Abstract In design history, the concept of “skin” has been used to refer to the outermost tissue that encloses a physical body. So, if the concept of “skin” can be understood as a generator of ideas for interiors that lie in between the flexible spaces around the body and the rigid spaces within the building, what new form and context can an interior skin take in adding to the contemporary interiority? Borrowing from the metaphor of “skin” in fashion, interior design, and architecture, Ruga Interior Skin (RIS) explores the ambiguous and conceptual realm connecting the act of wearing, inhabiting, and its relationship between body, form, material, and surface-making of a novel interior semi-structural wall and partition. “Ruga” is the Latin word for making wrinkles, creases, pleats, and folds. RIS is inspired by the use of wrinkling and folding to create flexible frameless topological forms that can be suspended in a way that is similar to a piece of cloth or textile. Both flexible and rigid, RIS draws the connection between the body and the interior surface, placing the dichotomy of permanent versus ephemeral, solid versus light, and material versus digital at the center of the concept.

中文翻译：

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Ruga Interior Skin的主体、形式、材料和表面制作

摘要 在设计史上，“皮肤”的概念被用来指代包裹身体的最外层组织。因此，如果“皮肤”的概念可以被理解为位于身体周围的灵活空间和建筑物内的刚性空间之间的室内设计理念的生成器，那么室内皮肤可以采用什么样的新形式和环境来增加当代室内设计？借用时尚、室内设计和建筑中“皮肤”的隐喻，Ruga Interior Skin (RIS) 探索了连接穿着、居住行为及其身体、形式、材料和表面之间关系的模棱两可的概念领域——制作一种新颖的室内半结构墙和隔断。“Ruga”是拉丁文，表示皱纹、折痕、褶皱和褶皱。RIS 的灵感来自于使用起皱和折叠来创造灵活的无框拓扑形式，可以像一块布或纺织品一样悬挂起来。RIS 既灵活又刚性，在身体和内表面之间建立了联系，将永久与短暂、实体与光、材料与数字的二分法置于概念的中心。