tetrahedron object, places: a portable set.
Alessia Arcuri - Process Book BA (Hons) Graphic And Media Design London College of Communication
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Contents Part one Brief and objectives Developing the triad Research and findings
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Part two Experiment one Experiment two Experiment three Defining concepts Experiment four Experiment five
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Part three Defining the concept Production and process Publication
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Part four Outcome and Evaluation
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part one: brief and research
brief and research
Brief and objectives: Develop a triangulation between three different elements or subjects of interest and investigate how these three are connected or disconnected. This should lead to a publication which aims to demonstrate the findings in a informative and challenging way.
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part one
Developing the triad: material, immaterial and places Preliminary insights and possible developments of the initial triangulation
The project aims to investigate the relationship between materiality, immateriality and places. Three broad concepts have been chosen because they presented a vast variety of possible interpretations. Immateriality can be interpreted as a idiosyncrasy, intended as something which is proper and personal to the individual and therefore subjective. This area could relate to the very way in which individuals relate to objective situations but also to intangible elements. Material refers to the objective physicality of elements, intended either as tangible and physical entities and rules and parameters individuals employ to live, understand and relate to reality. Finally, the concept of place has been identified as a common-ground where the two elements just mentioned can intersect. Places can therefore be perceived as an objective element as urban environment and cityscape) and subjective (as the personal relationship we establish with places, our
emotional response to them and how we define our emotional space). As it was previously mentioned, the three elements selected are intentionally really broad. It was in my intention to approach this brief with a wider prospective, allowing the project to expand within different fields and to initially test different ideas and concepts. As a very first step, it has been necessary to brainstorm about possible areas which should be researched and to expand the first three elements into different sub-sections, investigating how these could relate or not relate to each others. The brainstorming had an ice-breaking purpose, not all the areas have been fully investigated but this process helped to define possible directions. This process was necessary in order to achieve an understanding of how to develop the process and to investigate which areas could be worth to explore.
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brief and research
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part one
Research and findings: Key elements which informed the development of the project
Psychogeography and detournement This concept was widely explored by Guy Debord and the Situationist International and it refers to the way in which individuals have different responses to urban places. Psychogeography seeks to investigate the variety of ways in which an emotional relationship with a location can affect the very way in which the space can be perceived.
Image: spread from MĂŠmoires, artist book created by Asger Jorn and Guy Debord. The book investigates the concepts of Psychogeography and Detournemnt achieved by overlaying newspaper pages and printed map of Paris and London with splashes of ink and collage. The overall concepts aims to question the relationship between individual, society, cityscape and spectacle.
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part one
Quantum mechanics and experiments with particles have taught us that the world is a continuous, restless swarming of things, a continuous coming to light and disappearance of ephemeral entities. A set of vibrations, as in the switched-on hippie world of the 1960s. A world of happenings, not of things. – Carlo Rovelli, Seven Brief Lessons on Physics
Seven Brief Lessons on Physics by Carlo Rovelli The book Seven Brief Lessons About Physics by Carlo Rovelli presented a challenging understanding of how physics could be interpreted with a more philosophical approach in order to understand the very way in which individuals relate to reality. Theory of physics are therefore contextualised within broader scenarios. Non-place The concept unfolded by French anthropologist Marc AugĂŠ is presenting interesting point of reflection in understanding the very impact of places on the individual and which are the dynamics which affect the way in which individuals react to them. Invisible cities by Italo Calvino The novel book by Italian writer Italo Calvino consists of 55 short poems about imaginary cities. Marco Polo, the protagonist, narrates to emperor Kublai Khan about the cities he visited. The book is regarded by the author as the last love poem to the concept of city and places which was seen by Calvino as now threatened. Each of the poem focus on a specific aspects of the individual relationship with places.
