INTRODUCTION
The exhibition I propose here takes an experimental approach that aims to reverse the function played by the peripheral environment and the focal object. In other words, it takes the artifact that would traditionally be displayed as an object, and turns it into the environment of the space. Through a series of light value and contrast interpolations, six historic study models are abstracted into a series of three-dimensional topographies. The six surfaces situated above the gallery space across the entire ceiling become the peripheral environment of the exhibit. Throughout the gallery floor, six highly reflective mirrored spheres are utilized to reflect and compress the environment into a series of focal points; the spheres depict the overhead terrain as the artifact of concern through their reflection.
Time-lapse Showing Computational Surface Interpolation
THE CHOSEN MODELS
The exhibition studies a series of three particular architectural study models that were utilized to examine the envisioned atmosphere of its future edifice. Notionally, these models were not merely used to represent the project, but rather to discover, generate, and presumably construct an architectural atmospheric experience. The focus here is not on how the actual built projects express atmosphere, but rather how the study model is utilized as a tool to devise atmosphere. Through the study of light, topography, and apertures, the architects sought to examine distinct relationships between the design and its environment. In parallel, the exhibition juxtaposes these study models with three “non-architectural” models that similarly explore the relationship in question. These three counterparts are likewise regarded as models; although they are not objects by which to study the design of architecture they each, in their own manner, model and reenact a related notion. The study models are cou- pled with their counterpart in order to cross-examine traditional and alternative methods of studying atmosphere. The three pairs and their topic of study are as follows.
The curvature, location, and size of each mirrored sphere is derived from the particular angles necessary to view the artifact through its reflection. From a typical standing or walking perspective, the ceiling topography does not appear to be anything more than a jagged, cavernous surface looming over the space.
Interior Perspective, LIST Visual Arts Center, MIT
Credits –
Sole Contributor:
Ricardo Jnani Gonzalez
Affiliated Professor:
Ana Miljacki, Department of Architecture, MIT
Contributing Professors:
Caroline A. Jones, Department of Architecture, MIT
Exhibition Proposal for MIT List Visual Arts Center
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