THE WALL OF LIGHTING
CONTENT INTRODUCTION SITE & PLAN
01
13 SEQUENCE OF CHANGES
A WALK THROUGH THE WALL
47
DEVELOPMENT RESEARCH BIBLIOGRAPHY
16
62 91
THE WALL OF LIGHTING
INTRODUCTION
I design a wall in the London Bridge Station entrance, a trumpet-shaped entrance as my site in the research. Catalogue, collage and light box are the main research directions of my research activities. I conducted a study to systematize catalogue by using components of “ready-madegoods� from a railway station, making a collage work with perceptivity and strange space atmosphere in the process of collage between components. Such a work with photographic photo quality through light box technique of expression reinforces the tension of the work. I also want this wall to contain some functional aspects for people to enjoy. The light boxes in the wall will now light the interior and create a very white, light space. Chairs will be contained in the wall so that people can sit down, drink their coffee, check their mobile phone, rest or organise their journey - anything they need to do. I want the wall to become a useful friendly engaging installation and prevent this place from being a complex, over burdening series of disconnected images and accidents. When entering the British Rail/London Transport interchange under London Bridge Station we are met with monolithic brick walls and monumental arches, a warren of unsightly wiring and ductwork in the ceiling, disorganized transport paraphernalia and a bewildering display of signs, ticket machines and food vendors. Confusion reigns for anyone trying to find out where they are going and the notion that anyone might enjoy this space is seriously out of the question. 02
07
I carried out research and analysis of the work of Jeff Wall. Diagonal Composition nos. 2 and 3. All the parts-a washbasin on the floor, a strip of wood holding a piece of synthetic surfacing to the wall and a rubber glove on the right beside the basin with a bit of dowelling on it-are put together as a quasi-abstract montage. Within the photographic image, what are a collection of objects in space is assembled to form a perspective composition that evokes memories of montage reliefs by Ivan Puni and other Russian Constructivists not to mention collages by the Surrealists and Dada (Rolf Lauter, 2001: 51). With human being’s every technical progress, there will bring a huge reform to the art. Accompanied the development of pop culture and popularity of commercial TV program from this century, the artist has begun a receiving mode of graphical visual way and thinking of lifestyle, commencing such a thinking and creation with various practical image technology (including photography, movie and TV, etc.). Photography is a documentary and memorial tool, in which the artists dissociate posing and collage technique to combine with objectivity of image itself, developing it to be a specific personal narrative mode and creating a Montage-type complex being composed of segmentary details. The artist collaged these pictures with Montage skill to form artistic effect with a certain super-realism. Wall’s works are made up of various pictorial elements that tend to associate his photography with painting rather than traditional photography. In his photographic compositions wall attempts to unite exterior and interior. He shapes these photographic images by means of a kind of montage sampling or pasticcio process; to put it difficulty, he constructs his pictorial worlds from elements based on differing contexts and contents, thus creating-and here he is comparable with the Cubists-subjective syntheses of various motifs. His oeuvre thus stands out for its especially high degree of intuitive combinations. All works by wall rely on complex structures of motifs that cannot be decodes by linear interpretations but only by forging combinatory links in which the multiple layer of meaning can be assembled through multiple readings, as in a three-dimensional puzzle (Rolf Lauter, 2001: 18).
09
Figure 1 [left] Jeff Wall Invisible Man 1999-2000, Transparency in light box, AP
I conducted research and analysis of the work of Steven Holl and Jeff Wall. I have begun to explore what new growth can be achieve by making connection between category and light box, and to determine whether this activity can be part of category process, and use them as the possibility mainly on my wall design.
Figure 2 [right] Jeff Wall Installation view of Jeff Wall Photographs at NGV Australia showing 2012-2013 Figure 3 [left] Jeff Wall Installation view of Jeff Wall Photographs at NGV Australia showing 2012-2013
Figure 4 [left] Steven Holl Nanjing Sifang Art Museum Nanjing, China 2011 Figure 5 [right] Steven Holl The New Residence at The Swiss Embassy Washintong D.C., USA 2001-2006
12
THE WALL OF LIGHTING
SITE & PLAN
0
13
2
4
A
A
14
15
THE WALL OF LIGHTING
SEQUENCE OF CHANGES
16
17
18
19
20
21
22
23
24
25
26
27
28
29
30
31
32
33
34
35
36
37
38
39
40
41
42
43
44
45
46
THE WALL OF LIGHTING
A WALK THROUGH THE WALL
47
48
49
51
53
54
55
56
57
58
60
61
THE WALL OF LIGHTING
DEVELOPMENT RESEARCH
62
At the very beginning in the process of catalogue research, I used various hardware parts in our daily life, such as screw, hook and bolt, etc. as creative themes, and then assemble these small parts to be a big piece of work. What I’m going to show is that these small parts in various different shapes and materials can be combined to present the beauty rich in rhythmicity and harmonious overall sensibility, and a style of “cubist� painting, athletic and mechanic beauty.
