INSIDEOUT Lamp Project

INSIDEOUT
Lamp Project
James Turrell, Afrum (White), 1966
Program
1. RESEARCH a lighting precedent that exemplifies an
approach relevant to the assignment, including but not limited
to: materiality, assembly, scale, relationship to site (if any),
relationship to user/audience, performance and duration.
Prepare a brief (2-3 minute) presentation to share with your
group with digital images and basic information on the designer,
materials and fabrication, historical and cultural context.
“Designers are by nature optimistic and confident people. They believe that
no matter what the problem a better design solution can almost always be
found and they are the best ones to find it. In their search for a better way of
doing things, designers do not work in a cultural vacuum, but are barometers
of social, political, and economic change. While they might be inspired by
the design successes of the past they work in the present and are limited by
the technologies, materials, processes, tastes, and fashions of their own era.
... Never underestimate the fact that designers always enjoy a good design
challenge, and the humble lamp –like the chair- is something that has specific
functional constraints, and yet can be interpreted in a plethora of ways: from
a highly rational scientific standpoint to a much more artistic and emotional
approach, from task lights to light sculptures.”
Charlotte and Peter Fiell from Five Maestros of Lighting Design: George
Carwadine, Achille and Pier Giacomo Castiglioni, Vico Magistretti and
Ingo Maurer, 2013.
“I love lighting because it’s relatively easy. ... A kid could make a light.
There’s so much freedom in it, it’s not like you need a specific training. And
it’s fun, it’s spontaneous and there’s no right or wrong way to do it.”
Lindsey Adelman from “Lighting design in New York is like Dutch
design in the nineties,” Dezeen, 2015.
Summary
Achille Castiglioni and Pier Giacomo
Castiglionil, Arco Floor Lamp, 1961
The goal of this design exercise is to invent a custom-made
luminarie that will be placed and displayed in the context of the
final party. The aim of the exercise is explore set of concepts
relevant to all design practice, such as materality, scale, site,
atmosphere and use, while finding a way to integrate an
individual lamp in a collaborative setting.
Students are encouraged to explore different ways to diffuse or
direct light. Think of reflected light, projected lights, incidental
light. The light could create a soft glow from a single source or
be arranged in a field. Each lamp should retain its autonomous
impact but also add to the entire atmosphere of the event. Think
of it as a group exhibition.
Kengo Kuma and Associates, Oribe
Teahouse, 2005.
2. IDENTIFY instances of the site condition assigned to your
group in the Event area. Within your group, discuss the
possibilities of how this condition might be addressed in the
assignment, through considering scale (large vs. small), seriality
(singule vs. multiple), ??? etc. inform the condition. You may find
it helpful to research further precedents as a group.
3. Working in pairs, SELECT a lighting type from the list
provided, as well as an appropriate instance of your site
condition to guide your design. Locate your chosen area and
mark it on the map to coordinate amongst all groups. Be sure
to utilize all scales within the Event area, and consider the final
impact that your light can have on its own but also in group
setting.
Alfredo Jaar, The Aesthetics of Resistance,
2005.
Site conditions:
“FIELD/CLUSTER”
“OVER/UNDER”
“HORIZONTAL/VERTICAL”
“OPEN/CLOSED”
“ON THE EDGE”
“IN-BETWEEN”
Lighting typology:
“PENDANT”
“POLE/BOLLARD”
“RECESSED/CONCEALED”
“PROJECTOR”
“REFLECTOR”
“DIFFUSER/SHADE”
“SCREEN/SIGN”
“PERFORMANCE—TIME”
“PERFORMANCE—KINETIC”
“SCULPTURE”
[WILDCARD]
4. DESIGN and CONSTRUCT your own light fixture. Use your
various existing skills, as well as the the tools that you learn in
the media workshops, to sketch, plan and build the luminaire.
Do not be afraid to experiment and take risks—the assignment
is as much about the iterative process of conceiving and
materializing a design than it is about a final product.
5. INSTALL the light fixture in your identified site. Work
collaboratively in the sub-groups to best utilize the entire Event
space. There will be an informal review of the work once it is
installed. Be prepared to present your work in front of a small
group.
6. PARTY
Zack Snyder, Batman v Superman, 2016
4
UBC SALA Introductory Workshop 2015
UBC SALA Introductory Workshop 2015
5
“Designers are by nature optimistic and confident people. They believe that
no matter what the problem a better design solution can almost always be
found and they are the best ones to find it. In their search for a better way of
doing things, designers do not work in a cultural vacuum, but are barometers
of social, political, and economic change. While they might be inspired by
the design successes of the past they work in the present and are limited by
the technologies, materials, processes, tastes, and fashions of their own era.
... Never underestimate the fact that designers always enjoy a good design
challenge, and the humble lamp –like the chair- is something that has specific
functional constraints, and yet can be interpreted in a plethora of ways: from
a highly rational scientific standpoint to a much more artistic and emotional
approach, from task lights to light sculptures.”
