Amy Ma – Page 2 – Welcome to my journey in interior design

H&T Project 3: Material Precedents

These are some material precedents that will relate to my project ideas and aid me in the creation of my sculptural object. These include methods of making, joining, finishing, etc. that highlight significance for my own design work and the evolution of creating my 3 dimensional installation.

The overall theme I want my sculpture to encapsulate is natural and primitive. I wish to pay homage to the Japanese culture of Zen and meditation. With my client’s collection of plants this will be a harmonious collaboration of the two.

Bamboo

The organic and natural material is used in parts of Asia and even in more urban cities such as Hong Kong. It is said to be more strong and flexible than Steel. It is easily available in these parts of the world, and cheaper since there is less process in creating these bamboo poles than steel or other metals and it is grown locally. They can be easily discarded and re-used for other purposes without much impact on the environment. It is a common construction material for centuries in China, thus is a well trusted method in creating a stable structure with the right tying techniques. It is one of the most fastest growing plants on earth and it self multiplies due to its root system. It is light-weight, faster to put up and take down than steel and has a higher tensile strength thus making it more flexible and easier to manipulate than steel. This material will be a suitable choice as the main frame of my structure as the layout is very similar to a temporary scaffolding structure, thus I will hopefully get trustworthy results using bamboo as it has been used for centuries in this way.

Traditional Bamboo Lashing

Japanese square lashing, a video demonstration | The Kid Should See This — Japanese square lashing tying two pieces together

Lashing is a primitive method of binding and fastening one thing to another using a cord or rope of some sort. It is more effective than metal fastenings. This method does not use glue or drilling, therefore it is a non-destructive technique for materials and minimises the use of equipment. I find it is a sustainable method of creating as it does not damage the structure of the materials, and uses minimal additions. All is needed is a tying rope and this could be natural and biodegradable. Since it does not damage the material, after its use, the objects and rope could be untied and used for another project. In my opinion, it is a great way of preserving materials so they can be recycled in another fashion without comprising their integrity.

Japanese square lashing is a fast alternative to other fastening techniques and I found it is a very tight binding method as there was minimal movement laterally and vertically with the two bamboo sticks. Traditionally, this knot is used with natural fibre rope to secure bamboo and other architectural structures in Japan. It is used by many Scouts since discovered by British Scouter John Thurman in 1962 during his tour in Japan. To note, this technique is used to secure bamboo sticks at right angles to each other. This will be a great method to tie my structure together and able to hold my plant, the main feature and purpose of the sculpture.

Weaving

The process of weaving can be done with Bamboo canes or Rattan which is also another type of cane. The strips are interlaced at right angles or plaited and woven. It is traditionally done in Southeast Asia such as Japan and China. This technique creates an air of relaxation and natural sophistication to an environment as it is a carefully intricate design yet organic. There are many ways of weaving the canes, some are more time consuming than others however give more strength and durability to the overall structure. Historically, cane was clean and hygienic making it very popular in furniture as parasites, mites and bugs had no place to live in the weave and over time the patterns have become more dense and intricate. The more densely traditional patterned texture will be a significant addition to my sculpture as this will act as a supporting base to house my client’s plant collection and my pattern can be woven around the bamboo structure, similar to how cane is woven around furniture frames.

Coir

Free Potted Plants Hanging Outdoors Stock Photo — Coir used as plant pots

Also known as coconut fibre, it is natural fibre and extracted from the outer husk of a coconut and used in products such as floor mats, brushes, baskets and pots. It is recently popular as a potting mix and organic soil as it increases air porosity. The fibrous material is strong, water resistant, slower to decompose than peat, lightweight and resistant to mold, fungus and pests. It is also sustainable as it is a by-product, bio-degradable, renewable and eco-friendly. This makes it a fitting material to house my plant in the form of a plant pot and possibly use in the soil mix.

Unit 1 Project 3 Reflection

Future Bathrooms

The Initial Bathroom

First starting this project, I was faced with a creative block as I found difficulty in designing past the barrier of a conventional bathroom, since I was used to seeing bathrooms in a way that we deemed we normal and I found it hard to elevate this. It is safe to say I hadn’t encountered a project so far that evolved to this extent in regards to the design and my thought process of how an interior space can be laid out.

My initial draft bathroom design is very different to the end result however am glad I experienced the journey I took towards the destination. The project pushed my creative boundaries, to think outside the box and see a greater potential for a space past a bog standard design criteria such as a bathroom.

