There was a place beside the gallery where pebbles were spread. I took a picture of it. Then I captured the image, worked it on Photoshop and finalized it with Premiere.
Tuesday 30 November 2010
surface drawing 2
HOLE - TEST
I thought about the vines that looked like connecting the round shaped IMAX building with another building to its side. There was another sight through that connection (which looked like building and sky separated). It seemed to be possible to make that hole-like shape with a material like chewing gum.
However, the gum didn't expand as I intended, so I tried a glue (bonding agent) instead. Although it was not in a trimmed shaped like the vines (after all the trim was done by a person) there came an interesting hole. Actually, it is rather close to an expanded space.
keyword- Connection of spaces, a space through a hole, a space made through a hole.
Monday 22 November 2010
HOLE
While heading to the Waterloo station I passed a tunnel and saw IMAX building covered with vines. As I looked up I found out that the vines grew up making a hole to the sky. Through that hole I could see the sky and buildings. The sight through that hole was like separating the frame and it was totally different from watching the whole view. When interpreted in a different way, the hole made a space for a light to pass and in result made a new visual space. That is, a hole is not a 'penetrated' thing, but a 'tunnel' or another 'eyes' that connects between spaces.
Through a hole we can see the details which we might have missed from the whole view. And that hole can also change the direction of the flow of a light. This time, the hole has been applied to interpret buildings from different point of views and to the drawing works. Below articles are the examples of re-structuring of light through a hole.
studio gramazio & kohler
THE OBLIQUE HOLE – DYNAMIC EDGES
gramazio & kohler – professors of architecture and digital fabricationdesigned by
barbara leonardi – oliver dibrova – stefan förg – valeria tarkhova
We were confronted with the task of distributing 2000 slanted holes over an irregular polygonal volume. Since this quantity of information cannot be managed with conventional CAD, we developed our own algorithmic tools. The density distribution was achieved through modelling an information landscape that completely enveloped the volume. A large distance between this body and this surface generated a high density of holes, and a smaller distance a small density. A further tool enabled us to orient the holes towards positions that could be placed freely in space. They could also grasp topological characteristics of the holes, such as their position in relation to the edges or corners of the body, and use this information again for their own logic of distribution and orientation.
hole distribution according to solid angles
as workaround we used a system of diagonals, that helped us to describe the interior space. the diagonals are connected to the opposite edges without touching the planar faces. this kind of arrangement is unique. so the interior space can be described by angle measurement, setting the angle of a diagonal in relation to the adjacent face.
infolayer defines the amount of holes
lasercut test models
angles according to solid angles – illustratios holes and vectors
prototype
prototype
surface filming
The surface of the building is in the image. It starts from the tunnel beside the gallery and continues to go around the whole bank building and finally goes into the royal hall. Roughness and materials of each surface resulted in capturing of many different and interesting images.
surface drawing
The details of the building surface are re-structured through a drawing.
After capturing the image, each scene was re-structured by Photoshop drawing mode. Then those results were put together as an image. It looks like growth ring of a tree or holes that flows quickly. This is an example of making an image of a building and interpreting the building with another point of view.
Monday 15 November 2010
Follow lens - Shoot space
reading site with lens eyes
I have thought to make the building as a short film. I followed filmed the corner or the guardrail of the building by putting a roller on the camera to experience different angles of the space (the building). It is similar to consider the lens as “a pen” and draw as following the building. Some dynamic scenes were taken depend on the speed of roller and the angles of the corner or the guardrail of the building.
Thus, “seeing” the building has changed to “experiencing” the building through a screen. Depends on the material of the building (metal or cements), the roller vibrated differently and such feeling of vibration is delivered to the screen.
film drawing
Thus, “seeing” the building has changed to “experiencing” the building through a screen. Depends on the material of the building (metal or cements), the roller vibrated differently and such feeling of vibration is delivered to the screen.
film drawing
Edge space
Transforming
painting(light)
where I AM
Context
Southbank Central, which looks like a piling of blocks, resembles favela somehow.
If the building is examined closely, there is a box-type of empty space, which seems to be cut off from the long tunnel. This structure, neither a window nor a door, seems like to be ready to overgrow.
(I believed this space would be interesting if it becomes a public screen, a small stage for the audience to act, or a bungee jump.) There are lots of events take place outside the building, as well as inside. Exhibition, concert, movies, etc, are usually considered as activities take place inside of the building. However, Southbank Central hosts various events outside by making the building itself as a stage. (See below for detail.)
