Sensorial Interpretations of Covert Physiological Signals for Therapeutic Mediation
Spring 2021 Master’s Thesis
Primary Advisor: Dr. Jose Luis Garcia del Castillo Lopez
Secondary Advisor: Dr. Nancy Etcoff
As the demand for technologies that mediate the environment continues to rise, day-to-day activities have been increasingly overloaded with devices that collect personal signals, such as phones, watches, jewelry, and fitness trackers. Yet, despite the sensibility of these machines, little has been explored in decoding the highly informative signals collected by these devices to temper the physical environment. These signals have the potential to communicate one’s cognitive state and, in turn, address signs of stress and anxiety. Embracing the open access to these technologies, this research seeks to question how covert physiological signals can be turned into perceived sensorial experiences to increase awareness of one’s cognitive state and elicit positive affect through material interfaces. Acting not as a substitute for traditional therapies but as an alternative antidote, these sensorial interventions seek to process, analyze, and interpret physiological patterns, such as electrodermal activity and heart rate variability, to recognize signs of high and low emotional arousal and pair them with tactile, olfactory, auditory, and visual alterations in one’s surrounding. It is predicted that through the repeated association of the actuated stimuli with specific physiological states, a certain conditioning can be evoked to subsequently promote an instinctual response to malleable matter. The results illustrate that the fabric of the environment can not only be empathetic to subconscious mood but also able to foster positive affect through psychophysiological adaptation.
This prosthesis represents the most intimate connection with the user as it resides closely wrapped around the wrist and explores the impact of auditory and haptic stimulus to encourage slow rhythmic breathing patterns. Taking precedent on the peripheral paced respiration technique, this piece seeks to draw on the innate interpretation of rhythmic breath to passively alter one’s own respiratory cadence.
When activated, the pump follows a slowed graduated breathing pattern, also known as the relaxation breath, of four seconds inhale – seven seconds hold – and eight second exhale. This time-based respiration pattern was chosen due to its proven efficiency in reducing anxiety, stress, and depression in patients. Activation of this pattern occurs through two physiological actuators: heightened readings of mean EDA based on the individual’s baseline, plus slowed intervals of HRV. When these two signals reach their thresholds simultaneously, the pneumatic system is activated, and patterns of breathing persist until readings return to the original baseline. Once readings return to an individual’s baseline it is assessed that the individual no longer requires the haptic and auditory respiratory guidance and has either passively or consciously returned to a state of calm.
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Scaling up, the chair extension serves as a study on haptic stimuli. This prosthesis studies the efficacy of embodied cognition to covertly promote respiratory rhythms to passively either energize or calm the participant. While the method of analyses for the individuals EDA patterns remains the same for this piece as the wrist pieces, the analyses of HRV has been substituted for that of motion through the 3-axis acceleration sensors located in the biometric reader. Observed in parallel, this data can illustrate correlations between prolonged periods of low movement and decreased focus and restlessness, or conversely, signs of heightened movement with stress and agitation. While many devices integrate reminders to take a break, move, get up and walk around, few of them take in the full consideration of one’s cognitive state, and rather are based on intervals of time, GPS movement, and at times accelerometer data. While these are all valid forms of evaluation it is not always possible, or even necessary, when one is in a state of flow. Thus, it is crucial to study passive systems that can recognize and respond to these signals without the necessity for one to interrupt the task at hand.
When signals of EDA and movement indicate either possible restlessness, such as heightened levels of EDA and frequent signs of agitated motion, or drowsiness, meaning lowered levels of EDA and prolonged infrequent motion, the vibration motors are activated. When activated, the motors gradient in power, matching the slowed graduated breathing pattern also employed in the wrist piece. This translates to an increase in vibration power from 0% to 100% over a period of four seconds, maintained vibration power at 100% for seven seconds, and gradual decrease in power from 100% to 0% for eight seconds. Inspired by the notion of haptic-based guidance these vibrations seek to moderate one’s breathing patterns through embodied cognition to reduce stress and/or increase attention.