When I first came up with the concept for the bathroom, I thought about the key words in designing for my client: well-being, healthy living and Japanese Zen. My client collects and grows plants that focus on promoting the well-being of others by bringing them into interior spaces. Therefore I wanted to base my bathroom design around his ethos and follow the Japanese bathrooms and rituals as they focus on mindfulness and spirituality which also contribute to ones healthy well-being. This will compliment my clients collection.

I researched into Onsen baths and bathing rituals, and found traditionally you would shower first before soaking in the bath which governed my design to have two separate cleaning zones. Japanese themed bathrooms such as the Fujiya Ryokan in Ginzan Onsen Village in Yamagata and the Nobu Ryokan hotel in Malibu inspired me to use wooden accents, similar to saunas, and raw materials like unpolished stone tiles and cedar wood which is known to be aromatic and relaxing.

Since my client collects air purifying plants, I wanted to incorporate natural ventilation and air flow into the bathroom. It seemed fit because bathrooms have a build up of hot air and condensation which can form mould if not ventilated properly. This is where I found the Maruhon Ryokan in Japan which cleverly utilises a buoyancy driven system where cold air enters through an opening and rises when it becomes hot into another opening at the top. The air pattern allows for a curved roof above the bath. I applied this to my bathroom design, so the top opening partially acts as a skylight for the shower and bath.

I drew up my sections and plans in AutoCAD and I found creating technical drawings with dimensions a lot easier to then create my drawings and become confident in my designs, having explored the functionality of my space and knowing it could realistically work. I produced perspective renders on AutoCAD and photoshop for the first time and I found this to be something I really enjoyed as my designs materialised from concept into digital visualisations that I could have control of.

After The Tutorial: Final Bathroom Brief

Following the tutorial, I learned that I was too hung up on the conventional bathroom design and I needed to elevate this further. I then developed my keywords into plant geometry, which later shaped the spatial layout of my bathroom. Developing a mood board helped me centre my concentration on fractals, the Fibonacci sequence and phyllotaxis which later developed into the golden angles of exactly 137.5 degrees.

After analysing the golden angle diagrams, I considered having separate zones in each of the golden angle. The angles are obtuse therefore they overlap so I knew I had to use layering and overlapping to distinguish the zones and angles. To do this, I wanted to create a bathroom that spirals upwards with height levels using steps, similar to how plant leaves sprouts and spirals in the golden angle. I wanted to create a central point, a vacancy, a common place that you gravitate towards to bring the bathroom together, similar to a plant stem where leaves grow from. I instinctively thought of the shower and having a natural waterfall coming into the centre point, eliminating the conventional shower head. Waterfalls are a design feature incorporated in many Japanese bathroom designs in the form of taps however I wanted to take it literal to reproduce the connection with nature. The shower being the main point and on ground floor, it logically made sense to place the bath at the highest level, so you are working your way up to bathe and following the traditional bathing sequence using the golden angle plant sequence.

The waterfall idea reminded me of the Jewel Changi Airport. I must have taken inspiration to this or saw the resemblance after incorporating it into the bathroom shower. This feature re-uses the water as it pumps it back up into the roof to create a cycle of constant flow. This was something to consider for the shower, to sustainably re-use the water with a filtering system. Also, the air movements create a spiral effect and active cooling system due to the drag force of the falling water, which was another aspect to consider.

Image 1: Jewel Changi Airport in Singapore

I delved into organic sink designs, as I wanted the bathroom to feel as earthy and raw as possible, to emulate a natural environment alongside the mathematical arrangement of the bathroom.

With all this in mind, I could create my drawings in AutoCAD, which helped me in visualising my atmospheric section. Drawing up dimensions always help me in creating a space that can work realistically and I can get an idea of spatial ratios.

Unit 1 Project 2 Reflection

Window for Contemplation

For this project brief, we were asked to design a window on a building of our choosing and an interior space to contemplate. This could be a retreat or a seating area and we had the option to have our client’s collection away from this space or somehow have it involved in our design, depending on our client’s needs and if they wanted to get away from it all.

I decided to have my client’s collection incorporated into the contemplation space as his ethos is healthy living among plants and well being, so it only made sense for my client to practise ones preaches and have them close by. I also kept my client the same, developing his profile further so that he collects air purifying plants. This choice meant that it was a conscious decision to have them by the window, as the plants will be able to purify the air when they are open and I will be able to have windows capable of being open and allow the potential to have my building located on a busy road or built up environment.

