June 16, 2006
Recent drawings
Perspective 01:
Top Plan:
Section AA - Front_to_Back:
Section BB - Back_to_Front:
Posted by Selina Bolton at 05:07 AM | Comments (0)
June 05, 2006
Section Model
Spent the weekend building this model - have run out of piano wire so haven't been able to do the PROJECTION surfaces - so it looks very open at the moment. It's a chunk from the middle of the building.
Posted by Selina Bolton at 02:19 AM | Comments (0)
Concept Model
Bit of a late post but here's the completed concept model.
Posted by Selina Bolton at 02:10 AM | Comments (0)
May 29, 2006
Tri-surfaces
Three surfaces are at play in the gallery -
Enclosure
Projection
Sequence
Posted by Selina Bolton at 11:58 PM | Comments (0)
Gallery elasticA
From static to elastic... the new gallery typology surface transformation.
Top view:
Front view:
Side view left:
Perspective:
Posted by Selina Bolton at 11:46 PM | Comments (0)
Surface modelling .05
More work in progress images...
Posted by Selina Bolton at 11:42 PM | Comments (0)
May 23, 2006
Surface modelling .04
Work in progress... the last 3 days have been filled with welding a modelling frame for Gallery ElasticA -
The idea being to design the gallery from the inside-out.
Posted by Selina Bolton at 09:10 AM | Comments (0)
May 15, 2006
Surface modelling .03
OK, so using the free-standing surfaces I began to experiement with forming sequences of space that would correspond with lighting requirements for projected art...
S1 Open space_Ambient light
S2 Circulation space_Orientation light
S3 Semi-controlled Exhibition Space_ Restricted light
S4 Fully-controlled Exhibition Space_Focused light
Sample configuration - Fully-controlled + Orientation
Posted by Selina Bolton at 01:53 PM | Comments (0)
Surface modelling .02
So my initial designs were a tad random, so I've picked one surface from my light form and set about a physical model to determine how this surface can be employed to ENCLOSE space and light.
First I used PVA - thought it might fast fix the surface so I could do away with the perspex box and have a free-standing surface element to play with...
It was quick and cheap but floppy so decided to go into production with resin...
Posted by Selina Bolton at 01:25 PM | Comments (0)
May 14, 2006
Surface modelling
This follows my initial experiments in surface forms... there are 3 surfaces at play here - Light, Sequence and Enclosure.
Light:
Enclosure:
Sequence:
Posted by Selina Bolton at 01:07 PM | Comments (0)
May 12, 2006
Graphics.04
Further developments on a graphic line... portfolio logos / layout
Posted by Selina Bolton at 05:48 PM | Comments (0)
May 10, 2006
Graphics.03
Throughout the year I have revisited my manifesto and adapted it as the program developed.
I created posters to capture key statements during this process.
Posted by Selina Bolton at 04:08 PM | Comments (0)
Static space - Elastic space
The concept of two complexly connected architectural units is a result of the striking inter-woven situation of the building site.
The eighteenth century stately, stuccoed buildings of the ICA on The Mall can be read clearly as an institution. It stands for all that is known in the everyday world. In contrast to this 25~8 reveals insights into the future; it is an elastic space of undiscovered realms and countless transitions.
Within 25~8 the present and the future, the known and the still unknown and the still unknown are conceived in a spatial arrangement configured to provoke public curiosity. As an extension of the ICA, located on the 1st floor terrace, a new urban art space is expressed; a terrain consisting of access ramps and light diffusing surfaces merging the inside and theoutside and resulting in a dynamic sequence of spatial events. In this way, an energised complex is created which corresponds ideally to the diversity of creative exchange.
This drawing represents my starting point for 25~8. The light of my elastic.LIGHT is enclosed within the form, and through a combination of surfaces, light and shadow is woven through the structure to create an intimate and dynamic environment.
25~8 will be designed from inside out, beginning with light
Posted by Selina Bolton at 03:26 PM | Comments (0)
Graphics.02
Continuing with graphic explorations and alternative forms of communicating my programme of elastcity, I developed a series of booklets. The narrative is not sequential but uses snapshot references from my elastic.LIGHT architecture manifesto.
The spreads and application of physical devices such as elastic constraints and french folds aim to encourage the reader to interact more closely with the media to decipher the message within. This reflects the programme - curiosity and interaction with the light form reveals the intricacies of the woven structure and releases the textural impact of light and shadow.
Posted by Selina Bolton at 03:21 PM | Comments (0)
25~8 Gallery Agenda
The future society will be a society of 24x7 data access. However, this information can hardly be split into clearly defined fields. Innovations develop within interspaces, within indistinctness, within the overlapping and hybridising. Questions regarding the future will be decided within transitional fields situated between technology, media and consumers.
Morphology of form, infiltration, permutation, spontaneity, transmission and transient variables have an affect on architecture. The resulting architecture is characterised by the interactions, fusion and mutation of different entities constituting a new shape.
