surface design

With the intention of creating surfaces at a rapid time frame, I found myself focussing on segmenting a material into multiple parts regardless of what that material was.

Pictured is a copper surface split and then reconfigured to create a changing linear surface and intertwined with knitted copper. I like how by doing this, it brought more dynamic for the light and shadows to play off the material.

The second surface demonstrates a scoring technique, peeling layer by layer while also creating thresholds within the surface.

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C A S E S T U D I E S

Mirror Crystal System

Suzy Poling, 2016

Uses mirror fragments
Utilises light reflections
Unsure of where the light is coming from
Ethereal reflective experience
Even light reflections have their own reflection in the mirror
- A reflection inception
Room feels like a private and quiet viewing space
Warping on the base mirror?
Assemblage of volumes

Slow is good

Ernesto Neto, 2012

Suspension
Weaving
Assemblage
Segments put together
Place of rest/relaxation
Creating a threshold while still allowing for public to private flow
Web-like
Biophilic colouring

Crystal Stairway

Kevin Lenaghan, 2021

Fragments of glass
Sections
Thresholds between segments
Refraction of light
All encompassing atmosphere
Heavenly and inviting
Warmth in even the cool toned colours
Central image
Organic use of forms

L I G H T B O X

1/1

After layering different transparency layers on photoshop of images of the site, I decide to materialise this transparency further, printing the site sequence on to clear film sheet paper.

Projecting the images gave it a ghostly eerie feel - like the images were just barely there. It felt dark, fragile and floaty.

F U R T H E R S U R F A C E D E S I G N

Drawing from the combined case study and light box exercise, I decided to make another surface design. Rather than using lighter coloured materials I chose to create a surface with black card and "fragmenting" the card in a way - creasing and folding it over and over again. I further fragmented the card into different levels, taking the creases into a 3 dimensional surface. Furthermore, I added a thread layer. By sewing into the card and embroidering patterns into the gaps, I was able to recreate that webbed and fragmented feel of Neto and Lenaghan's work - enabling light to catch in dynamic ways like in Poling's work through the triangular forms.

I would like to continue experimenting with darker materials and perhaps try exercises like this with more transparent materials to see how that would affect light filtration.