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The desk intervention investigates the influence of olfaction on one’s cognitive health. The scents of lavender and peppermint were chosen for this piece, given the found effect of lavender scent in reducing levels of anxiety, and association peppermint amora has with improving aspects of memory, attention, and alertness. Unlike scent diffusers, candles, or incense, this desk addition diffuses smell only when physiological signals indicate a sign of distress on the individual at a particular moment. This means that only one scent is diffused at one time and is dependent on the biometric signals received by the device.
Much like the chair prosthesis, actuation of the piece occurs through physiological signals of EDA, HRV, and motion. Assessing biometric signals of drowsiness or stress the piece actuates one of the two discrete heating paths to subtly diffuse either the awaking aroma of peppermint or the relaxing scent of lavender. The unique quality of aromatic stimuli occurs due to the anatomy of the olfactory pathways that are directly connected to the limbic system, the region of the brain associated with memory and emotional processes. It is the subconscious and covert quality of this sensory stimuli that makes this piece the most discreet in its environmental alteration but, none the less, powerful in its influence.
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The light prosthesis explores the correlation of physiological signals and light levels to passively address cognitive functions. This piece adopts dimming principles by leveraging material properties and heating actuation. Although it sits the furthest from the individual, its influence on atmospheric conditions is by far the most notable and scalable. The piece is currently programmed to allow for more light permeation when physiological signals suggest decreased attention or fatigue, and less brightness when EDA and movement indicate high arousal. Being simple and small in its system design, the piece represents a scalable solution to programmable materials which indirectly produce a strong impact on the surrounding environment.
Harvard GSD - SCI 6477, Fall 2019
Advisors: Jonathan Grinham & Joanna Aizenberg
Team: Grace Chee, Trevor Cobb, Katarina Richter-Lunn, Irmandy Wicaksono, and Benjamin R. Freedman
Doze is an on-skin, hydrogel-based sleep mask which seeks to improve, enhance, and augment sleep through the use of programmed scent diffusion in tune with the user's cortical rhythms. Taking advantage of hydrogels’ unique properties, the Doze mask encapsulates and emits therapeutic scents at a regulated pace. The release of scent is controlled by an embedded heater within the layers of the mask and communicates remotely to a smart device. This communication allows for a personalized dosage release based on the user’s biometric or contextual data. Investigating both the pervasive power of smell in enhancing sleep as well as natural topical remedies, this personalized mask explores the potential for unintrusive solutions to the ever-growing rarity of a good night’s sleep.
Harvard GSD - SCI 6365, Spring 2020
Advisors: Jose Luis Garcia del Castillo Lopez & Zach Seibold
Curating a Human/ Robot performance that goes beyond the physical rendition of movement through machines.
Through the use of physical (movement) and mental bio-data (EEG) the performance looks to reveal an arguably more “authentic” translation of not only the performers movements but also their current state of mind.
This duality of visualizing both mind and body simultaneously seeks to expand our vision for human machine interaction as well as enhance computational creativity within the performing arts.
This project questions the potential for robotics to both act as a tool in creativity as well as a partner. Pushing this human/ machine interaction outside the set limitations we believe robots to be capable of allows for new potential in human enhancement and machine autonomy.
Thinking about these questions through the lens of psychology and neuroscience suggests opportunities of how one might be able to tap into the performers mental state to deliver not only a more genuine interpretation of their physical movements but also summon questions about the relevance of technology, computation and art within the realm of personal well-being.
