feedback design freeze:
- material? stone?
- form of leather => »animal form« => not good
- reasons for material-use
- showing other material try outs?
- performance/tattoo workshop? incorporating others











feedback design freeze:











Luz, Julia & Amelie
… filing down final shapes


by trying out & anaylising sittable PT3


What seating shape works best for the choreography?

What designed condition could contribute to the shared experience?


What do we want people to feel when they first look at it & once sat?
Asking users for feedback…
… rethinking/-considering frame & bottom plate shapes



conclusion: simplicity of the straight pipes is important to underline the seating surface design.
We found that other shapes would be too much & wouldn’t contribute to the concept.
Bottom Plate should be oval, but will stay a plate. Without a rocked element, we purposefully create a communication piece that relies on cooperation & commitment.
… deciding between final 2 upper seating options
!staying with circular shape, no backlean (try out feedback)!





1.velvet pillow cushions



2.leather pillows with fringes


… the curtain returns, full circle moment



It started as small experiments with a lot of different Tinklets.



That is, small found electronics turned into new playful things.

I thought the final outcome would be something concrete and be embodied in a specific object.
But because what I want to show is so involved, it is turning into a more abstract framework of different aspects that I want to communicate.
I want to:


Core aspects:
These aspects are intertwined. Together they constitute my body of work.
This is moving me away from making specific tinklets, into the direction of a coworking experimenting desk, where visitors can experiment with electronics, and experience my messaging and viewpoint.
At the same time, when facing an audience, the topic of electronics is too broad to offer. While conceptualizing with Ana, we focused on a manageable task the visitors can accomplish during their visit.


[^visual reference]


"Moses-channel"-style desk.
Two participants, one a visitor, sit facing each other.


L-bend workspace.
Participants do not face each other.
Requires square table.


Wide bench.
Several participants sit side by side.
Already existing layout.


Working on the floor.
Association with playing with LEGOs on the floor.
Extra: Manuals and experiments reading corner.
Prototype Sketch ideas:


















18.5–27.5
• Mit Gewichten (Pet Flaschen zum Beispiel) und Schwimmnudeln eine Art Exoskelett anzufertigen, um zu sehen wie sich der Körper im Wasser verhält, wenn er auf diese Weise gestützt wird, Modell anpassen wenn nötig
• Eine 1:1 Skizze machen (wie soll welches Teil genau aussehen und welches Material probiert man für welche Teile, benötigtes Volumen berechnen, Körpermaße bestimmen (bsp: Für 60kg bis 100kg, wobei man da bedenken müsste, dass auch die Körperform sich erheblich ändern kann)
28.5–10.6:
• Anfangen erste Teile 1:1 zu bauen (bsp: Sitzteil, erstes Schulter/Rückenteil etc…)
• Materialanschaffung
10.6–16.6
• Finales Produkt realisieren, Testung des vollständigen Produkts
Material(s)

An old linden tree in the Zawieprzyce Park, archival photo by Stanisław Pastusiak via lubelskie.regiopedia.pl
Linden (lipa / Linde)
This one is extremely important in Polish culture specifically (but also in Alpine folk traditions).
The linden tree was associated with:
Villages often centered around a linden tree. People believed it:
In Slavic folklore, it often has a gentler, maternal aura compared to oak.
Linden wood was also used for:
A lot of old Polish Madonnas were carved from linden.

One of the oldest recorded linden trees in Poland, next to a church in Czarny Potok. Source: mojamalopolska.pl
Carving
Matthias suggested to focus on preparing a model:


However,

Folk patterns from Podhale region in Poland

Kashubian folk patterns
References




