C O LO U R S O F P E E N YA Aroushka Jinelle D’Mello
Srishti Institute of Art, Design & Technology, 2015
‘Colours of Peenya’ documents my journey through my diploma project at Srishti Institute of Art, Design and Technology. My work involves detailed research and a translation of what I found, to represent Peenya as a community. The installation ‘The Colours of Peenya’ is a visual experience that helps people who commute through the station to access Peenya, through a narrative of form and colour. The colour selection was guided through a careful process of generating and narrowing down palettes from photographs I took within the community. The application of the colour within the metro station was guided by response to the form I designed for the site (The Concourse). In here you’ll find artists I referenced, talks I went to, notes and observations I made, images of multiple stages of prototyping and my learnings in the past few months, until I arrived at my final response in Peenya.
‘Colours of Peenya’ by Aroushka Jinelle D’Mello As a part of the ‘Art in Transit’ diploma project at Srishti Institute of Art, Design and Technology, 2015 All documented images are owned by the artist. Course Co-Ordinators Agnishikha Choudhuri Amitabh Kumar Arzu Mistry Ruchika Nambiar Samir Parker www.artintransitbangalore.com www.coloursofpeenya.tumblr.com
I’d like to personally thank my fellow classmates for the numerous days we spent together, for working, critiquing and supporting each other on this year long project. My faculty for believing that I had so much more to offer at every stage. And the Bangalore Metro, the staff and authorities at the Peenya Metro in particular, for loving and supporting what we had to offer to their space.
CONTENTS AN ARTIST AND A DESIGNER 1. Why Art in Transit?
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UNDERSTANDING TRANSITORY SPACES 2. Visual Note-making 19 3. Metaphors 21 4. Peenya in a Metaphor 23 ENTERING AN INDUSTRIAL SOCIETY 5. Documenting Peenya 6. Mapping to Access 7. The First Exhibit 8. Early Ideas (Moire, Layers & Lighting) 9. Ksana
27 29 33 35 39
REFINING CONCEPTS 10. Introducing Colour (Prototype A) 11. Artists Referenced 12. Documenting Colour
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CONVERSIONS 13. Specifications, Working & Style (Prototype B) 14. Working with Grids 15. Cylindrical Shift (Prototype C) COLOURS OF PEENYA 16. Fabrication 17. Looking Back
AN ARTIST AND A DESIGNER 1. Why Art in Transit?
1. WHY ART IN TRANSIT? ‘Art in Transit’ stood out as an incredible opportunity for me to express myself, define my practice and establish myself as a multimedia artist. My journey in Srishti was initially dominated by my love for graphic design, illustration, print and typography. I started experimenting with fields like curation, animation and film during my years as a senior and I found that it was more enjoyable to bring all these fields together whenever I worked on a project. Before I made my way to design school however, I studied fine art and I used to work with watercolour. My love for painting made me take up my first Public Art project at Srishti and this was the first time I actually encountered challenges. Public Art had a whole new dynamic to it, this was the first time I wasn’t working within the comfortable environment of a classroom. My work was now encountering public opinion, I had to design images that would encounter cultural, social, economic and political opinion. It took time to gain confidence, to develop a style, to work on different image scales and encounter response and the lack of control with what would happen to my image after, would it survive, transform or be wiped off. I spent the previous year designing an installation for the Peenya Metro Station in Bangalore. The challenges were never ending, designing for a transitory space, a community, and a client, the search for a concept, defining a style and reiterating with each prototype to accommodate budget and structural integrity of the piece. The images and writing in this book are an account of the things I saw, drawings I made, images of prototypes and a few post-its with all my little insights and doubts. Aroushka.
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UNDERSTANDING TRANSITORY SPACES 2. Visual Note-making 3. Metaphors 4. Peenya in a Metaphor
•Interiors Study of Exteriors + • How do they interact with each other? •be Can these boundaries blurred?
Our initial explorations as a class didn’t begin at Peenya. We decided to look at the first metro line that was established within the city, the M.G Road - Baiyyapanhalli Line (The Purple Line). We triggered this stage with a set of visual note-taking methods, each of us covered a different station on the purple line, made notes, sketches and took photographs, creating a visual bank within the classroom.
