July 04, 2006

New Images

These are some additional images mostly made with my model and photoshop.





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June 21, 2006

David Beckham

As a special World Cup tribute, I have installed Sam Taylor-Wood's "David" in one section of the gallery. The following images show the progression of light effect before, at and after 13:00.





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A Series of Views...

...through the gallery.










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Gallery Route

Here is an isometric sketch of the route through my rooftop gallery.


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June 16, 2006

detail drawing

This drawing shows the composition of the reflector: honeycomb aluminum (29mm) sandwiched between 2mm aluminum sheeting. The welds are TIG welds. The honeycomb provides stability while remaining lightweight.


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June 15, 2006

Various Views of Aluminum Reflector

Here are various views of my aluminum reflector showing the location of the welded seams.


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Dallas Athena

A study of the reflection of light within the Parthenon by the (reconstructed) gilded statue of Athena.


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Update to Year Summary

Updated diagrammatic representation of filtering/reflecting light.


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Final Components

This drawing takes the components of the Nike reflector as determined by Expander software and divides them into more manageably sized pieces (so that they fit through the door).


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Section of Gallery

This section shows the manner in which light enters the outer skin of the gallery and helps light the intermediate spaces. Much of the light continues into the gallery to be reflected.


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More Drawings Revisited

Here are three drawings showing the progression of reflected light around the sculpture in the Nike Gallery. In December, twice-reflected light creates backlighting behind the wings of the figure. As the year progresses, reflected light travels around the sculpture until climaxing on June 21 when the bust of the headless figure is highlit.




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June 07, 2006

Year's summary


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June 06, 2006

more rough model photos




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One More


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More Drawings!

Here are two more drawings of my aluminum swoosh.



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June 04, 2006

Model photo shoot

Here are some images of my sad little cnc model. I think it's the tiniest one ever made by cnc. Hopefully, the photos make it look much larger. The bizarre one is a side-on view inside box-like gallery model. Fortunately, it does seem to reflect light like it's supposed to.





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June 01, 2006

One Last Rough Model

rough model2.jpg

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New Model (Army)

Here are photos of my CNC model before and after the addition of polyfill to disguise its pantyline.



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Still More Drawings

Here are some more drawings of my proposed gallery. I hope you enjoy the line weights.




Congratulations to Natasha and Brett on the birth of Stella Steele. (I like that name. It reminds me of the Avengers.)

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New Batteries

I put new batteries in my exhibition model. It's pretty blinding.




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May 25, 2006

New Drawings

Here are some new drawings pertinent to my latest gallery design. I hope they're legible.




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May 04, 2006

Manifesto for Term 3


Some of the earliest galleries were the temples of ancient civilizations. In particular, the Greeks created solemn buildings to house images of their gods. The archetypical example could be found on the Athenian Acropolis in the temple to Athena Parthenos. A massive statue of the goddess stood inside, ensconsed within a dark, mysterious atmosphere accentuated by the burning of incense and the relative exclusion of natural light. The interior contrasted sharply with the sun-drenched conditions of the site. Externally, natural light would have been intensified through the use of copious amounts of white marble to construct the temple complex. The visitor/worshiper would have experienced a moment of uncertainty when moving from the intense light of the exterior of the temple to the dimly-lit, sacred space inside. This stark transition served to intensify the experience. The sculpture within was the point of interest, and faced towards the east and the rising sun. It would have only been visible gradually as the eyes adjusted to the changing light conditions. The overall effect was meant to instil a sense of reverence in the visitor.

Not only did the temple serve to create a sacred enclosure for a piece of sculpture, but it also served as a symbol of civic pride and accomplishment. Typically, as with the Parthenon, the temple occupied the highest point of the city. Elevated positions were associated with aristocracy, and these temples were reminders to the populace of the strength of their community.

The modern gallery serves many of the same purposes as the Greek temple. The interior conditions within them are carefully manipulated to create serene, reverential environments where works of art are venerated. The buildings themselves are usually powerful and prominent, exemplars of the wealth of their cities. To approach them, the visitor usually must ascend steps or ramps to access the elevated sites. The Metropolitan Museum of Art in New York, The National Gallery and British Museum in London, and the Prado in Madrid all follow this pattern. Clearly these characteristics, e.g. manipulation of light, and prominent location, hold a potent appeal.

