This stage documents a critical moment of doubt and methodological synthesis, directly informed by my research into “human bone churches” (ossuaries). My initial attempt to apply this concept to the doll (the ‘人偶’) was proving unsuccessful; as the models show, while the creative idea was sound, the execution felt “messy” and lacked “precision,” which forced me to question the entire plan’s viability. Instead of abandoning the concept, I pivoted to a dual-track approach. First, for the doll, I began constructing its internal skeleton to serve as a proper armature, allowing me to build upon it with more structural integrity. Concurrently, I began designing the necklace by deconstructing the ossuary concept: I used individual human bone shapes to “piece together” and “fill” the larger spinal components, directly emulating the dense, patterned arrangements found in the bone churches. This micro-level anatomical arrangement was then combined with my macro-level inspiration: the overall structure of Gothic architecture. The resulting 3D models (as seen in the screenshots) demonstrate this hybrid methodology—using the texture and repetition of bones to fill forms that reference the verticality and framework of a cathedral.
chuyun lu‘s 