The concept of the design of the new gallery is based on the ideology of redefining the meaning of gallery in the 21st century. The 25~8 gallery dies not consider itself as an exclusive temple for the intellectual bourgeoisie but as a public hub providing access to the media innovations of our age.
Stimulating a direct and active use, it is not only a gallery site but also a venue in the city. The architecture hybridises the typology of a gallery with the typology of an urban public space.
Posted by Selina Bolton at 02:55 PM | Comments (0)
Graphics.01
The Gallery project kicks into gear with a graphics workshop...
Let there be
+
+
Posted by Selina Bolton at 02:47 PM | Comments (0)
March 28, 2006
Manuka
A couple of pics of Manu'...
Posted by Selina Bolton at 08:50 PM | Comments (0)
March 24, 2006
Initial surface explorations
Posted by Selina Bolton at 03:13 PM | Comments (0)
Manifesto revisited
The new architecture is elastic; that is to say, it develops out of a responsiveness to change and employs the attributes of elasticity across all elements such as spatial form, surface, materials, function, occupation, light, colour, etc.
Elimination of all concept of form in the sense of a static type is essential to the healthy development of architecture and art as a whole. The spatial composition of the new architecture is fluid in that space arises from the movement of pliable surfaces from which discrete boundaries evolve.
There is no repetition in time, no standardisation of experience, and so, the new architecture is anti-prescriptive; that is to say, it does not attempt to dictate the order and capacity of functional space, but employs elements of shifting light and shade to project functional space-cells (as well as surfaces, etc.) to facilitate an entirely new elastic expression. In this way architecture achieves a spontaneous quality.
Posted by Selina Bolton at 11:01 AM | Comments (0)
Gallery Agenda
Elasticity fuses materiality with the spectacle of light. In this instance, the elastic.gallery form’s behaviour will be governed by:
_the inter-connecting relationships between surface layers [enclosure],
_the choreography of natural and artificial light weave and density [light],
_and subsequent configuration of fluid functional space [sequence].
Posted by Selina Bolton at 10:52 AM | Comments (0)
Light + Site
How does light carves cuts, shapes and penetrates site?
The new architecture shields the user from the source of brash, hard light. Vertical and horizontal planes are constructed from staggered and offset woven panels of concrete, glass and fabric. Light enters only through openings that are shielded from straight-on view by alternately cantilevering sections of the gallery surface.
Where the form is configured as a ‘relaxed’ state, only twice reflected light is visible and softened to a subtle glow. See-through openings are visible only from oblique angles and where ‘tension’ is applied to the form’s surface. In this instance, the light is encouraged to fill the void formed and project along the taut shaft of the surface. Contrasting combinations of light diffusing weave and light absorbing materials control the dispersal and course of light.
Posted by Selina Bolton at 09:43 AM | Comments (0)
Light + Program
Define the relationships between light and program. How the program differentiates space + light, and defines distribution within the gallery.
The structure uses a tri-surface configuration, irregularly positioned in straight and flexing horizontal and vertical alignments. The result is a continuum of three surfaces separated by a series of discrete boundaries identified by shifting light patterns. The interwoven surfaces continually pass from front to back. The quantity of light is limited by the mass of surface material; the quality of its flow through the woven channels is luminous and smooth.
Consider movement, sequence, user, volume, event, and site.
The new architecture poses no single passive factor. By harnessing the passage of light, the user initiates moments of privacy and revelation. The user controls the release of light through the deformation of surface density: stretching the material constituents allows the light to fill the void revealed and filter through the expanded surface. The direction of the distortion: anchoring the extended surface to a different angle and plane generates a dynamic relationship between light and shade. Engaging the movement of both user and media stimulates an exploration of boundaries, both old and new, and alters the user’s perception of their journey through space and time.
Posted by Selina Bolton at 09:40 AM | Comments (0)
Light + Volume
Consider space, form, density, thickness, material, shadow, program and site.
Through the use of layers, and extensions of surface form, shadow plays an important role in determining the visual depth, height and breadth of both light and space. Space and time is mapped through the inter-change of light and shade. In so doing, a four-dimensional relationship between user, form, material and light develops. In place of the mundane and uniform, the new architecture offers the elastic richness of light in an all-sided development in motion and memory.
Posted by Selina Bolton at 09:32 AM | Comments (0)
February 24, 2006
Dan Flavin
Have just been reading reviews by Francesca, Maceij, Martin, Kevin & Sandra - am sorry to be missing out on lectures right now but happened to have a spare hour between history and TS so went to the Dan Flavin show at the Haywood.
On the whole I appreciated the show - given our pre-occupation with presenting light it was very useful to see light installations in a large gallery space. The Haywood is a fantastic, minimalist space for these types of presentations (I saw Rebecca Horn's exhibition last year and the space lent itself very well to her work too).