Many artists have experimented with the manipulation of natural light. Edward Hopper in particular used the depiction of strong natural light to isolate and accentuate the subject of his work. Paintings like A Woman in the Sun, Morning Sun, and Excursion into Philosophy all use this technique in a manner I think is analogous to the use of light in the temple of the ancient Greeks. More recently, James Turrell accomplishes a similar effect in a more abstract way.

I would like to emulate these qualities in my own gallery design. My site is elevated on a roof-top which overlooks a busy commercial centre. The approach to the gallery will ascend prominently from street level. The gallery spaces on top will house single, iconic pieces in spaces utilising and manipulating natural light to accentuate the experience of viewing them. Each space will be dedicated to showcasing a work of art that is significant for one particular client drawn from tenants of the building. The intention is to provide contemplative, quasi-mystical environments that serve as true “temples to commerce”. By advertising the civic and artistic intentions of their sponsors, they serve as subtle endorsements of their products. For example, an iconic piece of Issey Miyake clothing in the TopShop gallery speaks to the aspirations of their target consumer- the 25-35 year-old, fashionably conscious woman. The video installation David by Sam Taylor-Wood appeals to the sensibilities of the 15-25 year-old girls who are the target audience of Miss Selfridge while establishing the progressive artistic vision of that retailer.

Recognising the importance of manipulating light as part of the experience, the gallery spaces must “interact” with the changing qualities of the natural light throughout the year. The procession through the spaces should be guided by these changing light conditions and should expose the visitor to sharply varying concentrations of light emphasising the works housed within.

Finally, light (sun) can be seen as a participant in the design by carving the exhibition spaces from the substance of the building. Their location and configuration will be partially determined by the position of the sun (altitude and amplitude) throughout the year.

Ultimately, I want to create an ordered series of atmospheric exhibition spaces on a prominent site which manipulate and are manipulated by natural light and serve to advance the image of their commercial sponsors.

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April 06, 2006

Schedule for Friday, 7 April

6AM- Wake up
6:01- Get out of bed
6:03:00-6:03:15- Descend stairs (subtract 14sec. If pushed by partner. Adjust following times accordingly.)
6:04- 6:07- Eat Swiss muesli for breakfeast. (Add 1min30sec for toast. Adjust following times accordingly)
6:07-6:10- Go to bathroom. (Add 3min if constipated. Adjust following times accordingly.)
6:10-6:12- Shower
6:12-6:14- Get dressed. Go “commando” to save time
6:14-6:17- Motivational moment. Listen to “Love Lifts Us Up” by Jennifer Warnes and Joe Cocker
6:17-6:20- Walk dog (briskly). Leave poo in park to save time.
6:20-10:30- Write schedule for Saturday. Post on blog.
10:30-11:00- Send positive reinforcement to Martin via e-mail.
11:00-1:00- Work on portfolio.
1:00-1:10- Insert nasogastric tube. Push lunch of pureed steak and kidney pie.
1:10-1:12- Bathroom break
1:12-1:15- Relax.
1:15-1:18- Motivational moment. Listen to “Time After Time” by Cyndi Lauper.
1:18-3:00- Work on portfolio
3:00-3:02- Bathroom break
3:02-3:30- Compose threatening letter to therapist (anonymously)
3:30-3:35- Self-tattoo exhibition reminder on left forearm
3:35-3:40- Insert Foley catheter to avoid further bathroom breaks.
3:40-4:00- Work on portfolio
4:00-4:30- Watch “Countdown”
4:30-6:00- Work on portfolio
6:00-6:05- Cup hand to ear, tilt head, listen for extraterrestrial messages
6:05-6:15- Ignore hosepipe ban. Water neighbour’s garden over fence
6:15-6:20- Report neighbour to Thames Water
6:20-6:30- Beam positive reinforcement to Martin via telekinetic powers
6:30-6:45- Inspect local fauna for symptoms of bird flu
6:45-6:50- Report positive results to Board of Health
6:50-8:00- Work on portfolio
8:00-8:10- Inject liquefied spag bol via continuous i.v. drip
8:10-8:13- Motivational moment. Listen to “Snowbird” by Anne Murray
8:14-9:00- Work on portfolio
9:00-9:30- Search for fossil evidence of “missing link” in neighbour’s garden.
9:30-9:35- Report promising find to Archaeology Now!
9:35-9:40- Brush dog. Save fur for potential use in future project
9:40-9:45- Buy bottle of Turning Leaf Chardonnay at corner store. Consume on premises to save time.
9:45-9:50- Relax
9:50-9:53- Motivational Moment. Listen to “My Sharona” by the Knack
9:53-9:59- Work on portfolio
9:59-10:00- Screen and ignore urgent phone call from mother
10:00-02:00- Work on portfolio
02:00- Push out Selina’s boat
02:00-02:03- Empty Foley Catheter
02:03-02:07- Take Ambien (x6) to aid sleep
02:07- Go to bed
02:07-02:09- Go to sleep. Listen to “Pulse of the Maggots” by Slipknot

