Louisville installation elicits fabric-like behavior from wood.PART Studio designed and built their plywood Peek-a-boo Curtain in just four days, after a last-minute invitation from Louisville arts and business networking organization I.D.E.A.S. 40203. "We went to a meeting, talked about it, then drove to the plywood store," recalled principal Nathan Smith. Luckily, the architects were not starting from scratch. Rather, Smith and partner Mark Foxworth seized the opportunity to build a full-scale mock-up of an idea they had been tossing around for some time: a curtain that, though built of wood, would behave like fabric. Staged at FirstBuild, a design and fabrication studio run through a partnership between GE Appliances and Local Motors, the exhibition also gave the designers a chance to explore the space between art and commerce. "With our piece we were looking not only to span the specific interests of the groups involved, but also to consider the relationships between product design, art, and architectural design," said Smith. The imminent deadline meant that Smith and Foxworth had to use the tools at hand, namely their studio’s own small-format laser cutter. The choice placed certain limits on the design. "Laser-cutting is great, but it gives you a lot of constraints because there aren’t that many materials you can use," said Smith. The architects opted for 1/8-inch-thick plywood. The size of the cutting bed also informed the scale of the individual tiles. The upside was that "because the tiles were so small, we could get a certain amount of fabric behavior," explained Smith. PART Studio developed the tiles' perforation pattern in Grasshopper, using a twisting-triangle shape to simulate a human body passing through the curtain, and exploring multiple iterations until they found one they liked. The designers had earlier tested the curtain concept for an interior design project, a dressing room. "In that, the open and closed relationships were pretty specific to the pattern," said Smith. "In the context of an art exhibit, it was more important to take the openness and opacity to extremes because it was a compositional thing." With respect to assembly, said Smith, Peek-a-boo Curtain "is frankly not a very difficult project from a technical standpoint." The architects wanted to laser-cut or otherwise fabricate square metal rings to attach the tiles to one another. But with just a few days to build, and with zero budget, they opted for an easier solution: yellow zip ties. The tiles are arranged in vertical columns, then staggered horizontally. Each component has a total of six holes for vertical and lateral connections. "The original hole pattern didn't work out; the tie holes were a little close," said Smith. As for staggering the tiles, "that was a big discussion that actually ended up making it a little less fluid," he said. "We liked the pattern, but it would’ve been a little more graceful if we'd done it straight. We thought it would have a more fabric-like stitched-together visual, and it does, but it behaves more like fabric as an actual grid." Peek-a-Boo Curtain, which Smith and Foxworth hope to refine for specific interiors projects, is part of the firm's broader mission to change Louisville’s design culture, one small project at a time. "We prefer to do installations and micro design-builds to competitions," said Smith. "We're in a very small market. For our practice, it doesn't really help us to show our clients a museum in Helsinki." But what they can do is participate in the area's nascent art scene, from organizing a competition for the annual Festival of Riverboats to putting on design-based shows at the Kentucky Museum of Art & Craft. "We've been able to have a consistent practice in a way that wouldn’t have been possible two years ago," said Smith. "We're trying to do work, to do things like Peek-a-boo Curtain and whatever comes through the door, but at the same time we’re trying to improve the conditions, culturally, for where we are working."
Posts tagged with "Art Installations":
The Detroit Design Festival is underway, featuring 30 design events and 500 designers through Sunday, September 28. Panel discussions, art installations and flash-mob style gatherings are all on the docket for the six-day festival, which is sponsored by the John S. and James L. Knight Foundation. The Detroit Creative Corridor Center (DC3) launched the festival in 2011 “in an effort to develop the economic potential of the city’s design and creative talent,” according to a press release. Corporate sponsors like Toyota have teamed up with the local AIA chapter to celebrate designers both celebrated and unknown. Read more about the festival on its website, where you can also find a full schedule of events.
In an ongoing endeavor to blend public art, architecture, and urbanism by artists Siyuan and Hwee Chong, The Doors Project subversively projects a series of doors onto public spaces in Singapore, reflecting the struggles of the urban poor and underprivileged. But while commenting on despair, the real message is one of faith, hope and empowerment. “We wanted to make a statement about life, and jolt people to think,” the artists said in an interview at Yolo. “Instead of following the light at the end of the tunnel, why not carry our own lights, and create our own doors! It’s really about rolling up our sleeves, and creating the opportunities we want for ourselves.” Inspired by true stories of people they’ve met—from a boy mastering kung fu to protect his mother from his abusive father to an Indian worker desperately raising money for his son’s surgery—the installation provokes the viewer to re-imagine boundaries as thresholds, opacity as reflection, and life’s roadblocks as opportunities. “These people, despite much hoping and praying, are faced with countless roadblocks that take them nowhere,” they said. According to Siyuan and Hwee Chong, people should take a giant leap of faith, work hard at what they believe in most, and open their own “doors” in life. “It’s just more meaningful that way.” Expect more public installations from Siyuan and Hwee Chong in the near future. “’Doors is meant to be an ongoing project. There’s no end date to it. For as long as we keep collecting stories of hope and despair, we’ll keep projecting people’s ‘doors’ onto roadblocks.” Read the full interview with the artists at Yolo or check out The Doors Project's website for more.
As the first segment of The High Line opened to the public on Monday, the first public art commission to occupy the space was unveiled. An installation by Brooklyn-based artist Spencer Finch, The River That Flows Both Ways, is a collection of 700 tinted films applied to the existing windowpanes of a semi-enclosed loading dock attached to The Chelsea Market. Anne Pasternak, President and Artistic Director at Creative Time, the cultural partner of Friends of the High Line, described the project: “He takes old window mullions in a dark, unremarkable tunnel and transforms them into reflections of color and light taken from the nearby Hudson River.” The installation is based on a single day Finch spent in a boat floating up- and downriver propelled only by the natural flow of the Hudson. A camera, on a timer, took a photograph of the water once a minute for 11 hours and 40 minutes. Later, selecting the exact color of a single point in each photograph, Finch produced a film with which he laminated the windows and organized in chronological order. The River That Flows Both Ways is a subtle work, unassuming at first glance, especially with construction still taking place around it. On its first day open, passersby were observed walking halfway through the underpass, apparently unaware of the exhibit, and suddenly stopped to look at the playfulness and soothing colors of Finch’s work. The park currently plans on presenting at least one other major public art project, scheduled for next spring. The artist and the project will be announced in the next few months. Pasternak explained that in addition, “Friends of the High Line will be launching an artist residency program this fall through which artists will be invited to create new work that interprets the site's past, present, and future.” The new curator for this program is Lauren Ross. Adrian Benepe, the Parks & Recreation Commissioner, also shared his view of the park’s future. “The High Line will be one of the city’s best outdoor art museums,” he said. With Finch's work now on view, the elevated park has a great start.