A hard and cold concrete emphasizes those events and exhibitions, as a red color in black background is easier to distinguish than a red color in rainbow background. The building is becoming a blank paper, and numerous events take place on this blank paper. Arts is something that can be coexist with our everyday lives on a street that we walk or wait, rather than something that is fixed at a certain locations or hanging on the wall like a frame.
Program
As discussed above, Southbank Central has hosted numerous events outside the building. Why did the building do so? Is it because there is insufficient space inside the building to host exhibitions or performances? Of course, lack of space can be a reason. However, when it is considered essentially, the reason for hosting events outside may be efforts “to show and to share.” I have counted people passing by the Festival Hall for 10 minutes; 68 peoples passed by the street in front of the Festival Hall. Then, I turned toward the Festival Hall and counted how many of people went inside of the Hall for 10 minutes; 9 people went inside. By excluding 10% of those people who were counted multiple times and who were exiting the building after the performance, there were 59 people passed by the Festival Hall, 9 people went inside. Thus, there were approximately 16% of people who passed by the street went inside. Outside events are basically open to everyone who passes by the building. People who pass by the building stop for a moment and see what is going on. Therefore, because South Central is located in heavily floated population area, the effect of outside events becomes greater. The extension of the performance, demolishing inside and outside, and provide an experience of “openness,” is the major performance of this building
Site research
Minimalism, a combined word of “minimal” meaning the least and “ism,” is believed to achieve a reality by minimizing the techniques and revision while concentrates on expressing the core because the difference between the reality and the work becomes minimal. (South Central seems like to be built on minimalism.)
There is a trend to remove all the unnecessary factors of the subject in painting and sculpture. As a result, a simple type of art works, which uses minimal colors to express a geometrical skeleton, has become a mainstream; one example can be works by Donald Judd, who is also an art theorist. I believe a phrase “minimizing the difference between the reality and the works” starts from “an experience” of touching, feeling, controlling the works directly. Among his works, box, which focuses on experience of space, is quite interesting. (Dancing and reading in the box makes the box completely different place.) As discussed above, you can find a box-shape space in South Central.
I have considered changing a simple “box” space into a place where people can “experience” something new. Of course, I would like to focus on the space rather than the box-shape. If so, how can people “experience” the space? If you hang a frame on a white wall, the white space in the frame is no longer a part of the wall. Exist in same time and same place, but experience the different space.
First of all, I would like to discuss the ways to change the space so that it can lead people to experience something different.
- Express the space (or a portion of the building) into the different space (focusing on experience) by using lights, illumination, shadows, etc.
- Recently, 3D is getting a spotlight. Therefore, lots of products related to 3D movies, TV, CAMERA… are rushed into the market. People want dynamic and stereoscopic vision.
Curated by Paul Schimmel, this matrix-like light sculpture is called "Ecstasy: In and About Altered States." (photo: Ira Lippke)
(Link)
- Keyword: stereoscopic, a stage built by lights, temporary extension of the building, speed, curve
Southbank Central, which looks like a piling of blocks, resembles favela somehow.
If the building is examined closely, there is a box-type of empty space, which seems to be cut off from the long tunnel. This structure, neither a window nor a door, seems like to be ready to overgrow.
(I believed this space would be interesting if it becomes a public screen, a small stage for the audience to act, or a bungee jump.) There are lots of events take place outside the building, as well as inside. Exhibition, concert, movies, etc, are usually considered as activities take place inside of the building. However, Southbank Central hosts various events outside by making the building itself as a stage. (See below for detail.)
A hard and cold concrete emphasizes those events and exhibitions, as a red color in black background is easier to distinguish than a red color in rainbow background. The building is becoming a blank paper, and numerous events take place on this blank paper. Arts is something that can be coexist with our everyday lives on a street that we walk or wait, rather than something that is fixed at a certain locations or hanging on the wall like a frame.
Program
As discussed above, Southbank Central has hosted numerous events outside the building. Why did the building do so? Is it because there is insufficient space inside the building to host exhibitions or performances? Of course, lack of space can be a reason. However, when it is considered essentially, the reason for hosting events outside may be efforts “to show and to share.” I have counted people passing by the Festival Hall for 10 minutes; 68 peoples passed by the street in front of the Festival Hall. Then, I turned toward the Festival Hall and counted how many of people went inside of the Hall for 10 minutes; 9 people went inside. By excluding 10% of those people who were counted multiple times and who were exiting the building after the performance, there were 59 people passed by the Festival Hall, 9 people went inside. Thus, there were approximately 16% of people who passed by the street went inside. Outside events are basically open to everyone who passes by the building. People who pass by the building stop for a moment and see what is going on. Therefore, because South Central is located in heavily floated population area, the effect of outside events becomes greater. The extension of the performance, demolishing inside and outside, and provide an experience of “openness,” is the major performance of this building
Site research
Minimalism, a combined word of “minimal” meaning the least and “ism,” is believed to achieve a reality by minimizing the techniques and revision while concentrates on expressing the core because the difference between the reality and the work becomes minimal. (South Central seems like to be built on minimalism.)