63
65
I made a catalogue on Cubist paintings. I picked up some static components from the cubist still life paintings and systematically made a catalogue. I found that their colours and shapes are full of creativity and imagination. I can imagine their functional uses based on their colours and shapes, for example, wickets and food carts inside the London bridge station. With regards to the idea of the architectural space program, I found that Le Corbusier’s architectures were correlated with his paintings. As Le Corbusier often pondered the architectural space from the perspective of flat paintings, Le Corbusier’s pondering the architectural space from the perspective of flat paintings will be an important element in the future development of my research plan.
With regards to the idea of the architectural space program, I found that Le Corbusier’s architectures were correlated with his paintings. As Le Corbusier often pondered the architectural space from the perspective of flat paintings, he understood the importance of controlling the volume, the surface and the contour.Le Corbusier’s pondering the architectural space from the perspective of flat paintings is an important element in my research. I assembled components into three forms of large objects, set three types of programs for them. I try to use different drawing diagrams to explain the spatial relations between each component and the site, just like what is demonstrated in the architectural space program reproduced in “Die. Schammade” and "Hydrometric Demonstration" by Max Ernst.
68
70
development
This work i use the elements from my previous development to present a space of hobby.
73
This work i use the hard ware parts to create a space of the entrance of toilet in apartment store.
75
I attempt to find out stronger topicality from the work so as to link with human activities and surroundings. Therefore, components from the railway station are used to ideate my project, which may have more history humanities and architectural thought but not merely a device or sculpture display.
77
The idea of creating Duchamp’s “object is art” has passed through the sounds trip of London Bridge. Among all the hardware parts, I think the feature of the pipe line conveying sound and image can be connected with sounds trip. I consider ear trumpet is only one of my hardware parts. I also can present different design ideas with other parts through the differences of the surrounding environment and different demands and activities. For example, people in the station can know the situation inside the station through ear trumpet. Or I can use the concept of different routes and different colour of London tube map to design and conceive.
82
This work was inspired by the works of Giorgio de Chirico which exaggerated the sense of perspective and bizarre spatial atmosphere in architectures. I put the elements of Giorgio de Chirico in to my site.
83
In London Bridge Station. I also tried placing cubist still life utensils with technique of expression for statue in the site of London Bridge Station entrance, but considered that the passage of pedestrians without being blocked. I’m not satisfied with the result.
When I design this wall, I need a catalogue of painting before arrange and the painting’s elements into the wall, I’ve been to the London bridge station entrance for field measurements and sketches, and create the paintings, The paintings wall are mainly inspired by the works of Giorgio de Chirico which exaggerate the sense of perspective and bizarre spatial atmosphere in architectures. This two works are considering the views from Borough market and Borough High Street.
87
I thought painting wall planarization is the best way to present Giorgio de Chirico’s exaggerated perspectivity and fantastic space atmosphere. Passengers rushing for their trips not only experience unprecedented sense of shock but also smoothly go through when they quickly pass this space of station entrance. However, overall performance of the works is too formalization and patterning. I must study to find out stronger and more tensional research framework and contents to develop my works.
THE WALL OF LIGHTING
BIBLIOGRAPHY
91
01. Jeff Wall. (2012 -2013) Installation view of Jeff Wall Photographs at NGV Australia showing . [online image]. Available at:<http://artblart.files.wordpress.com/2012/11/wall-f2. jpg> [Accessed 17 July 2014]. 02. Jeff Wall. (2012 -2013) Installation view of Jeff Wall Photographs at NGV Australia showing . [online image]. Available at:<http://artblart.files.wordpress.com/2012/11/wall-c2. jpg> [Accessed 17 July 2014]. 03. Steven Holl. (1992-1993) Storefront for Art and Architectur . [online image]. Available at:<http://www.domusweb.it/content/dam/domusweb/en/architecture/2012/07/04/aestheticsanesthetics/big_387987_3741_03-web_7451018776_bf405f2e6f_h.jpg> [Accessed 17 July 2014]. 04. Antony Gormley. (2010) Blind Light Installation. White-Cube Gallery . [online image]. Available at:<http://2.bp.blogspot.com/_HNxq4EcmJO0/S_sz4k8mVzI/AAAAAAAAAGc/ vPwGWS5kpfA/s1600/blind+light+-+antony+gormley+-+2007+-+white+cube+gallery.jpg> [Accessed 17 July 2014]. 05. Steven Holl. (1992-1993) Storefront for Art and Architectur . [online image]. Available at:<http://www.domusweb.it/content/dam/domusweb/en/architecture/2012/07/04/aestheticsanesthetics/big_387987_3741_03-web_7451018776_bf405f2e6f_h.jpg> [Accessed 17 July 2014]. 06. Steven Holl. (2001-2006) The New Residence at The Swiss Embassy . [online image]. Available at:<http://www.bendheimwall.com/press/images/swissEmbassy-EcoStructure.jpg> [Accessed 17 July 2014]. 07. Steven Holl. (2011) Nanjing Sifang Art Museum. [online image]. Available at:<http:// ideasgn.com/architecture/nanjing-sifang-art-museum-steven-holl-architects/> [Accessed 17 July 2014].
92