feedback from last week:
two ways going about it;
CASTING: creating an object/sculpture to cast shadows
FRAMING: using elements around us (nature and sunlight) and framing/emphasising their shadows
material consideration
polyester mesh; white translucent cloth; paper; frosted acrylic; polished aluminum
NB. we were thinking if there is any material that is photosensitive i.e. absorbs light in the day and emits fluorescent light at night — trapping the shadows
experimentation and observation
two ways of seeing how shadow interacts with the medium:
direct light
back light
in back light, the effect between light and shadow is attenuated/toned down
site consideration
1. stair linkway between North and South Spine
2. NIE entrance
3. entrance of the Quad
based on the feedback, we wanted to look into how we could frame existing elements. hence we looked for light/shadow-abundant areas. also taking into consideration the possibility of constructing an actual installation at the location
references
Le Banc de Nelge (the Bench of Snow), Atelier Pierre Thibault
City of Hope Kaplan Family Pavilion, AHBE
Tree, Myoung Ho Lee
Wall in Blue Ash Tree, Letha Wilson
installation for Noisily Festival, Rupert Newman
temporary pavilion by students of Bezalel Academy of Art and Design
White Extension, Sasa Ciabatti, Bilyana Asenova and Archistart
The Gates, Christo and Jean Claude
mass-void theory
form exploration
01
version 1follows contour and path of the shadow as it moves throughout the day
version 2using a geometric shape such as a circle (as shown) or a rectangle, it contrasts with the organic forms of the cast shadow, allowing the white to be a ‘frame’ or ‘canvas’. the bench distorts the cast shadow and creates a new perspective to the flat white; it also defines a volume of the object whilst emphasising the effect.
version 3the use of reflective material reflects the cast shadow, duplicating and emphasising them; the top reflects the foliage above, offering a new perspective and prompting viewers to look up. viewers can differentiate between the colourful reflection and the monochrome shadow on the white background, emphasising the beautiful effect of the shadow.
02
technically can be placed in any open space; not site-specific
includes a small tree inside a pot/bench. throughout the day, shadow is cast onto the white circular screen (light material which will add movement when wind blows)
03
version 1
version 2floating sculpture that allows audience to view shadows of trees and objects in the environment cast onto the material. the shape invokes curiosity so people passing by are interested in approaching and viewing. the sculpture could be hanging down from branches of trees around the area or infrastructures
things to keep in mind:
how do you make users/audience notice the shadows? (importance of framing)
cannot be too simple, needs to have an intention, needs to stand out from the environment, should not blend in, should not be infrastructural
The examples are good and your proposals are interesting but still very vague and theoretical. I believe your installation should be very much site specific. You must decide one relevant place and focus on it.
It’s important to accurately analyze the place.
Sun movements: how the installation will change during the day?
Wind: how it might affect the installation or how the installation might benefit from the wind, how the structure design might be influenced?
People circulation: how do you want the people interact with it? during the day or nighttime as well?
How the nighttime artificial lights might contribute to the shadow casting?
materials are very important, the minimalism of your design proposals should be substantiated with feasibility (for example: where the hanging cones are hanging from? …and are made of??) …