Spatial Research / Development @livs400 - Tumblr Blog

Precedents

https://peopleplacespace.org/toc/section-5/

Talks about home and what it means to people. It is important to gain connections with our homes.

Models

Models. A floor board, Part of a window frame and a Cubboard door. All showing different kinds of marks and traces of inhabitation.

Exacerbating Marks

Exacerbating Marks within the home to make them larger and more obvious to the eye.

Highlighting Traces

Using the concept of the mould in the bathroom. We notice the mould in the bathroom because its different and stands out due to the bright colour. It gets us thinking about how and why it got there. Can the same concept be used for other marks in the home?

Marks

“This pink mold you’ve found growing on your shower curtain, or in your toilet is not actually mold at all; in fact, it’s a Gram negative bacteria that is scientifically known as Serratia marcescens.

The pink colour is from a pigment (prodigiosin) produced by Serratia marcescens under the right growing conditions.

Serratia marcescens is commonly referred to as “pink mold” or “pink mildew” but it is bacteria causing those irritating pink stains in the bathtub and on your shower head.”

Info from https://ultra-fresh.com/pink-mold-in-shower-how-to-get-rid-of-it/

model close ups

Worn Hinges, weathered by moisture shown by the rust. Old paint work beginning to peel.

Traces of inhabitation in the form of dirt. Leaving us wondering where it has been to get those marks.

Dents within the wooden floor boards. Telling a story of the frequency of how many people have been over the board, whats been on it. How did these marks get there?

Alice Corbetta - Surface Designer

https://www.decorazioneartistica.it/en/

Alice’s work looks into memories and surfaces.

“IN THE INHABITED SPACE I LOVE TO CREATE EMOTIONS RECALLING MEMORIES OF ANCIENT DECORATIONS AND VINTAGE TAPESTRIES. THROUGH THE RESEARCH OF ORIGINAL TEXTURES, I COVER SURFACES AND WALLS WITH CONTEMPORARY MATERIALS CREATING LAYERS WITH RESIN AND CEMENT, FROM WHICH TRACES OF MATERIAL RESIDUES EMERGE, LIKE PRECIOUS FINDINGS.

There are no neutral spaces: each space communicates a certain meaning, conditioning us, both on a perceptive level and on a psychological level, in relation to the cultural models of the our society.

Each of us establishes a personal relationship with space, depending on the character and feelings, thoughts and sensations of the moment. And, besides us, also the space has an inclination and a soul.

My work intervenes between what a surface is, what could potentially be and what who lives there would like it to be.

“Memories on the surface” is an innovative collection both for textures and for the application system. The decorations can be applied to the wall, panels, boiserie, doors, furniture and furnishings. In general, the decoration becomes more interesting if used to highlight architectural details.”

What if the whole house was made of timber? This could be interesting to see where the touch occurs and what type of touch etc as you can directly compare it to other areas of the home.

#WeekEight

Notes from Week 8 Class

capacity of forever

what is it when its gone to far

create a older looking warm home that holds memories

exacerbate it

frequency, existing material, change it to a material that shows this more

system

play out this system

Where I put things and why. What does this do to that area.

Frequency of whats happening

Existing material and how it holds this movement of whats happening

Change the materiality to hold this quality

Play out this system of whats happening

What to do:

Video and conceptual model for next week

#WeekEight

Doh ho Suh

https://artmattermagazine.com/do-ho-suh-rubbing-loving/

More of Do Ho Suh’s close up rubbings of the home. From these rubbings you can understand a lot about the surface of the material and marks it may have.

Rubbing/Loving Project by Do Ho Suh

https://www.wallpaper.com/art/do-ho-suh-passages-exhibition-victoria-miro-london

“Do Ho Suh creates the after-glow of time and place with fabric rooms and ritual rubbings”

“Suh rubbed away his fingerprints. ‘I gave part of my body,’ he says.”

“eaving it, as he had to do, was a wrench, a sort of rupture that skinned him emotionally.”

“‘I was trying to hold onto something but it was also a ritual to let things go,’ he says. ‘Memories were triggered by the recovery of small textures or details that I had completely forgotten.”

“People moved within them and understood how domestic spaces can have a sort of psychic stickiness, that repeated movements within spaces might leave something behind.”

“Suh knew he might have to give up the space and he looked for new ways to memorialise it, to mark his time there and what it had meant.”

#WeekSeven

Re-enacting Traces: The Historical Building as Container of Memory Sarah Bennett

Sarah refers to the marks left in a lunatic asylum as ‘war wounds’.

“Initially, using digital photography I archived traces of inhabitation that I discovered within the now abandoned asylum.3 This was specifically the damage that occurs behind each door through acts of (en)closure and aperture (Figure 2), where the handle or lock hits the plaster wall with force. These contusions, or “wall-wounds (found)” as I named them, were formed through the containment and constant ordering of the patients’ bodies in time and place. In the present I suggest that they operate as the indices of spatial and temporal control—the building’s own memory trace (Figure 3).”