Towards a final project

I have been working on and off today cutting a lantern prototype.  I decided to go back to my original idea and look at the forms i was using near the beginning of class instead of going in the direction where I was experimenting with the stars.  Dave had mentioned that one of my earlier lamps reminded him of a Chihuly chandelier.  A large glass piece that seems to be made out of many little pieces of free formed curled glass tenticles, that seem to spiral and drape all the way down to the floor.  I want to somehow create that same effect using smaller cuts and folds and allow the paper to seem to drape and dissolve into the floor.  Sort of in the same way Miho Konishi has in her paper exhibition.  I will most likely use this heavier vellum paper I found at Columbia Arts supply since I like the glow it creates when a light source is added.  I’m not sure yet how large I want to make the chandelier, although maybe I should decide soon…

Dale Chihuly Chandelier

Dale Chihuly Chandelier

image source: http://www.chihuly.com/rio-delle-torreselle-chandelier_detail.aspx

Mihos paper exhibition

Miho's paper exhibition

image source: http://www.aainter3.net/miho/

James Carpenter Inspiration Presentation

For my inspiration presentation I studied the work of glass sculptor James Carpenter.  What drew me to his work is his experimentation on using glass as a medium to perceive the environment in new and different ways.  He seems to be more interested in the effects that he is creating on the material instead of thinking of glass as a transparency.  With a successful body of work, I only chose 4 that I thought could apply to my project, or simply because I just found them interesting.

Periscope Window – Dayton Residence – Minneapolis Minnesota 1995-1997

An installation in a house to provide privacy and views to the outside using several layers of glass, reflective surfaces and periscopic mirrors.  Different effects happen through different times of the day and you are able to see the sky and tree outside in new ways.

image source: http://mw2mw.com/periscope-window

Dichroic Light Field – Millennium Tower – New York – 1994-1995

Installed on the east side of the Millennium Tower to break up the facade, create depth and allow for a more pedestrian scaled environment.  Glass tabs were mounted onto a reflective glass surface that change as the sun moves throughout the day, casting shadows from nearby buildings and giving the street a dynamic theatrical effect.

image source: http://www.aiany.org/eOCULUS/2009/2009-05-12.html

7 World Trade Center

Carpenter was commissioned as a consultant for the exterior skin, podium and lobby installation.    The exterior skin is mirrored glass and spandrel units with depth creating an illusion that the parallelogram tower disappears into the sky.  The podium, which houses large transformers, is 80′ high and allows for air ventilation.  To break it down to pedestrian scale, Carpenter and team used a series of metal panels and triangular wires to diffuse and scatter light.  At night, the podium glows blue and using a camera tracks the movement of pedestrians, projecting it onto the 80′ high podium.  The lobby is a series of large luminescent panels with quotations scrolling through the inside and can be viewed from the outside.

image source: http://wirednewyork.com/wtc/7wtc/

image source: http://www.jets.org/_delete/1106/extreme_engineer.htm

Lobby

image source: http://www.greenbuildingsnyc.com/2009/07/08/leasing-activity-continues-at-leed-gold-certified-7-world-trade-center/

Fulton Transit Shelter – New York – 2004

The glass atrium – whose form mimics the rotation of the earth is designed to reflect light into the dark tunnels below.  The oculus allows the users to follow the path of the sun throughout the day.

image source: http://www.downtownexpress.com/de_55/fultonsubwaydesign.html

Annotated Bibliography

Matsys Design

http://matsysdesign.com/ 23 Nov. 2010

28 Apr. 2011

Matsys is a design studio started in 2004 by Andrew Kudless.  He explores the relationship between biology, the built world and how to fabricate these using computation methods.  I was immediately drawn to the Diploid lamp series which explores complex patterns that can be derived from forms found from nature – in this case honeycombs, scales and barnacles.  It is very relevant to my studies since I am interested in the use of a simple repeating pattern to create a form that is so complex.  Also I find it very interesting that none of the diploid lamps fabricated using glue at all!

James Carpenter Environmental Refractions by Sandro Marpillero

Princeton Architectural Press: NY, 2006

James Carpenter is an architect and sculptor, graduating from Rhode Island School of Design in 1972.  He started with the development of new glass materials and worked with their properties to transform light and space.  The work that I am particularly drawn to is his structural glass prisms which were installed in the Christian Theological Seminary’s Sweeney Chapel.  The result of the bounced light and color onto the wall creates a very spiritual effect which I want to try to explore in my design.

Tazana Co., Ltd

http://www.tazana.com 2010

28 Apr. 2011

Tazana is a company created by a Thai designer and materialist specialist company who believe that design is free for all to interpret making there no wrong or right design.  “Tazana” in Thai means “attitude” and to them, it means that anyone can see something and recognize their own meaning from it.  Most of their forms are derived from Thai culture and the craftsmanship, which i find these qualities very interesting.  Also, I like the idea that most of their lamps start in a very flat form, but when the user lifts them, they reveal their true shape – it may be too early to think of packaging ideas, but this can also translate into a kinetic quality with the user.