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brief and research
Cities, like dreams, are made of desires and fears, even if the thread of their discourse is secret, their rules are absurd, their perspectives deceitful, and everything conceals something else. – Italo Calvino, Invisible Cities
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part one
Joachim Koester: The Other Side of the Sky @ Turner Contemporary The artist challenge the relationship between physics, materiality and personal reactions using a variety of media. (in pictures: Animation by Joachim Koester based on Mescaline drawings by Henri Michaux and combined with Tarantism dance; Koester experimentation with colours, oil, water and soap on a microscope) Research: Exhibitions and Visits Electronic superhighway @ Whitechapel Gallery By exploring how the internet challenged contemporary art, the exhibition provided useful insights in exploring how ‘we’ find our own personal individuality on the web (in the picture: Evan Roth’s Internet Cache Self Portrait)
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brief and research
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part one
Nobuhiro Nakanishi’s Layered Drawings Japan-based Nobuhiro Nakanishi’s work Layered Drawings showcase how the three-dimensionality of an environment and the concept of time and movement could be represented in other formats. Time-lapse photos are laser-printed onto acrylic, the outcome successfully showcase the effect of movements and the subtle passage of time. Daniel Eatock Earthbound skybound Daniel Eatock publication is a meaningful example of how the printed media can be challenged in order to convey a narrative. By the use of monotone images and a simple system of rules, the publication successfully deliver an elegant and subtle interpretation of the concept of environment places.
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brief and research
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part two: experimentations
part two
Experiment one: Testing perception, optical illusion and escaping function The first experimentation was probably the less successful one but it was essential to get the project started. As an ice-breaking exercise, some tests concerning optical illusions have been carried out, driven by the interest of using something which is really material (as a printed object is) and converting into something which trigger they eyes of the viewer into seeing something else. The experimentation followed up into another tests, which was focused on testing the limit of an object (in this case a printer and a non absorbent paper) to investigate how this dysfunction could visually translate. Both the experimentation have not been further developed because they didn’t feel coherent with the project and they didn’t provide any further inspiration.
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experimentations
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part two
Escaping function Printed gradients an a non-absorbent surface. The outcome of the tests emphasise the materiality of the ink and the failure of the device (paper and printer) to perform a function.
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experimentations
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part two
Experiment two: One square metre In order to create a closed environment to analyse, I set myself the rule to investigate an area by using one square metre of space. This aims to place emphasis on the contrast between the physical restrictions of
space and the multitudes way in which we could relate to the space in its totality. A variety of data have been collected and then combined together to represent this whole picture.
Textures Either human made or natural, it is possible to find the smaller details which are usually left unseen
Pattern It is possible to observes grids and repetition of elements and shapes, creating pattern and rhytm.
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experimentations
Light and contrast Challenging the way in which space is usually perceived, it is possible to analyse the balance between light and darkness, emptiness and fullness.
Ephemera Elements left by people, traces of interaction with the place. Elements left by weather, traces of interaction with the environment
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part two
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experimentations
The experimentation aimed to investigate how this multitudes of elements ultimately converge in the whole experience we perceive in a space. The images have been printed on transparent acetates and a cube has been created. Adding three-dimensionality to the test provided further key for reflection: this allowed to translate an objective data collection into a more abstract interpretations. The transparency of the paper allow the “experience� to change according to how the cube is handled.
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part two
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experimentations
Colours As a further experimentation, information concerning colours have been collected and then distorted using a blur. This process created a sort of gradient, which should ultimately represent the prevalent colour of the place taken into account. Further experimentations have been carried out concerning how the gradient could be perceived. By coding the gradient into smaller bounders, the aim was to extrapolate “colour particles� of the general location.
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part two
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experimentations
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part two
Experiment three: De-contextualising elements
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experimentations
The experimentation focused on de-contextualising existing elements form a chosen place. Taking a closer look to details and aiming to de-contextualise their shapes and form from their original frame of reference. In this case trees becomes more similar to blood vessels. This experimentation has not bee further developed because it felt as redundant.
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part two
Defining concepts Olafur Eliasson, passive consumers and active users
Olafur Eliasson’s projects are often challenging the traditional way in which a space can be perceived. During his talk at Royal Academy, the artist underlined his interest in producing a temporary elements in his works. – meaning challenging the user into physically exploring a space, become an active agent within the environment rather than a passive consumer, allowing the individual to complete the narrative. Olafur Eliasson’s works and approach provided crucial insights at this stage of the research because of the very way in which he investigate the materiality of form and the process of taking into consideration the emotional “derivè” entailed by places, environments or objects. The “one-square-metre” experimentations I carried out strived to be small-scale tests of a similar concept. However, because of the “randomness” of the place selected, they failed to fully represent the main idea.
