WEEK 3 - Surface Design.
- ynj4284
- Jul 31, 2022
- 5 min read
Updated: Aug 12, 2022
Weekly Learning Outcomes
Discuss and review site activation and initial design intervention concepts.
Design a surface material narrative for your design.
Invent new surfaces in the site by considering existing surfaces in the site, materiality, assembly, and detail.
Develop and detail surface design in relation to light.
Evaluate the light conditions of the micro-site.
Research and analyze new surfaces performance on the site and whether they be animated.
Explore different intensities of light and shadow, artificial and natural light sources, direction and time of day.
Develop surface design experiments.
Sequence the new surface design and light studies.
Develop surface designs and the material narrative for the project.
Week 3 Session 1- Surface Design Workshop.
memories
fragments of details
flipping façade
molding light and shadow
looking down and seeing reflections from above
angling a series of reflecting planes to stretch a vertical space
spectral light images
light bouncing off and creating ghost like images (projector on stone surface in last weeks workshop)
darkness and depth whilst bouncing off light (creating a contrast)
light and space
reflections
change over time
projecting different environments into the site
reflecting light into the surrounding space
significant change following a path
how the site operates - adding human to the stairwell and how they progress through it
movement through time
chrono photography
capturing movement over time
playing with light
skeletal frame for light
expanding the light by blurring/painting it throughout the space
Case Studies.
3 case studies (art and design ‘surface’ related projects).
Research materiality, assembly, fabrication processes, poetics of space, and relationship to site.
what is texture in a visual element and how can a 2d work be manipulated into creating visual depth whilst triggering the other senses? how can depth be added?
CHIHARU SHIOTA
Uses red, black and white yarn to weave into labyrinthine like installations.
Evokes ideas of anxiety, identity loss, memory, dreams and silence.
"large-scale installations constructed from millions of fine threads that cluster in space or form complex webs that spill from wall to floor to ceiling."
There is a literal and metaphorical sense of relationships and connections through all the dine pieces of string which are intertwined with each other.
the way in which line travels through various areas of the installation is also fascinating as the depth/layers of the intertwined threads prevent/allow light to pour through at different levels of intensity.
weaving, intertwining, distorting, stacking, tangling
VICTORIA MANGANIELLO
Uses yarn, natural/synthetic dyes, cotton and silk
Explores abstract themes of time, space, history to physically manipulate and control space. She often explores the relationship and collaborations between people and materials - how we affect them and what marks we leave behind.
Incorporates modern technologies and concepts such as computer code and fluid dynamics into her works using "textiles as the most familiar and innately human object to illustrate spectrums as alternatives to binaries.". "weaving as code and language and my work seeks to connect common materials like textiles to common behaviors like communication.".
marking time and shifting space.
spinning, dying, weaving, connecting, intertwining,
Mordant; https://www.victoriamanganiello.com/mordant reminds me of the food event brief we did last year. Her table cloth at the end of this event/installation provides a raw and unique textural palette which captures the events/history which unfolded upon it.
CAROLYN MENZIES
New Zealand born artist.
stainless steel mesh, thread, steel rings, steel wool, wrappings,
"Explores the complexity of the often-invisible labor that takes places within a domestic context" "takes materials usually found under the sink to create sculptural tributes to this otherwise unrecorded sum of human endeavor."
Her choice of materiality is also very symbolic. mesh stainless steel is a strong and abrasive yet delicate and soft at the same time. It creates a sense of lightness to the eye but is opposite of that in terms of touch.
knitting, altering, wrapping, intertwining, combining, threading, shaping, molding
She creates a threshold between the world of modern art and domestic labor through her artworks.
GABRIEL DAWE
uses simple, colored embroidery thread.
challenges the visible spectrum of light whilst crafting optical illusions which delight the humans senses but also distorts their perceptions.
harnesses prismatic views of sunshine and light which enter the spaces he designs/installs in. It feels as if he is impersonating how light should fall into the space through his works, making it feel as if he has attached his works into thin air.
sewing, threading, embroidering, combining, weaving,
His works instantly made me imagine how they would look placed in the light wells within Imperial Lane. Its such a powerful visual installation yet it amazes me how it doesn't actually color/affect the light which shines through the threads (which is the beauty of the delicate materials he uses).
“you’re completely beholden to it. It’s just you and the object,”. The viewer “is so captivated that the rest of the world falls away,” - the literal definition of an immersive installation.
https://www.gabrieldawe.com/plexus-no-15/72cmmeqy9szclut42s8yhsl1i4vdiv
JES FAN
aqua resin, wood, metal, silicone, glass
works explore binary conceptions of race, gender and identity. Often there are biological substances such as estrogen, melanin and testosterones which are incorporated into Fan's work which further deepen the message and meaning behind them.
explores the threshold between beauty, absurdity and the grotesque.
"the artist underscores the absurdity of the fetishization of a molecule that has caused centuries of racial discrimination, showing how it exists within all of us."
LENORE TAWNEY
Fiber art.
Uses the ancient Peruvian gauze weaving technique with inlayed colorful yarns to create painterly effect within her work that make them look as if they are floating in space.
Her works were often embellished with shells, feathers and beads which add a variety of thickness and textures to her work.
Other model artists to consider; Sumi Perera, Serena Confalonieri, Karen Dodd, Avis Yu Han Ho.
Week 3 Session 2.
Today we had another workshop using multiple projectors and lightboxes to experiment using our surface textures and image sequences from last week. I decided to print my image sequences onto clear film to place on top of the lightbox and overhead projector.
I was especially drawn to the ghostly yet delicate transparency which mainly occurred in the black and white image sequences I had created. The fine texture which appeared due to the texture on the plastic layer above the light source of the overhead projector mixed with the transparency of the film reminded me of tulle/mesh.
Further experimentation on textures/surfaces.
Before I could get my hands on tulle/mesh, I decided to further experiment with what I already had - butter paper and black thread. The blurry transparency which distorts the vision of the viewer reminded me of the light wells within Imperial lane. It reminds me of a distant memory or dream which manipulates the light shining through.
I did some further experimentation using tulle and pearls and was totally satisfied with the outcome. The shadows created when light was directed through the tulle looked almost like ghostly, transparent flowers and even reminded me of spider webs. There was definitely more interesting contrast and depth created in the surface texture I created which had a layer of darker black tulle which was sewn together with a layer of white tulle. The black thread used throughout the surfaces also created a sharp contrast between the transparent tulle which is why I opted for black thread instead of clear fishing thread.
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