Month: March 2018

feedback from last week:

• the proposal last week was too much like a shelter; not intentional enough; people passing by will look at it as a ‘shelter’ and not a medium to frame the shadows
• suggestions: maybe add holes or use repetitive shapes, something that is more intentional and will let people think that it’s not just a shelter
• how do you utilise holes without them blocking the shadows?
• another suggestion: research more into interesting materials that possibly interacts with the light

 

references

Rabbit and the Tortoise collection by Studio Juju

 

Manta by Ross Lovegrove

 

Fata Morgana by Teresita Fernandez

 

La Pineda by Javier Mariscal

 

Playground for Machida Kobato Kindergarten by Etre Design

 

material research

1   fluorescence

Fluorescence is the emission of light by a substance that has absorbed light or other electromagnetic radiation.

In most cases, the emitted light has a longer wavelength, and therefore lower energy, than the absorbed radiation. The most striking example of fluorescence occurs when the absorbed radiation is in the ultraviolet region of the spectrum, and thus invisible to the human eye, while the emitted light is in the visible region, which gives the fluorescent substance a distinct color that can only be seen when exposed to UV light.

Fluorescent materials cease to glow nearly immediately when the radiation source stops, unlike phosphorescent materials, which continue to emit light for some time after.

type: luminous

characteristic: lightly visible under sunlight, no effect in the dark or at night

 

2   phosphorescence

Phosphorescence is a process in which energy absorbed by a substance is released relatively slowly in the form of light.

 

This is in some cases the mechanism used for “glow-in-the-dark” materials which are “charged” by exposure to light. Unlike the relatively swift reactions in fluorescence, such as those seen in a common fluorescent tube, phosphorescent materials “store” absorbed energy for a longer time.

type: luminous

characteristic: clear in the day, visible in the dark or at night

 

both fluorescent and phosphorescent effects can be achieved by luminous paint – easily found in Singapore paint shops, Art Friend, Spotlight, Lazada

 

 

3   photochromic

Photochromic materials are colorless in their inactivated state and become colored when exposed to an ultraviolet light source. They will respond to natural sunlight, and darkens as the light level increases.

Common applications of photochromic materials include sunglasses and spectacles.

type: darkening/colour-changing

characteristic: visible under sunlight, clear in the dark or at night

effect of photochromic ink

online products:

Solarmax Series ink (used in the video)
SFXC UV photochromic plastisol

 

4   coloured glass

Colour Glass collection by Scholten & Baijings for Hay

coloured glass suppliers in Singapore:

LLumar Decorative Window Film

https://www.carltonglass.com.sg/painted-glass
http://www.synergraphic.com.sg/synergraphic/public/productMain.jsp ???

 

form development

 

similar concept to last week’s, but the shape is curved upwards to make the form more intentional and deliberate, unlike conventional shades

 

 

irregular and organic forms intentionally designed so as to not resemble a conventional shade/canopy

 

• draped fabric to show interplay between positive and negative spaces
• also allows interaction with the wind as the fabric is hanging freely
• the shadows interact with the curved planes and are distorted to give a different perspective and dimension

 

reference photo for proposal above:

 

 

feedback from previous weeks:

• the circular screen installation proposed does not fit into the site proposed
• how do you expect people to use the installation?
• make a specific proposal of the installation

 

when developing forms and functions for the installation, we were stuck on the idea of having the passerby notice the shadows (forcing it on them). benefit of doubt that the users see what we intend to do. so we decided to leave it open-ended.

 

we clarified that there are two directions we could take to use the shadows in the environment:

1   define a space. because the environment chosen is a common area and is too noisy, the aim of the installation is to tone down and create a neutral space. some examples of forms the installation could take are canopy, architectural pieces, tunnel, partition.

2   define a three-dimensional object. by placing an object that is out of context and stands out from the environment, people are more inclined to look at them as individual objects rather than objects that blend in the background to only serve a purpose (e.g. shelter)

 

another point we clarified was also to use simplified forms, because the aim of the installation is to make use of the shadows surrounding the site, and a form that is too complex will simply overshadow and dominate the shadows. at the same time, it cannot be too simple; it needs to have a character and intentional so that it does not blend in to the background.

 

curating light through space and architectural structures

 

(above) 5-metre tall structure with hanging polyester mesh. interacts with the wind and serves as a big canva for the shadows to cast and interact on. the takeaway of this structure is that it is simple yet the size makes it eye-catching, and does not take away from the shadow.

 

references

shade structures by MDT-tex

 

Excentrique by Daniel Buren

 

Le Refuge by Marc Ange

 

Virgin Lounge Melbourne by Tonkin Zulaikha Greer Architects

proposals

1

 

 

in regards to the character and intention, the curved structure vs the rigid structure of the existing canopy suggest that there is an intentional design process. it does not look like an off the shelf structure, but a one-off, customised, curated and specific.

 

material: polyester mesh, stainless steel structure to foundation

height: 3-4 metres

can be duplicated/arrayed along the stretch of the walkway

possibility of using colours for material

 

2

 

reference:

different from the previous idea in which we are framing the shadows in the environment, the second idea is more curated towards creating shadows with the installation. the installation provides a structure for vines and climbing plants to grow on them, where the structure creates rigid shadows while the plants curate more organic shadows.

 

feedback from last week

• consider using textures or 3D forms so shadow is distorted and cast at different angles, playing around with the 3D volumes instead of a flat plane
• think about the fallen leaves and how to get rid of them; the leaves may make the installation blend in more with the environment and less noticeable to passerby
• reflective material – must be above waist level; cannot be seats

 

site observation

chosen site: stair linkway between North and South Spine

 

shadow time-lapse (11.30 – 15.30)

 

 

material exploration
in relation to last week’s first form exploration (mirrored seat), thus we tested out reflective materials and how they interact with the shadows

 

(left) brushed aluminum sheet
(right) polished aluminum sheet

 

 

(left) reflective paper sheet
(right) glossy plastic sheet

interesting distortion effect of reflection on glossy plastic sheet, which reminds us of the shadows on the ground

 

references

Tom Fruin

 

Catherine Losing

 

In Flakes by Mount Fuji Architects Studio

 

further exploration and development

1

new light features from newly upgraded school infrastructure in North Spine

the shadow cast is an inspiration for our updated proposal found below, which is also relevant at night

an update from last week’s second form exploration with nighttime consideration of installation

 

2

emphasis on shadow

using coloured acrylic to cast colourful highlight, making the effect more noticeable

framing the shadow with the use of the coloured acrylic

 

 

next step

• further idea development
• constructing life-size mock-up to test effect
• potential consideration for wind interaction with installation
• EXPERIMENTATION!