Crowley’s Mayfair flat design (concept art) for season 1 was inspired by an art installation in the Royal Academy of Arts called “Sensing Spaces”; in particular this piece from Grafton architects.
This installation “aimed to evoke the experience of contemporary architecture within a neoclassical environment”. Especially the light “coming in” from overhead was the most important aspect.
Most poignant of all was to recreate the light sensation of both moon and sun simultaneously.
The spatial qualities of light and shadow shaped the installation by Yvonne Farrell and Shelley McNamara of Irish firm Grafton Architects. The architects suspended large wooden structures from the ceilings of two galleries to recreate the experiences of both sun and moonlight.
The structures by Grafton Architects, founded by Shelley McNamara and Yvonne Farrell, hover above Gallery IX and the Lecture Room, suspended from the roof lights above. In order to create a strong spatial tension between adjacent rooms and to set up different lighting scenarios, two dramatically different compositions have been made. Choosing only to work with the roof lights, both installations feature a series of suspended surfaces and forms that manipulate the light and reshape the space in two entirely different ways; one as an exploration of lightness, with what is referred to as a waterfall of light, and the other being the exact opposite, exploring weight, containment and the formation of carved-out space. In the Lecture Room, a series of dark, brooding and apparently massive solid forms obscure most of the existing ceiling and roof light, articulated by two relatively small, high-level ‘apertures’ or openings of light. In contrast to this, Gallery IX features nine blades, suspended in alignment with the gallery’s exposed trusses to reflect a balance of natural and artificial light filtered through the exposed roof light. While both installations drop down within the galleries to create an implied headroom of 2.5 metres within the 8.5-metre-high spaces, two entirely different relationships are established between the floor and the light. In the Lecture Room, the installation intensifies the perception of distance between the floor and the light, while in Gallery IX the hanging blades bring proximity and unity. By quoting American architect Louis I. Kahn’s statement that ‘to hear a sound is to see a space’, Grafton Architects allude to a consistent ambition in their work to make space tangible. As they put it, they seek to ‘make as much nothing as possible’, and to structure space through the careful orchestration of the passage of light and movement through the void. In response to what they refer to as an ‘amazing generosity of space’ within the Main Galleries of the Royal Academy, their installations set out to radically transform each visitor’s perception of the familiar. As such, between Gallery IX and the Lecture Room the architects have created two distinctly different scenarios which, when experienced side-by-side, set up a powerful spatial duality and tension that reinforces the qualities of the existing rooms while radically transforming them into something new. (for a complete 360 view of the rooms)
‘As well as enabling us to find greater pleasure in the spaces we inhabit, this exhibition will perhaps heighten our awareness of the sensory realm of architecture and thereby encourage the creation of a more rewarding built environment.’
From Michael Ralph: Crowley’s flat was the first piece of concept art he did before booking the job, and it stayed the same. He sent in seven pieces of concept art before he went for an interview, and four of them stayed exactly as they were – nothing changed from his original instinct. The idea of the apartment was for it to be almost a cement tomb but with a very high ceiling (hanging in mid-air) so there was a sense of light coming in from a very high level.
And just a piece I want to highlight: "manipulate the light and reshape the space in two entirely different ways; one as an exploration of lightness, with what is referred to as a waterfall of light, and the other being the exact opposite, exploring weight, containment and the formation of carved-out space."
In a way, the flat has always possessed a bit of light and shadow, something reflected in Aziraphale and Crowley's own essences.