Preliminary Explorations of Movement Tracking with UR10 Robot in Collaborations with Dr. Merritt Moore and Jose Luis Garcia del Castillo Lopez at the Harvard Art Lab
Preliminary testing done pre-Covid-19 Facility shutdown
Harvard GSD - SCI 6365, Spring 2020
Advisors: Jose Luis Garcia del Castillo Lopez & Zach Seibold
Team: Katarina Richter-Lunn, Sana Sharma
Project exploration: Uncertain Mediums
As the goal for this assignment was to allow a robot to draw geometry shared from a digital environment, we wanted to explore non-standard, ephemeral media that could capture the robot’s creative process and output. We chose sand as the ‘canvas’ for our experimental work, as it added an element of unpredictability to the drawing output. We also had the opportunity to develop several custom end effectors that enable alternative forms of drawing.
Pendulum + Friction
For our initial tests, expected that given enough velocity, the pendulum would pull through the sand, carving out motion beyond the bounds of the curve it was originally given.
Instead, the friction of the sand, coupled with the length of the pendulum, limited the free motion of the pendulum, and produced short, irregular paths through the sand. By shortening the pendulum and developing a series of overlapping paths, we produced a series of ‘roses,’ the pendulum motion through the sand softening the sharp, linear inputs into softer petal-like outlines.
FLOUR
Having done our first test with sand we wanted to explore other granulated mediums which might lend themselves to a variety of outcomes.
This brought us to consider flour due to its extremely fine and dense properties which meant it was not only more sensitive to small alterations in movement but also meant that it maintained its structure more precisely than sand.
This allowed us to explore more precise shapes with a variety of tools customized for the purpose of the Robot Zen Garden.
Evolo Vmodern 2016 Competition - Honorable Mention
Vellum 2015
Advisor: Karen Lange - Cal Poly, SLO
Attaché is an experiment that investigates the varied impact of sensory environments on the mind and body.
By reframing the chair simply as a means of connection, the spine becomes one of conflicted evocation: the lounge chair - the embodiment of relaxation and dénouement. This association is directly felt when lowering oneself to the chair. By bringing the body close to the ground and in some ways falling into its seat one is then committed to the experience and proceeds to surrender into the back attachment.
The embedded “spine” of the chair slowly latching on to the body as one releases into it is both and attachment as much as it is the attacher. Although rooted into the back design of the chair, it also begins to inset itself into the experiencer. It was observed by many that sat in the chair that they could still feel the pressure points triggered long after their experience ended or even some had delicate imprints of the spine on their own back. It is this idea of the attachment both physically, mentally, emotionally and anatomically that I was interested in extracting. Users saw how their senses can be triggered and thus became more and more aware of their personal sensitivities, which allowed the experience to alter them in a variety of ways.
This investigation looks at how experiences in one’s environment can effect cognition on a multitude of levels, and how perhaps it can be applicable on a larger scale. Thinking about how one can directly connect with the mind and body without the necessity of latching on to it.
Attaché
\,a-tə-‘shā, ,a-,ta-, ə-,ta-\ n.
the physical connection:
01_ Tout ce qui sert à attacher, à retenir, lien, courroie, agrafe, etc./
Everythign that serves to attach, hold back, tie, clip, etc.
the emotional connection:
02_ Sentiment qui unit à quelque chose, à quelqu’un/
Feeling that unites to something, to someone.
the mental connection:
03_ Liaison, relation qui fait dépendre quelqu’un d’une autre personne ou d’un milieu/
Link, relationship making someone dependent on another person or a medium
the anatomic connection:
04_ Articulation des membres, et en particulier le poignet et la cheville/
Joints members, especially the wrists and ankles
Honorable Mention
Team Echinoderms: Erin Hunt, Katarina Richter-Lunn, Sana Sharma
Harvard GSD - SCI 6338, Fall 2019
Advisor: Jose Luis Garcia del Castillo Lopez
Novel generation of custom G-code
We took formal inspiration from the radial symmetry and diverse shapes produced by diatoms, sea urchins, and other small sea creatures. Our goal was to create a single continuous curve with stepwise z-motion, eliminating the need for infill to print hollow volumes.
