Spatial Fabrication Studio II Sem 1, 2020

Amy Cherguit

Week 1 

Design Workshop 1

25.02.20

PROJECT 1: Colour Complex

  • Introduction to brief
  • Colour blocking-Site Visit

Colour Mapping

Today I had my very first lesson and were introduced to our new project and it’s investigated site. For the is assignment, our design conception and exploration has to be focused around colour, the purpose and different impacts that the colour will have on the occupants and the spatial environment. I am going to analyse and examine a variety of approaches to use and utilise colour in spatial design through my fabrications and process of making and creating. “This paper examines critical approaches to the use of colour in spatial design representation and fabrication“. Through the intervention that I will design in the space I will “critically interrogate the relationship between spatial practices and colour: colour as integral to materials, applied to materials, embedded into materials and colour as immaterial.”The project will question how colour can be used as a mechanism to highlight, orientate, articulate, integrate or contrast spatial practices relative to a particular context?

The design in the site will be a passage way of the ST James Theatre foyer space, located on Queen ST in Auckland’s CBD. The foyer will be used as a holding space for the occupants that use the theatre, as well as a passage for people between Lorne ST and Queen St. The theatre itself is housed people, as well as showcasing art performances; musicals, ballets, operas and events. The foyer is a contrasting space that is a depiction of the crossing between the exterior to the theatre experience and the experience that is captured with the theatres interior.

The site is now derelict, a ruin waiting to be transformed, returning to a new becoming. How do we reinstall the imagined possibility? How do we use “colour” to (re)purpose this place? For the redevelopment I will propose a design intervention in the foyer space of the St James Theatre through an exploration into colour, surface, pattern which speaks to the social cultural and material conditions of the site. My intervention will colour material surface speaking to the sites, past, present or a speculative future

After our introduction to our assignment we went to have an exploration of the site where we will be designing our project. The assigned site is the St James Theatre on Lorne St. We took a slow walk to St James Theatre, where we observed and documented colours, patterns, in the city and the sites surrounding environment; through photography and drawings+paintings. We didn’t get to see inside the building (site) so we just observed the exterior. I walked around the building site document document the the use of colour in the environment and site, with drawings, videos, images. During the visit I had to take note of the colour in relation of materiality, light, scale and texture.

Images

These Images capture the different lightings, colourings, heights, and textures of the city. After the walk around the city, I began to reflect on the key observations that I had observed and noted in relation to colour throughout the site- within the materiality, surface treatments and the surrounding environment.

Observations

  • The use of colour in the windows+doors: reds and yellows.
  • The range of colours used in the exterior: Reds, yellows, oranges, creams, greys.
  • Contrast of the red windows+doors, with the pale concrete.
  • The impact of the light on surfaces.
  • The texture of the buildings contrasting with the environment, concrete, grass, fence and crossing.
  • The St James building itself is a neutral toned structure, with pops of colour, from the doors and windows.
  • There was many uses of dots through the flooring of the environment- roads and pathways. It used to control behaviour and guide the users through the environment.

The impact of light on surfaces

  • The lighting has a massive impact on the appearance of the surface.
  • I noticed how the colour on the surfaces is directly lit by the natural sunlight, appears more bright and vibrant.
  • The sun, shadows, and reflections creates contrast of light within the environment, with altering different surfaces, creating different colours.

Textures

  • There are a range of different surfaces and textures within the sites surrounding environments, creating the urge to touch and feel them.
  • The texture of the pavement is a composition of grids, and tiles; creating symmetry and direction, manipulating the surrounding environment. Controlling where the occupants should move.
  • Industrial
  • The texture is placed on top of the grounding/walling.
  • These are markings of the texture of the building site.
  • These are marks of the texture of different pavements around the site.

Drawings

These are observations of the site and drawings that I noted down from the visit. I mainly focused of of colours and textures from my observation.

These are different textures and patterns that I want to explore further in my colour map.

These are colour pallets that I want to try and explore in my colour map, so mainly pastels, from the present environment.

While exploring the site I paid attention how the colours worked/purpose in the space, with how the colours were naturally embed or applied into the space. I discovered how that all of the natural tones- grey,creams and whites were all embedded in the sites materials. The more vibrant and bright colours were displayed on the buildings, with being applied.

The influence of lighting on the sites surfaces and the colouring, alter the way that they appear. For example when the way that the lighting effected the theater, caused the cream and white tones to appear very bright, almost to bright to look at. the shadow on the building appearing more grey.

How colour and texture can be used in controlling human behaviour, and can guide the occupants through the environment/ the movement of the occupants.

For me colour was was mainly around the surfaces of the building and grounds, as well as the entries to the space. Which draws and guides the audience into the space.

Week 1

Research

26.02.20

Project 1: Colour Complex

Colour mapping

When I got home after class I began to research the site and its existing heritage. The Site is the St James, Category One heritage building located in 314 Queen Street in Auckland City.

Originally the building was created and opened during 1928, and was substituted for the older Fuller Opera House, which was was initially created for vaudeville acts.

The architect Henry Eli White designed many famous theatres throughout Australia and New Zealand, counting the State Theatre in Sydney and the St James Theatre in Wellington.

The theatre has been closed off since 2007, due to the concerns raised about safety and compliance, no further work has been done to the theatre since 2015 after the funding for the apartment complex was lost.

The theatre is classified as a “Category I” (“places of special or outstanding historical or cultural heritage significance or value”) historic place by the New Zealand Historic Places Trust.[2]

The St James building is constructed of 3 levels with each level having their own lobby, so there was a boundary of interaction between the different classes of people originally. The theatre sits 2000 seats, with each level blocking off the view from each other. The gods seating area was believed as the worst seats, the layer seats are designed so the occupants can’t see each other on different levels.

the design of the theatre is a reflection of the style of architecture used in theatres during the 1920’s. The building remains of cobble stone and the building foundation can be seen on the bottom floor from the pre 1880’s.