Charlotte and Peter Fiell, Five Maestros of Lighting Design: George Carwadine,
Achille and Pier Giacomo Castiglioni, Vico Magistretti and Ingo Maurer, 2013.
“I love lighting because it’s relatively easy. ... A kid could make a light.
There’s so much freedom in it, it’s not like you need a specific training. And
it’s fun, it’s spontaneous and there’s no right or wrong way to do- it.”
Lindsey Adelman, “Lighting design in New York is like Dutch design in the
nineties,” Dezeen, 2015.
Tadao Ando, Church of Light, 1989 (HORIZONTAL/VERTICAL, SCREEN/SIGN)
James Turrel, Afrum I (White), 1967 (ON THE EDGE, PROJECTOR)
Martin Creed, Work No. 227 The lights going on and off, 2000 (OPEN/CLOSED, PERFORMANCE-TIME)
Isabelle Pauwels, Or Gallery, 2001 (IN-BETWEEN, DIFUSER/SHADE)
Lights made from recycled plastic bottles (OVER/UNDER, DIFUSER/SHADE)
Christian Haas, Ropes, 2011 (IN-BETWEEN, PENDANT)
Jeremy Bentham, The Panopticon, late 18th century (OPEN/CLOSED, PROJECTOR)
Chinatown, Los Angeles (OVER/UNDER, PENDANT)
Instant Coffee, Light Bar, 2010 (FIELD/CLUSTER, SCULPTURE)
Dan Falvin, Untitled Work, 1970 (HORIZONTAL/VERTICAL, SCULPTURE)
Dennis Parren, CMYK,, 2012 (OVER/UNDER, PENDANT)
Alfredo Jaar, The Aesthetics of Resistance, 2005 (ON THE EDGE, SCREEN/SIGN)
Stanley Kubrick, 2001 Space Odyssey, 1968 (OVER/UNDER, DIFUSER/SHADE)
Kengo Kuma and Associates, Oribe Teahouse, 2005 (IN-BETWEEN, RECESSED/CONCEALED)
Chris Burden, Urban Light, 2008 (FIELD/CLUSTER, POLE/BOLLARD)
Bruce Nauman, One Hundred Live and Die, 1984 (FIELD/CLUSTER, PERFORMANCE-TIME)
Anthony McCall, Five Minutes of Pure Sculpture, 2012 (OVER/UNDER, SCULPTURE-KINETIC)
Renzo Piano Building Workshop, Menil Collection, 1986 (OVER/UNDER, REFLECTOR)
Erica Stocking, Untitled, 2011 (IN-BETWEEN, RECESSED/CONCEALED)
Alex Schweder, Friable Aperture Series, Evaporative Buildings, 2009-2010 (IN-BETWEN, PERFORMANCE-KINETIC)
http://www.alexschweder.com/work/evaporative.html
Isamu Noguchi, various Akari lamps, 1951 (OVER/UNDER, DIFUSER/SHADE)
Cai Guo-Quiang, Stage One, 2004 (IN-BETWEEN, SCULPTURE)
Lightbox signs, Shinjuku, Tokyo, Japan (FIELD/CLUSTER, SCREEN/SIGN)
Tobias Rehberger, Infections, 2008 (PENDANT, DIFUSER/SHADE)
Althea Thauberger, Carrall Street, 2008 (IN-BETWEEN, PERFORMANCE-TIME)
Kevin Schmidt, Burning Bush, 2005 (IN-BETWEEN, REFLECTOR)
Yi Xin Tong, Rushing Across the Field as a Dotted Line, 2014 (HORIZONTAL/VERTICAL, PERFORMANCE-TIME)
Verner Panton, Spiegel HQ Hamburg, 1969 (HORIZONTAL/VERTICAL, DIFUSER/SHADE)
James Turrell, Encounter Skyspace 1, 2015 (OPEN/CLOSED, REFLECTOR)
Tribute in Light, New York City (HOTIZONTAL/VERTICAL, PROJECTOR)
Jeff Wall, The Destroyed Room, 1978 (HORIZONTAL/VERTICAL, SCREEN/SIGN)
Martin Kippenberger, Untitled (Lamp), 1989-93 (OVER/UNDER, POLE/BOLLARD)
Peter Zumthor, Therme Vals, 1996 (ON THE EDGE, RECESSED/CONCEALED)
Mark Soo, Monochrome Sunset (English Bay-Oppenheimer Park), 2006 (IN-BETWEEN, SCREEN/SIGN)
Przemek Krawczynski, Floor Lamp I - Florescence, 2013 (OVER/UNDER, PENDANT)
Rem Koolhaas/OMA, Serpentine Pavilion, 2006 (IN BETWEEN, DIFUSER/SHADE)