BEAUTIFUL WORDS.

A multi-scaled exploration into the creation of atmosphere using light, colour and texture. Particularly focused on experimentation with various systems of [offset] paneling, their relationship to the user and the sense of atmosphere they evoke.

This investigation exists within context of the spatial beliefs of New Zealand architectural theorist Julieanna Preston, especially those regarding the architectural envelope. Preston believes that architecture should be considered to be porous: a sieve; a valve; a facilitator. Allowing the envelope to become a riparian edge and blurring the ideas of wet and dry; hard and soft; in and out; and reflective of both those who inhabit it and the landscape in which it is situated.

THE JEWELLERY

Prototypes were composed of various forms of paneling connected using thin rods in the form of manipulated curtain pins. Of particular interest was the way in which light reacted to such forms and the different relationships between the paneling.

THE JEWELLERY BOX.

Intended to appear simple and ambiguous from the exterior, giving only clues as to its interior. A level of porosity is achieved through varying density levels, visible when light travels through the plastic. The box is customized for each item of allowing them to become lost within its box reflecting the dissolving of the traditional relationship between body and landscape as occurs when a body is submersed in water.

THE ELEVATOR SHAFT / ATRIUM SPACE.

A large scale building influenced by both the interior space created by its envelope and the site in which it is situated. It gives the impression that it extends to infinity, this being achieved through the refractive nature of fragmented glassand  the constant movement of the individual components, traced by the elongated steel cables and rods on which they are suspended. Visually the experience for those both inside and outside of the building is blurred, allowing some understanding of the world on the other side although remaining mostly ambiguous. The façade panels have been designed to concertina and slide past each other allowing movement of elevator cages whilst retaining a completely weather-tight exterior.

THE ELEVATOR CAGE.

A more in-depth investigation into the occupiable spaces within the atrium. The forms of which are determined through the extension of prominent lines within the rest of the façade. 

SCALE THREE: WUNDERKAMMER RESEARCH.

"A movement known as Mannerism also arose in the early 16th century, and both art and collecting began to favour the unusual, the bizarre, and the ambiguous. Collections (also referred to as cabinets) were formed that were far more wide ranging than those of the 15th-century studiolo and whose purposes were more scientific than humanistic. North of the Alps these were known as Kunstkammern or Wunderkammern, from Kunst (“man-made objects”), Wunder (“natural curiosities”), and Kammern (“chambers, rooms”)."
Source: Britannica


http://www.metmuseum.org/toah/hd/kuns/hd_kuns.html

http://pesco.net/britannica_wunderkammern.html

http://www.suite101.com/content/the-cabinet-of-curiosities-a10793

COLOUR: WHY THE WORLD ISN'T GREY.

Colour: Why the World Isn't Grey. Hazel Rossotti. p26-34; 44-47.

I am particularly interested in the way in which light behaves with glass of differing thicknesses and densities and the way in which the movement of light is diagrammatically mapped in the form of refraction diagrams.

SURFACE TENSION.

A soap bubble is a very thin film of soapy water that forms a sphere with an iridescent surface. Soap bubbles can help solve complex mathematical problems of space as they will always find the smallest surface area between points or edges. They usually last only for a few moments until they burst either on their own or when coming in contact with another object. Due to their fragile nature bubbles have also became a synonym for something that is attractive, yet insubstantial. 

Surface Tenison. Pilot Magazine. Issue 05. 2011. p130-137.
Photography by Derek Henderson + Tom Robertson.
Bubble-ologist - Natasha Yusoff

FINAL DESIGN BRIEF[S].

PART ONE.

the space in which the jewellery is to be sold.

an interior space which creates a specific atmosphere. again using light, colour, texture.

including:

a space/object/piece of furniture in/on which the box is to be displayed.

needs to extend the box outwards in order to return to the sense of playfulness and 'going on forever' that was previously conveyed in the box brief/image.

should be read as one with the box yet still allow the box to be removed when the jewellery which is inside it is sold.

despite a lot of effort being put into the interior of these architecturally designed jewellery stores the jewellery and its box is still almost always displayed within a glass box. 

things to consider: 

- must be secure.

- must not obstruct view of jewellery.

- must be easily accessible.

- must not detract from preciousness of jewellery but still compliment it. 

PART TWO.
a large scale building (of 8-ish stories).
needs to have relation to both interior and exterior as explored in preston's work.
and as shown in elevator shaft - only as successful as it was as the relationship between it and the buildings around it added to the atmosphere.

JEWELLERY BOX. FILE REVIEW.

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.

'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.

BIG IDEA.