Exploring the Tate Modern exhibition, I found the installations to be immersive; using colours or absence of colours with the contrast of neon hues and the dark to accent the lights, as well as suspending the lights. Yayoi Kusama uses different types of materiality such as having water below the path, reflecting the lights and providing a zen feeling with a connection to nature.
Infinity mirrored room – filled with the brilliance of light, created 2012
“Forget yourself. Become one with eternity. Become one with your environment.”
Yayoi Kusama
I would like to incorporate this materiality into my project to aid the immersive experience, such that, to use the hydroponic system integrated within the structure and allowing the growth of food to surround my spice pods, so the user can visually connect with the food ingredients and see/feel the texture of the plants.
The use of vibrant colours dotted around the space is also an element to consider for my project. To signify areas of functions in my space, and for the user to make a visual connection to their experience with accented colours.
There was a sense of unity in her installations, as though we were one with the environment. This is the true intention of immersiveness I would like to achieve with my project.
I attended the talk event at the RIBA discussing the project, Hackney School of Food by Surman Weston, for the “Building Stories – Celebrating the Stephen Lawrence Prize 2022 winner” talk on the 22nd of March. The project was awarded the annual prestigious Stephen Lawrence Prize, recognising the best project with a construction budget of less than £1 million.
The live event was hosted at the RIBA, by RIBA Role Model Satwinder Samra and had guests’ speakers from the founding Architects themselves, Tom Surman and Percy Weston, to Henry Dimbleby MBE, the founding partner of Hackney School of Food and the Stephen Lawrence Day Foundation. The headmisstress of the school and the lead teacher at the food school who runs the lessons also sat down and talked through the impact the school has had on the children.
The talk was very insightful into the success of this kind of project involving children and food. For one, the building took over an existing caretaker house that was empty on the premise. The headteacher of the school spoke about that many vacant buildings exist on school premises, so to re-utilize this space brought the school to life. The project brought the community together during construction as they gathered volunteers from the area, teachers and those who were furloughed to dig up the overgrown garden, clear tree stumps and rejuvenate the land. “The heart and soul was given into the project” by the community says the headteacher which continued as it was built. A foundation of love was developed from the beginning, and the project is a reminder of the strong teamwork that was put into it.
“This truly noteworthy scheme provides a service unlike any other to the community; an inspiring place to teach children to grow, cook and eat food.”
RIBA
The project was an effort to tackle childhood obesity, especially in a deprived area such as Hackney. This motivation links with my project and demographic in Lewisham, Deptford tackling unhealthy eating and diets and it all starts with children. The ethos of growing, curating your own diet from fresh produce whilst teaching children in an interactive and positive environment directly correlates with my main project and aims. Seeing the success of this type of project strengthens the direction I want to advance in.
The project incorporates an outdoor kitchen with a pizza oven, a mural outside which potentially I can add into my project as there is an abundance of graffiti and murals in Deptford that add colour to the area and a playful environment for the children at school where they could draw and be inspired. Utilizing the outdoor learning space, the architects covered the teaching and dining area with a canopy. This is a feature I should consider for my project and think about multi-use.
Surman weston decided to strip out all the walls and floors to create one big room, which meant they were working with half the square footage intended so they had to really consider functionality and each sq m of space. This is something to consider for my project as space is a restricting factor in my existing building, and problem solving is the way to go. By exposing the roof insulation and beams, it opens up the space and also educates the children on the make-up and history of the building. It allows them to become curious and think about the structure.
The cooking units are adjustable to accommodate all heights of children that attend the classes. There was an understanding from the lead teacher that the kids were more encouraged to eat the healthy food if they are growing it themselves. The growing beds also broke up in height, from front to the end of the garden so children of all ages could comfortably work at their own height.
Rainwater is collected at a agricultural bin from the roof where the children can collect this water source with their watering cans to water their produce. The teacher spoke about the kids surrounding the bin and having fun in taking part of this process of collecting and watering. It teaches kids about water conservation, re-cycling and the cycle of water. A watering system should be embedded into my project of some sort, and the method should be considered that is beneficial to the children’s learning and experience.
Overall, the affects of this project seemed transformative to the children’s behavior. It allowed them to show love to the landscape in creative lessons that influences everything that they do. They take this information and bring it into their daily lives and other lessons such as P.E., food tech, design and science. Generational teaching will extend further than the children themselves. This project has strengthened my project objective and importance it plays in Deptford.
References
RIBA (2023) Building stories – celebrating the stephen lawrence prize 2022 winner, Eventbrite. Available at: https://www.eventbrite.co.uk/e/building-stories-celebrating-the-stephen-lawrence-prize-2022-winner-tickets-539230381587 (Accessed: April 19, 2023).