There is a trend to remove all the unnecessary factors of the subject in painting and sculpture. As a result, a simple type of art works, which uses minimal colors to express a geometrical skeleton, has become a mainstream; one example can be works by Donald Judd, who is also an art theorist. I believe a phrase “minimizing the difference between the reality and the works” starts from “an experience” of touching, feeling, controlling the works directly. Among his works, box, which focuses on experience of space, is quite interesting. (Dancing and reading in the box makes the box completely different place.) As discussed above, you can find a box-shape space in South Central.
I have considered changing a simple “box” space into a place where people can “experience” something new. Of course, I would like to focus on the space rather than the box-shape. If so, how can people “experience” the space? If you hang a frame on a white wall, the white space in the frame is no longer a part of the wall. Exist in same time and same place, but experience the different space.
First of all, I would like to discuss the ways to change the space so that it can lead people to experience something different.
- Express the space (or a portion of the building) into the different space (focusing on experience) by using lights, illumination, shadows, etc.
- Recently, 3D is getting a spotlight. Therefore, lots of products related to 3D movies, TV, CAMERA… are rushed into the market. People want dynamic and stereoscopic vision.
Next
About a space built a light
I thought about making a stage outside the building by using lights instantly, and when there is a performance, making it more dynamic space by waving the light as to different sounds, and emphasizing each work by making frames by using lights in exhibitions. Therefore, I would like to research about making a space by using lights.
I thought about making a stage outside the building by using lights instantly, and when there is a performance, making it more dynamic space by waving the light as to different sounds, and emphasizing each work by making frames by using lights in exhibitions. Therefore, I would like to research about making a space by using lights.
- Illuminated cubes, visual effects and electronic beats: these are the ingredients of the Kubik temporary open air clubs in Berlin and Barcelona. The dynamic space, light and sound sculpture is based on standard industrial liquid storage tanks. The incorporation of a light bulb turns the plastic tanks into giant luminaires, which can be stacked and arranged to form objects of varying sizes and shapes.(Link) -
- Framed by Seoul’s skyline this enormous temporary chandelier created the central event space called “May Palace” for the festival program for one week-
Monday 8 November 2010
Experience of space
Donald Judd 1984 'Untitled', Laumier Sculpture Park, St. Louis, Missouri
Donald Judd and Heidegger “The Dynamic Trait of Spacing”
An experience with 'untitled' (Donald Judd, 1976)
'box - orderly chaos' read in front of Donald Judd's Marfa boxes
Tuesday 26 October 2010
Tuesday 19 October 2010
Southbank Centre 'Favela'
Working with Project Morrinho, a social and cultural project based out of the Pereira da Silva favela in Rio de Janeiro, Southbank Centre is creating an outdoor favela, constructed using the signature Morrinho brick building techniques, with a group of young people from Stockwell. (sep.2010)
'VOLUME' - southbank centre
The poles react to movement - they make noises and change colour.
Meltdown curators Massive Attack have invited United Visual Artists to exhibit an installation at Southbank Centre as part of Meltdown. Volume is an award winning sculpture consisting of a luminous array of light and sound emitting columns on Riverside Terrace. The facade of Southbank Centre is also transformed by light and the projection of a new collaboration with the charity organisation Reprieve.
Wind to Light- Jason Bruges Studio
onedotzero, internationally acclaimed hub for innovative moving image, are pleased to present "Wind to Light" by Jason Bruges Studio, a onedotzero and RIBA London commission in conjunction with Southbank Centre Lightlab for Architecture Week 2007.
This experimental site-specific installation illustrates alternative, sustainable ways of harnessing energy that will explore the power of the wind in the city, visualising it as an ephemeral cloud of light.
in the atmosphere. the turbine and LED modules are attached to their base by flexible poles which allow them to slightly sway in the wind, animating the movement of the wind by a digital, electronic means.
The installation has been custom built, using scaled down wind turbines to generate power, which illuminate hundreds of mounted LEDS, creating firefly-like fields of light, with wind visually interpreted as electronic patterns across the installation.
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