# data[].attributes.body
I also began preparing for Unit 3 by developing ideas for a functional installation furniture piece. I have already purchased acrylic sheets and started drawing patterns in Rhino for laser cutting. My plan is to create a modular chair installation that uses repeated curved forms to express dynamic movement in space. By combining different coloured acrylic pieces and arranging them into layered structures, I hope to produce changing visual effects through repetition, transparency, and spatial composition.

# data[].attributes.body
This work begins with an exploration of how curves grow, diffuse, and maintain themselves in space. Using the flexibility and lightness of polypropylene strips, I allow the forms to extend outward through repetition and rotation.

As the viewer moves, the curves continuously reorganise in space: sometimes presenting as rotating trajectories, and at other times transforming into layers of overlapping profiles. The structure does not seek a singular, fixed form, but instead creates different rhythms and senses of direction through the interweaving and extension of curves, offering multiple perspectives. The entire process feels more like guiding the curves to 'grow' in space, allowing the forms to evolve with the shifting gaze, thus giving the static installation a perceivable dynamic narrative.

# data[].attributes.body
This week, I learned sand casting: the "special soil" for molds is bentonite clay (mixed with sand to form green sand). I packed the clay-sand mix into a frame, nested my metal hook prototype inside, and sealed the mold. The gritty texture of the clay and the careful alignment of the mold halves felt satisfying—now I’m waiting to pour molten metal to finish the hook.

# data[].attributes.body
I make sure my topic was curve appearances.I did 15 sketches for preparing do objects next week. And I visit a Japanese shop with my friends in this weekend, there are many beautiful bowls and kitchenware in this shop which have unique modelling, and i take some photos to record these.

# data[].attributes.body
These two items are some of my attempts to create a sense of movement based on curves in space.It was during my previous research that I was inspired by Tom Raffield's "Steam Bending Wood Technique" combined with David's massage roller. I cut plastic card paper into strips and then made this object on the wooden stick. This currently looks quite effective. In the future, I will make more shape-based attempts based on this foundation, and also try to create different visual effects by interweaving with different colors.

# data[].attributes.body
i have token many photos of the furniture in the v&a museum

p1: These two chairs are respectively a Ron Arad design - "The Well Tempered Chair" (1986) and a metal lattice lounge chair in Art Nouveau style (approximately 1900–1910)

# data[].attributes.body
At the beginning, I made a small model using soft foam paper. Then, I created the model on the computer to present the simple effect through 3D printing.  The material used is PLA Silk Silver. But I will also try more materials,the others are still being printed including some TPU soft materials and transparent resins. Maybe I think the soft materials can create a blooming effect better, or people can interact with this item by rotating it to express some dynamic visual effects of the curves.

# data[].attributes.body
This week in the metal workshop, I made a sleek metal lid! I learned to cut metal sheets cleanly with shears, drill precise holes for assembly, and bend edges smoothly using a brake. The process felt satisfying—from flat sheet to a structured, functional piece. Tiny scratches on the lid are little marks of my first metalworking attempt.

# data[].attributes.body
This week, I sanded the cast metal hooks—running emery cloth over rough edges until the surface felt smooth.

Looking back, last week’s mold had loose edges (from off-balance clay-sand ratio) and tiny gaps (I rushed sealing the mold). But this week taught me: sanding isn’t just “fixing flaws”—it’s how rough cast pieces turn functional. I also realized small adjustments (like tapping molds to release bubbles) save extra work later.

# data[].attributes.headline
why i choose these two objects of David Usborne

# data[].attributes.subject
why i choose these two objects of David Usborne

# data[].attributes.body
The other item is a pair of scissors with a asymmetrical handle. One half of the handle seems to be "pulled apart" by some external force, forming an asymmetrical , organic arc. This arc brings a visual illusion of movement - it seems to be extending outward or twisting, suggesting a potential energy.

# data[].attributes.body
My main topic revolves around how geometric curves and organic curves appearing on a certain product can create a more dynamic visual and physical effect in my research. One is this massage roller. it gave me inspiration. I discovered that the sphere  is composed of countless circular rotations, and it serves as the most basic geometric curve to represent the space of a sphere.