2. VISUAL NOTE-MAKING
The Purple Line is one that I was really familiar with, having used it extensively to travel to some of the main areas of the city like M.G Road, Ulsoor and Indiranagar. It is used prominently by people who work in these areas, tourists and people who come out to shop and school children. It is active throughout the day and is buzzing with activity. The Purple line was radically different when compared to what we discovered on the Green Line of the Metro (Peenya), in terms passengers and purpose. 18
Discussing a group map with drawings from different points in and around the Baiyyapanhalli station. (With Bijin, Siddhanth, Sidartha and Aditya)
Sketches I made at the Baiyyapanhalli Metro Station (Purple Line). 19
In order to start building creative stories around the metro station we started looking for metaphors, in the way the space spoke to us or in how people reacted to each other while in these spaces of transit. When I was at Baiyyapanhalli line, I noticed a really interesting link between the old and the new modes of transportation within the city. When you exit through the back exit, there is an intricate set of stairs that leads you down to the platform of the local train station. In turn, a set of stairs leads you back up to a bridge which makes a connect back to the metro station. All that separates the two, was a small little wall. I found this most interesting, it was like the new integrated what already existed within it’s system. This meant that for some people, though Baiyyapanhalli was the last metro station, they’re journeys didn’t end there, but would continue on to other destinations. Therefore the idea of ’A Never-Ending Journey’. 20
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Can I use layers as a tool for expression and story telling?
3. METAPHORS
Above are 5 overlaid drawings showing the 1) Exit from the Baiyyapanhalli Metro 2) The winding stairs that descend to the railway platform 3) A bridge that leads you to the other side of the railway platform 4) A bridge that links you back to the metro 5) And the Baiyyapanhalli Railway Train.
To represent my metaphor I came up with a layered drawing, this enables you to have a look at all of the links individually and then notice how they come together. 21
• Peenya • In flux • Constant change •builtThings are getting and are broken A flip book made on the concept of puberty. Relating the stages of facial hair growth of a young boy, to the growth of the metro within a young city, Bangalore. Some stages covered are awkwardness, the wait, status, excitement, options, completion, etc. This related Particularly well to Peenya, as a new development, parts of it were still under construction, houses were broken down to accommodate the metro and people were taking time to accept and incorporate it within their lives. Illustrations - Aroushka Jinelle D’Mello Print and Packaging - Ruchika Nambiar Text - Ruchika Nambiar, David Mckenzie, Alok Utsav & Anchana Kota Conceptualized by - Ruchika Nambiar, Anchana Kota, Aroushka D’Mello, David Mckenzie, Alok Utsav, Vrinda Gupta & Sayori Mukherjee 22
down at the same time! •broken People’s houses were down, because of the construction. How do they feel about the metro?
4. PEENYA IN A METAPHOR I found myself staring at the mirror With a tiny glimmer of hope There wasn’t anything to see yet Nothing to feel I remained the same Everyday I’d observe with envy The leaps and bounds everyone else was making And I waited for the day to come Then one fine day It arrived and appeared And was welcomed with such joy Overflowing with happiness at this glorious beginning I showed off to the world my new prized possession But it grew unsteadily A little clumsily And soon I didn’t know what to do with it Gathering attention from all around With my sudden spurt in growth I grew impatient with my awkwardness It grew in patches Making gawky connections I didn’t know when it would end. Waiting was all that was left. I know I’ll get there eventually I know this phase is necessary And hopefully… It’ll be worth the wait Or will it? 23
ENTERING AN INDUSTRIAL SOCIETY 5. Documenting Peenya 6. Mapping to Access 7. The First Exhibit 8. Early Ideas (Moire & Layers) 9. Ksana
•myPeenya was vast and response would have
5. DOCUMENTING PEENYA
to take into consideration scale and the vast empty spaces! •given Could these voids be a purpose?
Sketches and photographs taken to document the Peenya Metro Station.
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Unlike the interiors of the metro stations on the Green Line, Peenya was exceptionally vast. There were a lot of unallocated spaces being left for advertising and stalls. Some places had no purpose at all and there were huge voids as well.
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During my education at Srishti I developed a passion for photography, and one of the areas that I really took to was food photography. I started a food blog in my third year and I found that food was a really amazing way to connect with people, it was a conversation starter, with recipes came stories, pride and history. When we decided to use mapping as a tool to make records and understand the area for ourselves, a ‘Food Map’ was the first thing I thought of, it would help me start dialogue with people, it would work as a information resource for us as we inhabited Peenya and it would give me insights about how people functioned within this space. Here are some of the photographs I took of food and vendors.
