Crashing Through the Surfaces

I am an interior design student, studying in Melbourne, Victoria. As part of my final year of interior design, I have created this blog as a recording of images/text/works that inspire my workings. You will also find some of my own work too. Please note: That some of the images and works that I post on this blog are my own. They are noted as by KB. If you wish to reblog or re-use my images and works, please credit it.

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A recent project, also related with the notions of space and body. This has been an on-going collaboration with four London-based dancers, which aims to, through a series of experimental performative exercises, explore the notions of empty versus occupied space through movement and the body. 

The exercises are based on improvisation, as the dancers respond very organically to the space around them. The contained space they move in represents a challenge, but also a way through which to have a clearer vision of negative space around their own bodies.

Spatial Interpretations, Collective exercises, Inês N.S. in collaboration with Lizzie Klotz, Yasmin Sas, Anna-Lise Marie Hearn and Kathy Richardson - 2012

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This image was taken by KB

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"Start by doing what is necessary, and then do what is possible. And suddenly you are doing the impossible."

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just a little something to get the imagination roaming

There are packed bags in the boot of a car and a chill that’s felt as the wind winds through looped coils of wool in a jumper. This is you.

You are the motel, the diner — you are things in a vast expanse, where crass greenery grows from the driest of ditches

You are the deep woods watched from a car window; The Interstate, intent on going on forever; a voice counting forward and then back (asking, are we there yet?)

There is the hum of an engine with a million miles to go, hands on a wheel, the changing of gears and you: a deer captured by headlights, stunned and stubborn and fragile as crushed bones

You are words, logic, numbers — whatever can be caught in a net of frightened thought

You are the heat of the moment.

You are everything that’s left in a room someone owned for a night — someplace imagined, scratched, rough and faded in memory

Hands cover ears, breath is held imperfectly

There is ink scrawled down an arm, a reminder on a wrist: you are pigment that won’t budge

Cat’s eyes trail behind headlights; a needle thumps on vinyl somewhere — you are the owner of its long forgotten song

Grain ripples in an endless field, burnt orange falls below a horizon, the land whispers small prayers: in this is you

You are a smattering of memories never had

You are Pennsylvania, a photograph of someplace I never knew.

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BEGINNING OF FINAL YEAR INTERIOR DESIGN

All work that is posted from here on out is part/inspiration for my final year project for interior design. This project is year long, were theories/concepts are developed and tested. ENJOY

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21st Century Museum of Contemporary Art Kanazawa, Ishikawa, Japan – 2004.

The use of glass walls, inside and out, produces transparency and brightness. It also enhances a sense of encounter, an awareness of each other's presence, and unity among the visitors, whether they are at inside or outside of the building.

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Glass Pavilion, Toledo Museum of Art, Toledo, Ohio – 2006.

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It-slipped-out by © 2012 arha

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Uta Barth is an artist whose evocative, abstract photographs explore the nature of vision and the difference between how a human sees reality and how a camera records it. In contrast to documentary and confessional modes of photography, Barth intentionally depicts mundane or incidental objects in nondescript surroundings in order to focus attention on the fundamental act of looking and the process of perception. In white blind (bright red) (2002), she investigates both literal and metaphorical modes of perception in ghostly compositions that mimic the afterimages that persist in one’s visual memory after turning away from an object. Her recent series, …and to draw a bright, white line with light (2011), marks the first time Barth has intervened in the staging of her photographs. By manipulating curtains in her home, she created lines and curves of light that expand from a sliver to a wide ribbon across a sequence of large-scale, dramatically cropped images that evoke the subtle passage of time while also highlighting the visceral and intellectual pleasures of seeing. As Barth continues to expand her photographic practice to probe the theme of perception in new and inventive ways, she is encouraging viewers to reconsider the traditional functions and expectations of the photographic image.

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Sean Godsell//

Sean Godsell is a passionate and dedicated Australian architect who has gained much recognition for his work. He developed his passion for architecture at a very early age being able to recall nothing more exciting than the site visits which he attended with his architect father. At the age of five he had drawn the plans for a house and construction details for a tree house at the age of seven. It could be argued that Sean Godsell is one of the rare few who were born to be an architect, stating in an interview with the ABC that if her weren't an architect he would be "dead" (Australian Broadcasting Corporation, 2010). As a graduate he travelled extensively throughout Europe and Japan, studying the exemplar architecture he had learned about at university. He became particularly interested by the works of Shinohara and Ando, much of his designs drawing acute reference to Japanese design methodolgies (Swerling, 2005, p. 14). In regards to the Peninsula House, he speaks about the principle of "Moya" and "Hisashi" which are Japanese design principles that refer to the inner, private spaces and outer spaces of a building. The design of the Peninsula house investigates the similarities between Japanese and Asutralian Architecture, in particular the enclosed verandah of the Japanese house and the sunroom of the vernacular Australian home. "My interest lies in the iconic nature of these elements to both cultures - Asian and European - and the common architectural ground which they afford to the region" (Sean Godsell Architects, n.d). His designs are contextually responsive, due to his beleif that "architecture beings with a site" (SG book). This belief, coupled with the careful consideration of the purpose of each element of a buildings, through the thorough and concise resolution of the "puzzle" of their amalgamation, results in work that possesses an astonishing sense of "clarity and singularity of image". (Swerling, 2005, p. 22). Sean Godsell beleives "Architectural space must be confronting. Cryptic. Cause double takes. It must need to be learned. But not quirky. Calmness, not content is the key"(Swerling, 2005, p. 25).