GRACEFUL CHAOS graciรถs kaos
“It is clear that we construct, at the same time, far too much and far too little� Kiesler exclaimed in his manifesto. When the T and L sys- tem was created, it was intended to display artefacts. During the time it was built, it was seen as radical and utopian, something noone has ever done before. The construction and colour itself was creating a stir amongst the society at the time. In response to his utopian ideals during the 20s, it triggered curousity amongst modern norms. After assessing the weakness and strengths of the T system, we then de- veloped a method in exhibiting objects. Using activated senses to challenge the limits of display and exhibition, we have then created a radical display ourselves.
THE UTOPIAN IDEAL
UTOPIAN IDEAL
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CITY OF SPACE
UTOPIAN IDEAL
KIESLER’S INTENTION TO CREATE RADICAL OBJECTS AND DEBUNK OLD THEORIES The aim for him to create a display stand that was revolutionary and step away from the tradition. It brough ark works to life away from walls and intrigued more audiences with the dynamisticity of the structure.
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TECHINICAL DRAWING T SYSTEM
UTOPIAN IDEAL
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T SYSTEM REPLICA
UTOPIAN IDEAL
STRUCTURAL INTEGRITY FROM KIESLER’S REPLICA T SYSTEM WAS EVIDENT THROUGH THE BUILDING AND MAPPING PROCESS
After completing the T system, it was easier to envision the impact it had had during the time it was originally built. As Tensta wanted to have this structure downsized, it didn’t seem fair to Kiesler’s initial intention. The perpendicular planks were unusual and still unconventional in today’s time. It was unusual to build a display stand so tall and vast compared to the audience. The weight of the structure alone was overbearing when approached. When it was finished, we tested the affects on light and scale, knowing that the slightest change would give another impression. The T system, compared to the L system is significantly smaller, and somehow more intimate when the both are side by side. It is not until when you see these structures in life, that you are confronted by Kiesler’s ideals about utopia and revolution. The scale of this display stand is un-
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conventionally tall and extremely difficult to see the top of the structure. The process of making and working with this replica of the T system has opened up knowledge and understanding regarding Kiesler’s manifesto. Similarly to the ‘Endless House’, these two models served as a tool for him to emphasize his ideologies about the modern society and the deteriotion in design. Kiesler was a believer of function and construction, and this display stand completed and achieved his thoughts.
“The dwelling should be of simpler construction and richer inspiration; the dwelling should engender ecstatic peace.”
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T SYSTEM
UTOPIAN IDEAL
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SCALED MODEL
Original model consisted of block colours to create an unusual method of display. Compared to static colours and the wood, the colour swatches almost made the display stand comical. Comparative to the real life model, the scaled model gave an appropriate impression of colour schemes and the play on light, making it variable to the original.
USE OF COLOUR TO EMPHASIZE AND PUSH BOUNDARIES OF THE MODEL
UTOPIAN IDEAL
The models showed the strength and weaknesses of the replica and original, giving Kiesler’s intentions a more deserving notice. With the human figure next to the scaled model, it is indicated the scale in comparison to an average human height. As the object is quite imposing, it is very evident to have a very confronting approach to the display. When art works are hung on the display stand, the colour and scale pushes forward the intent and piece to the viewers. Though it sometimes may overshadow the actual work itself, it still acts as a focal point within the gallery to attract more viewers with the colours.
Taking inspiration from Kiesler, it was time to develop a method of exhibition within smaller groups. The attraction of his T system was the radical and unconventional ways in displaying. The group within ourselves decided to use this idea and push the limits of unconventional. What was the factor that made it radical in its time? Did exhibitions need a revolutionary way to display works? Kiesler’s method in displaying was mainly to create a focal point and something so imposing that viewers can’t help but confront with it. In contrary, we wanted to create something radical but, instead, hidden instead of exposed. The exposure value of the T system seemed to imposing and overbearing, we then tried to explore a new way to keep the same values but remain quiet, and more graceful. We needed a method that could still intrigue audience, but not have the same shock value as Kiesler intended.
“Difficulties generated in the realization of an organic, unified architecture find their solution in the strength and content of intuition.”
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DISPLAY INTERVENTION
DISPLAY INTERVENTION
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INSPIRATION
DISPLAY INTERVENTION
The most neatly tight packed with strips hanging down from the ceiling, also suggests that the art work is far away
Moderate packed with strips hanging down from the ceiling, suggest that the distance is closer to the art work
The closest before reaching to the art work itself, limited strips hanging from the ceiling, clearer vision through the gallery
The focal point of the gallery, also where the ark work will be and no strips will be hanging from the ceiling in order to reveal the works
In reverse of what Kiesler tried to achieve with attention and attraction, our concept was in reverse of what the T system did. Although using the same values of radical and unconventional, we tried to hide away the art work in display. The diagram shows how the focal point is dispersed outwards, creating a gradual but noticable change in the environment of the gallery. With a technique of concealment, we came up with ideas of hanging vertical obstacles to deter from the immediate exposure to the art works. With this method of display, the concept of a sudden exposure to the art work was important, the whole concept to an unusual exhibition. Because art galleries and museum nowadays have static white walls, it is often boring or neglected the significance of display. The way in which a work is displayed is the starting point of a narrative. We wanted to showcase and promote the hidden functions.
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TECHINICAL DRAWINGS
DISPLAY INTERVENTION
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SCALED MODEL
DISPLAY INTERVENTION
CONFORNTED WITH A GRACEFUL CHAOS... The intention to be unseen and have the object be hidden and have the sudden confrontation with the exhibition. The scaled model indicates the concept through the exhibition design. The norm of exhibition is too bare and almost too static for audiences to appreciate the beauty in art work. With this method of display, it conceals the object until it is revealed through discovery. The element of surprise plays a big role in this design, as it is crucial to deliver the object at a glance and not prolong the experience. The significance of this display is played up by the hidden object and the unknown.
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SCALED MODEL
SUDDEN INTERACTION ELEMENT OF SURPRISE With a more muted method of display, we were able to create an element of suprise within our vertical maze. Viewers were able to move freely without seeing, but at times catch glimpses of other people or the art work itself. With the strips falling from the ceiling, the vertical light plays an important role in overcast and shadow. Indicators of other senses are activated because sight is now limited. Though, when encountered with the art work, it delivers the message at a glance, instead of over a long period of time.
DISPLAY INTERVENTION
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CONCLUSION
DISPLAY INTERVENTION
The technique of concealment and hidden elements were achieved mainly in the model. After completing the concept design and model making, the process of development has pushed the potential further. If the project was continued further, our group would have explored more into the concept of concealment and the boundaries of what senses to activate. As our model confined the sight and heigtened the anticipation of the gallery, it would have been interesting to also eliminate the other aspects of touch. The project has been a successful journey in discovering what Kiesler’s ideal has translated into our own design.v
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BLIBIOGRAPHY Journal of Design History.” Sign In. N.p., n.d. Web. 02 Dec. 2014. Frederick Kiesler, City of Space (1925).” The CharnelHouse. N.p., n.d. Web. 02 Dec. 2014. Kiesler by Kiesler.” In: Architectural Forum, 123/2, September 1965. S. 64-71. Second Manifesto of Correalism.” In: Art International, 9/2, März 1965. S. 16-17. Friedrich Kiesler, Venice November 2006.” Flickr. Yahoo!, 10 Nov. 2007. Web. 03 Dec. 2014. Texte Von Friedrich Kiesler.” Österreichische Friedrich Und Lillian Kiesler Privatstiftung. N.p., n.d. Web. 03 Dec. 2014.
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