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)

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.

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.

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.

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.

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.

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.

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.

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.

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.