After looking at various window frame designs, I came across gridded and cuboid framed structures that divided the glass plane window. I knew I wanted to incorporate my plants within the gridded frame system one way or another. So I began sketching my ideas onto paper which when I began annotating, evolved.

My key words or phrase has subconsciously been ‘bringing outdoors into the indoors’ and blurring the lines between the two as I have been designing for my client. The ideology promotes what my client believes in so I decided that it has to be a core theme for my project.

I began researching green ways of living in outside and inside spaces and came across this study below. I also researched the type of plants for growing vertically and vines were a recurring result.

The use of neutral colours of wood, stone and concrete allowed green to become to feature colour and really made nature pop. The contrast inspired me to do this with my space and allow my client to contemplate on the importance of his work. The stepping down into the seating area creates a fully immersive experience with the surrounding greenery and accentuates the height of hanging ivy. There is a use of gravity, which allows yourself to let go of the world and contemplate on your deep thoughts.

Once I arranged my mood board I sketched the initial sections and what I envisioned my contemplation space to be, inspired by the key elements from my mood board. I then created sections in AutoCAD which was something I was still getting to grips with but I found this method arranged my design in a layout that made sense and felt realistic. I then created a visualisation of the space in Sketchup then Photoshop which I am also still unfamiliar with so this took up a lot of time, however I really enjoyed bringing my ideas to life and portraying it into the atmosphere I wanted to create.

I also created some axonometric drawings which I have never came across before so I decided to do this by hand so I had more control and intimate involvement of the process. I then rendered this over with colouring pencils.

After the Tutorial

Following my tutorial, I was inspired by Tadao Ando’s work and looked at his window frame arrangements of various shapes of glass panes that symbolised the complexity of humanity. I thought that this would be a great juxtaposition with the idea of holding the plants and how human influence plays with nature. The Greenbox project in Cerido was also another inspiration on how the steel frame becomes a support for the vegetation and the idea of wilderness growing outside into the interior so I felt I could relate this to my project and have the ivy really incorporated into my design by building them into the walls and window and really considering the root/water system.

Sketch collage – development of contemplation space and window design

My design transformed unintentionally into a Japanese inspired zen garden and a greenhouse space where my client could connect with his collection, nature and isolate this with the view outside for context which blurs the line on what is interior and exterior.

Model

Palimpsest Drawing

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.

Visit to Sir John Soane’s Museum

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.

H&T Project 2: Design Precedents

These design precedents will inform, inspire and influence my project 2 work of my contemplation space.

My definition of contemplation

*Figure 1 – Terra grass armchair, 2000. Designed by Andrea Sanna and Piergiorgio Robino of Studio Nucleo*

Originally this design was released at Salone Satellite until 2005 however they determined that self-producing these chairs were no longer sustainable. They are back with an updated version that lets you grow your own armchair in your outside space. The process of growing and setting it up builds up this sensitive connection and connects the belongings in a home with the person. An intimacy is formed with the object and its creator, which in turn encourages more use of the object. The natural seat allows for comfort that becomes part of the landscape and a place to rest. It. A contemplation spot is developed as the combination of the comforting curves of being seated in a reclined position and the texture of soft grass invites the creator to sit on their creation, ponder and be one with the environment.

*Figure 2 – Albert House in Sydney, 2017. Designed by Michael Bates*

Each stepping stone allows a second to contemplate, and take steps further into each thought. The suspended illusion and depth created by the use of levels and contrast of green hues and harsh concrete with plants growing underneath, concealing how the slabs are supported, creates a feeling of floating. This light feeling can evoke a powerful environment to contemplate as one can engage with themselves away from the heavy thoughts and interruptions of their surroundings.

*Figure 3 – Matabe in Naoshima, Kagawa, 2015. Designed by Hiroshi Sambuichi*

The Matabe is a private residence next to the Naoshima Hall and is part of The Naoshima Plan. They were created with the natural environment of the island in mind. Here, the use of moss aids the transition from interior to exterior, with the use of double walls to control the level of nature inside the space as well as open it up to the outside. This space acts as a purgatory between the two sides and lets the user slow down when travelling to either side and perhaps contemplate. The embedded pebble stones act as a guide and manipulate the journey of the person, possibly delaying them in changing their long strides into smaller steps, simplifying their path.

