Because of this, and also because my own thoughts have shifted, I decided not to continue with that plan. I feel that the idea was interesting but a bit too conceptual and not practical enough. At this stage, I want to work on something more grounded and achievable.

I’m also aware that this means giving up part of my initial direction in product design, but I think it’s necessary. I want to expose myself to new fields and learn new things instead of sticking only to what I already know.

As for my current interests, I still care about social psychology, especially topics like gender dynamics and relationships. I hope I can explore these themes in a way that feels more realistic and doable.

For the 100 ideas, I mainly want to try out different materials and see what kinds of combinations I can make. I think this will help me build a base for future projects. Since I still haven’t decided on a clear direction yet, the process feels quite open. Fabric, silicone and paper art are all things I haven’t really worked with before, so I’m interested in exploring them and seeing what I can learn.

Thoughts After Seeing “More Than Human”

The exhibition gave me a lot of new inspiration, especially when it comes to materials. One work that really stayed with me was an installation made with seaweed skin and a kind of frame or structure. The colour looked like natural seaweed, a bit transparent and slightly cloudy. The whole piece felt very solid and grounded in a natural way.

I also noticed that many artists in the exhibition focused on the environment, nature and how these things relate to urban areas. Since the works came from different countries and regions, I could see how cultural habits and environmental concerns differ from place to place. There were even works that reminded me of the coastal areas in southern China, which felt quite familiar.

In the tutorial we talked about the direction and theme for my next project. At this point I don’t have anything very specific that I want to research. What I’m mainly interested in is exploring more materials. I mentioned a few possible directions, but they all felt too broad. My tutor gave me some references, including topics like feminism, so I think I still need some time to think things through.

Progress on the 100 Project Ideas

Right now I’m working with mesh fabric, metal, clay and different kinds of textiles. I’m mostly experimenting with shapes and seeing how these softer materials behave when combined with harder ones. I want to explore the contrast in textures and see what kinds of effects I can create.

As for difficulties, I think the biggest challenge is still figuring out what direction I want to move toward. I’m not sure yet if I should change my materials or keep going with what I have. For the next steps, I’ll keep experimenting with new combinations while also thinking about whether there’s a theme I want to stick with or develop further.

In the tutorial we talked about the direction and theme for my next project. At this point I don’t have anything very specific that I want to research. What I’m mainly interested in is exploring more materials. I mentioned a few possible directions, but they all felt too broad. My tutor gave me some references, including topics like feminism, so I think I still need some time to think things through.

Progress on the 100 Project Ideas

Right now I’m working with mesh fabric, metal, clay and different kinds of textiles. I’m mostly experimenting with shapes and seeing how these softer materials behave when combined with harder ones. I want to explore the contrast in textures and see what kinds of effects I can create.

As for difficulties, I think the biggest challenge is still figuring out what direction I want to move toward. I’m not sure yet if I should change my materials or keep going with what I have. For the next steps, I’ll keep experimenting with new combinations while also thinking about whether there’s a theme I want to stick with or develop further.

One group of works that really caught my attention was a series made from woven metal. The pieces were incredibly delicate and beautiful. The metal strips, after being plated, created a kind of gradient when arranged together. The level of skill behind the work was amazing and honestly quite impressive.

But while looking at all these works, I also started to reflect on some issues. For example, some of the pieces by Chinese artists used elements that didn’t feel fully developed or taken to their full potential. Many relied on floral motifs to create small decorative objects, and although they were pretty, they didn’t stand out very much. It made me think more about how certain aspects of Chinese traditional culture are actually very unique and rich in meaning. But trying to make them more visible or blend them into contemporary trends is not easy. It is very easy to fall into a restrictive or repetitive approach.

Thoughts on the Theme and Its Connection to Wearable Pieces

Lately I’ve been thinking about focusing on the theme of belonging and alienation — how people experience both connection and distance when they enter an unfamiliar cultural space. There’s an almost invisible layer that separates people. Even when communication seems fine on the surface, that silent distance is still there. It’s not only about culture or language; it’s also emotional. It’s something you can feel but can’t easily cross.