I think it provides good reference for our next stage in Inter3, I know I was pre-occupied with making a useful light before Xmas and am now moving much more towards provoking a reaction from the application of light on and within spatial form. I particularly liked Flavin's work that play with elements of space - boundaries, edges, etc. I also liked the idea of sound and light - the nano's given out have 6 tracks to accompany the 6 sections of the show. We should certainly consider exploring light as a sound at some stage in our work!
However, many of the pieces seemed to me to be pre-occupied with the Fluorescent tube rather than the light or impact of light, he talks about his aim to explore space and structure with these light forms and yet there's a lack of investigative depth to much of the work presented, I didn't feel he'd exploited the medium of light sufficiently to raise architectural debate. I was also disappointed with the sketches and drawings - these were layout sketches and again showed no depth of thought or investigation into the effects of light or raison d'etre for his portfolio.
Posted by Selina Bolton at 12:24 AM | Comments (0)
February 23, 2006
Micro Manifesto
Elasticity
Posted by Selina Bolton at 11:53 PM | Comments (0)
Mini Manifesto
Elastic.Light
Elastic.light is born out of the desire to create a lighting device which is infinitely reconfigurable and offers a means to dynamically partition open space into more intimate and ephemeral surroundings.
The elastic.light wall is an expandable partition with a subtle, ambient light quality; light is fused within the woven fabric layers of the structure, giving off a tonal, luminous glow. The wall can be manipulated by the user to make any larger open space more intimate or dynamic, or used as a sculptural backdrop.
The 1.8m elastic.light wall is 300mm in depth and can be expanded from 150mm when compressed to form a freestanding wall of anywhere between 0.9m-6m in length. It is made of Jersey-based sheet fabric, in combinations of white and black.
The prototype demonstrates a double-layer 900x900mm panel, 300mm in depth. The wall in this instance is supported through elements of wire and steel frame.
Posted by Selina Bolton at 11:52 PM | Comments (0)
Maxi Manifesto
Elastic.light architecture… towards morphology of motion and memory.
The new architecture is elastic; that is to say, it develops out of a responsiveness to change and employs the attributes of elasticity across all elements such as spatial form, surface, materials, function, occupation, light, colour, etc.
Elimination of all concept of form in the sense of a static type is essential to the healthy development of architecture and art as a whole. The spatial composition of the new architecture is fluid in that space arises from the movement of pliable surfaces from which discrete boundaries evolve.
There is no repetition in time, no standardisation of experience, and so, the new architecture is anti-prescriptive; that is to say, it does not attempt to dictate the order and capacity of functional space, but employs elements of shifting light and shade to project functional space-cells (as well as surfaces, etc.) to facilitate an entirely new elastic expression. In this way architecture achieves a spontaneous quality.
In this instance, the elastic.light form’s behaviour will be governed by the inter-connecting relationships between surface layers, the specification of fabric weave and density, and the application of tension and warp.
Elasticity enables the user to create a light field which is infinitely reconfigurable and re-mediates the materials and ideas with which it comes into contact.
MATERIALITY & LIGHT
Elasticity fuses materiality with the spectacle of light.
The new architecture shields the user from the source of brash, hard light. Vertical and horizontal planes are constructed from staggered and offset woven panels of elastic cloth. Light enters only through openings that are shielded from straight-on view by alternately cantilevering sections of the surface.
In its relaxed state, from straight on and nearly so, only twice reflected light is visible and softened to a subtle glow. See-through openings are visible only from oblique angles and when tension is applied. In this instance, through pull and stretch motion, the light is encouraged to fill the void formed and project along the taut shaft of fabric. Contrasting combinations of light diffusing weave and light absorbing textiles control the dispersal and course of light. The distorted state is suspended via anchor points; on release the panel band contracts and resumes its original formation.
The structure uses a single-module configuration, alternately positioned in straight and mirrored positions, both in horizontal and vertical alignments. The result is a continuum of two surfaces separated by a series of vertical, slight flexing edges. The interwoven surfaces continually pass from front to back. The quantity of light is limited by the great mass of the wall; the quality of its flow through the woven channels is luminous and smooth.
The new architecture poses no single passive factor. By harnessing the passage of light, the user initiates moments of privacy and revelation. The user controls the release of light through the deformation of surface density: stretching the fabric allows the light to fill the void revealed and filter through the expanded weave. The direction of the distortion: anchoring the extended surface to a different angle and plane generates a dynamic relationship between light and shade. Engaging the movement of both user and media stimulates an exploration of boundaries, both old and new, and alters the user’s perception of their journey through space and time.
Through the use of layers, and extensions of surface form, shadow plays an important role in determining the visual depth, height and breadth of both light and space. Space and time is mapped through the inter-change of light and shade. In so doing, a four-dimensional relationship between user, form, material and light develops. In place of the mundane and uniform, the new architecture offers the elastic richness of light in an all-sided development in motion and memory.
