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Bēhance

  • Stage 1_ Colour, Pattern, Light

    First stage was a project which basically tested our abilities to analyse a painting and extract qualities and techniques, based on the use of colours, focal points, hierarchy. etc, to produe two compositions. From then, we were to develop our understandings into manipulating an existing space, via Photoshop, to create and convey our discovered atmosphere and environment.

  • Composition One - An abstract piece constructed via Photoshop, based off Magritte Rene's Painting ' The Vultures Park' (1926)

  • Composition Two - A more surreal approach in my analysis of 'The Vultures Park'

  • Stage 2_ The Idea – Disregarded and overlooked spaces

    SHOPPING is arguably the last remaining form of public activity. Through a battery of increasingly predatory forms, shopping has infiltrated, colonized, and even replaced, almost every aspect of urban life.

    Extract from Abstract taken from Rem Koolhaus – ‘The Harvard Design School Guide to Shopping’

    -      Looking at shopping/service spaces, within Wellington that provide an interior space supporting an idea or theme the company brand pushes.

    -      These spaces tend to be overlooked and ignored by users as they are primaril just concerned on the function, practicality and program of the interior.

    -      Users enter the interior focused on the task on hand, be it buying groceries or doing their dry cleaning. They are not worried on how the design of the interior poses into the space, so long as adequate lighting and shelter is of course present.

    -      Slowly though there is beginning to idea of integrating a fashionable and trendy interior, especially in the arty city of Wellington

    -      This shift could be more of a marketing and advertising angle for companies. The idea is that a quality interior with fashionable and trendy fit outs, will reflect a high quality of the produce/ goods and service provided.

    -      Pak n’ save ads emphasises how cheap their goods are and even the interior spaces left bare. Only the company colours of green and yellow are eminent.

  • This space seeks to compliment and acknowledgethe interior components of a ‘waiting room’ as well as maintaining a timeless fashionable aesthetic.

  • This space seeks to disregard and ignore theinterior components of a ‘waiting room’ as well as producing a temporal fashionable aesthetic.

  • Interiors designed and programmed to be a waiting space, with the primary area (foreground) being focused on for seating (waiting) and the secondary area (background), being the space occupants intend to visit and arrive at (i.e doctor’s room, business manager).

    The two opposing scenes look at the stance of complimenting and not complimenting the components of interior architecture one would experience in an ‘overlooked’ space. This fundamental idea is also combined with the interpretation of timelessly fashionable and temporary fashionable aesthetics gathered from existing interior research from exercise five.

  • Manipulating an existing space

    This composition looks at a gallery space in Wellington (Te Papa) and seeks to respond to the ignored and disregarded interior components of art galleries. The intervention also responds to the customary programmatic conditions art galleries hold in terms of perfecting lighting and spatial conditions. Galleries usually hold a clean shell for the art in terms of colours of the walls, ceilings and floors and the materiality. These choices are to not contrast and impose on the art displayed and to be neutral as an interior.

    To celebrate the components of the interior space, rather than the art, an art installation that exposes and acknowledges the truth and durability of the materials takes place. This intervention is similar to the wear and tear and weathering of materiality shown in exercise seven. The installation highlights the path of the occupants as shown in the fluorescent space (left). Overlaps of the shoeprints are exposed where the occupants would converse to (patches in front of the art). On the right however, the stained wooden floorboards are worn down in the patches where occupants would flock to. These spaces are the most frequent spaces, which the floors would come into contact with the imprinting and steps of the occupants.