Sectional Views

Site Plans

Restoration Plans:

  • The plan is restore the theatre back to its design during 1928, with keeping the original style, so the new model styles and trends don’t clash.
  • The walls are plaster rendered to appear as brick, painted over.
  • The statues were originally bronze, but have been painted over to be seen as marble.
  • The colours in the building have been darken throughout every restoration development, with the light colours appearing dirty. But they will be lighted during the development.
  • Temporary lighting is used throughout the theatre, with a fire due to electrical issues, making the lighting unsafe.
  • The buildings plans are to restore the site back as a working theatre.

Draft Colour Collage:

Final Colour Collage:

My collage is made up of images that I captured from my site visit, drawings, and water colouring.

Week 1

Design Workshop 2

27.02.20

Project 1: Colour Complex

  • Re-mapping

Model Making Workshop

During class today we worked on creating three different model that took inspiration from our colour collages. Each model had incorporate either Volume+Light,Texture+Shadow and a connection between models 1 and 2.

Texture + Shadow

  • With this model I was focusing the texture with the crunched up paper that surrounds the structure- to relate to the texture of the theatres form.
  • Created shadowing with the folding of the model.

Volume + Light

  • With this model I focused on the shape, and how I could create alot of volume and space, within the model.
  • I also experimented with how light only not reflect of it as well as travel through the space.

Connection between models 1 and 2

  • This model is a combination of my first 2 models. I used the texture from my first model, and the volume of the second model. As well as the same natural colours and material.

While working on these models I tried to depict the earthy pastel tones that I had observed from the St James Theatre. So I used the same material for all the models, with using brown paper, to depict the grey tones in the building, and then applied the same pastel pops of colour with water colour. I wanted to relate it to my finds at the theatre of the colours being applied or embedded in the structure.

Week 2

Design Workshop 3

03.03.20

Project 1: Colour Complex

Introduction to the group seminar presentations

Today in class we worked in small groups of 5-6 and created a seminar presentation, that we would then present to the class as a group. The idea that my groups presentation was based on was, the concept of “colour + light”.

Then in my group each member was given a question to work on and present, mine was to “Investigate how light changes how we see colour.

I then applied this research to two new artist models that I was given for this presentation, James Turrell’s and Olafur Eliassson. So edited an artwork from each artist, and altered the temperature and the CRI, to see how lighting effected these works.

  • With James’s work it is all based on lighting with the room having natural lighting and illuminating lights that produce different colours.
  • Each of the lighting’s have their own colour temperature and CRI, which produce the different colours.
  • If the rooms lighting were to change (temp+CRI), this is what James’s work would look like, which looks completely different.
  • Olafur’s work it is already set in a warm temperature with emitting hot colours, from the sphere in the centre.
  • So as seen if the lighting were to change to lower, it wouldn’t really change with the lighting already being warm.
  • If the lighting were to become cool and emitting blue raws, the whole concept and idea of the work would alter. Appearing at night, giving the new work an icy feeling.

Week 2

Design Workshop 4

05.03.20

Project 1: Colour Complex

Model Making Workshop for the Seminars

During todays lesson we began to work on 25 small models that depicted your concept, from our presentation: colour+light.

My 25 models were inspired by my presentation idea of colour + light.

My models were inspired with how colour reacts to different lighting and shadowing, for when I take images of these models I will use different lighting temperatures and colour rendering indexes. With models I explored a range of colours and shapes with developing each model in relation to each other and combining ideations. I cut, glue and stuck different materials of paper, cardboard, wire and mesh wire to create these models.

Week 2

Research

08.03.20

Today I worked further into my seminar presentation and applied my research of how lighting effects colours, with some of my models that I created during Thursdays lesson.  

First I selected a couple of models to photoshoot, and explore the different colour temperature and Colour Rendering Index, and see how it effects the colouring of each model. This experimentation could be used further in my project either with using lighting to change and alter certain spaces and structures, as well as in photoshoots when photographing my models.

Photoshoot

Exploring CRI Lighting

With my own models I took images with using natural white lighting, and either editing the images with a CRI at either ends of the spectrums, with cool and warm lighting effects in colouring. The first images I edited the images to be at the CRI of 1000, which makes the images appear with warming lighting. In the second images I edited the images to be at the CRI of 100000, making the images appear with cooler lighting.

With these images I either used a warm lighting or cool lighting, with the colouring of the lights I used. I used 2 different bed side table lights that I have in my house, with the first images using a warm coloured light bulb (CRI 45,red), and the second images I used a cool coloured light bulb (CRI 75,blue) to photograph the models. With these images it shows how the different colours of orange and blue create different feelings and perspectives with the models. I think I prefer how the blue lighted images look, over the orange lighted images, with looking more clean and crisp.

Week 3

Design Workshop 5

10.03.20

Project 1: Colour Complex

Seminar Presentation

During todays lesson my group and I presented our presentation on colour and light, that we had been working on throughout the week, in front of the class.

My groups presentation:

Week 3

Design Workshop 6

12.03.20

Project 1: Colour Complex

Site Analysis

Site visit

Today in class we were going a trip to inside the site, St James Theatre. we were given analysis tips that would help our project from this trip:

The tour of the inside of the building was given to us by a developer that works for the St James Theatre. Whilst giving the tour the guide explained the buildings history, as well as further plans for the buildings future, and how the building would hopefully evolve.

Photographs from the Trip:

Foyer:

Stairs:

Theatre:

Upstairs:

Interests from the space:

  • I was drawn to the patterning that dispersed throughout the space, and the pops of colour that drew my eye to the shapes. These patterns were mainly around the door ways and ceilings.
  • I was also drawn to the amount of texture that this building had. Since this space was under construction there was more texture present, allowing the insides of the structure to become exposed.
  • The building also had moments of lighting and darkness. The natural light that lit up the space was either from doorways or windows, either in the building or the stair wells.
  • The darkness of the building was mainly filled in the theatre space itself and the stairwells, that didn’t gain access to the exterior.
  • I was also drawn to little drawings and plans that were displayed upstairs in the building, that depicts to what the building was originally used for.

This exploration of the interior of the St James building definitely helped me understand the scale and size of the building better. The moments of seeing the space’s colour palette and texture will definitely help inspire further ideas for my project, when design an intervention.

Week 3

Research

13.03.2020

Project 1: Colour Complex

Site Analysis

Today I worked on my site plans/maps for the site as well as a site analysis, so I can further understand the building in relation to my ideas.

