Inter-Shadows, Galyiah Almohannadi

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Inter-Shadows

by Galyiah Almohannadi

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CSA Research Report

Project Details Project Lead:

Galyiah Almohannadi

Title:

Inter-Shadows

Type:

Design and build architectural installation

Location:

UCA Canterbury campus - Kirk Hall lobby

Project Dates:

25 MAy - 27 August 2015 29 August 2015 - 02 September 2015 open to public

Design Period:

25 MAy - 27 August 2015

Budget:

ÂŁ700

Scale:

3.5 m x 3.5 m x 3m

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Research Agenda and Process Overview Shadows are inherently mysterious and ambiguous. The notion of shadows ambiguity is associated with its indefinite position in-between intangibility and tangibility. Shadows are physically not tangible; yet seem tangible through experience.

Ambiguity of shadows has been long recognized as engaging tool in the field of human perception; however, the application often lacks systematic integration of shadows’ ambiguity in terms of pushing the boundaries of interaction. In light of this, the project investigates the conditions under which control of shadows’ variables provides a system that acts as a facilitator of multiple levels of interaction.

The ambiguity of shadows is linked to the ambiguity of novelty in Pask’s conversation theory to advance the hypothesis. The aim is to objectify ambiguity of shadows outlining a form of ‘ Shadow-syntax’.

Research Questions 1.

How shadows’ ambiguity can be employed as engaging tools to facilitate multiple levels of interaction through engaging players and triggering spatial curiosity?

2. What is the link between Pask’s ambiguity of novelty and ambiguity of shadows?

3. Would ambiguity of shadows maintain a constant level of players’ engagement from interactive point of view?

4. Could shadows’ ambiguity be controlled through the control of shadows’ variables?

Fig.01 (previous page) Installaion mockup, constructed at Kirk hall at the UCA Canterbury campus

Research Statement

Significance and Contribution The systematic understanding of the potential of shadows to facilitate spatial curiosity can be a useful design tool to animate architectural spaces through intangible elements and to embrace users’ active engagement with architecture.

Analysis of shadows’ variables is outlined in terms the role they induce in the overall visual composition and the methodology of employing them to facilitate multiple interaction.

Methodologies 1.

Analysis of Sir Soanes’ approach of use of light and framing views

2. Analysis of precedent work in realm of interactive context.

3. Shadows Phenomena investigations/ experimentation 4. A series of trial-and-error sketch models and prototype models 5. Computer generated renderings studying configurations and coloured shadows

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Design Proposal Shadows are employed as engaging tool in an active spatial context; changing and forming multiple configurations rather than a fixed one.

perforated casting and semitransparent receiving screens, which can be rotated manually by the users. The screens are positioned in an integrated overlapping way so the rotation The setup is composed of a se- of each screen generates ries of packed up screens that are dynamic visual composition. designed to be unfolded by users allowing several spatial con- The process of unfolding based on figurations and revealing multiple the flexible movement of casting visual compositions receding and and receiving screens activates perceding in depth. Users’ shad- the in-between space among the ows are integrated as an element variables and blur the boundaries. of the visual composition overlapping and merging with the patterned shadows.

There are two types of screens;

Key technological outcomes of proposal 1.

Systematic control of shadows

2. Interactive light control

Fig.02 (right) Remagine- larger version (2002) by Olafur Eliasson

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Proposal & Context

Design Research Context Field of Work The intangibility and contrast of light and shadows has long been a source of fascination from the study of optics to channel and direct light to shadow plays.

Work by others

Remagine (see fig. 1.) by Olafur Eliasson is an example of using shadows to reveal depth in two dimensional compositions. The artwork creates an illusion of constantly shfiting spatial field The approach of employing based on projecting a sequence of light and shadows projection overlapping transparent shapes is reinstated as experiential intriguing reciprocal interaction. medium of viewing rather than performative one; opening Light space Modulator by Lazlo new potential for employing Moholy-Nagy demonstrates shadows in interactive context. interaction of shadows variables This encourages a more active to generate multiple visual and participatory relationship compositions animating between the users and shadow surrounding space based on preand accordingly between users determined movement study and and architectural space. light glowing at different points .

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Design Methodologies The design development process started with analyzing the drawing room in Sir Soane museum in terms of application of light as intangible design element enhancing visual and spatial depth and placement of mirrors to frame views.

A series of experiments have been carried to examine the role of each of shadows’ variable on the overall visual composition including investigating interaction of light and casting object, multi-layering of casting object, framing views of intended effect, creating an illusion of depth, and the methodology

Critical Design Elements 1.

Casting screen

2. Light distribution and control 3. Folding and rotation system

of controlling the variables to embrace the interaction process.

Trial-and-error prototype models have been produced to study the possible configurations of unfolding and revealing as well as the impact of different configurations on shadows’ effect of depth. The impact of rotation and distance has been studied and documented. Possible colour shadows compositions have been tested through computer generated renderings and experiments testing pattern, layering, and scales.

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Process & Methods

Prototyping and testing A series of test and prototypes visual compositions . are carried to solve the critical C. Light mixing design elements. a. Casting screen Several pattern have been investigated to evaluate the possible overall visual compositions and spatial depth.

Scaled and full-size prototypes were made to examine and select the suitable scale. b. Folding and rotation system Folding and rotation systems have been explored through models and prototypes to test and evaluate the possible folding up configurations and the impact of each configuration on the

Coloured light and shadows studies have been carried through 3D modelling and physical experiments. Several light types have been tested to conclude the suitable light and colour combinations for the intended effect. d. Intractivity narrative Two nstallations have been executed to examine shadow effects and interactivity response.