# data[].attributes.headline
some sketches are based on my main topic at the beginning time

# data[].attributes.subject
some sketches are based on my main topic at the beginning time

# data[].attributes.body
I used some soft foam paper and ultra-light clay to attempt to create some curved shapes in the objects. I utilized the flexibility of the ultra-clear clay.

# data[].attributes.headline
take part in unit3 students' assessments brief

# data[].attributes.subject
take part in unit3 students' assessments brief

# data[].attributes.body
I participated in listening to the assessment brief of Unit 3 students. Among them, a student from my group's presentation caught my attention. The metal kitchen utensils they made featured many bold creative elements, including the metallic "egg crack". The author mentioned that this research provided information for the dynamic curves of these functional and practical designs, which precisely related to my topic.

# data[].attributes.body
I conducted some research based on my thematic curve. I started my investigation with an architect I admire, Zaha Hadid, and it also included other artists such as Karim Rashid and Tom Raffeid.

# data[].attributes.body
Before two weeks ago, some students give me some suggestions in group tutorial , and i adapted one of these , i decided to make more bigger one in the final objects work.Maybe it is a rotating device. Based on what I did earlier regarding this small "objects" project.

# data[].attributes.body
I try to made a rotating base on the bottom of my device, so i found a two wood round plate. I fixed a threaded metal rod approximately 70 cm in length vertically in the middle of the two parts, and then secured it with two screws. I hope to create a rotating device to present some dynamic effects of curves. I encountered some problems during the process. I needed to find a suitable-sized drill bit to drill holes in the two circular discs and then fix the metal rod into them. However, this structure was still not very stable.

# data[].attributes.body
Inspired by Tom Raffield's furniture designs, his own furniture creations are formed by bending the softened solid wood through steam. So I want to express the curves by arranging plastic acrylic sheets.The curves are derived from the inherent behavior of the material itself.The curve serves as both a force-bearing path and a visual language. So i want

# data[].attributes.body
Before the holiday, I began to prepare for the final production of my objects. I hope to create a space where people can interact with it to see the visual effects brought by the dotted lines from all directions. In the previous two weeks, I researched some furniture and made some model tests (refer to the eighth week). I used two wooden discs as the base to make a rotatable chassis.

# data[].attributes.body
I secure wooden rings in the hollow part of the structure with screws, introducing clear force nodes and an ordered framework for the curved system. The wooden ring acts as both structural support and a "skeleton" for curve generation, allowing the originally freely extending strip-shaped curves to achieve hierarchy and rhythm in space.

# data[].attributes.body
In the initial structure, the wooden strip supports were unable to stabilise the expanding curved form below. As the strips radiated outward, the limited support points caused structural weakness. To resolve this, a fixed wooden ring was introduced and secured with screws, creating a stronger central point.

Initially, I used a circular structure, but the plastic structure was unable to support the structure below it. So, I found a wooden ring with a certain thickness.

# data[].attributes.body
Fix each detail with screws. At the beginning, the middle part was not very stable, so nails were fixed at the bottom wooden strips to stabilize the structure.

# data[].attributes.body
The structure consists of three wooden rings connected by screws to form a rotating joint system. Curved lines extend from the rings and unfold as they fold out, with interlaced coloured curves (made of coloured acrylic sheets) fixed onto the rings. When the rings are opened, the curved sections of the soft acrylic sheets twist and change shape.

# data[].attributes.body
During my visit to the British Museum, i notice that the ivory carving and cloisonné incense burner components highlighted the strong relationship between material properties and historical function. Ivory, due to its dense and fine-grained structure, allows for extremely detailed carving, enabling complex narrative scenes to be compressed into a relatively small surface. This density of imagery reflects not only technical mastery but also the cultural importance of storytelling, symbolism, and status within court contexts. Similarly, cloisonné enamel relies on metal wires to contain coloured enamel, meaning that decoration is inseparable from structural organisation. Motifs such as dragons and floral patterns are shaped by both technical constraints and imperial symbolism. These objects demonstrate that materials are not neutral choices but actively shape form, visual language, and meaning. For Unit 2 research, this suggests the importance of examining materials together with their production techniques and historical usage, rather than treating material selection as a purely aesthetic decision.