Site Analysis

Below are the floor plans that investigate and explore key qualities that are crucial to the space: Light, Movement, Colour.

Natural Light

This floor plan analyses the way natural light enters the space, there isn’t a lot of natural light allowed into the space, not reaching the center of the space as well. With my design I want to utilise the natural light as much as I can, so I will have to explore how I will be able to gain that, with the natural light or artificial light.

Applied Colour to the Space

This floor plan depicts the range of colour that is used through the space. From the visit I noticed how most of the colour is apparent in the doorways/openings and ceilings. The pattering was where the colour laid in the space, with a variety of warm and cool tones.

Movement of People

This floor plan is very important in relation to my design, with depicting how the space will be used and will be encountered in relation to the movement of people. With this analyse I’ve realised how the space will be used and how it will work in my design ideas, how the movement will busy around the doorways, stairwells and seating areas.

Week 4

Design Workshop 7

17.03.20

Project 1: Colour Complex

Artist model Research

During todays lesson, we began looking at different artist models that will influence my work. These are some of artists I began looking at:

  • Olafur Eliasson
  • Jeff Koons
  • Anish Kapoor
  • James Turrell

Anish Kapoor

  • I love the repetition of colouring and shaping, in all these works.
  • Each artwork has a strong organic nature to them, with strong feelings of movement.

James Turrell

  • I really like the use of colouring through the illuminating lights.
  • I think that the contrast of colouring the lighting would be cool to play with further.

Jeff Koons

  • I like the really interesting use of scale in these works, with making miniature toys into such large sculptures – child’s play becomes adults games.
  • I think that use of bright colouring in all of these works are very eye catching and draw the viewers into the space.

Olafur Eliasson

  • I love the use of colouring and space within these works, with the lighting projecting colour to absorb the space.
  • I’m also interested in the use of reflected surfaces in these works, which is creating different colours within different areas.
  • I love the organic and natural feeling to Olafur’s work with the incorporation of nature.

Grx Arquitectos

  • I like the earthy and natural vibes that I feel towards these works.
  • I also like the use of stone in these works, giving off the minimal vibes.

After looking at all these artists I’ve decide to focus on Olafur Eliasson , and began researching further into his work.Find out when and where they produced their work.

Olafur creates many different forms of works: architecture and lighting/glass installations. After my research I will decide on what further I chose to take inspo from.

Olafur Eliasson is a Danish-Icelandic artist that was born in 1967, Eliasson has created a variety of works that includes installations, sculptures, photography and paintings. The use of materials ranges with his works from moss, glacial melt-water and fog, light and reflective metals/glass. Within his works he takes inspiration from geometry, and his on going investigations of how we perceive and feel about the surrounding world. He tries to connect to the viewers senses, and hopes to create a encounter to the viewers experiences and memories.

Within his many exhibitions is he explores into deep engagement with society and the environment. Discovering what an artist’s perspective can bring to issues of climate change, energy, migration as well as architecture.

Architecture

Identify the key conceptual ideas that underpin their work.

  • The main interested that Olafur explores ideas of movement, light and space- which creates these large scale works. These geometric models creates new forms of space.- This will challenge the basic way that people perceive building and moving about spaces.

Identify their critical position on colour in relation to their work (i.e. how is colour applied, in what proportions, what particular theories about colour inform the making of the work, how does colour change dependent upon the environment in which the work is viewed.

  • In these works the colour is either applied with steel or glass, or is the colouring of the materials, brick, steel/metal. With this use of colouring it allows the movement to be apparent for the experience of the viewers.

What type of surface treatments are used in the work?

  • There are many surface treatments that are used in these works, with the use of bricks ands and steel that have their natural colours, that are contrasting with the colouring of the added glass or steel, showing further movement.

Do they use matte, satin, or gloss paints or material finishes or all of them together? Why might they do this and what is the effect of doing this?

  • In these works there are some glossy textures/shine over the metal materials, to create lines of movement for the viewers experience.

What scale are the artworks you have researched?

  • The scale of these works are all large, with all being buildings and in the public there is no limit on how big the buildings can be. These are all massive.

How does scale impact on how the work is experienced and how colour and materiality are perceived?

  • The scale of these works definitely impact the the viewers experience, since these works are at a larger scale it allows the viewers to having a longer experience, and move for longer.

Lighting

Identify the key conceptual ideas that underpin their work.

  • For the viewers to become aware of their senses and the people around them, and the world beyond.
  • Shadowing- to play with how we interact and perceive the world.
  • Colour theory
  • Lighting- he only uses coloured lighting instead o white lights/natural lighting, to effect the shadowing of the viewers.

Identify their critical position on colour in relation to their work (i.e. how is colour applied, in what proportions, what particular theories about colour inform the making of the work, how does colour change dependent upon the environment in which the work is viewed.

  • With the use of colouring in these lighting installations, all the colours are either applied from illuminated lighting or in the materials.-
  • Olafur was very inspired by the colour theory which is the science and art of using colour, depicting on how humans percive colour; the viusal effects of how colours mix and relate with eachother (contrast or match). What colours are used for communicating and messages.
  • Which is why Olafur used this to his advantage with his lighting installations trying to trigger different ideas and notions of how we perceive the world around us, which is why the use of different colouring would effect people differently to each other, causing a reaction. The use of colouring the whole roo as well creates a strong reaction instead of many different ones (rainbow).

What type of surface treatments are used in the work?

  • Colour wise for the surface treatments used he uses a light or dark colour walls, depending on bright or how vivid Olafur wants the lighting to appear.

Do they use matte, satin, or gloss paints or material finishes or all of them together? Why might they do this and what is the effect of doing this?

  • In these installatins there are no finishes on the canvas, with wanting the rooms to absorb the light instead reflecting.

What scale are the artworks you have researched?

  • The scale of these works are quite large since considering they are (lighting) filling the whole space.

How does scale impact on how the work is experienced and how colour and materiality are perceived?

  • The scale of the lighting and and the rooms itself does effect the experience for the viewers. The size of the light effects on how bright or dull the light is, which effects the experience of the viewers, of how they will be triggered.