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experimentations
Image: Olafur Eliasson, The Invisible Pavillion
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part two
Defining concepts Joseph Kosuth and Sol Lewitt Conceptual art, artist book and Sol Lewitt Artist Sol Lewitt is widely renown for his artists’ books and for the way in which he challenged the value and the function of the traditional artwork by converting it into the format of the book. The image illustrates Sol Lewitt artwork for a collaborative artist books, where he investigate the shape of the square with a series of line drawings derived from the combination of numbers 1,2,3 and 4. Lewitt appears almost as challenging the multitude ways in which a section of space could be visually challenged, testing possibility within boundaries.
One and Three Chairs, Joseph Kosuth In One and Three Chairs, Kosuth aims to provide a faithful representation of an object by using three different elements: a manufactured chair, a photograph, and a dictionary entry for the word “chair.” Therefore, the viewer find himself looking at three different elements – an object, an image, and words – yet arguably looking at the very same thing. Therefore, analysing the variety of ways in which an element could be perceived has informed the development of the project.
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experimentations
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part two
Experiment Four: Testing boundaries and defining rules
Since the previous experimentations mainly focused on testing the variety of information which could be collected within a square metre, it appeared logical to investigate what a square metre represent. By using a string of the length of four metre, the experimentation consisted of constantly challenging the borders and boundaries without ever overlaying the string. The perimeter of the square stays the same, whilst it’s area is constantly challenged, almost as a metaphorical representation of the different ways in which a space can be perceived.
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experimentations
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part two
Experiment five: Decoding position – what defines and differentiates emotional and physical places The initial experimentation concerning the square metre could arguably defined as accidental, mainly because parameters were not applied to the selected place to analyse. While questioning which could be the more appropriate place to take into consideration – and after having questioned “what a square metre is” – it came spontaneous to investigate the concept of home. As an expat I have often questioned the meaning of places, mainly because of the rapidity by which I had to change flat in London and because of the opportunity of living and working in Berlin and Amsterdam during my DPS year.
Home Via Cenisio, 37, 20154 Milano, Italy Latitude: 45.487439 Longitude: 9.167278 Home 10 St Thomas’s Square, London E9 7PS, UK Latitude: 51.541082 Longitude: -0.053603 Home 70 Martello St London E8 3QQ, UK Latitude: 51.543189 Longitude: -0.057044 Home 72B Clarence Rd, London E5 8HB, UK Latitude: 51.551274 Longitude: -0.055492 Home Prinsengracht 30, 1015 DW Amsterdam, Netherlands Latitude: 52.378574 Longitude: 4.886354 Home Pannierstraße 9, 12047 Berlin, Germany Latitude: 52.48706 Longitude: 13.43146
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part two
This really quick test aimed to investigate the relationship between object and their emotional background. Using a mug – symbol of home and routine – and adding to it the latitude and longitude of my Italian address was a simple process which strived to question how to make a material object embodies the concept of home. In order to test if the experimentation could successfully represent the concept, it has been necessary to develop it into a whole series. Design started to acquire growing importance whilst deciding how to better visualise the concept. After having tested a variety of compositions and typefaces, a VCR font has been selected. In my opinion, it successfully underline the intention of forcing a translation of an emotional element into something physical, material and objectified.
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experimentations
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part two
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experimentations
Process and development The series has been developed while I was in Italy during the Easter Break. Due to a lack of facilities, the table cloth has been hand painted and transparent stickers applied onto the dinner set. 43
part two
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experimentations
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part two
Photography The pictures aimed to emphasis the paradox of the concept: by using an almost symmetrical composition and forced poses, the images aims to underlines the materiality of the objects. What emerges from the picture is almost an “uncomfortable� feeling: the mix of warm and cold lighting and colours emphasise the aseptic qualities of the products, which is in contrast with the personal aspect of the narrative.
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experimentations
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part three: developments
part three
Defining the concept A movable set, a movable home
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development
The last experimentation resulted successful and it was my intention to develop it further. Whilst questioning which would be the more appropriate way to bring the set to London, the idea of a transportable picnic box came across. This should contain a single set (smaller than the one used in Milan) and should metaphorically question the relationship with emotional places and emotional objects, whilst taking into account their physical and material qualities.