# data[].attributes.body
The fragmented Greek marble sculptures offer a contrasting perspective on material and time. Marble’s weight and brittleness require careful consideration of balance and support, which is evident in the flowing drapery that both describes the body and reinforces structural stability. The absence of heads and limbs does not diminish the impact of the works; instead, it draws attention to surface, texture, and the way the stone records movement through carved folds. Signs of erosion and damage reveal how the material has responded to environmental conditions and historical handling over time. These sculptures function not only as representations of bodies but also as material documents of ageing and transformation. For Unit 2, this provides an important insight: material change, wear, and incompleteness can be understood as productive elements within research, offering information about use, time, and perception rather than being treated as flaws to be corrected.

# data[].attributes.body
i need the my final work rotate, to make it stable, i bought 8mm bearing, shaft coupling, metal shaft from amazon. in addition, i prepare 12v worm geared motor to drive the shaft. I studied this structure and draw the box's inside draft. According to the shaft length, i design a box to made this structure more stable.

i cut the wood sheet in the work shop, and dig a hole on the middle of the wood sheet, to make sure that the shaft can pass through the wood piece completely.

# data[].attributes.body
i use soundproof for car van stick on the side of the wood, and use the roller to make it fit more snugly against the inner wall of the box.

And i cut Sound Deadening Mat to the shapes which is Suitable for this box, I completely wrapped it in , then wrapped it again with soundproofing foam and secured them with tape.

# data[].attributes.body
i bought some Soundproofing materials （tudio Noise Blocker Foam Wall Panels, Sound Deadening, soundproof for car Van Insulation）to full of the motor box which can reach the effect that can reduce the motor's noise. I try to use various soundproof materials to reach the best effect.

i plan to use soundproof for car Van Insulation wrapped on the outer side of the wooden board.

Then fill the entire box with soundproofing foam.

# data[].attributes.body
Today I visited an exhibition featuring the ceramic work of Matthew Chambers. The spiral structure immediately attracted me because it created a strong illusion of movement while remaining completely still. Through repeated circular layers, the sculpture produced a deep spatial effect that felt like an endless rotation pulling the viewer inward. The contrast between the rough stoneware texture and the precise geometric form made the work feel both organic and mechanical at the same time.

# data[].attributes.body
Today I visited an exhibition and was particularly drawn to Scribble 26-2 by Joo Hyung Park. The sculpture looked like a flowing line frozen in space, almost resembling handwriting transformed into a three-dimensional form. The twisting wooden curves created a strong sense of rhythm and movement, while the dark lacquered surface reflected light smoothly, making the object appear fluid and alive despite being made from solid wood.

This work inspired me to think differently about curves and material behaviour in my own practice. Instead of creating forms that feel overly controlled or engineered, Park allows the shape to appear natural and spontaneous, as if it grew organically. I was especially interested in how the polished surface enhanced the illusion of motion and continuity. The sculpture reminded me that movement can be expressed not only through mechanics, but also through gesture, flow, and surface treatment.

# data[].attributes.body
Today I focused on reducing the noise produced by the motor inside my installation. I tested different soundproofing materials to achieve a better noise reduction effect. First, I wrapped the outside of the wooden motor box with car van insulation material to reduce vibration and sound leakage. Then, I filled the inside of the box with soundproof foam panels to absorb the motor noise and create a quieter operation during movement.

# data[].attributes.body
I developed a small-scale prototype based on the structure of my final outcome. I selected wooden pieces in different sizes and drilled holes into each piece so they could be threaded onto a wooden stick. By arranging the layers in a spiral sequence, I explored how repeated circular forms could create a flowing visual effect during rotation. As the structure turned, the stacked wooden pieces began to produce the illusion of continuous movement and spatial transformation. This experiment helped me better understand rhythm, balance, and dynamic form within kinetic structures.

# data[].attributes.body
I arranged wooden rings in a spiral sequence to create a flowing curved structure. Each ring was rotated slightly to form an upward movement and continuous rhythm. I used an 8mm drill bit to make holes in every ring so they could pass through the metal shaft in an organised order. During the making process, I adjusted the spacing and angles repeatedly to improve the balance and visual effect. Some rings cracked while drilling, so I refined the process and handled the material more carefully. The final piece creates a strong sense of motion through physical structure and repetition.

