Different Ideas of Positioning the Panels

 

Sketches from sketchbook:

Different considerations about the positioning of the panels 

Thoughts regarding the positioning of panels:

If the panels are positioned beside each other as if one glass pane is cut into peaces (first example to the right), the arrangement will be simplified and the complexity will lie in the movement, interaction with surroundings and the effects that are created with different materials.

If the panels are positioned in front of each other instead of beside each other (last example to the right), the arrangement will create a more spacial structure that in it self contents a complexity.

The question is if this complexity of arrangement will steal the focus of the actual complexity in movement, interaction and effect?

The main difference between the first arrangement and the two other examples would likely be observed in the either direct interaction with the wind (first example) or the indirect interaction (example two and three), which would be caused be one panel moving in the wind which then creates a domino effect of the first pane, pushing the next panel into movement.

In the first example, the wind creates the relation between the different panels.

In the other two examples, the wind is only the aspect that starts the relation.   

 

Investigating two different angles of the relation between movement and reflection

Related to the observations and experiments of a fragmented view

With transparent panels, which I am able to turn around, 

the view will become more or less fragmented,

depending on how much I turn the panels and of my position in the room.

 Related to the grid with reflective material and the possibility for me to control,

when the wind will influence the material inside the movable boxes 

 and hereby the light setting in the room with different reflections of light and landscape.

Mapping, Related to the Number of Openings

Reflections Catched From the Inside and the Outside

 

Sectional Collage: Different movement of elements will catch different reflections
from the outside and inside.   

Collage based on the idea of reflections from the outside 

being cached and experienced from the inside.

Movement of the elements gives an association of leaves blowing in the wind

Fragmented View interpreted to a twisted reality

The same view from different angles of the room

4. Fragmented View, Fragmented Reflection

An effect created by both the shadows and the reflection of light

The effects of a fragmented view, based on more or less transparency

What if these panels were able to turn?

 

Observation of closing the curtains

Investigating the principle of different stages of the curtain being opened 

and closed, in a simplified model. 

Which effects are created, if the panels could turn?

An example of further development from the previous experiments

 Sectional Sketches on position of elements, angles of reflection and atmospheric shadow play

3. Grid of Mirrors
 

The first ideas for a fragmented reflection

The intension is to let the grid move in relation to the wind  

 

 Brainstorming and reflection on new ideas regarding  

a fragmented transformation of the window 

Example of device in model

Reflection from different angles.

Supposedly the elements create an effect

similar to leaves, blowing in the wind  

Experimenting with the device in the model.

1. Change in Position

2. Change in Reflection

3. Change in Light Effects

Investigating change of shadows in model

 

 

2. Change of light effects through change in position of  device

A reflective material to relate the light setting to  

 

2. Diffuse and Direct Reflection of Light, Depending on Material

  

Reflection sheet of the experiment with the shown device in model
and illustration of the effects in sectional drawing

 Only a little change in position of the device,
creates a change of the light effects

A4. Perceptual Apparatus, Window Expander_03

1. Filtering of Light Through Foldings

This experimentation in based on the intension to transform movement into light effects.

The first observation of movement movement being the wind blowing in from the outside, creating an interaction between the inner and outer space.

The second observation of movement is my action of pulling back the curtains translated to strings that give me the ability to fold and unfold the folded device through strings attached to the foldings. 

The way the foldings catch the light will supposable change with the movement through either the wind or my manipulation with different folding 

A4. Perceptual Apparatus, Window Expander_02

Model 1:20

MDF Model 1:20 before and after painting

Light setting inside the model from different angles

A4. Perceptual Apparatus_01

 

Section of my room

Plan and elevation from Rhino

Measuring drawings, preparing for model making

 

The ghosted version of the perspective Rhino Drawing

An indication of the entrance of light and wind

A4. Perceptual Apparatus

Program

My Reflection of how to use my observations through mapping to create different devices, what aspects do I find interesting?

 (The quote in the beginning of the text is from the lecture about openings and daylight by Nanet Mathiasen)

A3. Mapping the Intangible 

Connections and Relations

Stimulations and Creations

Relation Between Time and Space
„The understanding of the visible and the invisible" (Ludwig Mies Van der Rohe. Text: Mies Theatre of Effects, the New National Gallery, Berlin)

A trace of the curtain

A3. Mapping the Intangible

Stop Motion of the changes of light setting on the wall through movement of the curtain

Mapping the motion of the curtain with open windows

Drawings made by the curtains movement

The bigger the dots, the longer has the curtain been holding still at that particular point.

A3. Window Diary, Mapping the Intangible

How to Define the Contextual Qualities

The every day life is mostly defined by a series of repetitions and a great deal of mechanical actions which we don't even think about while doing them. We tend to take the repeated actions and the phenomenas that are related to them for granted and sometimes they don't even get registered. The one thing that probably is the same for a lot of these phenomenas would be the awareness of their absence if they would change or somehow disappear from our every day life. The action of opening a window is probably not that unacquainted to anyone but which phenomenas are actually related to this action? And where do you start looking if you want to observe and map these phenomenological aspects of the every day life?

Is your mood effected by the shadows on the wall?

Are you pulling the curtains back to look outside or be seen - and if the curtains and transparent, what purpose do they have, anyway?

How does my presence inside relate to the light setting, the weather conditions or in general the life going on outside?

These are some of the questions to consider, while intending to observe the intangible. 

Is it necessary to observe the tangible first to be able to observe the intangible? Isn't it at least the intension to be able to relate the intangible to the tangible in the end?

Maybe, if it is possible to relate the intangible and the tangible, it is possible to define a new tangible phenomena to relate the intangible to?

Light? Weather? Reflection?

" We must remember that everything depends on how we use a material, not on the material itself (...) so we must become familiar with the psychological and spiritual factors of our day." (Ludwig Mies van der Rohe)

The Body as Context:

Observing the repetitions and the relation to the body.

Time becomes an aspect already due to the repetition