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March 03, 2006

Gallery Manifesto



I am drawing inspiration for a rooftop gallery from the Acropolis. The site of the latter collection of temples is a plateau raised above the city of Athens. Primarily the temples served as buildings to house and protect images of the gods. However, the Acropolis also served as a gathering place and the culmination point of the Grand Panathenaia. Therefore, the Acropolis had an important processional component. The Panathenaia would enter Athens through the Dipylon Gate at the edge of town through the Potters' Quarter, through the Agora and end at the altar of Athena near the east end of the temples. The east end of the complex was considered the most sacred side while the western end where the procession would enter through the Propylaia was the more secular. Thus, there was an important hierarchical component to the site as well as a processional one.

The interior of the temples were fairly simple. The attention was focused on the iconic image housed within. In the case of the Parthenon, this was a massive statue of Athena. They were probably dark, mysterious places filled with the scent of incense.

My site is the rooftop of the Niketown building on Oxford Circus. It's a large site raised above a busy, commercial part of the city. My goal is to create a series of individiual galleries (temples) each of which would house a single, iconic piece of art. Ideally, each will have particular significance for one of the commercial tenants of the building. These include Nike, Topshop, Miss Selfridge, and HOK Architects. The interior of the spaces will be simple with attention focused on the single work within through the use of light.

The approach to the site must have a prominent processional component. This should, therefore, be visible to the passerby and make the visitor's progress to the rooftop site a part of the experience.

Below are images of the acropolis. One is a site of the plan with contour lines while the other is a series of vertical lines which are derived from a perspective view of the reconstructed site. I hope to use these to derive the form of the individual units of the gallery.



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March 01, 2006

Girls on Film


If the goal of Zaha Hadid's lecture was to make me depressed about the quality of my drawings, it succeeded admirably. Conversely, the images she showed inspired me to try harder.

It was the images that were shown last night that really told the story. Those beautiful angular forms were very pleasing, and there was no post-rationalist jargon to get in the way of enjoying them. Some of the buildings were truly breathtaking, especially the new building in Wolfsburg. I can imagine that the look of these buildings will become symbolic of the early 21st century like the white cubes of the early modernists have become symbolic of their time. Funnily enough, however, I don't think these forms and images really are of our time. To me, these buildings are reminiscent of the 1980s of Duran Duran and Flock of Seagulls. The color palette of steely teal, silver, and carmine are more "Rio" than 'Whatever People Say I Am That's What I'm Not'. I imagine that these slick, angular structures are inhabited by immaculately coiffured men and woman wearing suits with really large shoulder pads. That's more compliment than criticism by the way.

As for the speaker herself, what can you say? Her request for a fan from the audience summed it up. She's become iconic herself: a larger-than-life star architect for whom a chauffer-driven Merc was waiting outside. I wouldn't want to cross her.

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February 25, 2006

Film Four Portfolio

Here's the layout for portfolio sheet for film four


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Layouts for portfolio

Here are the layouts for portfolio of postcards 1 and 3. Postcard 2 is a flip book. Not blogable.



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February 23, 2006

Revised Film Four


Download file

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February 22, 2006

Short Manifesto

Short Manifesto:
Created a feeling of isolation/alienation through foci of focused light.

One Word Manifesto:

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Postcard One Update

I updated the film for Postcard One below. I took out the lurid yellow stripes and changed the font to Futura. I looked up postcards from the 60s in a book, and it seems they usually used Futura or Gill Sans.

