, touch and flow. Her inspiration came from the nature of sea anemones and puffer fish which translates into a vibrant display of colour and layering which I personally believe captures the serene underwater experience. Single-use plastic bags were the selected materials and were fused together, creating an inflatable fabric with unique textures. Motion sensors connected to computer fans sense human movement and respond by inflating the fabric. The design seeks to connect the aquatic environment with the current evolution of plastic whilst exploring sensory behaviour. This precedents example may be used through my design by creating an inflatable second skin that puts an emphasis on experience or sense of feeling. I would like my design to capture a sense of energy in a distinctive and observable transition representing personal reactions from feelings of safety to danger. Like Kristen’s design, the shape and flow of it when inflated will be characteristic of internal feelings and discoveries brought outwards in a visual display.
Gibson, E, photo 1 of The Breathing Wall, Sensoree, viewed 24 August 2013, <http://sensoree.com/artifacts/the-breathing-wall/>. Gibson, E, photo 2 of The Breathing Wall, Sensoree, viewed 24 August 2013, <http://sensoree.com/artifacts/the-breathing-wall/>. 2013, Sensoree, LinkedIn Corporation, Mountain View, California, USA, viewed 24 August 2013, <http://www.linkedin.com/company/sensoree>. Sensoree 2013, viewed 24 August 2013, <http://sensoree.com>.
Street Art by Joshua Allen Harris
Joshua Allen Harris’ inflatable street art was actually a new way of making art on the streets. He has found a way to work with and take advantage of cheap materials to make inventive works of art noticeable and head-turning. The inflatable street art he has done was not just artistry, but his first work, the polar bears, also somehow gave a message to society as they are pervasive symbols of climate change. According to Harris, with the art deflated, it would just look like trash on the street. However, whether or not Harris’ selection on polar bears was an environmental statement actually remains unknown. Although, people who pass by it or has seen it interprets the street art as something about the environment. On how the inflatables were actually made is quite interesting considering that simple materials were used to convey such message and create something eye-catching. The animation of the street art inflating and deflating – or how people like to see as representations of life and death—was created with the use of ordinary plastic and garbage bags combined and were taped down to subway grates. Harris figured that with 4 paws— letting the inflatable have more holes—it would let enough wind in to have the figure stand up, which worked perfectly. As the train passes beneath the vents, the air causes the ‘garbage’ to inflate and then deflate again as air flows out. This precedent may be a great inspiration and a useful study for my design. Harris’ inflatable street art may be a great inspiration for creating an inflatable second skin that stresses on the simplicity and a strong message. In this case, I realised how the complexity of my design does not actually matter too much. The design giving a big impact and message would be more important than having an extremely complicated design, just like Harris’ art work.
Joshua Allen Harris’ Inflatable Plastic Bag Subway Art | Inhabitat - Sustainable Design Innovation, Eco Architecture, Green Building. 2013. Joshua Allen Harris’ Inflatable Plastic Bag Subway Art | Inhabitat - Sustainable Design Innovation, Eco Architecture, Green Building. [ONLINE] Available at: http://inhabitat.com/joshua-allen-harris-inflatable-plastic-creatures/. [Accessed 24 August 2013]. Joshua Allen Harris: Street artist turns trash bags into inflatable animal sculptures | Mail Online. 2013. Joshua Allen Harris: Street artist turns trash bags into inflatable animal sculptures | Mail Online. [ONLINE] Available at: http:// www.dailymail.co.uk/news/article-2082169/Joshua-Allen-Harris-Street-artist-turns-trash-bags-inflatable-animal-sculptures.html. [Accessed 24 August 2013]. The Inflatables - JOSHUA ALLEN HARRIS. 2013. The Inflatables - JOSHUA ALLEN HARRIS. [ONLINE] Available at: http://joshuaallenharris.com/the-inflatables-#/id/ev12883. [Accessed 24 August 2013].
Sketches Exploring the inspiration of wings as a shelter and provider of personal space in the form of a second skin. The wings represent protection as well as confidence through its conno- tations of flight and beauty. This sort of ideation is enricehd with many possibilities for inflatable design.
This design mimicks a spider with its legs wrapping around the neck, pro- vides an interesting form that offers a feeling of protection from the outside while appearing aesthetically dynamic.
On the left is a sort of flower type, here we are exploring the idea of a cocoon, the process of being wrapped up and isolated from the exteri- or, as if to create an individual space within the second skin.
The idea of rings followed this path of tubes and curves, it builds upon the idea of a normal inflatable ring but with dents and irregularities that offer something different.
Wanted to break away from the generic and traditional forms of inflatable design and function, and instead drew upon the idea of tubes and curvacious forms that form a type of wrapping technique. The idea of rings followed this path of tubes and curves, it builds upon the idea of a normal inflatable ring but with dents and irregularities that offer something different.
Bubbles seemed at first to be a overly palpable connotation of inflatable function, however while it is very obviously associated with association, and thus a very generic form, it can be utilised to form a wide range of different designs for the second skin. The idea of bubbles also enforces this idea of comfortability as the compressed air upon the round shape would provide a level of comfort that could put users at ease, thus providing a different form of personal space. As can be seen in the sketches below, there are many possibilities for bubble forms.
Spikes can actually be used in a variety of second skin designs. The idea of spikes brings out a sense of need for protection and self defense. At the same time, it may represent ones alertness. We decided to focus on the neck up to the head area because we felt like it was the most vulnerable part of the body. With these designs, a sense of comfort or a feeling of safety may be obtained.
Here we follow on and accumulate the previous ideas of bubbles and tubes to create a unique second skin design that explores personal space through the possibilities of combing physical comfort which increases the mental ease of a user and thus strengthening the psychological belief of being within oneâ€™s own personal boundary, along with physical isolation through vulnerable aspects of a personâ€™s body such as the neck. Hence why the idea of covering the neck became the focus for the second skin design. The bubbles at the back also provide options for a per- manent cushion/pillow at the back for the user while appearing fashionable.
This design shows that each second skin on a person are actually connected. This is because in the real world, no matter how big or small your personal space is, everyone is still connected or united in some way. In this case, there are two completely different designs, but are still joined together. Both designs display different types of personal space and emotions. Although both designs do not show much of the spikes for protection, it represents an individualâ€™s attitude towards their views on personal space and how it makes them feel.
By Shane Siy Cha and Cara Brogno