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•of Finally found a place comfort, an entry
6. MAPPING TO ACCESS
point. I was confused for the longest time. •whole I got to explore the area, see what existed in every lane and talk to so many people! •photographs Click as many as possible! •reference. Bank of images to
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•weren’t The people of Peenya using the metro,
I worked with my close friend and classmate Akshaya to map out food and food habits within Peenya.
a very small majority travelled in to work. •mixTheofpeople were a middle and lower class backgrounds. Prominence of affordable food and ration shops. • Look at public seating, shade, interaction in public spaces and crowd densities during different times of the day!
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Layer 1 - Map of Peenya Layer 2 - Illustrations of Food Stalls and Branding (Typography) Layer 3 - Illustration of Food with Vegetarian and Non-Vegetarian Classification Layer 4 - Density of People
A map of ‘Food and Food Habits in Peenya’.
Kadais that served chai, biscuits and other Indian snacks seemed to dominate the area and would be found at regular distances on scarcely populated roads. A few kadais catered to lunch requirements (Ambur Biryani, Gulkhand-Bun and Egg Rice), these were few in number and were located close to the IT offices within the area. A majority of workers would stay in and eat tiffins packed from home. Besides this, there were a few restaurant chains like McDonald’s, Cafe Coffee Day and KFC within the area. A outsiders who visited the place would eat here. Mapping was really interesting because we started noticing things we wouldn’t have noticed otherwise. We figured out work timings, and when people got off for lunch and tea. Peenya lacked public amenities, there were no places to rest due to lack of public seating and shade. The place was also very affordable, locally available food was of good quality and was nutritious, none of the food items were overpriced.
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7. THE FIRST EXHIBIT
The ‘Food Map of Peenya’ was a four layered map. A layer each for Navigation, Density of People, Type of Food & Branding Used by Stalls. We used a light table to display the image, where the map came together as a whole or each layer could be read individually. The first exhibit displayed our collective inquiry of Peenya as a class. There were a collection of sketches, maps and metaphors. It provided clarity in terms of how we saw Peenya, how each of us would access it and the potential of projects that could be developed within the space.
Akshaya and I with our map at the first in house exhibit of our in progress work.
The exhibit was open to other members of the Srishti community and we also invited Mr.Vasanth Rao, the General Manager of the Bangalore Metro Rail Corporation Limited (BMRCL) to have a look at our work and give us his take on it.
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8. EARLY IDEAS (MOIRE & LAYERS) My ideas initially revolved around layered images, patterns and illusions. These concepts developed as a result of my work with layered drawings, data collection (About timings, crowds, prices, etc) and mapping. The first thing I thought of creating were animated images with the use of scanimation bars. I then discovered simple patterns that animated themselves with induced movement though the ‘Moiré Effect’. I experimented with various patterned frames, where the images would get created with one frames response to the other, either by way of sliding or rotation.
Moire Sample
Scanimation Sample
Above is a pinhole grid. Use the attached screens - The Circle Screen - The Dot Screen - The Triangle Screen
Above is a sample of a scanimation. To view the scanimation of the gears, slide the image of the parallel black lines from left to right over the image.
Rotate each of this three screens over the grid separately to observe the moire created. The pinhole allows the pattern to scale up and down again.
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My next set of experiments revolved around creating a scanimation styled image with the use of colour. Moiré and scanimation effects are most responsive with the use of black. I however wanted to incorporate colour into my image for Peenya. I created a simple moiré pattern that would complete itself in three layers of images. I used four simple colours for my experiment, cyan, magenta, yellow and black.
• Early site selection! •movement Advantages of with the
presence of the stairs and escalators.
•people, A prime spot. Most being lazy, would use the escalator. •influenced My design would be highly by the specifics of the site.
An example of how the image will change from a different viewpoint.
For the moiré effect to trigger itself, one of the most important requirements is induced movement. My initial plan was to use either a pulley mechanism or to induce the movement with motors and sliders. With time I decided upon the site for my piece. I wanted to place it on the concourse level (within a void), running parallel to stairs and an escalators that take you to the platform. My image is inspired by what the viewer wants to see in a space. The idea is to make a person’s transitory movement trigger changes. With the ‘Moiré Effect’, it is possible to create an image and make it change in relation to the viewer’s position and movement, in relation to the image. 36
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•anyPlastic didn’t work, light on the image
Ksana was the first public exhibit for our project. This would be the first time we were presenting our research and our concepts to the general public and the people of the metro. The exhibit was a work-in-progress exhibit, where our models and concepts were still in the early stages of conceptualising, open to changes and feedback.