Posted by Selina Bolton at 11:51 PM | Comments (0)
Elasticity Series: Overview
I thoroughly enjoyed our week-long animation workshop with Simone, and without further delay here is my Elasticity series... 3 moving postcards which convey the essence of my developing light.manifesto.
My programme theme is Elasticity
My desire is to create a light unit that offers a means to build infinitely reconfigurable and dynamically defined space.
Posted by Selina Bolton at 10:17 PM | Comments (0)
Postcard 01
Beyond Static
At the heart of elastic.light is a single light conctruction unit. It is simply formed and yet highly versitile; patterns are determined through stretch, twist, mirror and anchoring events.
Download Beyond Static - File size is 1,034Kb
Many thanks to Francesca for providing the groovy moves for this show.
Posted by Selina Bolton at 10:10 PM | Comments (0)
Postcard 02
Hey! Get with the Programme
The light construction units are positioned in rows and columns, multiple layers deep. Subtle changes in the basic pattern lead to more complex relationships between the units and consequentially their impact of light on space.
Download Hey! Get with the programm - File Size 1,093Kb
Posted by Selina Bolton at 10:02 PM | Comments (0)
Postcard 03
De.form_Re.form
The third postcard represents the effect elastic.light has when applied to a space. New and varied volumes of space are discovered through elastic light explorations.
Download De.form_Re.form. File size 6,392Kb
Posted by Selina Bolton at 09:32 PM | Comments (0)
Postcard 04
Light Action
Currently in production... this postcard is a playful kaleidoscopic animation of the prototype form.
Posted by Selina Bolton at 08:45 PM | Comments (0)
February 21, 2006
With light
Initial trials with woven light.
Posted by Selina Bolton at 02:33 PM | Comments (0)
February 16, 2006
Proto-type Panel
The panel is built - just the light-fit to go.
Posted by Selina Bolton at 10:55 AM | Comments (0)
February 15, 2006
Hey_ get with the program
Posted by Selina Bolton at 04:28 PM | Comments (0)
Beyond Static
Posted by Selina Bolton at 04:25 PM | Comments (0)
Emerging form
Still plugging away at this -
Posted by Selina Bolton at 11:29 AM | Comments (0) | TrackBack (0)
February 14, 2006
Postcard Titles / Subtitles
Series_ elasticity
Sub.1_ beyond static
Sub.2_ hey! get with the program
Sub.3_ de_form
Sub.4_ re_form
Posted by Selina Bolton at 10:10 PM | Comments (0)
February 13, 2006
Watch the headline
Loop_da_loop
Posted by Selina Bolton at 06:55 PM | Comments (0) | TrackBack (0)
February 12, 2006
Postcard.04
Needs adapting...
Posted by Selina Bolton at 11:22 PM | Comments (0) | TrackBack (0)
Postcard.03
Posted by Selina Bolton at 11:01 PM | Comments (0) | TrackBack (0)
Postcard.02
I feel a road movie coming on... building on the manifesto title - towards morphology of motion and memory.
Posted by Selina Bolton at 10:47 PM | Comments (1) | TrackBack (0)
Postcard.01
The abstracted image is Pattern 07.
Posted by Selina Bolton at 10:07 PM | Comments (0) | TrackBack (0)
Postcard Fodder.04
The creative act, insofar as it depends on unconscious resources, presupposes a relaxing of controls and a regression to modes of ideation which are indifferent to the rules of verbal logic, unperturbed by contradiction, untouched by the dogmas and taboos of so called common sense. At the decisive stage of discovery the codes of disciplined reasoning are suspended - as they are in a dream, the reverie, the manic flight of thought, when the stream of ideation is free to drift, by its own emotional gravity, as it were, in an apparent 'lawless' fashion.
Arthur Koestler, The Act of Creation, p.178
Posted by Selina Bolton at 09:48 PM | Comments (0) | TrackBack (0)
Postcard Fodder.03
In Cuba, along the road side there are large billboard propaganda posters, the clarity of message is replicated in the graphic. This is example demonstrates the same aesthetic that can be seen the world over - viva la revolucion!
Posted by Selina Bolton at 08:32 PM | Comments (0) | TrackBack (0)
Postcard Fodder.02
Metropolis, by Spike Milligan
I see barbaric sodium city lamps
pretending they can see.
They make a new mad darkness.
Beyond their orange pools
the black endlessness of time beckons,
What, in that unseen dark tomorrow
is waiting...
That iron tomorrow, coming on
unknown wheels
Who is the driver,
Will he see me in time?
Posted by Selina Bolton at 08:27 PM | Comments (0) | TrackBack (0)
Postcard Fodder.01
Naked Man with Knife - Jackson Pollock
I am drawn by the powerful imagery _ the sculptural qualities of the torso depictions _ the shards of colour _ strong lines _ and abstracted inter-twining of the figures.