*Figure 4 – Villa Tan Dinh in Vietnam, 2020. Designed by MIA Design Studio.*

The aim for the house was to ‘create a miniature park-like space in the middle of the city’ (Dezeen, 2021) where ‘all the primary activities of the house will be connected throughout empty zone between plants, water as well as natural light.’ (MIA Design Studio) The woody vines gradually will spread across the steel netting system and create a filtered greenery for the house instead of a cold concrete one. They create a zone to contemplate and block out noise and interruption from the outside world. As the steps descend and lead to a below floor level pit, this allows the user to feel fully immersed in nature. The contrasting materials of stone and concrete highlight and permit you to focus on the colour of vibrant green.

Precedent studies relevant to my project

*Figure 5 – Shiba Ryotaro Memorial Museum in Higashiosaka, Japan, 2001. Designed by Tadao Ando*

Designed and built-in memory of Shiba Ryotaro, a writer on postwar Japan, the museum holds this giant window of glass. Ando’s work encompasses large concrete walls, combining wood and large windows whilst including natural elements such as sun, rain, and wind. The window overlooks and frames the garden where the author would walk and reflect. It is composed of various shaped and sized panels that filters the light through to fall into the space in many patterns. This was to symbolise humanity in all its forms and guises which Shiba expressed in his works. This is contrasting with the various sizes of panels frames that isolates different parts of the garden, giving focus to individual elements of nature outside. Overall, there is a theme of complex human behaviour with the playing of light patterns and the focus of nature.

*Figure 6 – Greenbox in Cerido, Raethian Alps, Italy, 2011. Designed by Act_romegialli*

The ‘Greenbox’ resides in Italy and was a project to renovate a disused garage into a weekend house. The metal structure becomes a ‘tridimensional support for the climbing vegetation’ (Divisare, 2011) and uses a ‘palette of man-made raw materials blends in with the natural ((Designboom, 2011). The house has an essence of growing the outside in the inside, and there is no definite boundary of the two. The green growth appears to be a part of the structure and fully take form of it, transforming the environment into its own entirety.

References

Dezeen (2021) Villa Tan Dinh: Longlists: Dezeen awards 2021, Dezeen. Dezeen. Available at: https://www.dezeen.com/awards/2021/longlists/villa-tan-dinh/ (Accessed: October 26, 2022).

Divisare (2011) Act_romegialli, Marcello Mariana · greenbox, Divisare. Available at: https://divisare.com/projects/180820-act_romegialli-marcello-mariana-greenbox (Accessed: October 26, 2022).

Hudson, D. (2013) ACT_ROMEGIALLI: Green box renovation in Italy, designboom. Available at: https://www.designboom.com/architecture/act_romegialli-green-box-renovation-in-italy/ (Accessed: October 26, 2022).

Cube Exercise

Cube model, made from foamboard, card and tin foil

Process

I started becoming familiar with the idea of making and creating in the studio. For me to use this practical skill and a way to materialise my conceptual designs, I was given the task to construct a cube out of 3 sides of foamboard and manipulate the inside space to adopt an appearance of one or more characteristics from a list.

I found this was a great way to explore with space with no limitations to the form. I thought of many directions I could go and eventually came up with an ambiguous concept that ended up being rigid, metallic and somewhat magical.

At first I chose the characteristic of “metallic”. Instantly, I thought of a reflective material but decided to put that towards the end of the process so it wouldn’t dictate the space and let my ideas flow. The connotations I had with metallic were rigid which led me to triangles, and how easily they intersect. Being a structural engineer, I have encountered triangular structures such as trusses and know that this is the most stable form in construction. I found the core point to start was with my concept, shape and form. The materials, texture and finishes came later.

Constructing the cube and origami pyramids

I thought about dimension and instinctively explored origami pyramids and my first thought was to make the base a square, however I liked the idea of a triangular base so that triangles would be the only shape to these volumes, emphasising a theme of structural stability and continuity. They created a cohesive triangular grid as they were able to fit perfectly together and a square base would produce a grid I would find too regular. I was able to make two pyramids at a time from one card piece, and this saved time, resources and labour.