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Tyranny of Intimacy

“The reigning belief today is that closeness between persons is a moral good. The reigning aspiration today is to develop individual personality through experiences of closeness and warmth with others. The reigning myth today is that the evils of society can all be understood as evils of impersonality, alienation, and coldness. The sum of these three is an ideology of intimacy: social relationships of all kinds are real, believable, and authentic the closer they approach the inner psychological concerns of each person. This ideology transmutes political categories into psychological categories. This ideology of intimacy defines the humanitarian spirit of a society without gods: warmth is our god. The history of the rise and fall of public culture at the very least calls this humanitarian spirit into question.”

Richard Sennett, The Fall of Public Man, 1977

I think people who eat alone in restaurants are losers.

Brenda MacMillan, 1986

Ivo Kransfelder called these beliefs the “tyranny of intimacy” when writing about the works of Edward Hopper. He was discussing the way Hopper eschewed the feelings of human warmth in his works in contrast with the prevailing social conscience. It seems that modern society continues to have this fear of isolation and alienation. The loss of close family connections and religious community have led to a desperate desire for the warmth of others no matter who they are. Hopper utilized these feelings in works such as Automat and Nighthawks. Often, he used strong lighting of the protagonist, usually artificial, to heighten their alone-ness. The spotlight serves to isolate its subject at the same time as it announces their presence.

I would like to investigate this ability of strong light to create a sense of alienation and to utilize the fear of being subjected to its focus.





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February 21, 2006


This is a raw version of film four. It needs some help.

Download file

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February 20, 2006

A Swell Concept

I approached the work of Alisa Andrasek (?sp) with trepidation. I began the preparatory readings with "all-over over-all: biothing and emergent composition". Not only did those inappropriate lower-case letters make me edgy but there was a plethora of words like "relationality" and "processual". It was enough to make the skin crawl. I presumed this was written by an architect, although it was never made clear.

Then, however, I read the articles by Steven Johnson and Phillip Ball. These two are, I'm sure, not architects as both explained complex topics articulately. In fact, I was drawn in by their discussions of patterns in nature and bottom-up design. Not only was the writing engaging, but I could see the potential pertinence to the Andrasek lecture and generative design.

I was concerned before the lecture that the speaker would tend more toward the former approach to the subject instead of the latter. I have found that the architects who approach these topics (e.g. Greg Lynn) treat it as a pseudo-science. They pick and choose those aspects of mathematics or complexity theory which support their work and discard the rest. While diatoms may be fashionable today, tomorrow it will be ice flows. Ultimately they end up with an esthetically pleasing design that they feel compelled to explain with impenetrable rhetoric.

However, I was pleasantly surprised to find the Andrasek lecture (mostly) clear and straight-forward. I understood her approach to generative design. Clearly the computer will play an ever-increasing role in architecture. And, if the speaker is to be believed, an active rather than a passive one. (Imagine my relief to hear that it will be more like a friendly puppy than an ill-tempered android!) These concepts are fascinating, and I thought she did a good job of generating thought about this future.

However, I still find I don't understand where this is all going. Is this a means of finding ever more efficient ways of construction? Is it a way to develop ever more pleasing esthetic forms? I'm no clearer on these questions now than before, and I don't think the speaker addressed them adequately. It's a bit disingenuous for her to say that she doesn't really think of the implications of artificial intelligence since it seems to me it's very much what she's dealing with. I do think it's time that architects involved in this discipline start addressing these issues. I'm tired of hearing "stop thinking of how this applies to a building" or " the site is not the issue". I'm glad that people are looking into how the computer can generate design, and I hope we learn from it, but I also would be glad if this exercize would be addressed in the larger context of architecture as a whole.

Now that I've espoused my views from the anonymity of my computer, I will try to finish film four. (Is this a hundred words yet?)

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Inspiration 2006


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A Note About Postcards

I have updated my three postcards to include the frames/titles.

I should also write a word or two about their significance. Postcard One is an exercize in distilling a mundane image and injecting some interest into it. Ironically, I find the original postcard to have some intrinsic interest the longer I look at it. The composition uses vivid colors which remind me of typical postcards of the 60s. Also the use of flowers as a decorative motif is a peculiar touch. I tried to capture a bit of the 60s esthetic with the frame and font.