Kaleidoscopic Glass Installation

Identify the key conceptual ideas that underpin their work.

  • The idea of kaleidoscope bring the idea of the space inside and out.
  • The multiple reflections of breaks create different angles and fractures, that reconfigure what the viewers perceive. It allows the idea of different perspectives and understand different positions in the space. (experiences of the world change).

Identify their critical position on colour in relation to their work (i.e. how is colour applied, in what proportions, what particular theories about colour inform the making of the work, how does colour change dependent upon the environment in which the work is viewed.

  • There is a wide variety of colour seen through these works and designs, with the use of mainly every colour of the rainbow, since it is light reflecting of different surfaces. For each space and material used the colour reflection is going to be different, depending on how strong the light is or how large the room is (the colours brightness). The angle that the viewer is standing in within the space will depict on either what colour the material is with or without the lights, or the colouring pattern that is reflected on to the wall. – All of these colours create this universal space that is a gateway through time.

What type of surface treatments are used in the work?

  • In these works colour wise Olafur uses mirrors, tinted glass, stainless steel frames, and light bulbs to create these amazing kaleidoscopic spaces, that transforms the environment into the multicoloured world.
  • With the surface appearing this way it allows the materials to reflect of their illuminated patterns along the roofing and flooring, to allow the viewers to travel to these dazzling universes.

Do they use matte, satin, or gloss paints or material finishes or all of them together? Why might they do this and what is the effect of doing this?

  • Olafur does use materials within these works that have a transparent finish (to a degree), to allow light to reflect and further alter its colour to present to the space.

What scale are the artworks you have researched?

  • These works that I researched ranges with the glass installations, which is depending on the size of the room available. Altering how big the sculpture is needed to be to reach the tips of the space. Usually the hanging glass is usually larger than the average person, creating a large reflective surface.

How does scale impact on how the work is experienced and how colour and materiality are perceived?

  • In these works the scale of the glass sculpture effects the experience that work creates as well as how the colour and materiality are perceived. All of these works are created to fit the space they were given, so they are all to larger scale. This is so the pigment and purpose of the colour being projected can be to there highest quality, or the if a larger work used a weak light the colouring of the work would not be as strong, creating a different experience for the viewers. If there was a larger model in a small space the lights colouring would appear brighter and strong, because of the close proximity of the canvas (wall).

I think I like the glass installations with use of coloured lighting the best, but I am going to look at some my favourite works from Olafur in further detail.

Beauty, 1993

https://olafureliasson.net/archive/artwork/WEK101824/beauty

In this work a spotlight shines directly through a curtain of thin mist. The experience plays on the visual effects of how water and light change to response to the visitors position in the room.

Focus- For your connect of your eye and objects in the room to tell a unique story and experience for the viewer.

Colours- Dark tones (black/grey), specks of oranges and blues.

Materials- Spotlight, water, wood, hose, pump.

Other notes-

The Model Room

Eliasson collaborated with Einar Thorsteinn, the Model Room contains numerous detailed forms, in a variety of sizes.

Focus- This is a space of the artist exploration and research into spatial structures, as their studies further more models are added to the space.

Colours- Pastel tones- blues, reds, yellow, gold, silver.

Materials- Wood table with seteel legs, mixed media models, maquettes, prototypes.

Other notes- The colouring of these models all change depending on where the viewer is located in the space, due to the allocation of the lights (spotlights).

Contact

Olafur presents a collection of light installations in the galleries (designed by Frank Gehry) Foundation Louis Vuitton, Paris.

In the blacked out gallery the visitors wallow in the beaming orange glow that cuts across the curving wall.

Focus- Playing with perception and construction of spaces through these series of installation that,aims to absorb visitors in fields of light and shadow.

Colours- A beam of orange light slices through a blacked out exhibition that aims to skew viewer’s perception of space. The contrast between light and shadow is intended to give the illusion of the sun crowning over the black silhouette.

Materials- Steel, illuminating light.

Other notes- “My exhibition addresses that which lies at the edge of our senses and knowledge, of our imagination and our expectations,” explained the artist. “It is about the horizon that divides, for each of us, the known from the unknown.” The space is curved, and filled with reflected patterns.

In Real Life

In this exhibtion Olafur featured many works, that ranged in style (lights, sculpture) as well as the use of colour.

Focus- Perception and movement, the interaction with people in their environments.

Colours- Lighting: blue, red, yellow, green , pink, purple- very bright and neon like. Steel: Silver, grey, black- reflective.

Materials- Steel and metal, plain walls (canvas).

Other notes- In these works the appearance of the viewers will alter the work and the experience itself, which will make the experience of the work different for every viewer.

Pattern Exploration:

Terrace Bar

Focus- To create a space for everyone to gather together, in which they can have conversations- replaying back to the idea of seeing different perspectives of people and the world. COMMUNICATION; “We don’t expect people to become close friends and marry or anything, but there is a desire and a need to connect, I think”-Olafur.

Colours- Reds/pinks, browns, as well of his of yellow, blues and yellows (stickers).

Materials- Wood, glass- To try and half his carbon footprint.

Other notes- Eliasson is a man that is passionate about food as well as art, everyday in his Berlin studio he puts on a large lunch everyday by his team of chefs. He is also an author of “Studio Olafur Eliasson:The Kitchen (Phaidon)”, which is filled with recipes, poetry and musings from his studio.

Week 4

Design Workshop 8

19.03.20

Project 1: Colour Complex

Model Making Workshop

During todays lesson I produced a series of models that were inspired by Olafur Eliasson, where I explored aspects of colour, lights, shadow, texture and surface. I mainly used colouring and pretend materiality for my designs.

Colour + Light

Shadow + Texture

Connection between all the models

Week 5

Design Workshop 9

28.04.20

Project 1: Colour Complex

Collaboration Notes:

  • Set up linked profile
  • Upload Blog
  • Get free photoshop+adobe
  • Check out- remote access- under paper guide

Todays lesson was the first lesson back after the break, and the first lesson of online learning. Where I will completing my class work on blackboard.

Slow Surface 1

This is the first exercise that we did in class, which was an activity of experimentation of a surface in my immediate environment. In this exercise I needed to understand and consider the surface, the effect of light, patterns of movement, the materiality, patterning, temperature effects.