Surman Weston (2020) Hackney School of Food, Surman Weston. Available at: http://surmanweston.com/projects/hackney-school-of-food/ (Accessed: April 19, 2023).
Hackney School of Food. Available at: https://www.hackneyschooloffood.com/ (Accessed: April 19, 2023).
Mike Nelson’s intent appeared to create immersive works and utilising our senses to the highest. Within his work there seems to be an abstract narrative, and a spatial aspect as well as a psychological effect on our senses. Going through his exhibition, there was an internal conflict, of seeing and feeling one thing whilst my mind was overriding, and my consciousness was kicking in.
I, Imposter, 2011, Various materials
A lot of his transported me into another dimension, creating a space without context and informing our own situation from it. For instance, the photography room built within the sand hut was painted in red light, creating a very ominous environment straight from a horror movie. Through the light, and bringing in menacing ambiguous chemistry equipment with hanging photographs, the random combination together made an uncomfortable environment to be in. As if it was once inhabited by a menacing character. This control Mike Nelson has over the audience’s feelings, like myself, by working with our senses, is something to consider when designing for my own project. What environment do I want to convey for children? How can I achieve this with the combination of the senses? The ambiguity in his work allows us to actively seek connection and search for meaning. Which means we are doing the work for him; he allows us to be the storytellers from our own point of view.
The darkroom, 2011
His work had a distinct smell of old and used materials. It created a sense of eeriness and disorientating at times. I believe it also controlled the direction of travel, avoiding or being curious where the smell led towards. For my project I wish to incorporate the sense of smell in my design, so it informs how the user interacts within my space.
Nelson’s room full of his sculptures ‘The Asset Strippers’ came of my interest as they first appeared to be agriculture equipment. I instantly began to think about their purpose and how they move when they are activated. However, the sculptures are fictional, being constructed from parts of industrial and agricultural machines. He attained these through online auctions from company liquidators. This means they stood as a reflection of the loss of British industry. I was reminded of the labourers who once operated them and the reduced amount of these bustling industries. It brought the question of the value of these labourers and the industry as most things are mass produced and automated. This connotation relates to my work as I am focusing on the act of growing and cooking food. I wish to develop a link to the methods and importance of cultivating food and the connection between people and farming in my design.
The Asset Strippers, 2019
His work is also influenced by science fiction. He is inspired by a novel from Stainslaw Lem where it states language is distorted and morphed to create new words that describe things that will exist in the future. Applying this concept to his own work, he ponders over the human desire to predict and control the future, when we are only constrained to work in the present. With my project focusing on hydroponics, I wish to consider the futuristic and science aspect of growing food to sustain for the future. Possibly exaggerating the concept in my design to emphasise the futureproofing of growing local produce.
I also liked the idea of the rooms connecting, such that one door led to you being positioned on one side of the bar, where the other door led to the other side so that you were serving the other person. Nelson cleverly designed the corridor, doors and rooms to be connected, disorientating the user of the space so that they lose a sense of purpose and function of the room. The control allows a manipulation of space being used which I would like to use in my project. Controlling the roles placed in the space through the configuration of the doors, passageways and interior.
I visited William Kentridge’s exhibition at the Royal Academy and this was my first encounter with the artists’ work. I found it inspiring the artist worked with a multitude of media spanning from etchings, drawings, collage, film, sculpture to tapestry, theatre, dance and many more that would tell a story and convey poignant messages.
His work encompassed many techniques, one being animation where he would transform his charcoal drawings by rubbing out or adding to them to create a storyline, with some use of sound effects. It was this art form where I found myself being immersed in the story and the atmosphere Kentridge had created. It was the expressive movement in his pen strokes that took me on a journey wanting to find out more of the story and be a part of the experience. It was as simple as a pen mark being followed across the page and transformed into a larger scene. There was a constant path in his work from one destination to another, and it all felt connected. It felt like I was observing, and being a part of, the whole process. This made me think of my portfolio, how I also want to convey a story and path from start to finish, and leave traces of my previous design work onto the next.
Drawings for Projection, 1989
He almost uses palimpsest in his animations, layering evidence on top of evidence, to create story arcs and depth to historical or political events. It creates a sense of reality and realness to his work, and allowed me to really feel convinced by his drawings. Another recurring technique he uses are words and phrases in the animations that transition into a scene, therefore allowing the audience to focus on the keyword and message of his work and what he is trying to convey without needing to much explanation or additional context. It was clear and set the tone of the scene. These are the ideas I want to influence my portfolio work, with clear intentions and layered evidence to back up my work.
