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.
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 RemKoolhaus – ‘The Harvard Design School Guide to Shopping’
- Looking at shopping/service spaces,within Wellington that provide an interior space supporting an idea or themethe company brand pushes.
- These spaces tend to be overlooked andignored by users as they are primaril just concerned on the function,practicality and program of the interior.
- Users enter the interior focused on thetask on hand, be it buying groceries or doing their dry cleaning. They are notworried on how the design of the interior poses into the space, so long asadequate lighting and shelter is of course present.
- Slowly though there is beginning to idea of integrating a fashionable and trendyinterior, especially in the arty city of Wellington
- This shift could be more of a marketingand advertising angle for companies. The idea is that a quality interior withfashionable and trendy fit outs, will reflect a high quality of the produce/goods and service provided.
- Pak n’ save ads emphasises how cheaptheir goods are and even the interior spaces left bare. Only the companycolours of green and yellow are eminent.
The two opposing scenes look at the stance ofcomplimenting and not complimenting the components of interior architecture onewould experience in an ‘overlooked’ space. This fundamental idea is alsocombined with the interpretation of timelessly fashionable and temporaryfashionable aesthetics gathered from existing interior research from exercisefive.
This composition looks at a gallery space inWellington (Te Papa) and seeks to respond to the ignored and disregardedinterior components of art galleries. The intervention also responds to thecustomary programmatic conditions art galleries hold in terms of perfectinglighting and spatial conditions. Galleries usually hold a clean shell for theart 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 beneutral as an interior.
To celebrate the components of the interior space,rather than the art, an art installation that exposes and acknowledges thetruth and durability of the materials takes place. This intervention is similarto the wear and tear and weathering of materiality shown in exercise seven. Theinstallation highlights the path of the occupants as shown in the fluorescentspace (left). Overlaps of the shoeprints are exposed where the occupants wouldconverse to (patches in front of the art). On the right however, the stainedwooden floorboards are worn down in the patches where occupants would flock to.These spaces are the most frequent spaces, which the floors would come intocontact with the imprinting and steps of the occupants.