By using rotation and profile as our main parameters, we could test the how slope and span of our designs would affect bridging and layer deposition.
Music and the Mind…
Harvard GSD - SCI 6338, Fall 2019
Advisor: Jose Luis Garcia del Castillo Lopez
Working with sound as our foundational medium our team looked at three different ways in which to interpret the input and return a “translated” version. These translations include; audio user interaction which intuitively responds (Sana Sharma), the interpolation of a song through your brain wave data (Katarina Richter), and the formal adaptation of music through 3D printing (Erin Hunt).
In this part of the investigation sound was analyzed along side of the current brain waves activity from the listener, with use of the Muse device. This activity is then analyzed in real time to effects different characteristics of sound, such as; amplitude, rate, and pan.
This allows users to have a certain amount of control over the music they are listening to and give live feed back of your current state of mind.
All unique in their approach and output these projects seek to explore the power of auditory information processing by providing fun, relatable interpretations of complex systems.
The hope being that this not only changes the way music is conceived, created and experienced but also can give participants a new medium through which they can start understanding these technologies, and even themselves, better.
Team Pythonic: Erin Hunt, Katarina Richter-Lunn, Sana Sharma
Harvard GSD - SCI 6338, Fall 2019
Advisor: Jose Luis Garcia del Castillo Lopez
Conceptual visualization of ferro fluids
Our initial inspiration for this assignment came from the motion of ferrofluids, which are liquids that become strongly magnetized in the presence of magnetic fields. The ferrous particles within the liquid move in response to the magnetic field, changing the form of the liquid overall.
To manipulate 3d objects, we subdivided the volumes and translated their midpoints to a new location based on the attractors. We then extruded a surface to the new point. In this way, the parent object could be considered a volumetric space composed of a collection of point objects, which when manipulated affect the shape of the overall volume.
We now needed to create a volumetric space and define how our attractors would behave in relation to this space and our manipulated volumes. We established a bounding box and a 2D array of attractor points on each facade. Indexing through the attractor array produced a jolting motion and discrete volumetric shapes.
To create smoother motion of the objects, we defined curves along each facade of our bounding box. Subdividing the curves created a list of points that we could cycle through to create the appearance of smooth motion for the attractors along each face.
RECREATING THE PAST
MIT Media Lab - MAS.S68, Fall 2020
Advisors: Zach Lieberman
In this class we studied computational art from the past decades and recreate these works with contemporary techniques to gain aesthetic, analytical and technical knowledge.
For each class, we investigated a different set of artists that have created work with software (either through code or algorithmic processes) and then recreate their artworks from scratch, discussing their approaches and tools, as well as poetic underpinnings. By recreating historic works, we also investigated what modern tools and approaches have to offer. In addition, we looked at broader examples of what the artwork teaches us about algorithmic approaches and conceptual explorations. For example, seminal works like Camille Utterback and Romy Achituv’s Text Rain can be used as a starting point for discussing computer vision-based interaction. The class focused on the building blocks of media art and generative design practice, such as algorithmic composition, typography, imaging, computer vision, audio analysis / synthesis, and interaction design.
Simulation of Agents populating a Mesh (STL Imported from Rhino) - Processing - Using Kokkugia Library - https://www.kokkugia.com/
Flock Theory - Swarm Intelligence
Rules of Flocking (by Craig Reynolds):
1- Separation: steer to avoid crowding local flockmates.
2- Alignment: steer towards the average heading of local flockmates.
3- Cohesion: steer to move toward the average position of local flockmates.
Resulting Agents can then be exported from Processing into Rhino using Grasshopper.
Visualization of agents over original mesh can be seen here.
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“Houshiary approaches the intangible and evanescent, articulating a metaphysical reality that lies beyond mere form and surface.”