This made me think about the idea of “liminality,” a state of being in-between. In this state, belonging and distance exist at the same time. People want connection, but there is always a slight gap that remains.

I still want to connect this idea to wearable forms, especially jewellery-like pieces. In terms of materials, I’ve been thinking about things like sheer fabric, frosted glass and other materials that carry a sense of softness, translucency or subtle separation.

After completing the 100 projects, I feel that my work was not systematic or focused enough. When I try to do too many things at once, I end up not going deep into any of them, and I don’t fully understand or explore the ideas behind them. I realised that while it’s good to generate many ideas, I also need to choose one structure or concept and explore it more vertically.

I also noticed that the quality of my work was not as refined as it could be. Some parts looked a bit rushed, like circles that weren’t really round or pieces that weren’t very neat.

Looking at other people’s work made me think even more about this. For example, Liu Han’s project explored scent in different ways. Whether she used traditional biological methods or combined fruit peels with jewellery, everything stayed within one clear area of investigation. I think this kind of focused exploration is something I should learn from.

Another example is Zhou Xiao’s work, where she made different “eggs” using various materials. It was also very vertical and consistent in theme. Seeing these examples made me realise how important it is to commit to one direction and really dig deep.

What impressed me most was the mixed feeling of reality and memory in his work. When you walk through his reconstructed rooms, you recognise door frames, switches and walls, but the weightless quality of the material makes everything feel like a memory that could fade at any moment. This made me think a lot about the idea of being in between. The feeling that you are part of a place but also not fully in it. The quiet distance that exists even when you think you are already connected.

Seeing his work also made me reflect on my own practice. It showed me that I do not need complicated materials or large structures to talk about deep subjects. Simple materials such as mesh, paper or thread can express a lot when they are used with clear intention. I also realised that I often rush through my making process. His careful attention to detail reminded me that I should slow down and be more precise. Every small decision matters, even the way a piece of fabric folds or the way a line of thread is placed.

His work also encouraged me to think about how these ideas could be expressed through wearable forms. The lightness and transparency he uses connect strongly with the themes I want to explore. It made me see new possibilities such as using thin mesh, translucent paper, layered textiles or soft structures that sit close to the body and create a subtle sense of separation. Materials themselves can express distance, closeness or the feeling of being in between.

Overall, the exhibition pushed me to reflect on my own direction. It reminded me that a strong project needs focus and patience. It also encouraged me to think more deeply about how I can explore home, identity and the experience of being in between in a clear and meaningful way.

Based on this thought, I made some sketches to see how I could use this idea in a piece. At the same time, I still want to bring fabric into the work. I think fabric can express the feeling of tension and pulling in a very direct way. The softness and movement of fabric might create a strong contrast with the firmness of magnets, which makes me curious about what kind of visual and emotional effect I can get from combining them.

This porch is aimed at the architectural liminality, which is the process of transformation and transition from the noisy, secular environment outside to the sacred interior. It is a process of transformation and switching states, whether it is physical space or psychologically.

I also noticed that I relied too much on my own thoughts and personal interpretations. I talked a lot about what I felt or understood, but I did not support those ideas with enough research. The cases I looked at were not analysed in depth, and I did not show a clear connection between the examples and the theme. I think this happened because I have not read enough theoretical texts or explored enough case studies, so my understanding is still on the surface.

Reflecting on this, I feel that I need to spend more time building a stronger research base. I need to read more, find more examples and really understand the theory before trying to develop my own ideas. If I can strengthen this foundation, then my explanations and discussions will naturally become clearer and more convincing.

The idea of folding and extending in this mechanism is something I think I can work with. There is a lot of potential in how the form changes and how the movement can be translated into new design ideas.

Looking at it from a longer-term perspective, I see that the work I am doing now is just one part of my research as a graduate student. I should try to think about how it connects more broadly rather than sticking too rigidly to one material or one way of presenting. It is more important to explore ideas and possibilities, and let the research develop over time.