My Surface:

  • These are my photos of the surface I was analysing- my blinds and its relation to light, colour, shadowing.
  • Shadowing of the lighting effects each pannel differently.
  • The rays of light draws pathways on the curtains.
  • The diagonal patterning of the curtains is painted on to my wall, as a sadowing reflection from the on coming sunlight.
  • The shadowing/colouring on the curtains is darker/brighter when further away from the sun.
  • Throughout the day when the light changes position the lighting will swap sides on the pannel, and the reflectin will apearon the other side of the wall.
  • The material that is used for these blinds is a material called dimout, which is an energy saving fabric, that is covered in a reflective coating to try and reduce glare for the space.
  • Wind movement, causes different patterning of shadows, and the alignment of the blinds themselves.

My Groups chosen surfaces, Discussion:

  • These are all my group’s slow surfaces that they choose to analyse.

From here me and my group discussed and looked at all of the surfaces, and decided what qualities that we would want to use in our collage drawing of all our surfaces together. Collaboratively we created a collage with all of our surfaces

  • Colours- we selected the colours from the reflection of the windows in Lucy’s image and choose the pops of blue and green tones that peak through, we also choose to use the brown tones that reflect off the water in Renee’s photo, since the lighting allowed the colouring to be brighter.
  • For shaping and design concepts for the design of our collage we decided to use some geometric shaping for the design and peaks of colour and imagery- as inspired from the form of the windows and blinds.
  • We have decided to use specks of imagery (our images) as referral to the specks of light.
This is us working on ideas and creating our collage
Our final collage, of slow surfaces

Experiment 2, Making

The second part of the Surface experiment I explored and built on my observations of the “slow surface” from experiment 1, to produce a series of surface designs with materiality and detailing. From my “slow surface” that I selected (blinds) I then produced a series of quick surface designs with:

  • Developing three designs
  • Consider materiality, assembly and detail
  • Dimensions of each surface being around, 130mm by 210mm

First design

With my first design I focused on the idea and the pattern of the panels . I the pattern that I worked with was based on the layout of my curtains, with each panel being twisted a curtain way, I designed each width of the panels to be slightly different. The material that I used was brown paper, but it was the idea of copper/ bronze metal like material, with having bronzy tones. So I would also want the appearance of being reflective.

Second Design

For my second design I focused on volume with layering. I explored the idea of the curtain panels further but decided to try and explore the concept of the shadowing that they reflect. So I tried to different patterning that the panels could possibly leave. I cut out strips of brown paper, white paper, and clear plastic, then layered them on top of each other, to see different patterning of shadowing.

Third Design

The Third design I focused on the texture on the panels and the colouring that shines through the background. The texture of the panels was a fabric that was bumpy and crinkly, so I took a sheet of tissue and soaked it in water and laid it over strips of brown paper. Then I dripped water colour on the paper that was seen in the background of the panels.

My friends and I then had a discussion about our surfaces and explored our ideas of materiality choices and the process of making each surface. We all used techniques of cutting, folding, sticking, layering and ripping to create our surfaces.

Week 5

Design Workshop 10

30.04.20

PROJECT 1: Colour Complex

Collaboration Notes:

  • Looking at Tuesdays work: Movement from neighbouring trees- spatial play between things, can visualise casted shadows.
  • Look at Yumeng blog
  • Artist model, in relation to surface- new exploration

Experiment 3 Observation

As a continuation of exploring and investigating my chosen artist model, I began to unpack and understand his work “The Model Room”. In this specific work I am going to observe his use of geometric shaping and colour/materiality.

From this work and my models , I observed and investigated the surface effects, colouring, and materiality.

From this analysis I then asked to design 3 design surfaces based on these observations of Olafur’s work and my models. I decided to work with the colour pallet of brown tones, dark greys, and pops of pastel colours, from the materiality.

First Surface Design

My first design I focused on overlapping geometric shaping. These works of Olafur’s engage a strong use of material overlapping and shaping, with have either lighting or colouring within the frames. So I decided to play around with the pops of colours from this work “The Model Room”, as well as materiality; with having the brown paper strips being copper or bronze metal, to contrast and reflect off the colour shapes. I tried to create a surface similar to the geometric models in this work.

Second Surface Design

With my second surface design I focused on the use framing and patterning with the wire, and ribbon. I used the wire as a frame of the ribbon to weave itself, through to create the geometric shaping. I then had the ribbon and wire surround the brown paper, similar to the copper colours in his work, so that when different lighting was displayed, either strong colours or shadowing would appear on the paper.

Third Surface Design

In this design I explored ideas of layering movement of the geometric patterns, with the movement of the layout of the geometric shapes. I used water colour paint to paint the various shaped squares. The different layering of the shapes makes different colours, with the overlapping of the colours. Similar to Olafur’s overlapping of glass, for new colouring.

Self Directed

I then had all my 6 surface designs and experiment and played around with lighting and colouring in relation to my works.

Surface 1

Surface 2

Surface 3

Surface 4

Surface 5

I really liked playing around with the different colouring of the lighting and enjoyed the ability that it has on effecting the surface/possible space. In my threshold I might play around with the colouring as well as the angle of the lights changing to have different perspectives and feelings in the space. The lighting also had a strong effect on the shadowing of the surfaces, so I could use this in my space to enhance the patterning.

Week 6

Design Workshop 11

05.05.20

PROECT 1: Colour Complex

Collaboration Notes:

  • Work with design
  • How do the people interact with the surface
  • Everything is being submitted as an A3 model
  • Do you have to do to the design to give more impact
  • Can alter design to walls if you want
  • A3 for plan 1;50
  • You can move anything-close things off as long as there is a reason
  • Basic mapping and outline, composition of the work- to show, look at site zoom in, how you might apply it, explore the idea.
  • Big or small, how I want it to feel, interact, different scale, ways it will feel and look.

Slow Surface 2

During this week I will be shifting scale from my small surface designs that I produced last week, to surface designs in relation to the St James foyer site. I explored the interrelationship between the qualities of my surface design experiments, at a hand-held scale, with the atmospheric qualities, which I will produce at a larger scale; sensorial experience.

