When I design active furniture, exo skeleton chairs and product interaction, it is fundamental to understand how the body deforms when it is moving. As part of the design process, I execute motion studies, providing me insight in certain aspects of the body in motion.
Self-conducted study with liquid clay. The more cracks, the bigger skin deformation. On the drawing you can see skin deforms asymmetric. The right shoulder blade has more deformation, most likely due to me being right handed. The center of the spin is having more deformation than the lower back, making that a more interesting place to support the exo skeleton to the body without getting blisters.
A music film created for the track 'Fluqs', where research on motion and skin for the Bionic Chair is visualized.
Film by: Zygintas Papartis and Govert Flint
Music by: FLUQS
Performers: Leslie Nagel and Govert Flint
Third eye: Agata Vodnicka
Special thanks: Aaf, Henk and Kaate
Concept: Institute for Applied Motions
Production: Ziggy Pictures
Supported by: Enrichers
A study on angles the limbs make
This experiment is based on a dialogue between the creature and the creation. Dancer starts by falling down. Based on that first movement, the 'creators' make supports: visualizing the ongoing development between user and product. From that creation on, Dancer continues with 'falling' followed with the creation of additional support. Together they become a choreography.
On display at “Het Nieuwe Instituut” Museumpark 25, Rotterdam. 31st of January – 26 of April 2015
Film by Zygintas Papartis and Govert Flint
Concept by Govert Flint & Rodrigo Alves Azevedo
Choreography by Rodrigo Alves Azevedo
Sound by Dominykas Daunys
Film production by Ziggy Pictures
Dancer Gieorgij Grzesiek Puchalski
Design Methodology by Govert Flint
Jeroen van der Drift
Inge van der Ploeg
Het Nieuwe Instituut
Special thanks to
Studio Makkink & Bey
Jules van den Langenberg
Collaboration – O
Luuk van den Broek
Bart de Hartog
This Motion Study is about how sweat appears on the body. At the exhibition 'The Object Is Absent' (Oct. 2019) at MU Art Space (Eindhoven, NL), I covered my body in ash for being able to visualise where sweat appears on the moving body. At places where the body starts to sweat, the ash becomes black, displaying the pattern the sweat appears on the body.
It surprised me it was not the armpits, but the head, forehead and area around the nose and mouth which produced a lot of sweat. There seams to be a relation between facial hair growth and places where we sweat. Also the spine produced a lot of sweat, perhaps more than 50% of the entire body production. The armpits are known for their sweat production, but seamed to produce relatively little when performing sports. Perhaps the armpits have a higher relation with sweat production when experiencing stress or emotions like anxiety, fear or excitement.
When we design chairs in cars, we should create a special solution for the middle back rest for dealing with the high sweat production there. Also for sports wear, the area of the spine should be designed to deal well with sweat production.
For make-up, it is interesting to take into account our eyes, lips and nose are very much spared from sweat, although our forehead, cheeks and area around the mouth cope with a high sweat production.
Angelique Spaninks & Tom Loois
Photographer: Britt Roelse