Other Faces, 2011
Kentridge erased and left behind traces of his previous drawings in his animations which felt like an echo of the story. It allowed myself to absorb the remnants of the past as the next part of the story was progressing. I noticed he projected his charcoal drawings onto the walls of the gallery which exemplified the artist leaving traces, scars and memories of his work for the viewers to absorb as they went around the gallery. It was all part of a journey to tell his story. I wish to use this in my work by projecting and extracting aspects of my design ideas and paste them beside my overall design so individual elements can have a focus point yet also convey the general intention I want to create.
Drawing fragments from Ubu Tells The Truth, 1997
The artist builds and outlines his story using words from newpapers, or circling evidence that strengthens his points such as his Landscape pieces where he highlights the terrain changes that have been made by European influences on South Africa. This technique could influence the way I present my interior design work and I may use this method to highlight my design ideas.
Hunting the Spurwinged Goose (Colonial Landscapes), 1995-6
He also uses contrasting symbolism for example in “The Conversationist’s Ball” where he highlights the realities of South Africa under apartheid by drawing wild animals that represent government officials and embedding threat into the scene, juxtaposing with white South Africans enjoying their extravagant lifestyles in the same art work. This can relate to my interior design practice by designing spaces with a juxtaposition and contrast in design to accentuate the message I want to convey in my space. This could be using colour, shape or form.
The Conversationist Ball, 1985
In his tapestry and map works, I was intrigued with the layering again, and using red lines to cut through the map, as if Kentridge was mapping a trajectory for the viewer. I would like to use this imagery and technique for my site mapping and analysis as this is a very interesting visual to read and inviting. It would be a unique approach to looking at the site history and layering a site development.
Carte Hypsometrique de l’Empire Russe, 2020 (left) and Drawing for the Head & the Load, 2018 (right)
Puppet for Waiting for the Sibyl, 2019-2022, designed by Greta Goiris
His theatrical exhibit featuring puppets for “Waiting for the Sibyl” inspired me to think about my Project 4 Material Objects, especially with the puppets involving wood. The compilation of the raw material, with a colourful fabric, deemed the puppet to be exciting and dynamic. I wish to incorporate this into my sculpture with contrasting colour of green against the natural wood colour. It also made me ponder on the type connection and material wood I want to go for.
Metal sculpture by William Kentridge
This sculpture I found in my opinion had a slight resemblance to a plant silhouette and inspired me to consider the form of leaves and plants and how it will direct a space in this manner. I possibly can play with this arrangement, and it made me think about the absence of boundaries of a space, vertically and horizontally. That a space does not have to be linear or at right angles or in straight lines.
I worked in the mediums of watercolour, ink and pencil on paper and tracing paper to build up my layered drawing. As this is the first time encountering this technique called palimpsest, I researched artists Doris Salcedo, Idris Khan and Julie Mehretu’s work. I discovered palimpsest was originally used for writings and texts, and I realised that this was a way of communicating by layering evidence and history on top of one another. This was a good method for documenting the Sir John Soane’s museum as this site visit had a multitude of historical facets to the interior space and the collections.
I found experimenting with palimpsest took me on a journey throughout Sir John Soane’s collections and how he has arranged them in his rooms and also how he has positioned his interior spaces, openings and windows. It allowed me to investigate further the layering he has developed in his spaces and observe his space as more of a gallery of pieces beneath and on top of each other rather than one entity of a room.
I would like to take this technique with me on my journey on how to observe and design a space. It would be a great opportunity to layer materials, shapes, forms, views of the space and think about how the interior can open up to potential perspectives or possibly exterior views and control the intent of this.
I visited the Sir John Soane Museum as part of our History and Theory class and I found the historic objects he collected created unique and dynamic interior spaces that made up his 3 combined homes where he used to work, live and display his collections for his clients, himself and the public to view. His home incorporates a lot of borrowed light and this seemed to govern how he designed his interiors and the whereabouts in placing his collections. Moreover, his collections possibly controlled how he created his unique interior spaces and window openings as well. The architect ‘established in London in the early nineteenth century, presents a panorama of architecture in the form of a capacious chamber of wonders’ (Moldoveanu, 2000). His collection consists of a plethora of sculptures, paintings, drawings and archaeological fragments from his travels throughout his career.
Green platforms to support Soane’s collections with a bulbous mirror on the wall
When I entered the first room it was covered in pottery and were supported by platforms decorated in green. This contrasted with Soane’s red coloured walls and accentuated the effect of decorativeness which highlighted his collection dictating the interior space. His objects define the décor and exuberance of the rooms, rather than the shapes and architectural details.