# data[].attributes.body
I recorded the movement test of my wooden spiral structure. My work creates visual illusions through real curved structures rather than digital techniques or screen-based effects. I became interested in this direction because contemporary visual experience is increasingly shaped by screens, digital images, and moving media. Instead of using virtual technology, I wanted to explore how physical materials and spatial movement could produce perceptual changes through real objects and mechanical motion.

This rotating experiment was strongly inspired by Op Art and its exploration of perception and movement. When the structure began rotating, the repeated curved layers created the illusion of a spiral ascending upward in space. Although the form itself remains physically unchanged, the movement causes the viewer’s perception to shift continuously. Through this test, I explored how rhythm, repetition, and rotation can generate a dynamic visual experience using simple materials and real spatial structures.

# data[].attributes.body
I explored how a spiral structure could create visual illusion through physical movement. First, I drilled evenly spaced holes along a wooden stick and fixed a flexible black strip at different points on the shaft. By twisting the strip around the stick, I created a spiral form that produced a flowing visual effect when viewed from different angles. After this, I connected a small motor to both ends of the wooden shaft to test rotational movement.

During the experiment, I realised that the structure became unstable once the motor started rotating. The central axis shook heavily because there was no proper bearing support to stabilise the shaft. As a result, the rotation became inconsistent and the spiral illusion weakened instead of appearing smooth and continuous. This failed prototype helped me understand that a stable bearing system and stronger axis support were necessary to achieve controlled motion and a clearer visual illusion in the final work.

# data[].attributes.body
unit2

# data[].attributes.body
At the beginning of Unit 2, I chose the “Movement, manipulation, mechanisms, and maneuverability” brief because it strongly connects with my interest in visual illusion, curved structures, and spatial movement. I mainly focused on planning my direction before the Easter break. I reviewed the brief carefully and began thinking about how movement could be expressed not only through mechanics but also through optical effects and repeated forms. I planned to create a series of experimental samples exploring twisting, rolling, and spiral movement using wood, rings, and flexible materials.

# data[].attributes.body
This week, I researched Op Art and artists such as Bridget Riley and Victor Vasarely, whose works use repeated curved lines and contrasting patterns to create movement and instability within flat surfaces. Their works helped me understand how the eye can perceive motion through rhythm, distortion, and spatial tension. I became interested in how curves in planar space could psychologically suggest depth and movement without actual motion. This research later influenced my plan to translate these optical effects into physical three-dimensional structures.

# data[].attributes.body
I began producing experimental models exploring rolling, twisting, bending, and spiral structures. I tested wooden rings, sticks, flexible plastic strips, and layered forms to understand how repeated curves could create movement in space. Through these experiments, I started exploring how dynamic effects could shift from two-dimensional optical illusion into physical spatial perception.

# data[].attributes.body
Alongside the model making, I researched artists and sculptors who use curved structures to create movement and perceptual distortion in three-dimensional space. I looked at kinetic and spatial works by Tom Lawton, Matthew Chambers, and Eusebio Sempere. Their work demonstrated how repeated circular forms, spirals, and layered curves can create changing visual experiences when viewed from different angles. This research strongly informed my own exploration of transforming curves into interactive spatial installations connected to movement and optical illusion.

# data[].attributes.body
This week I experimented with heating rosin inside the oven using wooden ring structures as moulds. Before heating, I dropped pigment onto the surface of the rosin to test how colour would spread and react during the melting process. Because rosin melts gradually under heat, I needed to continuously observe the material inside the oven to monitor changes in transparency, texture, and bubbling. This experiment allowed me to explore how heat and colour could transform the visual qualities of translucent materials.

# data[].attributes.body
This week I began testing acrylic as a primary material for my future installation and furniture ideas. I used the laser cutter to cut a series of curved acrylic components based on patterns I designed in Rhino. During the process, I experimented with transparent coloured acrylic sheets and explored how different curves and edge conditions reacted to light. The laser cutting process also helped me better understand precision, spacing, and material limitations when producing modular forms for assembly.

# data[].attributes.body
After laser cutting, I organised and classified the acrylic pieces according to shape, scale, and colour. I tested how different curved modules could connect and overlap to create layered visual effects in space. The transparent acrylic produced changing reflections and distortions depending on viewing angle, which strongly connected to my research into movement and optical illusion. Through this process, I started developing a clearer direction for creating a modular installation furniture piece using repeated curved acrylic structures.