Posted by Selina Bolton at 05:38 PM | Comments (0) | TrackBack (0)
February 06, 2006
Build in progress
I've discovered that Rhino's mirror function can change the unit's composition and so have made a subtle change to pattern 06 to address this - here is pattern 07.
The build is proving very slow in deed as the connections between units is quite complex. In hind sight I should have built a number of full scale models to work my way up to building pattern 07...
or at least formed the pattern using a stack of perspex cube units.
Posted by Selina Bolton at 08:01 AM | Comments (0) | TrackBack (0)
February 05, 2006
Mini Manifesto.02
Project Title: Breathe light, weave shade
Manifesto Title: Elastic.light architecture… towards morphology of motion and memory
The elastic.light wall is born out of the desire to create a lighting device which is infinitely reconfigurable and offers a means to dynamically partition open space into more intimate and ephemeral surroundings.
The elastic.light wall is an expandable partition with a subtle, ambient light quality; light is fused within the woven fabric layers of the structure, giving off a tonal, luminous glow. The wall can be manipulated by the user to make any larger open space more intimate or dynamic, or used as a sculptural backdrop.
The prototype demonstrates a double-layer 900x900mm panel, 300mm in depth. It is made of Jersey-based sheet fabric, in combinations of white and black. The wall in this instance is supported through elements of wire and steel frame.
Posted by Selina Bolton at 09:07 PM | Comments (0) | TrackBack (0)
February 02, 2006
Pattern-fest... the possibilities are endless
Pattern.01
All unit columns and rows default with white(1) facing front.
Pattern.02
Alternate columns default (0) and mirror (1)
Pattern.03
Alternate column and rows between default and mirror settings
Pattern 04
I find the patterns generated by the top face very interesting and so have rotated the unit so that this face becomes the front face. Columns alternate between default and mirror settings.
Again the top face is interesting - would also be worth exploring as a face.
Pattern 05
Alternating rows and columns as default & mirror using unit from pattern 04.
Pattern 06
Rotating the top face from pattern 03 to be the front face, this pattern is generated alternating default and mirror units.
I could go on and on - the unit offers many possibilities and each face generates bundles of interesting designs... but given the shortage of time and the pressing necessity to build a prototype I have opted for pattern 6.
Posted by Selina Bolton at 10:10 PM | Comments (0) | TrackBack (0)
January 21, 2006
Unit formation
The unit is formed from 3 pieces of square fabric (150 x150mm). Each fabric element has a single twist and is anchored with at least 1 other element.
Posted by Selina Bolton at 03:10 PM | Comments (0) | TrackBack (0)
January 20, 2006
Construction Unit
In pursuit of manifesto realisation, I wanted to liberate the unit from the perspex cube and build it at the 1:1 scale I declared in my mini-manifesto - that of a construction unit of 300mm.
It turned into a monster! The delicate aesthetic is diminshed at this unit size. I used coat hanger wire to suspend the stretched shape; it doesn't provide sufficient stretch so the fabric is baggy. I also added an extra piece of cloth at the base to create a light pocket - it breaks the flow of the interconnected units.
I also want the wall to be collapsable, so I minimised the number of wire elements to a basic triangle - this enables the unit to be stretched into shape from just 2 points. Needs refining, but shows possibility of units folding flat.
Posted by Selina Bolton at 12:47 PM | Comments (0) | TrackBack (0)
January 17, 2006
Simple Manifesto
The elastic.light wall is borne out of the desire to create a lighting device which is infinitely reconfigurable and offers a means to dynamically partition open space into more intimate and ephemeral surroundings.
The elastic.light wall is an expandable partition with a subtle, ambient light quality; light is fused within the woven fabric layers of the structure, giving off a tonal, luminous glow. The wall can be manipulated by the user to make any larger open space more intimate or dynamic, or used as a sculptural backdrop.
The 1.8m elastic.light wall is 300mm in depth and can be expanded from 150mm when compressed to form a freestanding wall of anywhere between 0.9m-6m in length. It is made of Jersey-based sheet fabric, in combinations of white. The wall is structurally supported through elements of cast concrete (?) and a concertinaed wire-frame.
Posted by Selina Bolton at 10:09 AM | Comments (0) | TrackBack (0)
January 16, 2006
Construction Unit
I've opted for a module formed from 3 fabric elements. The photos do't do it justice really. The form celebrates asymmetry arising from symmetrical roots (i.e. 3x square cloth + stretch + twist within cube).
What I have to work out now - and pretty quickly is... How the blazes do I get the form to stand on its own? How can I create mould shuttering that reflects the intracies of this form? And given that it is asymmetrical and rather unstable - can I construct a wall with it???
Posted by Selina Bolton at 12:49 AM | Comments (0) | TrackBack (0)
January 14, 2006
Work in progress.08
Models from day 5 & 6 - Progressing with model experiments of inter-woven cloth pieces. Am now working within a perspex cube, so that (1) stretch is maintained while I work and (2) develop more complex dimensions of form.