Miho Konishi

http://aainter3-net.fromform.net/miho/

28 Apr 2011

Miho Konishi is a student exploring Light Form and her blog documents her works and findings.  She works a lot with paper folding and how those forms can start to inform space.  I draw inspiration from her works which many seem very similar to mine.

UnFolded: Paper in Design, Art, Architecture and Industry

Petra Schmidt and Nicola Stattmann

Birkhauser: Basel

This book is a collection of different artists’ work on the various designs using paper.  The work ranges from architectural installations using paper waste material to simple laser cut rings out of card stock.  The section I am interested in is Origami in Production and Computational Origami.  It is fascinating to me underneath it all, origami is a very mathematical and logical art form.

Last Week’s Lighting Class Work

This post is an update for last week’s work – Sorry this is a little late!  This past week I have been researching other luminaire designs and getting ideas from other designers.  My favorite so far is Tazana where they laser cut beautiful designs.  In particular like how most of the lamps seem to lay flat, but when hanging, reveal their different forms.  I wonder if that’s something I can achieve with my design.

Here is my latest version.   These are mini versions of what will be a giant luminaire.  In this design I’ve tapered it down to a a small opening at the bottom.  While talking with Geoff and Dave during class they told me it reminded them of this Chihuly lamp.  The bottom sort of drapes and tapers off as if it continued on.  They suggested maybe a circular/spiral pattern to mine and maybe the ends would be loose and draping down to the floor.  They also suggested different materials: using Yupo, lasercutting and scoring so that it folds in the correct directions; or acrylic, thinking of the pieces as horizontal pieces instead of longitudinal, and introducing a blue acrylic every so often.  I’m excited to try both those ideas out.

Tomorrow I’m planning on laser cutting some pieces so we’ll see how they turn out.

Oops, having a rotation problem

Oops, having a rotation problem

Peer Review

I’ve been a fan of Geoff’s work and am always interested in whatever new experiments he is doing.  It seems that he has chosen two similar forms to work with: a simple screen where triangular cuts are made that change in aperture as the screen is bent, expanding and contracting to filter different amounts of light; and a square module that is connected at the edges to create a scalloped form that reflects light and can also be bent.  Both have much potential in defining space and filtering light.  Adding a kinetic quality to the pieces also would connect the user to the space on a different level.

I do agree with him, in that the space where he will be installing his final project, manipulation of the light available there would be difficult.  A much more concentrated piece, a giant luminaire that would respond and interact with users would be much more manageable.  I’m not quite sure how easy or difficult it is to build a mechanism or frame for the object, but it would be interesting to see the luminary not only move in one direction, but along several axis.  Maybe expand and contract in response to the actions of the observer.  In one of his posts he mentioned PROJECTiONE (lightforms) where they have developed a module that interlocks with each other to create a luminaire.  The orbs are beautiful, and it’s a little disappointing they don’t squish and expand.  Of course, Geoff is already experimenting with the kinetic aspect with his latest experiment.  It would be interesting to see what materials he uses and if he will reintroduce bounced color back into his pieces.  A reading to revisit might be Jan Butterfield’s The Art of Light and Space – the section on color and the scalloped example.

Light Modulators

In the reading excerpt by Moholy, Vision in Motion, he describes objects being photographed as light modulators.  Thinking of the object as not a thing by itself but as a tool that manipulates, catches, reflects, bounces, distorts and absorbs light.  Anything can be called a light modulator, including the human face.  Our first mini-assignment in class was to manipulate a material and just observe the shadows that can be created from it.  I created a “wheaties”-looking object using watercolor paper and linear cuts.  I found that by having many different light sources (by accident) actually created a more interesting shadow, with parts of it sharper and blurred depending on the intensity of the light source.

This light source layering effect reminded me very much of performance theater, where a scene is controlled very much by the lighting used.  This may be something I want to explore since my studio project is to design a performing arts center this quarter.  I am still not quite sure how I want to explore this – possibly through the use of paper, various cuts, or origami techniques.  I tested out a few origami tessellations and noticed how the larger the fold, the more dramatic the shadows are within the objects are.  I may try to test out different materials, such as tissue paper, mesh, or fabric to see what results I can get.

Shadow exercise in class.

Shadow exercise in class.

Different light sources create different effects

Different light sources create different effects

Origami Tessellation 1

Origami Tessellation 1

Origami Tessellation 3
Origami Tessellation 2

Origami Tessellation when put infront of a light source

Origami Tessellation when put infront of a light source