  • To produce a surface design for the St James Theatre foyer. show this through site plans, atmospheric perspectives and detailed drawings

These are some quick sketches that I made in relation to my surfaces, that I could further develop to be used in the space. I then focused on my choice of patterning as well as the colouring in relation to the materiality.

Then produced 5 more surface designs in my depth that could be a possible option along the wall in the foyer. I then decided to play around further with design 4, I liked the patterning as well as the colouring, I think this option would be able to explore further with materiality and any lighting options.

I decided that I wanted my surface to have purpose in the space, rather than just being placed in. So I began exploring what I want the purpose of the surface to convey:

  • Style- Geometric structures,possible layering and overlapping.
  • Purpose- To be a space that connects between Queen ST and Lorne ST, with movement (walking).
  • Lighting- to use qualities of natural light, as well as enhanced, to create an experience for the occupants within the ST James Theatre space.

I decided that I liked this surface the best, design wise, with how it would fit and connect in the space.

Site Plan

This is where the form/structure will lie along the wall.

Site Plan

The reflection of the patterning along the wall.

Surface Design Image

Surface Design

What the pattering will look like along the wall.

This is what the shaping of the form will look like, but it will be to forms sitting on top of each other, with coloured glass and steel.

Materials

This is the steel material, that I will use for the base of the surface.

This is the coloured glass, that I will use for the top layer of the surface.

Possibility of what the shadow will look like, with the interaction of movement from the population (possible audience).

With the reflection of the surface pattern along the wall the ineraction of the shadowing of the occupants will look like this:

Occupant Interaction

Walling Research

The texture and colouring along the walls of an interior space can substantially alter the rooms interior, with size and feeling conveyed. It is also key to explore and consider features of colour and lighting whilst designing the walling within the space.

Colour and Light: Within interior spaces it is very prevalent for the natural lighting within the space to be enhanced and projected. In this space I think that the strength of the natural lighting be a negative factor in the space, with altering how strong and bold the colouring reflection will appear along the wall. The image below shows the movement of natural lighting through the space.

Natural Lighting at the St James Theatre Foyer

The diagram shows how the lighting doesn’t reach all the way into the space, so I think that it might be easier to stop the lighting from entering the building, and just having the surface design permitting light throughout the space. This will also make the surface be more apparent and purposeful within the space.

Week 6

Design Workshop 12

06.05.20

PROJECT 1: Colour Complex

Collaboration Notes:

  • Finish surface- add to your model- wall
  • little presentation Tuesday
  • Threshold moment

Self Directed Study

Presentation Points- for Tuesdays Presentation

Identify the location of your design on the site:

The walling facing the theatre space of the exisiting at the St James Foyer Space. The surface travels the length of the walling from Queen St to Lorne St.

Explain why you chose a specific space:

I chose the walling fro my surface design to lie along to impact the foyer space, with this placement of the surface it allows a reflection of geometric colouring along the facing wall, that allows the occupants of the space to interact with. This space focuses on the relationship between the occupants with the surrounding space and the surrounding occupants, with linking each other together collaboratively.

Briefly introduce how you arrived at the design: 

I wanted to create a surface that not only was aesthetically enticing and allowed the occupants to connect and interact with the space. I was certain with creating a geometric structure similar to my artist model, and was happy with my geometric patterning.

Discuss the aspects of the artist models work you have drawn on:

I was inspired by Olafur Eliasson use of geometric surfaces and coloured lighting. I was influenced by the patterning that is visualised through the different models with Olafur’s space. With this inspiration helped my create my won surface design using the portrayal of coloured lighting and geometric structures. I also used similar use of materiality as Olafur to depict similar patterning and reflection of colours and shapes.

The moves you made when developing the design:

I played around a lot with the colouration within different patterning and then further imagined how the surface would be able to interact with. As well as the size of the patterning effecting the ability to interact.

The shifts you made when shifting the scale of your design from handheld to room scale:

When creating the handheld model I focused on how would the geometric patterning stand and convey to the viewers, so when shifting from hand held to a large scale it wasn’t to bad. With the scale of my handheld model I would just increase the size to the scale of the theatre.

Identify which surface or aspect of the foyer site that you have activated:

I have activated the entire space with the surface traveling through the space, as well as activating another surface with the patterning reflection on the facing wall.

Materials chosen:

Coloured glass, that will give off the coloured reflection along the facing wall. The use of steel under the glass structure, will give the light the ability to reflect the colouring to be collaborated with.

The impact of the scale you have chosen on the viewer:

My surface entices the viewers to the space as well as throughout the space. The scale of the surface allows the viewers to interact and collaborate through the space with their bodies, with their shadows. Allowing the viewers to connect with their senses and the surrounding space.

Week 7

Design Workshop 13

12.05.202

PROJECT 1: Colour Complex

Collaboration Notes:

  • Convince, make a project that best captures a story
  • Box the stairs in if I want
  • Can’t remove the structural columns

Presentation

At the beginning of todays lesson, I gave a little presentation/pitch on my surface design that I had created over last week.

Feedback from the Presentation

I really like how this surface looked aesthetically, as well as the interaction aspect that it held, with colour, materiality, movement, and people. I want to further develop this kind of geometric structure in my threshold, with either being a quality of the space, or the main attraction (purpose).

This weeks exercise is to look at an activating entrance threshold, with designing a door handle, that connects the space to the environment. The experience starts off with the process of pushing or twisting of a door handle, or another process of entering the space. We can have inspiration from the artist models themselves (their work), integrating their use of colour and materiality. This threshold is important with initiating a relationship between the environments, exterior and interior.

Door Handle Experiment

What is a door handle? A door handle or door knob is a mechanism used to open or close a door. There are 3 main types of door handles: lever handles, pull handles, and door knobs.

First I bean to make sketches that explored elements of my surface designs, and the threshold transition between Lorne St and the interior of the ST James Theatre foyer space.

  • Surface Design- Movement of the light reflection, as well as the design itself, further altering the viewers to follow. Some how the handle or something that has a similar purpose, could guide the viewers into the space. Design- Geometric, busy, layering, colour, materiality, form, texture.
  • Exterior- Busy, loud, city, movement.
  • Interior- Quiet, slow, pathway.