Adding a twist.
With 2 fabric elements.
Torch light.
Posted by Selina Bolton at 09:33 PM | Comments (1) | TrackBack (0)
January 12, 2006
Work in progress.07
Models from Day 3 - taking 2 pieces of fabric plus stretching and twisting to develop inter-connectivity.
Models from Day 2 - various sandwich combinations of day 1 models.
Posted by Selina Bolton at 10:15 PM | Comments (0) | TrackBack (0)
January 10, 2006
Work in progress.06
Models from Day 01.
Posted by Selina Bolton at 11:48 PM | Comments (0) | TrackBack (0)
Proto-type
What is its function? Essentially, it is a construction unit; a fusion of brick and light that can be applied in structural or aesthetic context.
How big is it? Unit = 300mm x 300mm. Prototype wall = 1800mm x 900mm
Where is the light? The light is woven within the form.
What is it made of? 20:30:50 Elastic: Light: Concrete
Posted by Selina Bolton at 10:31 PM | Comments (1) | TrackBack (0)
January 09, 2006
Light Drawing - 3d
This 3D string model captures the light effect I'm aiming for - where the light source, which is centred in the heart of the model, is transmitted a long the threads of the surface. In so doing the surroundings receive a textured effect as light and shade is woven through the space.
Posted by Selina Bolton at 05:00 PM | Comments (0)
January 08, 2006
Manifesto .03
Elastic.light architecture… towards morphology of motion and memory.
The new architecture is elastic; that is to say, it develops out of a responsiveness to change and employs the attributes of elasticity across all elements such as spatial form, surface, materials, function, occupation, light, colour, etc.
FORM
Elimination of all concept of form in the sense of a static type is essential to the healthy development of architecture and art as a whole. The spatial composition of the new architecture is fluid in that space arises from the movement of pliable surfaces from which discrete boundaries evolve.
There is no repetition in time, no standardisation of experience, and so, the new architecture is anti-prescriptive; that is to say, it does not attempt to dictate the order and capacity of functional space, but employs elements of shifting light and shade to project functional space-cells (as well as surfaces, etc.) to facilitate an entirely new elastic expression. In this way architecture achieves a spontaneous quality.
In this instance, the elastic.light form’s behaviour will be governed by the inter-connecting relationships between surface layers, the specification of fabric weave and density, and the application of tension and warp.
MATERIALITY
Elasticity fuses materiality with the spectacle of light.
The new architecture shields the user from the source of brash, hard light. Vertical and horizontal planes are constructed from staggered and offset woven panels of elastic cloth-pocket bands. Light enters only through openings that are shielded from straight-on view by alternately cantilevering sections of the surface. The edges of the vertical surface are structurally strengthened through baffle stitching.
In its relaxed state, from straight on and nearly so, only twice reflected light is visible and softened to a subtle glow. See-through openings are visible only from oblique angles and when tension is applied. In this instance, through pull and stretch motion, the light is encouraged to fill the void formed and project along the taut shaft of fabric. Contrasting combinations of light diffusing weave and reflective textiles control the dispersal and course of light. The distorted state is suspended via anchor points; on release the panel band contracts and resumes its original formation.
The structure uses a single-module configuration, alternately positioned in straight and reversed positions, both in horizontal and vertical alignments. The result is a continuum of two surfaces separated by a series of vertical, slight wavy edges. The interwoven surfaces continually pass from front to back. The quantity of light is limited by the great mass of the wall; the quality of its flow through the woven channels is luminous and smooth.
USER
Elasticity enables the user to create a light field which is infinitely reconfigurable and re-mediates the materials and ideas with which it comes into contact.
The new architecture poses no single passive factor. By harnessing the passage of light, the user initiates moments of privacy and revelation. The user controls the release of light through the deformation of surface density: stretching the fabric allows the light to fill the void revealed and filter through the expanded weave. The direction of the distortion: anchoring the extended surface to a different angle and plane generates a dynamic relationship between light and shade. Engaging the movement of both user and media stimulates an exploration of boundaries, both old and new, and alters the user’s perception of their journey through space and time.
LIGHT
Through the use of layers, and extensions of surface form, shadow plays an important role in determining the visual depth, height and breadth of both light and space. Space and time is mapped through the inter-change of light and shade. In so doing, a four-dimensional relationship between user, form, material and light develops.
In place of the mundane and uniform, the new architecture offers the elastic richness of light in an all-sided development in motion and memory.
Posted by Selina Bolton at 08:49 PM | Comments (0) | TrackBack (0)
December 15, 2005
Snapshots of Tokyo
First evening in Tokyo - looking out across the city from the Hayat roof top bar
Night.light TODS
Inside touchy-feely PRADA
Capsule living
Liquid sky
Crossing the road just became interesting
Breakfast at the fish market
Ramen lunch
Posted by Selina Bolton at 03:39 PM | Comments (0) | TrackBack (0)
November 27, 2005
Work in progress.05
Breath light, weave shade movie clip - rough cut...