Code: https://github.com/Krichterlunn/MAS.S68_RTP_Fall2020_KRL/tree/master/ShirazehHoushiary
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Code: https://editor.p5js.org/Katarinarl/sketches/QQsEekc6j
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Code: https://editor.p5js.org/Katarinarl/sketches/VYBhkw_-L
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Code: https://editor.p5js.org/kylemcdonald/sketches/H1OoUd9h7
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Code: https://editor.p5js.org/Katarinarl/sketches/lr3xBrMiE
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Code: https://github.com/Krichterlunn/MAS.S68_RTP_Fall2020_KRL/tree/master/AnnieAlbers
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Code: https://editor.p5js.org/Katarinarl/sketches/T7pO-3gK3
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Code: https://github.com/Krichterlunn/MAS.S68_RTP_Fall2020_KRL/tree/master/JohnMaeda
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Thesis Award - Cal Poly, SLO
Advisor: Karen Lange
Winter/ Spring 2016
Concentration: Embodied Cognition*
Embedded within the urban fabric of downtown Manhattan, the IET investigates the possibilities of experiential therapy and embodied cognition within architecture.
Through the juxtaposition of psychological theory and architectural space, the users are exposed to a series of placebo programs and experiential spaces that trigger a subconscious response to fears and phobias within themselves.
It is by paralleling a sense of discomfort with that of relaxation that the users undergo systematic desensitization through their environment resulting in a new method of confronting the epidemic of psychological instability constructed by our society.
*embodied cognition: perception of the world through the body and its senses rather than thought.
*placebo programs: the advertised program to the main public.
*experiential programs: circulation and space that resides between each placebo program.
*systematic desensitization: the psychological process known today to cure phobias.
Thesis Issue - Fall 2015
Most of us are numb or unconscious to the environment that surrounds us, especially when living in a highly active and stimulating environment. It is only when triggered through a sense so strong that it connects with our subconscious that we begin to truly respond to the space around us. Most often than not we shut out these reactions, especially if they are connected to discomfort or fear. However, Daniel Libeskind states:
“Architecture should not be comforting. It surprises me that people think that architecture should be nice, should appeal to your domesticity. Because the space and the world is different. It’s important not to repress the trauma. It’s important to express it and sometimes the building is not something comforting”.
Through this statement, Libeskind is looking at architecture as a illustration of the psychological state of individuals today rather than camouflaging what many would like to ignore.
Living in a world where fear and phobias have become a prominent presence in our environment and therapy less accessible to the population, other strategies of treatment need to be explored. Architecture, having the great influence over those who reside in it, also holds the ability to cure the effects of what a previous environment might have instilled. It is not farfetched to imagine a way to reverse-engineer a preconceived fear or phobia gained through the environment by architecturally applying the psychological technique of systematic desensitization, which looks at combining both fear and relaxation into the same stimuli in order to positively redefine a memory or notion.
According to Umberto Eco:
“Architectural discourse is psychologically persuasive: with a gentle hand (even if one is not aware of this as a form of manipulation) one is prompted to follow the ‘instructions’ implicit in the architectural message.”
The Italian semiotician, here speaks of architectural manipulation as an “architectural massage” in which the user sinks deeper into their unconscious while entering levels of space. This subconscious influence allows for a more genuine connection to space rather than this “comforting, and appealing architecture” which Libeskind sees as a lie in today’s society.
It is with a similar belief that I see the potential of architecture to help cure our epidemic of psychological instability. Though the combination of Libeskind’s outlook on the architecture of the uncomfortable and Eco’s theory of the persuasive space, one can begin to re-define architecture as a mind and body experience.
Reflecting on how past architects have devised solutions to the issues of their time and the most contemporary approaches to therapy, a new architectural language can be formulated. Already revealing itself in areas such as body architecture and sensory environments, the concept of combining the unease with the familiar is beginning to reveal itself in design. It is through experiential stimulation in architecture that an embodied therapy can begin to influence the user at a subconscious level and provide an accessible cure for environmentally induced phobias.
