IN TRANSIT
Introduction In this book, I devised into two part: unit 1.1 and 1.2. In the first part is including sequence 1-6 as an exercise to develop an idea of the research topic that I’m going to do in the next unit. And in the second part is the development process of the sequence 6 that leads to my research topic. It’s has a series of experiment, research and sketch model.
Isada Kultavarakorn KUL11350692 Interior and Spatial Design University of Arts London 2017/18
Contents Unit 1.1 Sequence Sequence Sequence Sequence Sequence Sequence
1 2 3 4 5 6
6-11 12-17 18-25 26-33 34-39 40-59
Research Development Poster Conclusion
62-75 76-77 79
Unit 1.2
1.1
1
Inside out
“Select a single page from a current journal in our library, this can contain any form of information, written, image, advert or editorial. Photograph or scan it. Select a single page from an journal in our library from the month/year of your birthday. Photo- graph or scan it. Write about the two images, how they relate to each other and how they connect with you and your research. How in particular, does the relationship with your birthday affect your reading of the im- age and will an image from the start of your MA course affect you in the same way.�
By I.K.
2
Movement
“Select two video clips, one from a film and one from a music video that contain a spatial sequence, i.e. motion though room, rooms street or similar. Prepare the clips for showing with titles. Add text to the to describe the atmospheric qualities and details of the clips, expressing your observations and reasons for selecting them. Note the connections between the two.�
Scan here for video
// Go to link below https://www.youtube.com/ watch?v=oOT_l7molRo&feature=youtu.be
3
My Space
“Select a short passage from a piece of fiction writing that emotively describes an interior space. Select a second passage that comes from a technical description of an interior. Write about a single room you regularly occupy by using both styles. Reflect on how the writing alters the perception of the space.�
Emotively After a few days’ practice they could go up and down as gaily as buckets in a well. And how ardently they grew to love their home under the ground; especially Wendy. It consisted of one large room, as all houses should do, with a floor in which you could dig if you wanted to go fishing, and in this floor grew stout mushrooms of a charming colour, which were used as stools. A Never tree tried hard to grow in the centre of the room, but every morning they sawed the trunk through, level with the floor. By tea-time it was always about two feet high, and then they put a door on top of it, the whole thus becoming a table; as soon as they cleared away, they sawed off the trunk again, and thus there was more room to play. There was an enormous fireplace which was in almost any part of the room where you cared to light it, and across this Wendy stretched strings, made of fibre, from which she suspended her washing. The bed was tilted against the wall by day, and let down at 6.30, when it filled nearly half the room; and all the boys except Michael slept in it, lying like sardines in a tin. There was a strict rule against turning round until one gave the signal, when all turned at once. Michael should have used it also; but Wendy would have a baby, and he was the littlest, and you know what women are, and the short and the long of it is that he was hung up in a basket.
Fig. 3
Fig. 4
By I.K.
4
Transitional space
“Visit the National Gallery and select a painting of any type that creates an extended spatial relation- ship with the viewer. On your journey to or from the gallery select an advertisement that generates a similar virtual space. You should consider the spatial sequence that leads up to the engagement with the painting/advert. Develop a model(s) that uses a technique to express the virtual relationship in a physical form, demonstrating the similarities and differences between the gallery/painting and street/advert�
Sketch Model
By I.K.
Sketch Model
By I.K.
5
Internal / External
Identify a piece of external public art and an internal gallery installation. Use a single technique i.e drawing, photography, film or writing, to map the changing characteristics over an extended period of time. e time can be in a single day or across several days. Reflect and record your responses to your observations.