To get it to a size acceptable for the blog it has been reduced and reduced which has made it v. grainy. I have several clips which I'm thinking of including - what is the max file size for the blog?
Currently working on section drawings and "A day in the life of..." storyboard.
Posted by Selina Bolton at 04:58 PM | Comments (1) | TrackBack (0)
November 25, 2005
Work in progress.04
Plans at scale 1:50 of basic light.weave grid:
Light.weave model snaps:
Posted by Selina Bolton at 08:32 PM | Comments (0) | TrackBack (0)
November 24, 2005
Work in progrss.03
Apologies for delay... am 50% through making a model and 50% through drawing Plans -
Model in progress images:
Plan drawings underway:
Posted by Selina Bolton at 11:27 PM | Comments (0) | TrackBack (0)
November 23, 2005
Work in progress.02
You're getting my efforts raw I'm afraid... this one is terribly unimpressive but it represents my first foray into Photoshop's WARP tool - I was hoping to waft fabric-like rendering across the screen...
ho-hum keep trying.
Posted by Selina Bolton at 11:55 PM | Comments (1) | TrackBack (0)
Work in progress .01
Well I haven't been here for a while so this posting may look a little odd without greater explanation - which will come soon, along with more working drawings.
As you can see I have finally entered the digital age - albeit with tentative steps - I am developing my Breathe Light, weave shade theme through the form of a system of light screens. Here they are shown in their OFF state. They will be hung on track pulleys. In their off-state they can be pushed flat against a surface,
Posted by Selina Bolton at 10:41 PM | Comments (0) | TrackBack (0)
November 11, 2005
Manifesto .02
The state creates a system within which we move and live, a functional space on a massive scale.
Within this system every public space is designed with traffic flow in mind, where people have become mere units to be directed and physically moved around.
Without self-navigation citizens risk being wholly dependent on instruction and in so doing will forfeit an intrinsic quality of human evolution: that of active-learning.
Let us stir the sleeping spirit of self-government.
Let us forge a path that we choose for ourselves, and reshape everything from scratch in this new territory… there is no doubt that the outcome will be much more interesting than those we achieve when we ‘see’ with our eyes shut.
We can make this happen.
Posted by Selina Bolton at 08:56 PM | Comments (0) | TrackBack (0)
November 09, 2005
Breathe light, weave shade
Types of weave have often been mistaken for types of fabrics. While I'd enjoy experimenting with fabrics, at this stage I want to focus my light.form to simple thread and weave formations.
01. Here, individual threads are woven to define a starting point for space and sub-space. The user may traverse the space in any direction - there are no instructions, there are no rules. The user has complete control over the experience of determining their route, the level and style of interaction and ultimately the redefinition of the space and sub-space.
The threads are anchored to a frame - free standing or integrated in the ceiling, floor and walls. The light source is directed onto the frame and passes along the threads.
The anchor-system allows the threads to be fed in any direction, creating many modes of interaction and texture.
The threads, although anchored separately, weave a form and inter-relationship. By parting_pulling_pushing_squeezing... them light passes through to create new thresholds and spaces and ever more textural encounters of light and shade.
02. Employing woven threads; at play here are differing levels of translucency and density within the fabric and tension at the anchor points.
fold_wrap_slash_part_pull... the user is encouraged to explore a more complex passage through the space.
Posted by Selina Bolton at 08:15 PM | Comments (0) | TrackBack (0)
November 05, 2005
Guiding principles
The viewing experience is enriched through texture.
Texture is enhanced through light diffusion.
The granularity in which light is transmitted / threaded through the environment stimulates the user's response.
Posted by Selina Bolton at 05:11 PM | Comments (0) | TrackBack (0)
October 31, 2005
Light.de.form
My programme agenda is heading in the direction of creating a light.form that enables the user to explore_manipulate_play_control how light is woven through space and object.
The effect of the user-interaction will impact the fabric and quality of the object_space.
The extent of light.
The depth of light.
The quality of light.
Since a key aspect of this programme augnents the relationship between user and context. I felt a useful research strand would be to map human movement, in order to explore a narrative of form and sequence [of events and encounters].
I recorded a range of actions in a studio format, and then of the model walking about town undertaking various daily activities.
While I think it has been useful to gain a sense of the rhythm and pattern of movement, I concluded that the light.form should provoke interaction rather than map the user's movement.
Emerging design principles:
Anti-static
Involving
Provoking emotional and physical play.
A small thought that arose from this exercise was the idea of creating a light.form that lent itself to human movement - in the form of an outer garment.
The garment would incorporate lighting that would be switched_on_become of use only if the user interacted with the garment in a forceful way:
poke_twist_mould_pull_push_stretch...
