To be simple and ambiguous from the exterior.
To give clues as to the interior but not to give it away entirely.
[link to preston.]
Architectural envelope to be porous.
An open valve.
A facilitator.
This to be achieved through use of varying levels of density that is visible through use of light travelling through plastic [hence step experiment].
Layers to be offset in multiple directions + clip together to create regular exterior form but a fragmented and angular interior that houses the angular/stepped jewellery
Jewellery to become lost in box
As Preston aims to dissolve traditional relationship between body and site.
Architectural form to become a riparian edge.
Blurring between body and landscape.
As occurs when a body is submersed in water.
Showing posts with label architectural theory. Show all posts
Showing posts with label architectural theory. Show all posts
Tuesday, April 5
Tuesday, March 22
'rO:Om' spatial and material transmissions.
By Julieanna Preston.
Interior Design/Interior Architecture Educators Association (IDEA) Journal 2005.
As an object placed in an environment architecture is an artifact excternally enhanced by vegetation as well as a container adorned by an interior. Such architecture relies on the subservience of its surrounding physical landscape and its internal hollows ot define what is 'in' and what is 'out', 'here' and 'there'.
Preston considers the architectural envelope to be more accurately thought of as being porous, or a seive. Its forma and purpose affected by both the exterior landscape and those who inhabit its interior. An open value. A facilitator.
Her installation sought to dissolve the idea of between. The classic triparte relationship of body, building and site. Architecture becomes a riparian edge. Blurs the idea of wet and dry, hard and soft, in and out.
An example of this is a body in water. Landscape becomes the body and the body becomes the landscape.
a camera was mounted on the roof of her studio and used to document the project over 28 days.
fruit crate, warped and bowed, stained and smelling of past cargo.
commemorates agricultural heritage and culinary desires.
crude, practical and modest.
sets of wheels added to commemorate its former and future mobility.
sides too high to climb over so concrete stoop holds ladder which is hinged to one side.
can be folded up to become a trellised roof.
copper sheet deflects waste water to the perimeter where it is collected under the crate.
slatted sides don't provide adequate privacy, nor stop draughts.
curtain is added, its folds filled with sawdust for insulation.
shredded paper makes a carpet across the cold copper.
dampens sound in the room and muffles sounds from the studio in which it is situated.
loss of flow of air so latex tubes placed along one side with inhalation mask at end.
begin to question the actual need of inhabitation.
walls become more dense, building slows.
comforts limit space eg beeswax lines floor, radiator
device made and doubles as backrest.
ladder rungs lined to stop glare.
need to store. preservation and conservation in terms of jars.
water collected in latex vessel when winter snow thaws on studio roof and drips in.
however shutting the roof changes the feeling of that to a coffin not a sanctuary.
moved the box to the museum exhibit.
camouflages in board, plaster, paint.
this room would hide in the museum and pretend to be a non-object, a thick wall or stubby plinth upon which to display other stuff. Its secrets of landscape and interior and all its messy and un-aesthetic vulgarities would be secure within the walls of the overriding authority. The dust of sanded plaster fills the air and chokes the lungs.
Is the white paint a mask for what is inside or a reduction of what is inside. Growth eventually suffocates space inside. With enough time viscera within will stain the outside.
Materials were chosen for their resonance to the desert and repulsion of water. Dry and flammable.
Manipulated to hold air which made it extremely flammable when time came to burn it.
The heat drew dark distraught figures on the white museum-like surfaces. The room harbored by the willow trees and a low bank of grey clouds glowed and crackled violently when the flames penetrated through the volatile layers of sawdust, wax and whiskey. Four hours later the room lay in an exhausted heap of homogeneous ashes, just waiting for the next gust of wind to enhance their spatiality and extend their life.
Interior Design/Interior Architecture Educators Association (IDEA) Journal 2005.
As an object placed in an environment architecture is an artifact excternally enhanced by vegetation as well as a container adorned by an interior. Such architecture relies on the subservience of its surrounding physical landscape and its internal hollows ot define what is 'in' and what is 'out', 'here' and 'there'.
Preston considers the architectural envelope to be more accurately thought of as being porous, or a seive. Its forma and purpose affected by both the exterior landscape and those who inhabit its interior. An open value. A facilitator.
Her installation sought to dissolve the idea of between. The classic triparte relationship of body, building and site. Architecture becomes a riparian edge. Blurs the idea of wet and dry, hard and soft, in and out.