“Buildings are inert objects, but our experience of them transcends the physical realm and extends into our deepest consciousness. Architecture, in particular, which moves beyond mere building, strives to enhance the human condition and promote emotional well-being through the manipulation of space, light, material, and form. Psychoanalysis is concerned with many things, among them, the means by which places enter our psyches and become a part of who we are.”
[ Elizabeth Danze and Stephen M. Sonnenberg ]
Movie Link
MAD architects design award - Finalist - Cal Poly, SLO
LA Metro Studio Winter/ Spring 2015 - LA Metro Website
Advisor: Stephen Phillips
Unsettling or disturbing sensations become especially interesting when they are directly related to architectural form. By taking an unsettling form out of context, it’s characteristics can be evaluated independently and we can discover what triggers our uneasiness.
Although each individual experiences forms, spaces and textures differently, general characteristics can be extrapolated. By isolating and manipulating these characteristics, we can discover more subtle elements which might also trigger the disturbed. Many might think that horror is found in the absurd when in fact it is most commonly found in the usual. One common trait that I chose to emphasize in my research is that of symmetry. Although we might believe that most living organisms are perfectly symmetrical, we can simply look to the mirrored features of a human face to prove otherwise. In fact, the minor alteration of one aspect of a symmetrical form is more recognizable than one difference among a multitude. Through isolation and slight alterations to symmetry these forms begin to touch the senses and make us wonder about the source of our instincts.
Personal Research Experiment - 2017 - 2018, Ongoing
Los Angeles - CA
Team: Emmanuel Osorno, Katarina Richter
This experiment was inspired by an interest in using bacteria to grow fabric. From biology to architecture this new bio cellulose has taken the field by storm showing to have boundless potential. With the primary interest of learning how this substance grows and can be combined with other materials we set out on a long process of experimentation.
First we evaluated how changing the ingredients of the culture altered the outcome. For instance, using green tea rather than black tea as a base for the culture. The second round of variables introduced were in the process of drying the cellulose, whether that be hanging it outside on a clothing line or lying it on a piece of wood to dry inside. Lastly, we begun the most unpredictable and exciting part of the experiment: seeing how the cellulose would react to different materials and levels of manipulation. These processes varied from letting the cellulose grown around and within a piece of synthetic lace to combining the cellulose with other natural elements such as corn husks and fibers. All trials produced very unexpected results, ranging from disastrous to fascinating, but mostly with a lot more knowledge and potential for further pursuits.
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Bio-Synthetic
Personal Research Experiment - 2017, 2018, and Ongoing
Following months of experimenting this new bio-cellulose material, I decided to explore how it can connect to the body and mold itself to a particular form. After failed attempts to embed structure into the cellulose while it was still growing, I realized that it would be best to sandwich the rigid framework within two pieces of cellulose and allow them to merge together, completely enveloping the structure.This was the method used in my first formal experiment (1,3). To further this idea, after drying the cellulose, I wanted to see how the fabric could be altered if another material application was used such as 3D printing. This is where I looked at using a 3D pen to add rigidity to the otherwise flexible fabric and with the mannequin as the mold construct a formal constrain to the fabric (2). I see this having a lot of potential in how bio transformable fabric, and the frame work used, could become directly responsive to the body or environment it surrounds.
Winter 2016 - Studio 400 Bookshow
Advisor: Karen Lange
Showroom was a gallery installation produced by 18 architecture thesis students. The installation served to present each of our books, comprising research from fall academic quarter. Our purpose was to create an implied space of sameness within vast darkness. This space consisted of an array of unconventionally placed furniture, 18 tall ‘pedestals’ on top of which each book rested, and ‘the cloud’. In order to grab a book, visitors had to crawl, climb, and punch through the cloud. This constant struggle and relaxation, socializing and concentration, allowed for different worlds to be experienced within a 12’ x 20’ square.
