June 10, 2006
Materials for filter tests - Technical Studies
Materials - left to right - Linen, Japanese lens paper, clear plastic, fine wire mesh, glass
June 07, 2006
Filters - done - all levels
Filters - nearly there - ground plate
Filters - complete - roof cladding
June 06, 2006
Filters - complete - first floor
Filters - start - first floor
June 04, 2006
Filters - ground floor
June 02, 2006
Filters - Finally
Thank God is all I have to say. Finally.
May 25, 2006
The extrusion of the base using 30 cm grid of isocurves. The use of this unit of measurement and fabrication method is much more elegant in comparison to the previous approach. More to come throughout the day.
May 21, 2006
Filters extruded. With ground plane inserted to give a better perspective of their respective thicknesses.
Filters in Plan Ground Floor
May 20, 2006
No more wine glasses or thumbnails
The start of filter generation
More to come
May 18, 2006
My Light Installation - Back Members Room
Photos by Tim Brotherton
May 14, 2006
Programme Proposal - Deja vu - There is a glitch in the Matrix
If I am lucky Agent Smith will vaporize me soon.
Integration of proposed programme with previous plan.
May 13, 2006
First go at identifying the specific details of my programme. It is overlaid on the initial programme proposal plan to show modifications or deformations in surface and boundary conditions.
Solid lines within the perimeter of the plan indicate spaces where filters will be placed to prevent the perfusion of light.
Filter configurations to follow.
April 18, 2006
The benefit of hindsight
- Back from Good 'ol US of A
- Jetlag to bed at 3am
- Meet with Natasha and Monia to discuss exhibition plans
- Massage short hairy guy
- Doctor #1 visit
- Go for a run - I am so out of shape
- Work like crazy on rhino model in anticipation of tutorial with Monia - jetlag working in my favour today
- Doctor #2 visit
- MOTHER-IN-LAW visiting for Easter
- Tutorial with Monia
- Printout test - decision to outsource printing
- Osteopath visit because I am too tall
14 Apr, 15 Apr
- blah, blah, blah
- buy Easter egg for Jerry and a gift for Easter for me from Jerry
- ate Italian easter cake (Colomba)nonstop - didn't even chew
16 Apr, Easter
- Mass twice - I'm repenting for my sins
- Rented - Passion of Christ - Mel Gibson - hardcore - I really need to repent
- Drank bottle of Bach's Rescue Remedy
- Finally worked from 10pm - 4 am cause everyone went to bed
- MOTHER-IN-LAW to Waterloo
- Started diet to repent for some more sins
- Wrestling rhino all day
- Gym - run, eliptical trainer, step - total = one hour
- More rhino
- Try to convince Jerry that we need a Staffordshire Bull Terrier
- Call printers - they can print 90cm wide by forever but must figure out how to 'Plot' - what the hell
- Yes, more rhino
- Illustrator now finally working on portfolio - I'm stressed
- Investigate base for installation - Homebase, B&Q
- Gym early - yeah right
- Send rhino file to printer
- More portfolio
- Meeting for exhibition with unit
More to come
February 28, 2006
Quick, someone, give me a fan! I won’t verbalize what thoughts pop into my head with that remark.
I enjoy going to Zaha’s lectures because like a favorite cast member from any given reality show one waits for her to say something that will provoke, shock, horrify and/or amuse and as always she succeeds. What fun! I can’t get enough.
I noted at the end there were approximately 470 slides. Is there no ability to ‘filter’ all that information? Perhaps the deletion of that one slide that reveals a slightly different perspective of a given design may result in death or even worse, the Wrath.
For the most part, I found the work and the representation of the ideas very beautiful with the exception of the ‘tailed’ building ideas – What was that? I need to see more. I sat there and tried to absorb some minuscule aspect of technique or idea (I want to be diva too!!!). I always wonder what she would have been like as a student. How she handled life at the AA, her colleagues and tutors? Of course, there is no way of knowing but my imagination goes into overdrive.
February 23, 2006
1 - 3 word manifesto
Sentence long manifesto
Altering the perspective of the observed.