Postcard Two is mostly just whimsical. However; I like the idea that even the washed out, colorless flowers can lend the image a lightness that it wouldn't otherwise have.

Postcard Three is pretty straightforward. It shows a highway toll booth transformed into Ludwig Mies van der Rohe's unbuilt (fantastical) brick country house by the same flowers.

All three, hopefully, reference the transformative power of light that I explored with earlier images and drawings displayed on this page with simple, white drawings taking the place of light.

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February 15, 2006

Postcard One

Spin Cycle: Bleach out the blandness

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Postcard Three

Postcard 3
Transformation1: White makes right

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February 14, 2006

Postcard Two

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Postcard 1: Spin Cycle: Bleach out the Blandness

Postcard 2: Cloud 9: Light in the Heels

Postcard3: Transformation 1: White makes Right

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February 13, 2006

Movie from Workshop

Here is a movie from today's workshop. You can see the other on Selina's site.

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February 12, 2006

Added another transition image to 'Another Postcard"

Hope this makes the transition clearer.

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blend images from illustrator

I've been playing with AI trying to morph gear to flower. Results are so-so. May try again later.




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Another postcard

Attempting to transform the mundane to the beautiful. These are a series of transitional images. However, I need something in the middle. Anyone have any suggestions on how to fill in the gap between the flower sketch and the gear sketch? Ideally, I would like to have the sketches of the gears gradually assume the form of the flowers.








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February 11, 2006

First Pass at Postcard

I've taken a boring postcard and used light to transform it into one of my inspirational images. A swan from duck change. Interestingly, the original card is from French Lick Indiana, a 30-minute drive from my boyhood home. Of course it was by pony and trap in those days. (I wonder what ever happened to Ole Smokey. Pa says he must be enjoying his new life at the glue factory. I sure hope he's right.) Anyway, I will attempt some more complex transformations tomorrow and post them. I'm known as 'Kenny Bloggins' around here now!






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Inspirational Images

Attached are the five images I chose to present at Friday's tutorial. I hope they inspire a brilliant postcard, but I'm not sure how yet. I've got a few ideas, but I'm keeping mum for now so no one steals them. This is a very competitive bunch!






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February 05, 2006

Finished Product (almost)

Photographs of the completed dress including a detail of opened flaps. The latter are a bit disappointing as they are smaller than anticipated. Will open additional areas of the dress before exhibition in April as well as install light source. I will hopefully find something brighter than I've managed so far. However, the door does look slimmer than it did without the dress.



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February 01, 2006

Three Dresses

These are the three dresses for the three clients mentioned in an earlier blog. The first set shows the dresses with the appropriate flaps opened to hightlight/disguise the proper parts of the wearer's anatomy. The second set shows them opened with the lighting effects and the final series is an artsy impression of how the light would appear in isolation. Like if you were squinting or something.

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Three Dress Clients

Here are the three clients for the body altering dress. They cover all parts of the body image spectrum from JLo who is proud of her booty and wants to show it off, Geri Halliwell who is proud of her bust but wants to disguise her hips and thighs, and the full-figured lady who wants to transform her entire body outline.

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January 31, 2006

Dressmaking 101

I have been blessed with the opportunity to make my model with the help of Alison Hume et al at 101 Design. (Shameless plug.) They have been fantastic, and I could not have done it without them. These photos show the process of creating a silk screen of my pattern and transferring it to my black felt fabric. It was a great experience as I had never done anything like this before.

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January 21, 2006

Alternative Pattern

I've played with the pattern to see if I should nix the randomness of it. This pattern concentrates the pattern over those areas of the body which are the most curved. However, I think that this pattern, although fetching, gives up too much. It wears its intent on its sleeve even though it doesn't have any.

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January 19, 2006

Dress To Match Hat

I'm now designing a dress which is adjustable by the user and can be used to alter body shape the way the wearer wants. There is so much info about Body Dysmorphic Syndrome out there that I thought I should get on the bandwagon. You can see from these images that I've drawn a triangulated pattern which is projected onto the dress. The pattern seems random, but I think it's important that it doesn't reveal itself until the appropriate flaps are opened. Once opened, the flaps emit light. When fully extended the light is powerful and causes the viewer to divert their gaze from those areas that the wearer doesn't want noticed. Additionally, the flaps can be partially opened so that the light is less intense and creates a warmer glow which attracts the view. This effect can be used to highlight (note pun hee hee) those features that the wearer likes to show.