9. KSANA
would reflect and the image would get lost. •scaleWorkforontesting, a larger effects would be experienced more easily! •more Image would need complexity & styling. •depth. Look at lighting and White vs. Yellow Light.
*PROTOTYPE ONE - FLAT PANELS
My first prototype was a light box with 3 layers of acrylic sheet that had printed moiré patterns imposed them. The aim was to give a clear grounding to my concept of using the moiré effect and how I would trigger patterns with human movement.
Ksana, our first exhibit for ‘Art in Transit’ held at the Peenya Metro Station, Bangalore on 27th & 28th September, 2014. Images of my first prototype, a lightbox, with three layered images that create moiré patterns, lit with LED lights on 3 sides. 38
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Some of the workings that I was testing out – Pattern Making Depth Lighting Triggers for the Image When I presented my light box I was actually very surprised at the fact that people were able to understand my concept and how the piece would look. I think the visualisations came to a great amount of aid to me. The prototype fell short in a lot of ways. Scale – I think my piece was very highly dependent on scale. It lacked impact on the audience because the effect of it was lost. Because of the size of my prototype the moiré effects could not be experienced with ease as well, often I’d have to point them out. Material Choice – The printed images of the moiré were on acetate paper. This proved problematic for the image because of the glare that was being reflected off of them. At times, part of the image would not be seen because of this problem. Feedback – To work with colour and colour theory, play around with contrast and harmony of colours. The image had to be improved in terms of complexity, the lines had to be stylised. And to also consider material choices.
Some of the photographs I clicked at the exhibit. 40
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REFINING CONCEPTS 10. Introducing Colour (Prototype A) 11. Artists Referenced 12. Documenting Colour
10. INTRODUCING COLOUR The entire time I was working on the moiré effect, I felt an immense need to incorporate colour, mainly because Peenya has a very dull look to it. I felt the colour could work very well as a stimulus, to make people experience different things, intrigue, warmth, happiness, wonder and so much more. I began stylizing my lines and they were inspired by mosaics and pixelated images.
•colours Considering pop-art like to liven up the
The idea of the piece became solely experiential. I didn’t want people to see an exact image, not an image of Peenya, not a drawing or an illustration, not even shapes or forms of abstraction. The viewer would return each time to see and experience something different. The piece will also convey a sense of mass or fullness. And also a bit of grandness because of its size. The idea is to take that empty space, or the void that existed and create a feel similar to that of what a forest creates. Overwhelming mass, fullness and a sense of life with movement and stillness. *PROTOTYPE TWO - FLAT PANELS
space. •all Manually painting the 20ft long strips lead to interesting developments, I got accustomed to working at the metro station.
Painting the 20 ft paper panels that were 2 inch wide at the Peenya Metro.
An example of some of the experiments I was conducting with the black and coloured lines. 44
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Working on a larger scale made a lot of difference. People were able to experience the effect. It also gave me a lot of ideas on how to play with depth and perception. Colour – The colour needs more control to create fluidity and depth with a pattern or a flow to it. It appeared random at that moment. Placement – The placement of the bands needed experimentation. Light – Lighting was key to creating importance of either the warm or the cool colours. My selection of light would have an impact on the intensity of the colours. The view of the prototype from different angles when suspended. 46
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• Maser has always been an influence with
11. ARTIST’S REFERENCED Chris Jordan, Seattle, Washington
his bold pop art colour choices and strong line work. •Chris I started looking at Jordan to see how proximity to the artwork could lead to detailing and play!
Sydney Festival, 2015
MASER ART, Dublin, Ireland
Caps Seurat, 2011 48
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•BritI Salt really liked how uses her lines
on both flat surfaces and surfaces with dimension. •creating Nike Simmons for immersive experiences with colour. Her pieces breathe life, feeling and overwhelming volume!