I then took my three favourite sketches, that I think ranged in shape and style- in relation to the transition of the exterior and interior.

I then made further 3 iterations of the sketches, exploring how these designs would function by people as door handles.

With my first of designs I was inspired by the location of the interior and exterior, with how they sitting next to each other. These designs are an integration between each other, as well as with how people move between the two spaces- with the materials lying on top and in-between each other.

With these designs I focused on the transition between the exterior and interior, by the bright reflective areas/colours reflecting the loud and busy exterior, contrasting with the quiet and submissive interior- with the simply and minimal use of materiality.

With these designs I was inspired by the movement between the two space, and how the occupants travel between the two spaces of the interior and the exterior. With each design I incorporated movement either vertical or horizontal, with the materiality weaving and moving between each other.

Chosen Design

Exploration of Materiality

Exploration of Colouring

For the exploration of the patterning in this design I was very happy with the geometric pattern, and don’t want to change any aspect of the pattern design.

The chosen handle above I fell portrays and communicates my idea of movement between the two spaces, interior+exterior, as well as the qualities of each space, and qualities from my surface design, colour, light reflection. The movement of the steel band wrapping around the handle represents the occupants movement between as well as the light, sound movement between the interior and exterior. The geometric patterning details qualities from my surface design into my door handle, as well as exploring the transfer lightning and colouring that weaves between the exterior and interior. I like how this design will attract attention with the design, as well as the designs relationship with the surrounding environment.

I chose to explore similar a similar colour palette in this design as with my surface design from the St James Theatre. I decided just two have the geometric form made out of a glass material, and having the metal band as steel, to keep the design simple and bold, instead of layering the glass with steel. I am going to have the glass coloured instead of having lighting inside the handle.

Material Research

Some of the most common materials that are used in making door handles are:

  • Glass- with being elegant and sophisticated.
  • Stainless Steel- this material is tough, weather durable, and cost efficient.
  • Aluminium- this is weather durable, and is resistance to rusting.
  • Brass- is long lasting, and sophisticated.

I want to include either a coloured glass material or mosaic glass material, so there will be a reflective and bright element to the door handle, with reflecting colour ad light.

Chosen Materials:

  • Stainless steel- long lasting, reflective, tough
  • Mosaic Glass Tiles- Elegant, bold, reflective, durable, luminous appearance.

Door Handle Model

Week 7

Design Workshop 14

14.05.20

PROJECT 1: Colour Complex

Self Directed Study

During todays lesson I further explored my door handle, and began working out dimensions and how the door handle would work within it’s self (connections).

Week 8

Design Workshop 15

19.05.20

PROJECT 1: Colour Complex

Starting Intervention

For todays lesson I was asked to brain storm everything that I have produced over the last 8 weeks, with depicting all the concepts and elements that I have communicated during the experiments. This was to try and figure-out what I work well with and am passion about whist designing this intervention. In my mind map I was asked to identify what can be used with going forward? what the intervention is your designing? Who the user/viewer/occupant is? how they will use the space? what they will need? what will they experience?. With mapping out all of these key elements to my overall design, it will help my understanding and exploration with my creative ideas and thoughts.

Mind Mapping

I then began exploring ideas of a walkway that will connect between Queen St and Lorne St. This walkway will become a interactive space, that creates a connectional experience between the occupants and the interior. I also wan this space to be an installation, that allows self discovery possibly.

Design Pitch Exploration

Questions to explore:

  • What will the experience will the lighting create, if the colouring and angles are altering throughout the day, is the sharpness or the strength of the lighting changing?
  • The space is interactive with the lighting and being able to engage with, is there going to be a physical interactive sense to the installation?
  • What is the purpose of the journey: Journey vs destination, the viewers are traveling through the space, where do I want the viewers to travel to?
  • Different people, depicting their different journeys.
  • The light, colour, form will lead and draw the viewers throughout the space, the flexibility of the forms?
  • Do I want to depict more than an installation?
  • What is the purpose of the relationship, between the occupants and the space?

Ideas:

  • Having strong patterning, physically along the wall and as shadowing from the reflection, with the viewers shadowing depicting and altering the pattern. Representing the different experience for each viewer.
  • Having the angle of the lighting throughout the day to depict different patterning throughout the space, moving throughout the space.
  • Having the temperature and colouring of the lighting alter throughout the day, for different colours to be move and change throughout the day.
  • Moving continuous space that guides the viewers throughout the intervention.
  • Installation- I want the main focus of the space for the viewers to be engaged with the reflection of the lighting patterning and their own reflection which will not only alter their own experience as well as each others.
  • To be able to have a physical touch aspect to the installation.
  • Having a walkway.
  • Possibly using Olafur’s (inspired) with self reflection, and finding in relation to the qualities of the space.

Design Process:

  • Sketching and drawing different angles and perspectives- to depict the different experiences of the space.
  • Modeling forms, colour to depict the effects of the lighting.

Design Pitch Draft

My intervention enclosed by the St James Theatre explores the relationship between the inhabitants and the designed space between Queen Street and Lorne Street through a collaborative installation. The design of the installation is for the inhabitants to interact and collaborate with the space through motion and movement. I wish to supplement the St James Theatre foyer space, with employing vibrant colouring and shaping.

The installation design is submerged with colour and light, through geometric structures crawling along the walling and ceiling, reflecting light and patterning around the space. With the main idea exploring the relationship between the occupants and the space, the steel material of the structure and the shadowing the occupants disbursing the patterning, the space becomes a mirror of identity. Allowing the interactive space to be a gateway of becoming part of the space, in relation to the space and surround guests; the viewers will not only connect to the space but will become apart of through their reflections. Creating an unforgettable experience.

The artist model and work that I have chosen is Olafur Eliasson’s work “The Model Room“. I was enticed towards his use of shape and colour and the result is has with surface treatment, further more effecting the relationship between the viewer and the space. Olafur’s choices of materiality, colour and form effect the viewers experience within the space allowing each viewer to have their own individual experience. He achieves this through the collaborative movement that comes within his works, with his use of shadow play. I am interested in these creative decisions, and adapted these qualities in my work for the relationship between the viewer and the space as well as their experience is connectional.