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January 11, 2006


What is it?
A garment that disguises perceived imperfections through the use of light. As an example, I will start with a dress.

What does it do? What is the role of light?
Light distracts the viewer and diverts his attention from what the wearer doesn't want noticed.

How big is it?
Size 18

What's it made of?
Fabric. Most likely neoprene and felt with integrated reflective material and light elements.

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December 01, 2005

More shard garments

Here are some more images utilizing shards. I'm only making the hat though. Daniel and Geri will have to wait.

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November 30, 2005

Hat for Isabella

The experimentation with "ray" drawings has led me to design a hat. It utilizes the aggressive nature of bright light through the shard-like projections. Light flows from within the hat out through the plexi shards. The combination would hopefully draw the viewer's attention away from Isabella's sagging features. (Sorry Isabella if you're reading this.)

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November 21, 2005

One Step Forward...

I have decided that a maleable system as proposed is too easy. Since it can be anything, it's sort of nothing. Besides, it loses the aggressive nature of intense light I was trying to achieve. I've done some new drawings which try to portray light as needle-like projections. I like them better than where I was going previously. Hopefully can come up with something from them.

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November 18, 2005

Rhino Modeling

Following along the theme of a maleable light source, I've been modelling a hat (for Isabella) and a skirt (for Geri) in Rhino.

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November 17, 2005


Artificial Light

The Opening

The Duke of York’s Building on the King’s Road Chelsea is the site of the new Saatchi Gallery. It is expected to open in the new year. The opening promises to be a star-studded gala attracting celebrities from the arts, film, fashion, and music. Likely guests include Isabella Blow, fashion editor for Tattler, Daniel Radcliffe, star of the Harry Potter films, and Geri Halliwell, former Spice Girl.

Their choice of attire reveals much about them. Each has chosen to use intense light to enhance their appearance. Isabella intends to bleach the effects of ageing from her face. In addition, she is well known for her over-the-top dress sense, particularly her choice in hats. The hat she has chosen for this very special event will glow intensely and will perform two functions. The intensity of light will disguise her appearance from the other guests and will also serve as a beacon, drawing others inexorably towards her. New technology will make this possible by allowing the incorporation of LED light sources into the structure of the hat.

Daniel wishes to disguise his face as well, although for somewhat different reasons. Like many teenagers, he suffers from acne. He finds this embarrassing and wants to hide it. Like Isabella, he too has other motives. He wishes to appear older. He doesn’t want to become straight-jacketed as a child actor. He intends to wear a hoodie which also incorporates LED light technology into the lining of the hood. A hoodie with its hood up speaks rebellion, and Daniel wants to be rebellious. He’s even managed to convince the DJ to give him an opportunity at the turntable.

The final guest on whom we will focus is Geri Halliwell. Unlike Isabella and Daniel, she is happy with her appearance from the shoulders up; however, she feels self-conscious about the weight she has put on as a result of her recent pregnancy. She thinks that a dress incorporating the radiation of bright light will blur the contours of her thighs and buttocks. Like Isabella, Geri craves attention. Although she wants to mask certain aspects of her appearance, she wants to make sure that she is seen and noticed.

All three will make a well-photographed entrance to the event. All will arrive sufficiently late to ensure that the paparazzi are there to record their arrival. All will enter slowly enough to make sure that their chosen item of light-emitting clothing is well noticed while not lingering so long to appear to be desperate for publicity.

Once inside, each will assume their usual positions in such circumstances. Isabella heads for the waiter bearing a tray of champagne cocktails. She then enchants a crowd of fashionistas who are mesmerized by her glowing hat. However, she refuses to acknowledge its bizarre nature, while basking in the wash of light.

Daniel, on the other hand, assumes an aloof posture in line with his teenage attitude. He gravitates towards the DJ whom he has met at previous film events. After awhile, Daniel takes over the control of the turntable and feels more at ease. The light emanating from his hood gives him a feeling of confidence. It creates a barrier that allows him to see out while preventing others from seeing in. After his turn playing music, he heads to the bar to try his luck with the bartender. He feels certain that his mask of light will serve him well.