6
Behind The Sense
“Use the 5 initial sequences to generate the final combination of object (occupying no more than 1m3), image ( max area 0.5m2 ) and video ( 250 seconds max). e work is about density rather than expansive scale, see how much information can be contained and communicated within these lim- its. ese final pieces will be a hybrid of your observations and sequential steps that highlight your research interests. ey will show how you use the duality of the sequences to construct an approach that addresses both physical, theoretical, written and fabricated work. Within the confined limits of the studio you will arrange a spatial sequence of presentation of your work.�
Sequence four and five are the two that came to my attention the most while I was doing it. In sequence four I was finding a relationship between one painting and the other advert. After walked around National Gallery I notice that not many people paid attention to this one paticular painting. So I ended up looking at a painting and an advert that no one really looking at. And then again, it happened when I was doing sequence five. One thing I notice is that people pay less attention to the external installation. In contrast to the internal installtion is Tate Modern, people were taking photos and discussing about it. So this is what it led me to my main focus on sequence six, which is about human awareness and behaviour in trasitional space. Do people aware of what’s happening around them while they are too busy focusing on direction.
Sketch Model
By I.K.
Sketch Model
By I.K.
Testing Process
By I.K.
Testing Process
DIY phone projector made from cardboard and magnify glass.
By I.K.
Throw the holes
Inside the holes
By I.K.
Frame displayed
By I.K.
Setting up process
I display my work in the staircase corridor and next to the work I put a small poster with a QR code link to my booklet.
1.2
By I.K.
After the exhibition, I got some feedback about the work I have done. Maybe just the frame isn’t enough to draw attention and since I was using the projector. Focus and out of focus idea to play with projector distance to the object is something that I can explore more like the photo on the left. I took the frame off and project the film directly to the box and it creates another effect, which leads me to experiment more with different shape of boxes. (photo on the next page) Then, I did photoshop three sets photos to show the combination of the focus and blur idea with the framing and cropping idea. I also using square and circle shape to communication that idea of human propostion from the famous Leonardo Da Vinci’s drawing: The Vitruvian Man.
By I.K.
South Kensington
By I.K.
National Gallery
By I.K.
Victoria Station
By I.K.
Shooting process
Dancer: Thea Laang Photographer: I.K. Co-photographer: Somprasert S.
Dancer: Hanyun Du
Scan here for video
// Go to link below https://www.youtube.com/ watch?v=oOT_l7molRo&feature=youtu.be
The QR code here on the left is a link to a video that I made to improve the project. In the earlier stage, I used a found footage of two ballet dancers for the sequence two and keep using it in the last sequence. But in order to improve it, I thought it would be better to make the video myself, so I put posters around our college. Photos from the page before are the process of the shooting. I was filming the moving image and I got a friend to help me take some still images for the poster that we had been asked to do for our project.
ISADA K.
DESTINATION
MOVEMENT
MA : ISD
16 John Islip St, Westminster, London SW1P 4JU
6 - 10 November 2017 9.00 am onward
C Block
ISADA K.
DESTINATION
MOVEMENT
MA : ISD
16 John Islip St, Westminster, London SW1P 4JU
6 - 10 November 2017 9.00 am onward
C Block
Conclusion My research topic is about people awareness and behavior during their traveling or getting somewhere. Involving technology device such as phone, iPad, iPod and etc. Do people be come less aware of the surrounding they are in? Or do people become less socializing? If so what can I do as a designer to make people see and appreciate things that is around them everyday. I want people to feel more connected physically but not forget the fact that we are in digital age.
Bibliography Cogley B., (2017), ‘Plywood staircase extends up through centre of Philadelphia town house by ISA’, Dezeen, 10 Septmber 2017, https://www.dezeen.com/2017/09/10/plywood-core-runs-through-centre-outside-in-townhouse-interface-studio-architects-isa-philadelphia/, (Accessed:10 October 2017) Frick M. (2013), ‘Tadao Ando, From Emptiness to Infinity’, https://vimeo.com/205544523, (Accessed date: 20 October 2017) Gower T. (2017), ‘The Couple’, Wallpaper, November, p.133 J.M., Barrie, (2015), Peter Pan, New York: Diversion Books. Moore R. (1993), ‘The Sences Engaged’, RA, Issue No.38, p.46-47 Nauman B. (1970), ‘Sculpting The Mind’, Tate Modern. Rackowe N. (2017), ‘Square Prism’, The Royal British Society of Sculptors. Richter M. (2014), ‘On The Nature of Daylight’, https://www. youtube.com/watch?v=RU92YBxAI-g, (Accessed date: 20 October 2017)