At first, I imagined that there might be some hidden mechanism inside the drum, maybe like a kind of airbag that produces sound when it moves. But actually, the sound comes from the compression and friction between the materials as they move. I found that really fascinating. It is such a clever and light design, using materials and structure together in a simple way to create a more exciting effect.

At the beginning, I tried to connect elements I already had in my project with ideas from other objects and works that inspired me. I started by making some models and experiments, and then I came to the idea of tensile structures. I realised that they are basically made up of structure and lines. Looking at the connection between tensile structures and the objects I was inspired by, I noticed that the central theme of liminality and folded structures in these objects kept coming up.

Right now I have many ideas, but I need to organise them clearly and choose one direction to explore more deeply. I should try as many experiments as possible instead of staying stuck. For example, I am thinking about accordion-like structures, paper folding, and other similar forms. I want to explore how these kinds of folding structures could connect with the theme of liminality. This means doing more research into origami art and more hands-on experiments.

Sketching with a pen made me feel like my mind was moving along with the lines on the paper. I could really notice the clever ways things were connected, the patterns in the lines, and the emotions and energy the works conveyed. I found this method of recording very valuable because I could choose which parts of the work to focus on for myself. It allowed me to explore the exhibits from more perspectives and analyze them more deeply.

Most of the works I chose to sketch had qualities like connectivity, line, and the sense of distance or relation between people, which relates to my interest in the theme of liminality. However, I realised that I did not spend enough time reflecting on the exhibits or asking myself questions about them. I should try to think more about how to translate what I see into my own language and understanding.

For my project in particular, one question from Lucy stood out. She asked whether, when exploring liminality in human relationships, I want to focus on belonging or on separation. I realised that these could actually become two separate series of work. I also think I can continue to experiment using paper and other flexible materials to develop these ideas further.

I also learned different ways to join wood, like nails, wooden dowels, glue and simple mortise-and-tenon joints. It was interesting to see how each method works for different needs. Overall, it was a good practice in being precise and getting used to handling tools.

The tape measure also becomes straight and tense when extended, especially the metal version. This is important because my paper blossom structures tend to bend or collapse due to their softness and lack of internal support. The tape measure shows a possible method for achieving a straight, supported extension without adding too much weight. It suggests a hybrid approach: combining a flexible unfolding structure with a controlled spine or tension element. This could help stabilise the form when expanded.

This week I mainly went back and reviewed the work I have done so far. I started to organise my notes and projects and make proper edits, especially on my CRP, trying to make the structure and arguments clearer. At the same time, I continued with the practical side of the project. I tested different making methods, including ceramics, laser cutting and 3D printing, to see how the door frames and folding structures could become more finished pieces. Overall, it felt like a week of both cleaning up and upgrading my work.

So now I plan to remake the piece with the same overall idea, but try to make it feel more like a resolved work, more refined and considered. I also think going back to paper as the main material might work better, as it can give a cleaner and more controlled result.

For the connecting part in the middle, I kept the idea of the paper honeycomb structure and its movement logic, but I changed the material. I used this kind of perforated mesh fabric and connected it using a sewing machine.

First, I developed a new draft based on my tutor’s feedback and was ready to make it. However, because of my own carelessness, I didn’t use cork for the door frame as planned, and instead used plywood. This decision led to a less effective result. Also, during the painting stage, I wasn’t careful enough — the paint was applied too thickly and without enough control.

Through this process, I realised that material choice is not just a technical decision but directly affects the final expression. I also became more aware that a lack of attention in making can easily weaken the whole work. So this attempt helped me understand where my process failed, especially in terms of planning and execution.

Overall, even though the result is still quite limited, it pushed me to be more conscious of my decisions. For the next iteration, I want to be more precise and patient, and try to make a piece that feels more resolved and complete.

What looks very simple and regular in galleries is actually quite carefully considered. For example, the spacing between artworks and the height at which they are hung are not random — they are calculated using certain guidelines or formulas, in order to create a more comfortable viewing experience. Even something like suspended display has its own logic.