# data[].attributes.body
I assembling my acrylic samples using threaded rods and nuts to test how layered curved forms could be fixed together structurally. By stacking the laser-cut acrylic pieces in sequence, I observed how the transparent coloured layers created shifting visual effects when viewed from different angles. The threaded rod system allowed the modules to remain adjustable, which helped me experiment with spacing, compression, and rotation between each layer while maintaining a stable structure.

# data[].attributes.body
I created a small structural sample using coloured flexible strips and circular wooden frames. Each strip was fixed by two split pins, allowing the material to bend while still keeping the structure stable. I connected the strips between the top and bottom rings and gradually adjusted their direction and overlap to create a spiral and flowing form. Through repetition and layering, the sample produced a sense of rhythm and movement. This experiment helped me explore how simple materials and mechanical connections can generate dynamic visual effects in physical space.

# data[].attributes.body
I experimented with making a circular wooden structure using a thin wooden ring and small wooden sticks. I drilled a series of holes around the edge of the ring and inserted the sticks at different angles to create a changing rhythm inside the circle. While arranging the pieces, I noticed how the repeated lines started to create a sense of flow and movement across the form. Even though the structure itself is static, the changing directions of the sticks produce a dynamic visual effect when viewed from different angles.

# data[].attributes.body
I created my first moving strip structure using split pins to connect each strip individually, allowing every section to move freely. I chose black and white colours after researching Op Art, especially artists such as Bridget Riley and Victor Vasarely, who used contrasting patterns to create visual movement and instability. Inspired by this, I wanted the alternating black and white strips to produce a dynamic flowing effect when viewed from different angles. The repeated curves and layered rhythm helped me explore how physical structures can generate visual tension and movement without using digital media.

# data[].attributes.body
During this week’s Tony Hayward workshop, we explored the design language of the Memphis Group through rapid prototyping. Using cardboard and coloured paper, we created a sculptural chair within one day, focusing on bold colours, geometric forms, and playful composition. The chair back was built from stacked cylindrical structures, while the seat used curved cardboard wrapped in orange paper. To improve stability and support the weight of the structure, we added wooden rods to the back. This workshop helped me better understand the relationship between experimental aesthetics and structural construction in furniture design.

# data[].attributes.body
During the box-making process, I cut a hole in the bottom wooden panel that matched the size of the motor output so it could connect directly with the coupling. The bottom panel and side panels were then fixed together using screws to create a stable structure. After assembling the box, I first attached the coupling onto the shaft close to the motor in order to reduce vibration and prevent instability during the motor’s operation. I then inserted the two bearings through the shaft to improve support and maintain smoother rotational movement within the structure.

# data[].attributes.body
I cut a hole in the bottom wooden panel that matched the size of the motor output so it could connect directly with the coupling. The bottom panel and side panels were then fixed together using screws to create a stable structure. After assembling the box, I first attached the coupling onto the shaft close to the motor in order to reduce vibration and prevent instability during the motor’s operation. I then inserted the two bearings through the shaft to improve support and maintain smoother rotational movement within the structure.

# data[].attributes.body
I experimented with intersecting wooden rings and circular forms to explore spatial balance and structural rhythm. I connected several thin wooden rings through dowels and rotated them at different angles to create a layered geometric form. Compared with my previous spiral structures, this model focused more on openness and internal space rather than surface density. During the making process, I noticed how the overlapping circles created changing visual relationships when viewed from different perspectives. This experiment helped me think about how modular circular structures could later develop into larger sculptural or functional forms within my final installation project.

# data[].attributes.body
Through these material tests, I became more interested in the relationship between repetition and perception. Small changes in spacing, colour order, and curve direction produced completely different visual effects. The samples also helped me think about how modular forms could later expand into larger sculptural or functional objects. This process allowed me to further develop my exploration of dynamic curves, transparency, and spatial illusion within my practice.

# data[].attributes.body
after i cutting the wood, i make sure the location of the motor when it assemble on the wood. at the same time, i should consider the space of the motor when it assemble on the bottom of the box.

the piece of the middle wood purpose is connect the bearing with the shaft, and fix it by screw.

In addition, i bought a speed controller to control the shaft rotate speed and direction

made the upper model produce different effect.

i use the screw driver fix the wine between the power converter and the motor.