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In just three weeks, Rhizome opening night will invite the public to see the collaborative work of five architecture students, one professor and an international artist. This weekend construction within the vacant church officially began and community interest was peaked.
Within just a few hours several locals came by to see inside the mystery church, confessing their long term curiosity was relieved by the unexpected open doors this weekend. Because of these encounters, our hope for a full house on opening night is restored. Here are a few pictures of the weekend workdays:
Over the past couple of weeks, I’ve been thinking of a way to incorporate video projection within the sanctuary space. What I have decided to propose to all of you is the idea of placing the projector within the alter space and projecting a silent video into the sanctuary space, through the glass and amongst the density of connections and viewers.
The following drawings begin to explain the location and effect of the projection. I believe that this will solve several problems, including: interior lighting, proper use of “buffer areas” (the corner rooms that access the alter) and, obviously, the incorporation of projection.
By projecting into the sanctuary space, through the mass of fabric and wire, the projection will be fragmented, hopefully cutting through the installation in a similar fashion to the way in which direct sunlight passes through the foliage in the woods or forest. As the viewer moves towards the alter, they will only see a bright light. Once they pass through the “buffer areas”, they will be rewarded with a frontal view of a legible projection, (because of their viewing angle, see drawings) into the sanctuary. Therefore, the projection is making use out of the “buffer areas”, since it eliminates the chance of a gradual realization (because of the change in viewing angle) of what is being projected and allows for an instant realization. This explanation might be a bit confusing, but please take a minute or two to glance over these drawings and think about these questions:
What should be the content of the video projection? (Possibly a time lapse of construction and installation?)
Are you fond of this idea?
And lastly, did this make ay sense at all?
In preparation for Candice’s visit on Monday, 23 May – her last visit until September – we need to resolve a number of issues and develop a few alternatives for structure/skin/configuration/attachment.
We will visit the church next Monday, 18 April to take precise measurements of the windows and frames in order to fabricate an armature to support the lines at the windows. We’ll then have a couple of weeks off for final reviews, reconvening in early May to present a number of alternatives to Greg. Following this meeting, we’ll hopefully find a day that we can spend a few hours in the church with our mock-ups, testing attachment methods and determining line configurations and spatial definition within the sanctuary.
An initial list of issues to consider/resolve are as follows [with tasks for next week in italics]:
1. connection between lines and stained glass windows
2. potential extension of lines to exterior – do they extend outside and then return to the interior to imply continuity? do they extend into the ground outside the church? Will and Sean will model/sketch some ideas for the exterior.
3. do the lines continue into the altar area or culminate in the surface between the sanctuary and altar room? can we fabricate a new panel with glazing and abstracted window form to replace the existing glazing and maintain sound-proofing?
4. do the lines continue towards the front of the church into that sound-proof room and stained glass window?
5. We’re leaning towards a density and articulation of lines in the center of the sanctuary – where do the lines touch the ground to define circulation, and what scale/proportion of spaces are created? Everyone will model/sketch at least one option for the three-dimensional spaces and circulation [model the voids, not the lines].
6. Are we planning for this installation to be experienced at night or in daylight or both?
7. What qualities of illumination are needed on the interior and exterior of the church? What are our options for fixtures? Can we replace the fluorescent fixtures with spotlights? Cherish and Logan will research lighting options and sketch ideas for placement and quality of light.
8. Daniel’s spiral wire structure with two spines seems to be the most stable and efficient structures so far – what is the best way to fabricate this system? How do we want to skin this structure? Daniel will mock-up longer lengths of this structure and determine wire quantities. Jen will test Candice’s material samples over this structure.
9. We will probably need a suspension system to provide some stability to the lines – this is currently envisioned as a grid of cables tensioned to the walls. Antonio will look at options for this suspension grid.
The following link is a precedent that Greg brought to my attention. It’s an interesting use of a wire frame and a covering. The way that they choose to cover and expose the piece in different ares is interesting and I think it applies to our investigations.
Dealing with the installation identity, Rhizome, I would like to share this project that was brought to my attention.
The striking aspect of this project is its relevance to time when it punctures through the site repeatedly with a natural rhythm suggesting a gradual growth rooted in the site.
Will and I talked after our meeting last week about how we feel that similar punctures through the sound booth and/or church exterior might strengthen the Rhizome concept as well as the power of the installation. To us it just seems necessary.
Also, the initial drawings by Candace allude to implied extensions of chaotic lines which might successfully peak interest about line termination and whether a line is infinite or segmented.
What do you guys think?