Wednesday, March 31, 2010
In our case, we are dealing with openings as interruptions or dissections of the space; intervening elements which fragment the whole interior closed world of the internal environment.
In order to see, light must penetrate somehow. However, to keep the inward reflective nature of the room, visual connections to outside must be avoided. Light sources in this way are more puzzling, and can conform to the lines of folds in walls and ceiling to generate variation in high to low contrast between light and shadow.
I have done a little light test with a paper model made for a different subject (showing similar characteristics of the cave shell which forms part of the environment of the room). What was noticeable was the degree to which light penetrates void as opposed to semi-transparent plane.
The crispness of shadow depended on the TEXTURE of the surfaces onto which light was reflected, as well as the ANGLE of the light source, and the DISTANCE from in this case the floor as the primary reflecting surface. what I didn't test, but which deserves equal consideration is the SCALE of the light source.
Another important thing which I noted was how these variations to the light source effected the reflectability around the rest of the internal surfaces. In order to create an anti-gravity effect where this heavy stone mass which encloses the space is simply balancing on light, it is important to keep the upper reaches of the ceiling in darkness - to maintain the perception of solidity and weight.
Tuesday, March 30, 2010
Or Light? A subtle instrusion of natural daylight into the space at this junction between the two ends; not enough to really establish a connection with the outside, but enough so that the fluxuating pattern of luminance of the sun throughout the day would dynamically change the perception of the materials inside enclosing the space.
The way the light infiltrates the space could dramatically enhance the experience of the materials by manipulating the perception of the tectonics - the walls could float on light.
Keeping in mind how the experience of the space is not all revealed at once, but gradually as a journey.
Monday, March 29, 2010
Friday, March 26, 2010
However, for this very primitive experiment, I have recorded myself playing sections of Chopin's grand Ballade no 1 in G minor (yes, it is me playing the piano) and set it to a few movie stills, some of Dali's paintings and then into my drawings of the room design. Perhaps the idea with this (I know this is probably thinking too far ahead) would be that in our Silent Film library Project, sound booths would be set up where the films are accessed digitally and output onto a display, and then visitors to the library have access to this sound booth with a multitude of sound mixing functions as well as recordings of music and sound effects, so that they can select and/or create their own sound-scape to accompany the film as and when they view it.
The video isn't all that long, so it shouldn't become too boring (as I am aware of the stigma of listen to classical music as young hip out there design students!). please enjoy.
Thursday, March 25, 2010
This is the plan. Well, obviously. The primary change perceivable in this drawing is the configuration of access spaces, inner core and outer core. The inhabitable meditation core is articulated as a much clearer terminus point when viewing from the perspective of the access hallways. There is also a greater panorama of visible outer core to encompass the platform.
This is the section. Also rather obvious I hope. I managed to get the hang of bevelling/embossing the edges of the marble sections so that there is a subtle hint of relief to the surface. Make sure you click on all of my images for closer looks at details which you mightn't be able to decipher.
This time, much greater consideration has been given to all 3 dimensions in order to create an enclosed and encompassing cave with articulated shadows and brighter edges.
Well, here is the beginnings of the technical aspect to the wharf building section. The roof on the right needs to be completed, as well as documenting what is going on under the planks of the raised floor. From what I've seen there is quite a network of perpendicular and parallel beams and logs all dark and murky, sucking in shadows and collecting filth. And then of course, the materiality of the structure needs to be documented with rendering and texturing, and finally there needs to be representation of the internal quality of the volume - light/dark, empty/full etc. This is drawn at 1:50 on A3. The interior width dimension should be 13200 mm at 1:50.
This one works with grain of opposing directions to produce a three dimensional, dynamic effect.
This kind of optical trick is really irritating, because you know that the lines are parallel, but there is so much fine detail of working again in alternating opposite directions, that the eye cannot focus on the whole at once.
I like the radiating or pulsing effect that this one gives due to the difference in spacing of the lines.
This is one of the classic examples where the offset of the checker squares is enough to irritate the hell out of you.
This one I find particularly intriguing, as to how the two layers of (1) built columns, and (2) their surface treatment work together to distort the perception of equilibrium.
Saturday, March 20, 2010
Thursday, March 18, 2010
The classic film Noir "The Cabinet of Dr Caligari" is a stunning visual piece of impressionist/expressionist/surrealist cinema with a strong evocation of feelings and moods as represented in the sets.
The locations spatially map the memory and imagination cognitions of a mad-man. It would seem that the relationship is such that when madness takes hold, memory and learned associations become distorted - giving way to imagination and sub-conscious non-logic.
Basically this doesn't have to mean squat to you, but what you should be able to get is a sense that the mind is a complex thing with many interacting components and layers, and that the spaces portrayed in this movie are riddled with the kind of imaginative non-logic and distorted monotony which is perhaps what being a designer is all about. We have to tap into the insane areas of the brain to get the edge in such a competitive business.
Tuesday, March 16, 2010
"The Metamorphosis of Narcissus"