February 22, 2006
Rural Studios - Andrew Freear
Praise the Lord! Alleluia!
I am afraid to start writing this small review on the lecture given by Rural Studios’ Andrew Freear because I may turn into a quivering bowl of Jell-o or worse yet Gwyneth Paltrow during her acceptance speech at the Oscar awards ceremony some years back. Yes, I actually got emotional during this lecture. Not once but twice. Perhaps I should consult a therapist but enough about me.
It was AMAZING, INSPIRATIONAL, WONDERFUL, so on and so on. The adjectives could continue down the page. Seriously though this work is something I imagine that everyone aspires to. As a student of architecture I would love to have the opportunity to participate in a project such as Rural Studios. It is truly 3d and not just virtual. How refreshing. And, by the way they’re actually helping people.
February 21, 2006
Alisa Andrasek - Seminar
I was able to attend the morning session and enjoyed the seminar a great deal more than the lecture. Namely, I believe, the informal setting put Alisa Andrasek at ease. She not only reiterated but also elaborated on the concepts she discussed the previous evening. I found it interesting and informative.
February 20, 2006
Alisa Andrasek - Lecture
Alisa Andrasek is a very serious designer, standing at the front of the lecture hall she presents her work as a scientist might present research findings following a series of experiments. Visually speaking the work is beautiful and highly digital. Materials are ‘ingredients’ and knowledge of their properties is a prerequisite to experimentation.
All variables can be plugged in.
February 18, 2006
My Three Postcards
From the onset of the year I have explored gradients of light both in colour and black and white. I have observed and experimented with filters and lights with the aim of attempting to change or alter perspectives and perceptions.
My first project uses light and fabric. Together they can be customised to alter the emission of light and can change spatial configurations. The project was tested on a 1:1 scale on site in Studio 1 at the AA. The scale of the project can change and be expanded beyond four walls. It can be positioned in a cityscape or landscape.
The postcards reflect the concept of my manifesto with clarity and simplicity. The first postcard shows a loving couple embracing. The second postcard introduces a filter. The third postcard shows how the filter alters what the observer is viewing.
February 17, 2006
Shin Egashira, Toyo Ito, Brett Steele
Running late, I was lucky to get a spot against the wall of our beautiful front members’ room for Toyo Ito’s visit and lunchtime seminar. The forum lent itself to our guest being relaxed and open and it happened on the day following him receiving the RIBA gold medal. He spoke poetically about his work and despite the years ‘at the game’ seemed to retain a clear idea of the kind of architecture he wanted to create – architecture for people to use.
In abstract terms, he correlated the creative process to the making of music and quoted the name of a Japanese composer that he admired greatly. (The name I promptly forgot but was reminded by Hiro. It was Toru Takemitsu.) He hoped that he could expand the boundaries of his work as composers expand the boundaries of music but was frustrated and equally respected the idea that architecture has limitations. He also reflected on principles of geometry and form-making in his work. In literal terms, he discussed the creative process at his office in Tokyo. A simple brain-storming session with staff on first concepts evolves into ‘primitive’ model-making to develop ideas. Sound familiar?
He talked about the aesthetic he believed Japanese architects possessed in the development of design and when asked, noted that he never repeated projects (except once) which seemed to satisfy him tremendously.
Taira Nishizawa a young, up and coming architect from Japan with a significant pedigree was presented by Shin Egashira. However, as the person that commissioned Nishizawa’s first project a volleyball gymnasium, Toyo Ito offered a more elaborate welcome.
Located in Tomochi, in the Kumamoto prefecture of Japan, the gymnasium was an interesting mix of modern materials (Steel) and traditional Japanese carpentry using Japanese cedar – forestry has a strong influence on the local economy. At first glance, it appears to be a wooden structure within a steel frame but in fact the cedar is a truss system that is structural. Tomochi Forestry Hall
The other projects presented were single unit and multi-dwelling housing schemes.
In all cases site conditions, resources (sunlight, positioning, etc.) and materials (inside and out) were carefully considered and beautifully managed. Keep an eye on Nishizawa.