This workshop helped me understand that exhibition design is not just a background decision, but an important part of how the work is experienced.

From the results, 780°C is too low, as the glass cannot fuse with the ceramic. 820°C is still slightly too low, with only limited change. At 950°C, the glass fully melts and loses its original shape, spreading into a puddle-like form.

So for the next step, I plan to test a more controlled temperature range between 820°C and 950°C, to find a point where the glass can bond with the ceramic while still keeping some of its original form.

After testing it, I realised that this method is quite demanding for the ceramic process. If the slip is too thin, the piece easily cracks after firing, so the failure rate is quite high. Many of my attempts broke.

So for now, I will pause this direction. It was only a small experiment and the result was quite limited. If I add it into my overall concept, it might make the work feel too complicated and unfocused. I think it is better to continue focusing on glass.

At the same time, I also tested ceramic glaze under similar conditions to compare the two materials. After firing, the glaze melts as well, but it already has colour and is not transparent. Because of this, it can work more as a support or as small solid, raised details.

From this test, I think glaze is an interesting material, but it works very differently from glass. So in the next step, I will continue focusing on controlling the glass at this temperature range, and consider glaze more as a supporting element rather than the main material.

I also tried the door shape that I have been thinking about for a while. The idea is to use these forms later for silicone or plaster moulds, and then attempt a proper glass casting process. So at this stage, I just made some quick and rough versions to get a basic feeling of the shapes and how they might work.

I also tried the door shape that I have been thinking about for a while. The idea is to use these forms later for silicone or plaster moulds, and then attempt a proper glass casting process. So at this stage, I just made some quick and rough versions to get a basic feeling of the shapes and how they might work.

I also realised that wax casting has a very high level of accuracy, almost 100% in terms of surface reproduction. This made me reflect that if I think from the moulding process, my original model needs to be much smoother. For example, on this door frame, there are still some marks and uneven textures from how I made it before. Also, 3D printing naturally leaves visible surface lines, which I don’t want to keep.

So next time, before making the mould, I will be more strict in controlling and refining the surface quality of the original model.

The work I was most interested in was the ceramic piece in the first image. It used a glaze that I have also experimented with before, but in a different way. I noticed that the artist used the glaze as a kind of support, forming unique and irregular structures. The piece was also displayed upside down, which gave it a slightly surreal and almost magical feeling. I really like this sense of randomness.

There were also many works involving glass, which were very helpful for my own project and gave me some new ideas.

So for this test, I decided to increase the temperature. I also added glaze onto a flat mould, to see what would happen when these two materials, both affected by heat, are fired together.

Most of her works are presented as installations, so the viewer can physically enter the space, which makes the experience more immersive. I also noticed the use of symbolic objects like doors and keys. These real elements, combined with abstract thread structures, gave me some direct inspiration for my own work.

Through this exhibition, I also learned about Yin Xiuzhen. Her work focuses on identity, belonging, and how personal experience changes across different cities. I found a connection here with an installation project I made during my undergraduate study, where I explored similar ideas. At that time, I also considered using luggage as an element, to represent personal experience, movement, and memory.

The idea of luggage suggests a state of being in between — not fully settled, always moving, and slightly uncertain. This links quite closely to my current theme. Her wider practice, especially her use of textiles, is also interesting. I found out that her mother worked in a textile factory in China, which influenced her material choices. This made me realise how personal background can shape artistic language in a direct way.

Next, I will try more possibilities with this glaze to see whether it can show more fluidity at high temperature, like a dripping effect. As for the glass, I think this temperature is still too high, since it was only raised to match the glaze firing. If I fire the glass separately but still want this clean and transparent effect, I will continue testing to find the most suitable temperature.

Next, I will try more possibilities with this glaze to see whether it can show more fluidity at high temperature, like a dripping effect. As for the glass, I think this temperature is still too high, since it was only raised to match the glaze firing. If I fire the glass separately but still want this clean and transparent effect, I will continue testing to find the most suitable temperature.