I measured one side of the cube and through trial and error I made the card pieces with a specific dimension so the pyramids would evenly fit. I chose paper card as this was the most malleable without it being flimsy and end up losing its pyramid shape. I intended to cover the pyramid faces with a reflective material and I was going to use mirrored plastic sheets. However I found kitchen foil was a better option and it being cost effective. It was much easier to manipulate and easily accessible. I found I did not need anything fancy to portray the environment I wanted to create and I could use resources around me.

I was also going to cover all 3 sides with the pyramid structure, but I found it too time consuming and didn’t have a lot of time. Through experimenting, my solution was to cover the last face with shiny tin foil and this actually created a nice contrast with the matt texture from the card. Also, the flatness contrasted with the protruding pointed triangles. This decision instantly added dimension to my cube and I realised that experimenting allows unexpected but desirable results. I did not consider the colour of the card as I initially was meant to cover it, but the white unintentionally ended up being a good choice as it captured the reflected light from the foil very well. It reminded me of water when it glistens in the sun and I found it very captivating like magic.

Through this exercise I realised finding alternatives to a solution and making mistakes is part of the process. If I am met with a problem, the only way to resolve them is to go with it and find a way to develop it into an idea that works. Improvising and getting hands on is a way forward. This exercise helped me become confident in creating, generating an idea into something tangible and sometimes the only way is to create. It touched base on the foundation of interior design and my way of thinking through form, lines, shapes and volumes and how these are all powerful that play into an interior.

Unit 1 Project 1 Reflection

My design incorporates a live-work studio for my client and his collection which involves growing native plants and studying them, specifically from Surrey where he grew up. He transforms them into green walls and other green installations all to promote nature into interiors and the built environment. He does this outside his space, so my client focuses on growing and cultivating the plants himself.

Client Profile

My space is divided into two, the left as his living and right as his work space with 2 access doors on either side. This separation allows my client to freely come into his work space from the outside without spoiling his living space with dirt and other contaminants from the plants and outdoors. I have provided a space for my client to grow his plants with shelving racks with artificial lights along the right side of the room since there are three large south facing bay windows. I have created a plant unit in the centre which incorporates a built-in sofa, sink and desk study which acts as a tunnel between the two spaces. This allows my client to have a direct connection with his work but also live within it. Since he has a passion with plants and with regards to nature having a positive impact on our well-being, it only seemed fit to have the collection worked within the space and not have it segregated.

The plant unit also utilises layering with hollow cubes inspired by the artist Rashid Johnson. This ties in with the tiered system in my previous study of the Glossier seating area. I have included a bedroom and W/C mezzanine unit for space-saving, inspired by the use of levels in the Yurikugo House. The raised plants and bedroom allows my client to have an immediate view of his collection and this maintains relevance with the way he peacefully lives with his plants and his practice of promoting awareness of nature around us.

I found drawing my space by hand and to scale of 1:20 really helped me set out my initial layout and how I wanted to divide up the space. This tool really aided me in finding the correct proportions of my live-work ratio in relation to the room and it is something I will be taking on forward in future projects and my career.

H&T Project 1 Studies

*Yurikago House in Barcelona, designed by Mas-aqui*

This semi-basement apartment has been renovated with the use of half levels, utilising the height of the house. It has created more space on the upper storey and the levels are connected by small steps and internal stairs. It uses a mezzanine with a wooden slatted structure to let light to flood through. And the living room is raised with a tall arched window. I feel this will influence my project as I have tall arched windows surrounding my room which I could fully utilise by bringing the floor levels up to reach this window height as my client grows plants, this could be very beneficial for them.

*Newry House by Austin Maynard Architects*, *Melbourne*

Austin Maynard Architects works within the narrow space with the addition of a raised indoor bed beneath a skylight that sits above the dining area. A range of species are planted in the bed including a philodendron and ferns which creates a leafy border and a living backdrop to the built-in dining room. It has a greenhouse-like/conservatory effect, blurring the lines between the indoors and outdoors. This will help my project as I also explore this concept of building my client’s collection of plants within the way he lives and uses the space.

*Communal seating area in Glossier Seattle, 2019*

This seating area is designed to look like a terraced landscape or a set of hills, which is portrayed by stacking layers of thin cushions covered in green surfaces of leather and fabric. This could be an inspirational design for my project as I would like to incorporate my client’s work of growing plants into the space by stacking cube structures in this layout. The cubes will hold the plants so it will be very similar to the green layered design here.

Cornelia Parker Visit

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.