February 15, 2006
Postcard Title 1
Seeing is Believing
Subtitle: They are the perfect couple
February 13, 2006
The parting of the grey chairs by..........
February 12, 2006
February 11, 2006
February 10, 2006
My favourite images
I took this photograph in the summer of 2004 in the Niigata region of Japan. I attended a workshop given by my tutor, at the time, Shin Egashira. We designed a movie screen. The screen itself was made of hemp rope (the detail seen). I think the photo is beautiful. The view through the rope to the misty sky in the background provides a dreamlike quality and at first glance the rooftop harks back to a time past long, long ago.
The tiny island set in the Kornati National Park of Croatia is called Fafarikulac. The sea surrounding it so crystal blue that you can see down many metres. It takes me about 45 minutes to swim around it. We catch fish in the morning, grill it in the evening. After dinner and libations we dive off the boat moored to the dock by the light of the moonlight. Whenever I see this photo I go back to that summer.
Shigeru Ban’s Curtain Wall House in Nagano is so beautiful. The breeze causes the ‘walls’ to billow beyond the footprint of the building and over the street. Imagine lounging in your kimono.
I took this photo in Yokohama during our unit trip this year. We were exploring Chinatown and looking at lighting in the area. I love this photo. It is just a view into a kitchen but the steam rising from the cooking lends a mysterious and ethereal quality.
David Hockney, Portrait of an Artist(Pool with Two Figures), 1971. The use of paint to show the reflective properties of the water in the pool is magical.
February 06, 2006
The first brief of the year was the design of a light. This was followed by a one-to-one prototype.
I designed a baffle that is able to customize spatial configurations and modulate light gradients. This will accomodate varied programmes and users.
Following the jury on Friday, 3 February 2006 the feedback I received was very useful. It is as follows:
Id. my real interest.
Make some decisions.
Force an agenda and state it via manifesto.
Answer why and what for.
Id. levels of goals.
The Blog and why
We are fortunate to be in a unit where our tutors are very attentive and give feedback on a regular basis. The other great thing about our unit is that the students are a cohesive bunch and we have had the opportunity to 'bond' and therefore are able to exchange ideas, see each others work on a regular basis via workshops, regular pin-ups, juries, etc. I am truly grateful for this for I have had the opposite on both counts.
I personally have not been that keen on updating the blog. Others have. Ultimately, it is not clear that the feedback received is in proportion to the time and effort invested in placing entries. Although being on the world wide web has an element of cool it is a bit uncomfortable - every detail of our process, every step we take, every derailment, every everything. I am not so sure.
So many blog entries.....so little time
or have I died and gone to heaven
wait, maybe it's a Sony commercial
February 04, 2006
Studio 1 installation
February 02, 2006
What's going on?
Project Title: Light/Space Gradient
Manifesto Title: Light/Space Customization
Manifesto: My design will provide the ability and opportunity to customize spatial configurations and modulate light gradients through the use of textiles and artificial light. This will used to respond to and accomodate varied programmes and users.
January 30, 2006
Some components of light fixture
January 29, 2006
Status Report and Plan 23 Jan -03 Feb 2006
January 28, 2006
Mini Statement and possible TS investigation
I am designing a customizable baffle that alters the gradient of light emitted.
I would like to use textiles as inspiration to assist in the development, organisation and formation of shapes and/or structures.
January 25, 2006
Model and testing with light and material properties
A 1:15 scale model of Studio 1 with a proposal for a baffle and the use of flourescent lights.
January 24, 2006
A customisable baffle that alters the gradient of light emitted.
January 23, 2006
Site: Studio 1
I chose Studio 1 on the second of the AA for the site for the installation of my light structure. See highlighted below.
January 11, 2006
The weave and the light
I'm baaaaaaack. Looking at gradients and the weave. With some test models that look at the possibility of the relationship between light, weave and materials.
Material densities, textures, weaves and configurations are unlimited. There is a major draw to the idea of customising a space as per programmatic requirements.
1. What is it?
A light filtration system.
2. What does it do?
Alters the perception of light emitted.
3. What is the role of light in it?
It is intrinsic to its functionality.