Britt Salt, Melbourne, Australia
Nike Savvas, Sydney, Australia 50
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12. DOCUMENTING COLOUR Peenya is a dynamic society and the newest addition to the change is the constructed metro station. The community is physically divided into two by the highway and the metro line. On one side lies housing community and on the other lies the industrial estates. It isn’t the usual destination for a lot of people within Bangalore. It’s often visited only by people who travel to work within the area. As an industrial space, Peenya appears dull to the urban eye. Dust fills the air, concrete is left unpainted and distances are travelled in the blazing sun. A lot of what makes this community beautiful can’t be seen at first glance. With time, I saw the place differently, I found personality, while the highway was dull and dusty, the houses were brightly coloured, little potted plants with flowers made it homely
and women walking around in their brightly coloured sarees really stood out along with the brightly colour coded vaastu buildings. I started revisiting all my images. 52
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I decided to use colour as a tool to help people experience Peenya, a way to bring in what I saw externally within the station. I elaborately sorted out a palette for Peenya, representing the community in its truest form. My extensive research of colours is documented by a series of carefully selected photographs and swatches that can be found in my book ‘Colours of Peenya’. The books consists of carefully exposed photographs that are true to what the eye sees, each photo is then analysed and broken down into a carefully calculated palette. (A complete palette off the image, a palette of medium, dark and light tones and a streamlined palette of 5 colours). All images are carefully analysed and colours are accurately represented in the proportions they exist in). The colours will be picked out from my research and incorporated within the piece. 54
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COMPLETE COLOUR PALETTE
•pages Here are two sample from my book
‘Colours of Peenya’. •complete Each image has a palette and a palette for dark, medium and light tones. The value are represented in Pantone, Hex, RGB and CMYK.
LIGHT
MEDIUM
DARK
Pantone 7413 C Hex ee8833
Pantone 7584 C Hex bb5622
Pantone 1345 C Hex fecc87
Pantone 1685 C Hex 882311
Pantone 7641 C Hex 992144
R 238 G 136 B 51
R 187 G 86 B 34
R 254 G 204 B 135
R 136 G 35 B 17
R 153 G 33 B 68
C M Y K
0 43 79 7
C M Y K
0 54 82 27
C M Y K
0 20 47 0
C M Y K
0 74 88 47
C M Y K
0 78 56 40
Among the brightest set of buildings I saw in the community area.
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COMPLETE COLOUR PALETTE
LIGHT
MEDIUM
DARK
Pantone 1915 C Hex ee5688
Pantone 729 C Hex bb8755
Pantone 469 C Hex 764421
Pantone 4 C Hex 332212
R 238 G 186 B 136
R 187 G 135 B 85
R 118 G 68 B 33
R 51 G 34 B 18
C M Y K
0 64 43 7
C M Y K
0 28 55 27
C M Y K
0 42 72 54
C M Y K
Pantone 574 C Hex 445533 0 33 65 80
R 68 G 85 B 51
C M Y K
20 0 40 67
A construction site at Peenya, where there is a predominance of brown in the sand and bricks, broken only by the green from the trees.
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CONVERSIONS 13. Specifications, Working & Style 14. Working with Grids 15. Cylindrical Shift (Prototype C) 16. Fabrication
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•to Space that be filled.
would have
The installation would be placed within a void that existed within the concourse of the metro station. This space runs parallel to a set of stairs and an escalator.
13. SPECIFICATIONS, WORKING & STYLE The appearance of the installation at different viewing points in the station.
68 ft
The space measures 24 by 68 feet.
24ft
6 ft
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Content and Understanding
*PROTOTYPE THREE - CUBOIDS
The content of my piece aims at be light, fun, imaginative and open to interpretation. It is something that a little baby, a middle aged man, and an elderly passenger can experience. Passengers also spend a minimum of two minutes within the station (before reaching the platform), it therefore is something that can be experienced quickly, but not in its entirety and revisited again at one’s leisure. With each visit, new connections and understanding can be achieved. Experience The installation is a user experience. Navigation through the station can often be dull and monotonous. The aim is to catch people’s attention, to make them look out for things, search and also make their own interpretation and understanding of the piece through personal associations with colour and imagery. The image is not constant and changes are triggered based on viewer movement from one point to the other. Style The colours are an evocation of Peenya. The response is very similar to pixelation and swatches. The installation comes together in a layered style (The use of 4 layers). I’m playing with how things get hidden and come together at certain points.
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A scaled down model that would help me play with what can be seen at each viewpoint. It is also my first attempt at placing colour on a model with dimension.