His objects became the main focus point of his rooms, and create a smaller and intimate space in his corridors. It brings a real sense of closer contact with his passions and fragments of history. Soane shapes his ceilings downwards to attract the line of sight from the ceiling to the walls where his objects are displayed. I like the use of bulbous mirrors, angled to bounce the light from his carefully installed windows and skylights onto the walls and standing sculptures.
The variety of objects all appeared to have dedicated and special rooms to display them, for example the painting room has walls that completely fold out on either side and unravel a story in the form series of paintings of a gambling man going through unfortunate events in his life.
Domed arched room with archeological fragments and statues
As I followed the decorative corridors it lead me to a 4 sided arched 2 storey open space with passageways on either side. In the background a tall statue is framed by one of the arches and directly below sits the sarcophagus of Pharaoh Seti I. The surrounding walls are plastered with clay pottery and old fragmented decorative stone facades such as the façade of St Stephen’s Chapel. The entirety of the objects are highlighted by a beautiful domed skylight. The objects displayed here and the framing of this space felt that this was the central part of his home, disregarding the precise the location of my whereabouts.
Every window and opening Soane had designed unleashed layers of history and collections that I could look through into another room or outside space that also held some of his objects. Every single space, nook and cranny played a significant role in his interiors specifically how you viewed his collections.
References
Moldoveanu, M. (2000) “A ‘chamber of wonders’ in London: Sir John Soane’s museum,” Museum International, 52(1), pp. 42–45. Available at: https://doi.org/10.1111/1468-0033.00244.
When visiting the Cornelia Parker exhibition in Tate Britain I was faced with objects and mediums that evoked powerful messages about life and the live we live. I instantly realised that walking through her work would be a memorable experience as she forces you to contemplate on what you see.
“If you start with a found object, that object already has a history to draw on.”
Cornelia Parker, Tate Britain
Thirty pieces of silver by Cornelia Parker, 1988-1989
Cornelia mainly works with existing and ordinary objects and translates them by crushing, flattening, dissecting or transforming them into another form. I found she uses light as a tool to create shadows of her pieces on the walls of the exhibit rooms, each installation having a different reason for this. Her ‘Thirty pieces of silver’ installation holds various household items, mainly dinnerware. I found the shadows created are a reminiscent memory of what they used to be, acting as a reminder of their past functionality. The installation itself consists of items which hold a sentimental value yet they can lose this value by simply being flattened and are essentially just pieces of metal or of raw material. Her elevating her work revives the flattened objects, bringing them to life by adding dimension and power as if they are weightless or lifting themselves or being lifted. Parker chooses silver homogeneously covered objects which could be her way of placing value back into them. In conjunction this could lose their value and unique qualities by allowing them to look the same and obscuring their different forms.
Cold Dark Matter: An Exploded View by Cornelia Parker, 1991
With ‘Cold Dark Matter: An Exploded View’ she had the Royal Artillery detonate a shed and inside its contents. The shadows create a double explosion in a sense, exemplifying the destructiveness and motion of the detonation. This and her suspending the work creates a feeling that it is still moving inwards/outwards and that time has stopped. I am able to observe the process of destruction. I am also able to observe what objects the shed holds, with the shadows and pieces of wood concealing the objects making it difficult to see what they are, leaving it to my own imagination and interpretation. I found it eerie and it reminded me of a baby mobile, with the suspending objects.
“My work is consistently unstable, in flux: leant against a wall, hovering, or so fragile it might collapse. Perhaps that is what I feel, about my own relationship to the world.”
Cornelia Parker, Tate Britain
I found the use of shadows in ‘Perpetual Canon’ to mimic the idea of a silent marching band and I could become one of these mute players, as I place myself between the shadows and the objects. There was a sense of transparency as my own shadow was created and I could be positioned within the shadows of the instruments and have my silhouette even hold a trumpet. I loved the configuration of the objects in a circle. It felt as if it was an endless loop of music we could not hear that once took place in reality but now is no longer present like an echo.
Parker’s use of a single light source, generally centered in the middle of her works, felt to me as an energy source that drew my attention to the center and then work my way outwards. It drew everything to an origin, a cause, and made her work feel cohesive. She uses an unshaded lightbulb which added a starkness and vulnerability to her installations, and it allowed her pieces to create the shade and contrasting shadows which extend and project the explosion and her hidden messages into the walls that I walk past.
Overall, I found her work to be a poignant experience of storytelling in the everyday and her political views with the collaboration of common objects, people and methods that altogether get her ideas across. I loved how she has a reason for everything in her process and it all ties in with the theme of her pieces.