4. What is it made of?
Paper or fabric.
5. How big is the 1:1 prototype?
297 mm wide, 210 mm high, 297 mm deep
October 26, 2005
The film strip model turned into the following rhino model . Thinking about customization and the possibilties of occupation in relation to spatial generation. Stilll, a slight diversion and time for a reassessment.
October 25, 2005
Space and light an inverse relationship
Deconstructing the photograph from the Diane Arbus exhibition. I continued with the idea of weaving and film. I built a frame and used film (which was not developed) because it had an interesting structural property. The idea was that one could enter a space andadjust the light by pulling on the strips. A weird thing happened thing happened the more light the smaller the space became. This proved to be a slight diversion in the perception/grayscale thing and a reassesment was needed.
October 24, 2005
Following on from the principal of gradients and photographic zone theory along with my aspirations for MI5, I visited the Diane Arbus exhibition at the V&A. I played again with perceptions to see what I would see.
Mr. Woroniecki's Recommendations
During our last tutorial, I reflected on the idea that colour can blur our perception of boundaries. Maciej recommended that I look into Philip's Ambilight flat screen television, Click on Ambilight 1& 2 to take a look very interesting.
October 18, 2005
Testing the idea of gradients
James Turrell (without the use of colour) is the inspiration but clearly the result is not the same. I tried to see if the gradients of the panels would help to alter the perception. This experiment was not a successful but many variables within the experiment were not tightly controlled and the result was sloppy.
October 17, 2005
“Isaac: Chapter One. He adored New York City. He idolized it all out of proportion - er, no, make that: he - he romanticized it all out of proportion. - Yes. - To him, no matter what the season was, this was still a town that existed in black and white and pulsated to the great tunes of George Gershwin. - Er, tsch, no, missed out something. - Chapter One. He was too romantic about Manhattan, as he was about everything else. He thrived on the hustle bustle of the crowds and the traffic….”
The previous paragraph is the opening voiceover to Woody Allen’s Manhattan (1979).
I love this film and it inspires me tremendously. The film is shot in black and white but artificial light is used to accent and focus the viewer. As day passes into night the artificial light intensifies. Allen's Manhattan really speaks to me because gradient is used in an amazing way.
The New York skyline at night is a magnificent sight. This would not be the case if there was no light – we have the benefit of full Technicolor. Despite the reality of the city, the view possesses a quality of fantasy that is beautiful and inspirational. Once inside the city the illumination turns the night into day and the fantasy continues.
Is what we see fantasy or reality?
Gradient and Araki
As mentioned previously, this piece was inspiring from a lighting perspective because the lighting turned the objects into a composition. But the colours diverted my attention and so I turned the photograph into a grayscale image and used numbers from the photographic zone system to evaluate the differentiation of light.
17 October 2005
October 16, 2005
More gallery visits
The photograph below and text following was taken from 'Light: The Shape of Space' by Lou Michel. It inspired the approach of my analysis.
"Photographic zone system which states that the basic fact that brightness levels in a photograph remain in a given order on the grey scale. Which means, that a surface brighter than middle gray will always locate toward the white end, and one darker than middle gray will locate toward the black end. The order of grays are significant, the logical sequence of step-by-step increase in brightness from black to white.
Seeing the designed environment according to a gray scale to study the amount, proportion, and location of brightness patterns has validity for previsualizing what an architectural space will become once it is built and receives color and light."
October 15, 2005
Plan and lighting analysis of Barbican Art Gallery
Felt like a spy and spent the afternoon recording the types of lighting at the Barbican. Further reinforcing the notion that there is really no clear strategy.
October 14, 2005
Gallery Visits and Analysis
I started my lighting analysis by visiting several exhibitions and galleries. I was extremely fascinated, namely because it is very difficult to extract myself from the overall experience. The experience of viewing what was meant to be viewed versus the lighting. Ultimately, there seemed to be a lack of lighting strategy.
I was drawn to the composition in the second photograph because the lighting was constructed deliberately and contributed to overall perspective of the object viewed. It was the object that focused my analysis.