The possibility
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 26, 2005
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
Perceptions
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
Light-Space-Perception
“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
Gradient identifier
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.