An example of this is a body in water. Landscape becomes the body and the body becomes the landscape.
a camera was mounted on the roof of her studio and used to document the project over 28 days.
fruit crate, warped and bowed, stained and smelling of past cargo.
commemorates agricultural heritage and culinary desires.
crude, practical and modest.
sets of wheels added to commemorate its former and future mobility.
sides too high to climb over so concrete stoop holds ladder which is hinged to one side.
can be folded up to become a trellised roof.
copper sheet deflects waste water to the perimeter where it is collected under the crate.
slatted sides don't provide adequate privacy, nor stop draughts.
curtain is added, its folds filled with sawdust for insulation.
shredded paper makes a carpet across the cold copper.
dampens sound in the room and muffles sounds from the studio in which it is situated.
loss of flow of air so latex tubes placed along one side with inhalation mask at end.
begin to question the actual need of inhabitation.
walls become more dense, building slows.
comforts limit space eg beeswax lines floor, radiator
device made and doubles as backrest.
ladder rungs lined to stop glare.
need to store. preservation and conservation in terms of jars.
water collected in latex vessel when winter snow thaws on studio roof and drips in.
however shutting the roof changes the feeling of that to a coffin not a sanctuary.
moved the box to the museum exhibit.
camouflages in board, plaster, paint.
this room would hide in the museum and pretend to be a non-object, a thick wall or stubby plinth upon which to display other stuff. Its secrets of landscape and interior and all its messy and un-aesthetic vulgarities would be secure within the walls of the overriding authority. The dust of sanded plaster fills the air and chokes the lungs.
Is the white paint a mask for what is inside or a reduction of what is inside. Growth eventually suffocates space inside. With enough time viscera within will stain the outside.
Materials were chosen for their resonance to the desert and repulsion of water. Dry and flammable.
Manipulated to hold air which made it extremely flammable when time came to burn it.
The heat drew dark distraught figures on the white museum-like surfaces. The room harbored by the willow trees and a low bank of grey clouds glowed and crackled violently when the flames penetrated through the volatile layers of sawdust, wax and whiskey. Four hours later the room lay in an exhausted heap of homogeneous ashes, just waiting for the next gust of wind to enhance their spatiality and extend their life.
Thursday, March 10
JULIEANNA PRESTON.
known for: design-led research. interdisciplinary. interior design theory. fabrication. furnishings.
of particular interest is her research regarding the issue of atmosphere in architecture,
as explored in AD vol 73 no3. entitled Interior Atmospheres, of which she was guest editor.
I admit that before guest-editing the issue, I never fathomed just how elusive atmosphere could be. Despite its habit to rove among rational and minimalist architectural shells, stomp brazenly through historic period rooms and infect anaemic gallery and museum institutions, atmosphere evades definition."
v
When one attributes an interior with the atmospheric qualities, what exactly is being communicated?
Does it mean that the room has been designed, stylised or even thematised?
v
and references Peter Zumthor and Mark Wigley as two architects who have begun to explore these questions.
of particular interest is her research regarding the issue of atmosphere in architecture,
as explored in AD vol 73 no3. entitled Interior Atmospheres, of which she was guest editor.
I admit that before guest-editing the issue, I never fathomed just how elusive atmosphere could be. Despite its habit to rove among rational and minimalist architectural shells, stomp brazenly through historic period rooms and infect anaemic gallery and museum institutions, atmosphere evades definition."
she questions the relationship between the inhabitant, architecture and site.
removing the void of architecture and in-between uses of space.
no longer thinking of architecture as simply a 'riparian edge' but also the creation of atmosphere in between.
v
When one attributes an interior with the atmospheric qualities, what exactly is being communicated?
Does it mean that the room has been designed, stylised or even thematised?
Is it a spatial quality that conditions one's experience or perception?
What is its subjective element?
Does atmosphere originate from material attributes given by interior finishes and decor?
Or is it established by the skillful use of lighting and colour to affect drama?
Is atmosphere anything like an immersive ambience
How does it coincide with the spatial art of performance whereby event replaces function as a temporal descriptor of inhabitation?
How is atmosphere crafted?
v
and references Peter Zumthor and Mark Wigley as two architects who have begun to explore these questions.
Zumthor outlines nine ways with which it is crafted as an architectural quality that provokes a spontaneous emotional responce, an impression sensed in a fraction of a second. His system of atmospheric factors dwells on material presence coupled with an actual and sensing body to include sound, light, temperature and objects operating within a spatiotemporal context hinged on a tension between proximity of interior and exterior. Peter Zumthor, Atmosphere: Architectural Environments - Surrounding Objects, Birkhauser (Basel), 2006.
Wigley cites atmosphere's dependence on building and context, crediting it with 'some kind of sensuous emission of sound, light, heat, smell, and moisture; a swirling climate of intangible effects generated by a stationary object'. Mark Wigley (ed), The Architecture of Atmosphere, Constructing Atmospheres, Daidalos No 68, Berlin, 1998, pp 18-27.
image credits. top: La Monte Young Marian Zazeela, Dream House: Seven+Eight Years of Sound and Light, MELA Foundation, New York, 1993–present; middle: LTL Architects, Tides Restaurant, New York, 2005; bottom: Andrew Kudless, Flexible Formwork Research (FFR), ‘Digital Exchange’, 2006
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