TING-YU LING
The plan of the room display its composition, a bed, a closet, a desk, a shelf, and a chair. Aside from the main furniture in the room, the plan also shows key objects that I've been frequently using. For the annotations of these products, I tried to document the companies that made them. I also noted the founding time and place of these companies, plus the other merchandises and services that they provide.
The elevation of the room shows the exact view when standing by the door. Different lineweights are utilized in the drawing to show perspective. As shown in the drawing, the bed and the shelf are the closest to the viewer, and the window and the desk are at the furthest.
The Actor Network Map focuses on the sources of the products in the room. Most of them belong to two categories: products made by Muji, and Shueisha anime-related merchandises. Therefore, the objective of the map is to understand how these products went into the room starting from upper source of these two companies. The map was divided into two parts, and they both connected to the center actors, Sales Channels and Customers. Different products will go through separate channels and actors, and then finally converge together. Furthermore, the memo at the corner highlight the key actors and the key processes. Some of the actors are colored, indicating that some of them are related to certain categories.
The lines being selected are related to the movements in the room. The larger square represents the whole area that can be reached originally when the room is empty, and the smaller square represents the accessible space after the room was filled with objects. The dashed arrow line shows the ferquently used circulation that connects the door and the bed, and the arrow line at the middle displays the movement while using the chair and interacting with the desk. Finally, the dotted line pinpoints the center of the prime furniture in the room that restricted all these movements and circulations.
When transforming the five lines into strokes, I tried to maintain the meanings of these linees, and also create a visual contradiction between squares and circles. For the rectangles that define areas, I transformed them into thick strokes with a bigger spacing length. Therefore, even though they looks like huge blocks, they somehow still indicate and differentiate the same spaces just like the original lines. As for the lines of circulations, I used denser thick dash lines with smaller spacing to represent the trace of walking and moving. At last, for the fifth line that indicates the centers of furniture, I used a thinner dash line with circle-shaped ends to differentiate it from other lines.
After a series of extrusion, rotation, and transformation, the strokes become a three-dimensional system. The rectangular extrusions are separated and became multiple masses and volumes that scatter around the surface. These elements are also linked together by smaller aligned shapes, which creates interactions and relationships between these volumes.
Moreover, as shown in the GIF, the circular strokes were transformed into cylinders. Some of the cylinders act as columns to support other rectangular volumes. On the other hand, the other cylinders are laid down and became pipe-like structures, which also serve for the connection of these multiple masses.
The GIF above gives a clearer view of the whole system and shows the different elevations of the masses and shapes at the same time. The system can be imagined as a series of programs in a single building that has various functions to serve a certain objective. It can also represent or group of buildings located in a city area on a larger scale. The system then allows all kinds of activities to happen within.