Building on Hector Serrano's Superpatata Light constructed from salt and latex, I thought similar principles could be applied to the garment. So that if the user required a light, they would have to squeeze a sleeve or pocket so that a light bulb could be poked through to the surface.
The garment would eventually be twisted out of human proportion and form its own torso.
It's not the garment that's important - it's the ability to adapt_tailor the light.form to enhance the interaction between user and object and space.
If it were a garment it would be a wrap.
If it were a structure, the user could lie on it, lean on it... whatever to perfectly mould the device to suit their requirement for comfort and purpose.
Posted by Selina Bolton at 05:13 PM | Comments (0) | TrackBack (0)
Note.02
One of my research lines led me to look at the work of STELARC - an Australian-based performance artist whose work explores and extends the concept of the body and its relationship with technology... the interest is in alternate, intimate and involumtary experiences.
Take a look: www.stelarc.va.com.au/
Posted by Selina Bolton at 04:10 PM | Comments (0) | TrackBack (0)
October 30, 2005
Note.01
The Greeks believed that red is the only colour uniting the elements of light and darkness, because in full sunlight red appears brightest of all colours while in the dark it looks the darkest.
Source: AA Files 48, Quote from the artist Antoni Malinowski
Posted by Selina Bolton at 08:49 PM | Comments (0) | TrackBack (0)
October 26, 2005
A tailored response
What came out of this was an attraction to fabric weaves. The variation of which influences the level of translucency, flow of form, threads that carry light, the encouragement of touch, interaction and involvement.
A structured language is applied to textiles without forcing conformity. It's structure without the static.
Posted by Selina Bolton at 05:17 PM | Comments (0) | TrackBack (0)
October 25, 2005
Light Maneuvers
Following on from the matrix mapping the textural impact of light, I began exploring connections with forms and codes such as knitting, weaving, threads and fabrics. I wondered if the format of knitting patterns could be used to develop the language of the mapping matrix.
I am intrigued by their qualities: pattern>flow>translucency etc. and the ability to combine elements and work across scales...
I would like to incorporate such attributes in my initial designs - perhaps working on a personal device level or some form of combination where there is a relationship between the individual and room - the light.form thus becomes interactive / is a facilitator of the connection between person, place and then viewing object.
I've included here a few weblinks of Textile Sculpture / Artists I've been looking at as part of my this research.
Rowan Reynolds... wonderful experiments with texture and trans>form. http://www.rowanreynolds.com/
Anniken Amundsen... I like her use of thread and translucent materials. http://kunst.no/amundsen/
Rowan Marsh... no weblink I'm afraid but here is the image of his "DNA ball sculpture", in his recent work he has applied objects such as cocktail sticks / CDs / balls to his textile sculptures.
Izumi Kohama & Xavier Moulin created the Baladeuse - personal portable lighting! There are other interesting objects on this website. http://www.ixilab.com/ixilab/menuframe.html
Images from left to right: Baladeuse: Ultrasonically welded PVC, polyurethane gel, compact fluorescent bulb; Weairever Wearable Light: Fabric, fasteners and LEDs by Ken Yokomizo; Luciferas Jacket: Plastic optical fibre, Grado Zero Espace Corpo Nove.
Posted by Selina Bolton at 08:23 AM | Comments (0) | TrackBack (0)
October 20, 2005
Manifesto .01
Our viewing experience is personal and fluid - each reveals fresh insight.
During my gallery visits I became interested in the textural impact light has on surfaces > how far it penetrates > how it invigorates the works and environment > the allocation of priorities given to scale > surface > material > edge > threshold > sub-space > occupation… >> how the supplied light enhances or diminishes the viewing experience.
Currently the gallery audience has no control over the viewing environment.
I would like to challenge the uniform and distant approach applied to gallery lighting by developing a light.form that delivers a tailored response.
In its simplest configuration I envisage the light.form will facilitate the viewer’s exploration of the art/space on an intimate level; it’s aim being to personalise the viewing experience through device-control and surface-texture-enhancement.
Posted by Selina Bolton at 11:03 PM | Comments (0) | TrackBack (0)
Light_Texture Matrix
Recorded matrix of light texture - a mapping of light dispersal - the fall and concerntration of light and dark on the object and environment.
The height of the matrix blocks represent 5 degrees of light penetration, where the shortest block requaled the greatest light penetration.
Posted by Selina Bolton at 11:02 PM | Comments (0) | TrackBack (0)
Opening Observation
In practical terms, light defines space, enhances colour and reveals the intricacies of texture and form; in short, it makes our surroundings visible.
Moreover, the quality of light around us has a profound effect on our emotional well-being – it generates an almost indefinable sense of mood and atmosphere.
So given its pivotal role in facilitating our experience as a viewer, how is it that the vast majority of gallery lighting is uniformly fixed to deliver art in a sterile format?
Posted by Selina Bolton at 11:01 PM | Comments (0) | TrackBack (0)