Geri is glad to be out. She loves the limelight but has felt restrained by her new life as a mother. She is not able to attend openings and parties as she had in the past. The excitement she feels is reflected in her dress. It is drawing attention to her like she hasn’t experienced in a long time. Importantly, people are noticing the dress, not her. Tomorrow’s papers will comment on it, not her figure. She drinks more than she’s used to these days. She can’t help dancing, anxious for the sense of release it gives her.

All three of our guests notice the others; however, they avoid contact. It’s as if the light from their garments is repellent to the other two. Although each is aware that at some level they need the attention these garments provide, they’re afraid that recognizing the effect in others will make this desire obvious. Each sticks to one area of the venue, staying within their own circle.

Eventually, the crowd begins to filter out. Our three guests also decide to leave. Isabella to a late night dinner with friends, Geri to a gay nightclub, and Daniel to the DJ’s flat in Shoreditch. Each surreptitiously eyes the others, anxious not to leave at the same time. Slowly, individually they leave to their separate destinations.

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November 15, 2005

Gleep and Gloop

Inspired by the Herculoids, I'm envisioning a maleable lighting system which can be molded to suit the varied needs of the wearer. It can be fashioned into a hat, or skirt- wherever someone needs to use strong light to disguise defects. It's hard to imagine now how such a system would work technically, maybe OLEDs?

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October 31, 2005

Flawed Celebrities

I've imagined a gallery opening to which these three celebrities have been invited. Each has a perceived physical shortcoming which they would like to disguise. Daniel Radcliffe, being 16, has dermatological concerns. Geri Halliwell has added unwelcome pounds, and Isabella Blow is showing the effects of life in the fast lane. I'm looking at ways to use strong light to disguise these flaws. A modular system which can be attached to apparel or accessories is appealing, but boring. Will keep looking.

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October 28, 2005

The Joan Rivers Effect

A new, low cost alternative to plastic surgery. Powerful light can melt the years away.Oct-23a-05.jpgOct-24-05.jpg

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Burn baby burn

I've re-created a year's worth of UV exposure on the right hand one of these two gouache squares. Gouache is the most sensitive medium to the damaging effects of light. So far, no visible difference between the two.Oct-17a-06.jpg

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October 26, 2005

Disguising objects

Inpired by the loss of detail seen at the museum, I've tried to do something similar with ordinary objects. I've managed to disguise a bottle of lotion using a powerful spotlight from Woolies.Oct-16-05.jpg

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Hapless volunteer

Now that I've disguised a bottle, I've moved to something more challenging: people. The power of this light erases wrinkles from this subject- and he's no spring chicken!Oct-25a-05.jpg

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October 25, 2005

Images from British Museum

Some of the marble figures in the British Museum are way too lit. They lose their detail because of it. Have played with some images from those galleries. Here's one of a Greek bust.Oct-25c-05.jpg

Posted by Kevin Cash at 11:46 PM | Comments (0) | TrackBack (0)

October 20, 2005

White Light / Overexposure

White light is lighting up my eyes
Don't you know it fills me up with surprise?
White heat, tickle me down to my toes
White light, I tell you now, goodness knows

Lou Reed was writing about the euphoric effects of speed; however, the rush of bright white light can elicit a similar state. Intense light causes a heightened sense of awareness. It brings forth feelings of shock and surprise occasionally bordering on anxiety or panic.

Tonight the
Super trouper lights are gonna find me
Shining like the sun
Smiling, having fun
Feeling like a number one

ABBA point out another notable effect of bright light- the idolization of its subject. We shine bright spotlights on celebrities and performers to deify them. It isolates and intensifies the object of its beam.

Blinded by the light

Intense light dissolves distinguishing characteristics. In contemporary society, facial features are reduced and distilled until nothing notable remains. From Joan Rivers to Caprice, various methods, often surgical, are used to erase all blemishes, removing non-blemishes in the process. This has been used to great effect by Julian Opie, reducing faces to the minimal elements necessary to recognize them as faces. Life meets art in his depiction of Jimmy Carr. His visage as drawn by Opie matches the featureless face of the original.Light can be used to achieve this erasure. Overexposure can remove features by overwhelming the senses of the viewer in a state analogous to snowblindness.

Like these illustrations, my light will do these things: excite the viewer, isolate and intensify the object, and distill it to a featureless essence.

White light
Still feels right



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