Best of Show - Nominee - Cal Poly, SLO
Spring 2014
Advisor: Margarida Yin
One single structure was formed through the osmosis of different concentrations.
Breaking the tension bonds between these two living organisms allowed them to come together as a harmonic entity while still maintaining their unique compositions.This binary fusion evolved into a self supporting ecosystem which nourishes those who visit, live and work within this society.
Sitting within the border of Señora, Mexico, and Arizona, USA this new environment serves as an open network for those from every identity looking for a place to work, cultivate, live and learn symbiotically.
Fall 2013 _ Cal Poly, SLO
Advisor: Stephen Phillips
Located in the heart of Culver City, Los Angeles, the Electric Lodge theater is a multi-purpose arts facility that incorporates everything from dance, music and art to film screenings and photo studios. This downtown hub looks to attract artist internationally to expand and inspire ideas. It is a home for ecological discussion and a focal point for joining forces worldwide to inform society through community feedback and artistic exchange.
Seeking inspiration from living organisms the form begins to grow and take on the entirety of the site. Sprawling both horizontally and vertically, the porous skin allows for the programs to intermingle with each other, creating a discourse among disciplines while the skeletal structure drapes and formulates the overall expanse of the project.
Adaptive Concrete Masonry Assemblies
Advisors: Jeff Ponitz & Mark Cabrinha
Sponsored by:
the Concrete Masonry Association of California and Nevada
Spring 2014 - Cal Poly, SLO
Team: Mariana Diaz, Katarina Richter
The Material Innovation Lab is an advanced applied design research laboratory that initiates, conceives, and executes full-scale building assemblies through industry and academic partnerships. Enabled through advances in design, fabrication, and environmental analysis, a focus is placed on high-performance assemblies that respond to variable solar and thermal criteria based on climate.
In our team we were particularly interested in the weaving logic of a facade system and how through a simple unit we would be able to achieve a multitude of desired outcomes.
Through our design we emphasized the strength of concrete in the diagonal part of the unit, while also creating an adaptable surface.
Through different assemblies, we achieved an entirely enclosed surface as well as a highly porous wall for light and air to filter through. With an touch of grace and delicacy added to the ascetic of concrete, the image of the CMU block can now begin to be re-envisioned.
Series of Projects and Commissioned Work
Red Wood 4' diameter kitchen table + Resin - 2014
Red Wood CNC milled table top - 2014
Trois Liaison - Vellum - 2012
COUPLE PARFAIT
Winner of the Peoples choice Award - Cal Poly, SLO
Vellum Fall - 2013
This piece made perfectly for two, holds place for two white wine glasses, two red wine glasses, and two champagne glasses. These are accompanied by three personalized bottle holders; for white wine, red wine and champagne. Soft light glows from the core while small carved indents in the wood cradles wine accessories. With its rugged and refined touch this piece accompanies every glass perfectly, as does the wine completes the piece itself.
TROIS LIAISONS
Vellum 2012 - Cal Poly, SLO
1] Communication between different elements of an organization through a common plane.
2] Link/ contact established between different materials for the communication of an order or idea .
3] A romantic affair.
Small side table with a height of 2’. Made of 3 fundamental materials: Cypress wood, galvanized steel and a Thomas Edison carbon filament light. Shows the contrast between man-made and nature while exploring the various levels of interaction that the steel and wood create through their connection.
One piece of steel attaches under the table, one meets flush with its surface and another penetrates the piece and rises above it.
L'HÉRISSON
Vellum 2014 - Cal Poly, SLO
3D printed PLA - Wood Veneer - Edison Lighbulb
L’hérisson lamp begins an investigation into the element of texturing through the use of digital tools. The piece, being primarily 3D printed, starts an ongoing interest in the effect certain surface treatments have on the viewer, evoking different emotions. When observing this lamp one often finds themselves either provoked by disgust or fascination. It is the power of influencing the senses through optical tactility that enables a provoking response to an object, such as a lamp.