Based on this idea, I would like to continue exploring and testing new forms inspired by these reflections. If the results work well, this direction may become an important guide for my final outcome.

In the final result, I found there was a hole in the middle of the piece. I think this may be because the gap in the centre of the silicone mould was too narrow, and the melted sugar was still quite thick, so it could not flow down properly. Also, the colour looked yellow, which is a common feature of white sugar. I am not satisfied with this colour, because I would like a cleaner and more transparent effect. So next I will try other types of sugar materials.

For this test, I used a temperature of 150°C and a ratio of sugar to water of 2:1. I also used a heat gun to do some further shaping after casting. I think this process was very interesting, but next I will change the material and continue with more experiments.

After testing, the result matched expectations. The colour and texture became similar to glass, although there were some small air bubbles. This was likely caused by overheating during the cooking process, which made the sugar slightly boil even during pouring. To avoid this, the sugar should be heated slowly over low heat.

I first used my existing silicone moulds to create some basic doorframe forms. These are not intended as final outcomes, but rather quick form experiments to observe the material behaviour.

I then experimented with cake moulds available at home, testing whether the sugar could be heat-bent according to these shapes. The results were relatively successful and aligned with expectations.

I found that when using an oven to melt the sugar, the form itself cannot be precisely controlled. The only controllable variables are temperature and time. However, once the sugar reaches its melting point, it begins to soften and deform naturally, so excessive time or high temperature is unnecessary.

For isomalt, the melting point in the oven appears to be around 160°C, and it begins to show signs of melting after approximately three minutes.

Due to gravity, the material tends to spread and deform further during melting, creating more exaggerated and abstract visual effects.

The second test explored deformation through suspended heating. Although the setup was relatively simple, both the theory and practical process proved workable. However, I noticed that heating reduced the remaining volume of the sugar, making the connection points quite fragile. Instead of creating the smooth and even dripping effect I had imagined, the material became weak in certain areas. This suggests that I may need to better control the overall temperature first, and then apply more localised heating in specific sections.

After making the mould, I realised that the result still did not resemble the intended raindrop form at all. For the next step, I may either explore 3D printing, or work with naturally flowing and meltable materials instead, such as wax, sugar, or even ice. These materials may produce a more realistic sense of movement, texture, and natural transformation.

At the same time, the workshop gave me new inspiration for my groundwork tests. Crochet and weaving techniques can be used to create three-dimensional forms with varying densities, which could potentially be combined with physical objects. This creates a sense of enclosing and controlling space, while also conveying warmth and softness at the same time. Because of this, I am interested in applying these techniques within my own testing process to explore whether they can produce meaningful visual or spatial effects.

From my understanding, the light work stage is about making bold attempts and challenging new possibilities, in order to build a foundation for the next unit. Because of this, I began considering a wider range of materials, such as plastic, mesh fabric, thread, and stitching techniques, to explore new visual and material possibilities within the project.

At the moment, the overall approach and conceptual outcome seem too focused on explaining the idea itself to the audience, rather than bringing my own emotions and personal experiences into the work. I realised that I have been acting more as a narrator or translator of the concept, rather than expressing myself through it. Because of this, the work struggles to genuinely move people emotionally, as I have not fully placed myself within the project either.

The tutors also introduced several examples of strong artworks by other artists, which made me rethink my approach. Instead of trying to analyse and explain the feeling of the concept in a literal or overly direct way, it may be more important to tell my own story well. By doing this, I can create a stronger emotional connection and allow the audience to truly enter the atmosphere, emotions, and state conveyed through the work.

This felt directly relevant to the project. The bead curtain is itself a liminal object. It marks a threshold without resolving it.

I began testing bead stringing as a making process. What interested me was how the pattern shifts depending on where you stand and how the light falls. The image the beads form is never stable — it changes as you move around it. This quality of instability, of a form that is present but not fixed, is close to what I have been trying to express through sugar and metal.

The combination of beads and sugar came from this. The beads sit at the centre, the sugar seals the edges. One material moves, one holds.