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14. WORKING WITH GRIDS Challenges Colour - Creating a logic for the placement of lines, shapes and colour - Getting lines/patterns to align on the four layers - Translating the colour from my book onto the model. Form - My prototypes so far were concentrated too much on the style of the image, use of flat panels meant more control of the image. - I wasn’t working on an exact scale - Upon studying the space further I realised I needed almost 4 to 5 times the number of panels I produced in my prototype (Impacting my costing and the weight) - Cuboids would have to be welded to get the dimensions needed. (Higher Cost) - Each panel would be heavier to suspend , rather than each side being an entity of it’s own (Weight)
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For the following few prototypes, it was essential to work according to scale. This would help me occupy space more accurately in terms of spacing and the number of panels. I started working with an aerial viewpoint while designing the piece. I created a scaled down grid system accurate to the ratio of the space. I started placing in panels based on the spacing and the counts the grid had to offer. With the grid I started experimenting with angles, spacing and patterns.
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*PROTOTYPE FOUR - FLAT PANELS
The idea of switching to flat panels came from the fact that I needed to split up each panel to deal with issues of costing and weight. Each panel on its own would be lighter to suspend and if placed at angles, would occupy more space (reducing the total number of panels and therefore costing) Challenges Sizing The width of the panels range from 1ft to 6ft because of the style I was working with, i.e.. Larger panels towards the back and smaller sized ones in the front, However the beauty of the piece, the intricate layering of small sized panels was getting lost and the piece started looking flat and bulky. Plus Points I started working with an accurate grid that represented the actual area I would be occupying . This helped in better planning out of the sizing of each panel, the number of panels, spacing and my use of depth. 70
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15. CYLINDRICAL SHIFT *PROTOTYPE FIVE - CYLINDERS
One of the main reasons I started considering cylinders is because I felt that one of the defining elements of the installation was density, and I did not want to cut down on a large number of panels. Cylinders became a more logical choice in terms of fabrication because of the ease to purchase them in different lengths. I started up with a sketch up model where each panel is of an outer diameter of 3 inches.
My final prototype was an accurate scale down of what the final piece would look like. Each layer has meaning behind the colours selected, I used about 380 colours. 72
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Logic to Colour Layer One (Depth) Layer one consists of really dark tones of blues and greys. These represent industrial work units which are dull and dark spaces.
Layer Two (Dull Earthy Tones) This layer consists of a range of browns, dull yellows, ochres and earthy greens. They represent the colour of the exterior of the metro, the sand on the highway and the plain buildings.
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Layer Three (Contrast) Layer three is a compilation of all the really bright colours that stand out among all the dullness that exists within the area. They consist of bright neons and pure primary and secondary colours that I found on certain buildings.
Layer Three (Re-enforcing Depth) The last layer is the only one that I built from a bottom up perspective. The purpose of this layer is to close in the colours and re-enforce depth.
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16. FABRICATION My fabrication plan involves the following Material Acquisition PVC Pipes - My PVC pipes are being ordered from a manufacture. Lengths available in the market are 19.6 ft. I’m getting them made to a length of 20ft. The pipes are of a 4kg gage (thickness), so that they won’t be subject to warping or cracking. Metal Brackets - My metal bracket will be designed to the dimensions below in steel.
A visualisation of the piece in the selected sight within the metro. 76
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17. LOOKING BACK Paint Acquisition and Tests I had to conduct a lot of tests with different types of paints and painting techniques, PVC being an unsuitable surface for application. I tested out both exterior emulsions and enamel paint. Enamel was peeling off the surface like an acrylic. Where as emulsion would chip if scratched at with a certain amount of force. I decided to treat the surface of the PVC before paint application. The surface has to be sandpapered to create a bit of roughness and the dust would have to be wiped off. I settled with one coat of thin primer and two coats of exterior emulsion.
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Looking back to when I started working with ‘Art in Transit’, I never saw myself making an installation, having not made one before. A lot of what influenced me to take up fabricating this 20/60 ft piece is that I had a lot of space to work with at the metro station, how often do you get a chance to produce artwork on such a large scale? Along with space, it was also the people and the advice on board that gave me the courage to build something like this. I was working with people who had expertise with structure, fabrication, paint and space and was advised brilliantly as I worked on each stage of putting this together. I worked on the project on a step by step basis, planning it down perfectly for each step of execution, each process being extremely detailed and elaborate. From taking my photographs, documenting them, extracting the palettes, converting them to paint and pantone values, to the specifics to for the structure (Calculating the lengths and positioning of all the pipes, the lengths, placement, etc. As I approach the final stage of my project, the execution and installation, it has been very crucial to get in touch with the right people. Order my materials from the right sources, work out delivery methods and pricing, and build a relationship with my fabrication team on site. Two weeks from now, it’ll be beautiful to see all 375 colours up, representing Peenya.
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