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Cubo, by Alberto Garutti Exhibition space which is temporary located in suburban area. Olafur Eliasson, Your House Book where the audience can metaphorically visit the space by flicking through the pages.
part three
Preliminary sketch The luggage/box will contain only the set for a person: one plate, one bowl, one side plate, a glass and small table cloth
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development
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part three
Production and process Materials and workshops
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development
In order to emphasise the fragility of this subject matter, the box has been created using frosted and transparent acrylic. This will allow the elements to be visible from the outside and it would also resonate the paradox entailed by this product. The box has been produced with a lasercut machine and a sentence summarising its function has been engraved on the front, together with latitude and longitude. Handles and wheels have been added, in order to highlights the movability of the box. These elements have been selected because of their semiotics: even if they collide with the visual aesthetic of the box, they represented the most effective way to represent the chosen concept.
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part three
Production and process Thanks ikea, thanks capitalism.
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development
New plates have been purchased - ironically in the very same place I bought them in Italy: Ikea. During the first test the numbers have been applied by using a transparent stickers, this time a laser decal has been used. However, the quality of the final plates is far from perfect: imperfections are visible on the surface. Despite of that, when the set is seen as a whole these imperfections are less visible and the overall look resulted pleasing.
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part three
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development
This time I could benefit from full access to facilities, therefore the table math has been screen-printed on cotton. Also in this case, some imperfections are visible; several tests have been carried out but, unfortunately, due to the technique itself, it was impossible to achieve a perfect result. However, when the table mat is placed together with the set, the imperfections are less visible.
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part three
Publication One book and three different narratives
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development
The new products have been shot both at home and in studio. However the main issue at this stage was to develop a coherent printed element which could work as a counterpart to the box. The most difficult aspect was to identify an appropriate format which could successfully convey three different narratives (the materiality of the objects, the nostalgic yet aseptic pictures of Milan and the naive solitude of London).
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part three
Publication: Transparency, layers, folding techniques and formats
the three narratives could overlay and merge. Images have been always kept in large format, mainly full bleed, whilst the products have been organised almost as a catalogue, placing large emphasis on their materiality. Sentences relating to the function of the products have been used as a way to further highlights the paradox.
French Folding and Concertina were initially identified as potentially successful solution: both the formats would allow different narratives to fit and they could provide two layers of reading (thanks to the folding). Further tests have been carried out on different paper stock, ranging from bible paper (printer is now dead), tracing paper and laser film. Thanks to transparency,
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development
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part three
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development
Different typefaces have been tested in order to identify the best pairing with the VCR numbers. Garamond Premiere Pro has been selected because it was working successfully as a counterpart of the squared and rigid shapes of VCR OSD Mono. Garamond Premier Pro was successfully for two reasons: it allowed the emotional narrative to gently come across whilst, when used in large pt size in the description of the products, it underlines the paradox of the whole project. After several tests, it has been decided to employ transparency only for some elements of the publication. The narratives are successfully divided into three main elements: the materiality of the objects and their functions are the first content to be delivered, subsequently the reader is invited to discover the other two narratives hidden between the foldings. Images are organised almost as a zoom-out: starting from more detailed photos and progressively expanding to the full set.
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part four: final outcome
part four
Outcome and Evaluation By questioning the relationship that is established with, within and through places (and by questioning their meaning, function and significance); the conclusion is both a question and a possible answer. A portable set inherently linked to its point of origin, home – transportable to the place where implementation is needed – home.
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part four
This project presented a challenging opportunity to investigate wider concepts and to translate them visually. Defining metaphors, developing narratives and visualising concepts have been the main learning outcomes of the project. Even though I believed I was going to develop my chosen triad in a completely different way, this project allowed me to experiment and to test a variety of approaches and media, in order to identify the most
suitable development of an initial concept. However, the three elements I initially selected are still resonating within the outcome. The outcome has been slightly compromised by production: spending time printing on real ceramics wouldn’t have left enough time to fully develop concept, design and publication. However, in its whole, the final outcome results satisfying and, in my opinion, the concept is communicated effectively.
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outcome and evaluation
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Alessia Arcuri - Process Book BA (Hons) Graphic And Media Design London College of Communication info@alessiaarcuri.com www.alessiaarcuri.com
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