I plan to show and visualise my work through a series of drawings as well as images of a hand held model (1:100).

Week 8

Design Workshop 16

22.05.20

PROJECT 1: Colour Complex

Collaboration Notes:

  • Questions for 1:1, what I am really stuck with
  • 9.50- main idea I want to create an experience for the viewers. The experience of the threshold how the lighting effects the experience.
  • How we effect the two spaces
  • Movement between the spaces

After my 1:1 session, I realised that I definitely want to make a installation/ interactive space, but I need to figure out the purpose of the space and what I want to to convey and detail to the occupants. How will the space effect the viewers, what is their relationship with the space, the materiality, the lighting shadowing.

I also want to further develop my surface design that I created during a slow surface experiment, but evolve it into an interactive structure. I realised that for the relationship between the occupant and the space to be connected and meaningful, there would have to be a motion of interaction and collaboration. I decided that to create this bond, I would produce an installation that interacted with the inhabitants. What is an installation?

Installation Research

The Deep Blue See Surrounding You

Notes:

What I want to incorporate in my installation from this work?

  • From this work I want to incorporate elements of the relationship between the occupants and the space, with figuring out identity.
  • The artist uses the space as a gateway for the occupants to find their own identity, with comparing themselves to the installation space and installation video. – I want to use this in my installation, with the concept of self identity. But with comparing themselves to others through the space’s elements, glass structure and the shadowing reflections.
  • The installation bases itself as an octopus with its tentacles
    representing different individuals, touching different surfaces and life experiences, making the viewers question whom they can relate to and somewhat connect based on their experiences. This causes the audience to question their own self-identity and misunderstanding, questioning
    themselves further. This has inspired my practice in my intervention, with the lights from all around the room reflecting and bouncing off the geometrically shaped wall, causing a reflection of patterning to be interrupted by the viewer’s shadows. Allowing the viewers to see themselves within the reflection of the geometric walls and their shadows, not knowing which one is theirs. This allows my work not to give the viewers the complete picture like in Prouvost’s work, allowing the viewers to work the experience of identity out for themselves.

Politics of Installation

Notes:

What I want to incorporate in my installation from this work?

  • This work has given me a better understanding of what an installation is, with creating a space that invites visitor experience. Allowing the experience to different to each viewing, in context with my new idea of finding self identity, it will allow each individual to perceive themselves differently to each other, as well as in relation to the space’s interior.
  • I want my installation to create a collective experience, with creating a bond between stranger and the space.

The Model Room

Notes:

  • to connect thinking to doing/action
  • Creativity, is in the process as well as in the final outcome

What I want to incorporate in my installation from this work?

  • From this work I want to incorporate the notion of thinking and doing, through a collaborative motion. So in my idea I am going to have the viewer’s play and interact with their shadow reflections, that will then allow them to think and connect not only with the space but with the surrounding people; connecting and using their senses and subconscious.

Installation Review- In Real Life

Notes:

  • Eliasson’s work is well known for engaging with the public , with artworks offering experiences that can be shared
  • His influence is very apparent in his work, with the influence and inspiration of his trip to Iceland; in the qualities of rain and nature, truly depicting what he wants the audience to experience 
  • His work takes the visitors on a disorienting journey
  • His works challenge accepted views of perception

What I want to incorporate in my installation from this work?

  • I want to use this work by Olafur as my inspiration, with my idea already having similarly design and spatial qualities in the work, with the movement and reflection.
  • I think I want to engage a similar colour palette as this artwork, since it is more vibrant and engaging, which will possibly draw the viewers into the space.
  • This will also connect well with my new idea of identity, with taking the viewers on a disorientating journey that allows the occupants to figure out their identity for themselves. Through their shadowing reflection.

Notes:

  • art focuses on how touch people that is different to the individual, different experience 
  • Art is a reality machine, that can socially engage with the world
  • Immersive works
  • Something that you feel, but have not verbalised yourself
  • making models brings your idea to life
  • the artistic potential is not in the work, but how the work produces reality
  • The sequence of the past and future, focusing on the path
  • What will the path be like in my work?
  • how will the path connect them to reality?

What I want to incorporate in my installation from this work?

  • I want my work to touch each viewer with a different experience, since everyone perceives themselves differently.
  • My work will also become a path of self discovery, through the coloured reflection.

What will be the purpose and path of my walkway/installation?

  • to question their identity in relation to the surrounding space and people.
  • Allowing the interactive space to be a gateway of finding self-identity, in relation to the space and surround guests; the viewers will not only connect to the space but will become apart of through their reflections. Creating an unforgettable experience.
  • The viewers will become aware of their senses and subconscious with connecting with doing and thinking action together, through their movement throughout the space.
  • The viewers will experience a connection between the surrounding viewers as well, with relating and comparing their shadows and reflections with each other to discover who they really are.

After my research I come to the conclusion of wanting to create a space that allows the occupants to question their identity in relation to their surrounding space. The materiality of the geometric structure, and the the shadowing of the coloured lighting.

I also discovered that the original artwork by Olafur Eliasson that I used for my inspiration, doesn’t really connect and match up with my intervention idea. So I decided to focus back on one of his other works that I used originally for inspiration In Real Life. I think this artwork will work better with my idea, ad since it is more of an interactive installation compared to The Room, I will be able to gain more knowledge and inspiration with my ideas. I will still use the research and influence from Olafur’s work The Room, but as well as integrating new ideas, like purpose, and colour pallet, which I think better suits my new intervention.

Week 9

Design Workshop 17

26.05.20

PROJECT 1: Colour Complex

Collaboration Notes:

  • Find images for final presentation idea
  • Make a to do list
  • 1:1
  • Get in groups to share ideas
  • Check with each other every lesson
  • Thrusday mix up groups again
  • Get indesign and photoshop and try sketch up

Design Development

Today I began to clarify and define my design intervention and its surface structure, which is the main aspect of the space. I have created a collage of inspiration from Pinterest and my artist model (In Real Life), I am going to utilise the use of colour, pattern and shape in my design.