The first one is shadow boxes and the second one is inter-shadow 03. In the first one, players were asked to match the shadows with a grid of pins on the wall facing them by rotating the cubes to arrive to the correct visual composition. The installation succeeded in intriguing players to explore the possible visual compositions. However, the displacement of receiving objects hindered the intended interaction by limiting the installation to two users. In the second installation, a gap has been observed with regard to maintaining a constant level of engagement.

Fig.03 (left) Prototype model testing unfolding configuration

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Process & Methods

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Fig.06 (left) Mockup installation Fig.07 (right) Screen type B drawing

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Process & Methods

Fabrication Techniques The design and fabrication activities have been carried simultaneously.

Profiles and details have been developed and tested through three dimensional generated renderings, scaled prototypes and actual scale prototypes. a. Fixings and bracing Several wood profiles have been tested to conclude the proper profile for stable structure. The design is composed of two types of frames; the main frames and the connecting frames.

The

main

frames

profile

is

designed based on housing joint to ensure accurate, strong and tight fit. Inernal structure of the main frame is inserted and secured into the channel allowing minimum visible screws.

Shadow grooves are added at the end of each vertical timber plank to ensure smooth joints. b. Rotation Several bearings have been tested to conclude the suitable type for the intended configuration.

Central top and bottom recessed pivot hinges have been selected.

Ball bearing casters have been housed within solid timber bases for subtle movement. c. Casting screens The patterened screens have been fabricated from laser cut 2mm aluminum sheets.

Frames have been produced with groove to insert the casting screen within it.

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Process & Methods

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Process & Methods

Control Systems Three control systems have been employed to enhance the variety of visual compositions and the novelty factor to maintain a constant level of engagement and spatial curiosity.

composed of four constantly lit single coloured light arranged in the following order: green, blue, red, and green. The second set is composed of four lights with changing fading colours.

Fast and subtle mixing of colours of light controls invisibility and Variety of shadows colours visibility of shadows. are facilitated through lighting control in terms of addidtive and subtractive mixing of colours of b. Folding mechanism light.

Folding and rotation systems are There are two sets of light and planned to facilitate dynamic each set consists of four light; visual compositions of coloured facilitating interaction of of shadows and to enhanve the act of coloured shadows at different unfolding and revealing. The first intervals. The first set is one allows variation of shadows scale and the latter allows layering of pattern generating changing compositions. a. Lighting control

c. Framing views Players’ viewpoints play an important factor in employing shadows as experiential medium of viewing rather than performative one. Continually changing viewpoints based on users movements, have been planned.

Fig.09 (far left) Sorting and preparing of modules for assembly Fig.10 (left) Unfolding sequntial movement analysis

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Occupation and Interaction The objective is to design a system based on variables interaction, which acts as a facilitator of reciprocal interaction, playerspace interaction, and playerplayer interaction.

Variable interaction is based on strategic controlled system to achieve pre-planned intended configuration and maintaining a certain level of novelty and unpredictability.

perception process leaving freedom to the players to contemplate and project their fantasies upon it.

Player space interaction is based on linking motion of users to effects and integrating their shadows as an element of the visual composition to trigger users to notice, see, and sense their surrounding.

Player-player interaction is based Reciprocal interaction is based on arrangement of variables on facilitating a prolonged in a way that requires players interaction with each others.

Review of Outcomes

Fig.11 (left) Contextual drawing Figs.12, 13 & 14 (right and continued overleaf) Effects generated by the installation

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Review of Outcomes

Dissemination and Future Work Inter-shadows screen will be further developed as an interior design object; that can animate any space in which it is allocated.

Interactive light system will be considered allowing constantly changing shadows based on temperature, and movement.

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Fig.15 (left) Detail of fabric work within folly structure

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Materials and Suppliers List Timber (from Timberite, Canterbury, 01227 765011)

50 Linear meter of 60mm x 15mm 57 linear meter of 45mm x 20mm Laser cut aluminum screen (from Cutting Technology LTD., https:// www.cut-tec.co.uk)

Other sundries:

24 no. pivot hinge, China global mall

20 Ball bearing castor, T&S architectural 8 Led RGB light, Banggood

Wood screws 4 x 40mm & 3 x 25 mm, Ironmongery direct

Wood screws 4 x 70mm, Amazon

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Appendix

Bibliography Casati, Roberto. (2004) Shadows. New York: Vintage Books/ A division of Random House, Inc. Norman M Klein, Vatican to Vegas: A History of Special Effects (The New Press, 2004) Gregory, Richard L.(1998) Eye & Brain- The Psychology of Seeing.

Oxford: Oxford University Press.

Gregory, Richard L.(2009) Seeing through Illusions. Oxford: Oxford University Press.

Goldstein, E.Bruce (2014), Sensation and Perception, ninth edition.

Canada: Wadsworth Cengage Learning.

Image Credits Figure 02: (2002) Remagine- larger version l [Photograph] At: http:// olafureliasson.net/archive/artwork/WEK101085/remagine-large-version / (Accessed on 23.04.15)

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Credits MA Architecture Course Leader: Sam McElhinney MA Architecture Design Tutor: David Di Duca Workshop support: Simon Nimmo Visiting Critics 2014/15: Will Alsop, All Design Hanif Kara, AKT II Jonty Craig - BAT Studio Gem Barton - University of Brighton Jon Hodges - Bare Conductive Guy Woodhouse - Piercy & Co. Charlotte Bocci - Ian Chalk Architects David Lomax - Waugh Thistleton Architects Fiona Zisch - University of Westminster Clemens Plank - University of Innsbruck James Whitaker - Whitaker Studio Kevin Kelly - Pringle Richards Sharrat Tetsuro Nagata - Nissen Richards Studio Elizabeth Upham - MUD Architecture Ruth Lang - Studio ARG Shumi Bose - Blueprint Verity Jane Keefe - The Mobile Museum

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