Point - Installation

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THE WORLD IS NOT BLACK AND WHITE

K I N D LY . . V I E W O N F U L L S C R E E N M O D E . .

E N J O Y. .

POINT CONNECT ...

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h i d a y a

b u d a i r

Program:

Create & Inspire 2014

Theme:

The World Is Not Black and White

A R T I N S TA L LT I O N

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design br ief 0.1 0.2

D E S I G N H Y P OT H E S I S CO N T E X T UA L A N A LY S I S

W hat - W here - Who - Why

inspiration 1.1 1.2 1.3 1.4

S U CC E S S F U L P R A C T I C E S & P R E C E D E N T S A N A LY S I S P O E T R Y & P O E T I C S PA C E S E X P E R I M E N T A LIFE EXPERIENCE T H E O R E T I C A L I N S P I R AT I O N A N A LY S I S S E M I OT I C M E S S A G E S : W H AT S H A P E S H O U L D T H E I N S TA L L AT I O N TA K E ?

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creative process & design d evelo p m ent

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design outcome

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unique selling point

referen ces

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List of References

CONTENTS

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DESIGN BRIEF 0.1 0.2

design hypothesis contextual analysis

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What - Where - Who- Why

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DESIGN BRIEF

0.1 D E S I G N H Y P OT H E S I S

ABOUT POINT: Ponit is an experiment that takes places at the intersection between Ar t, Interior Design and Architecture.

Point was priliminar y created as a response to CRETE & INSPIRE 2014 theme : “ The world is not Black and white”, fulfilling my continous passion and curiosity to discover the possibilities of using space as a me dium to communicate a message, engage the mind and emotions of the receiver, raise questions, and enhance social behaviours and responsibility.

DESIGN APPROACH: The Narrative-Driven Design Approach was used to create an art installtion that addresses a social problem (our relation with others, nature, and ourselves), aiming to create a paradigm shift in the way spaces are perceived; from aesthetically pleasing containers, to expressive, meaningful and absorbing live realities.

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roject Phylosophy:

This project is a simple study, that tries to link the human social experience with the point.

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In Architecture, the point is the first primar y element of form (among line, plane ‘2D’ and volume ‘3D’). The point grows to a one -dimensional line, the line grows to become a two-dimensional plane, and the plane grows to become a three dimensional volume.

Semiotically or metaphorically, the point represents the choice that one takes to star t drawing his own experience, and decide how rich, sensual and volumetric he/she wants it be!

*Semiotics: The study of signs and symbols and their use or interpretation.

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what

DESIGN BRIEF

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WHAT IS INSTALLATION ART: The Expanded Paintings Although installation ar t has its roots in the 1920s, it has flourished in the 1970s. It was mainly de veloped to create a new medium of ar t that encompasses the viewer in a literal physical presence in the space, rather than merely viewing a two dimensional painting or a photograph on the wall.

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(Kossmann, H. et al, 2010)

Images Source: Google Images

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where

D E 0.2 S I GCO NN TBE R I E F X T UA L A N A LY S I S A DECENTRALIZED MUSEUM:

Given the fact that Museum culture is still immature in Saudi Arabia, the best place to appraoch the public and trigger a curiosity towards ar t is in public places.

For this reason, Point is meant to be a temporar y, travel installtion that moves between the main shopping malls of Riyadh ( Al-Mamlaka Mall, Al-Faisalia Mall, Al-Hayat Mall, Riyadh Galler y, and Granada Mall ). * This idea was inspired by the Metro Napoli “Ar t Stations” : A project formulated by the city government in Naples, Italy. Where selected stations have been renovated by 90 of the best-known contemporar y ar tists & received over 180 works. This DECENTRALIZED MUSEUM helped spreading over the entire urban area, instead of concentrating works in an enclosed space.

Line 1 - Salvator Rosa

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Inspiration Metro Napoli “Art Stations” Images Source: Google Images

Line 1 - Vanvitelli

Line 1 - Museo

Location Riyadh Mai Shopping Malls Images Source: Google Images

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who

DESIGN BRIEF

0.2 CO N T E X T UA L A N A LY S I S

TARGETED VISITORS The general public.

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Women

Kids

Men

Images Source: Google Images

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why

D E 0.2 S I GCO NN TBE R I E F X T UA L A N A LY S I S

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Because Art should: -solve a problem -develop solutions -enhance a situation -communicate a message -please senses -connect people -help explore one self

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BECAUSE WE ARE IN DANGER OF

LOSING THE

MEANING

OF THINGS, OF LIFE COLORS AND OF REAL NEEDS, AND REAL EXPERIENCES

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Because we are no longer living in isolation; the world has become smaller than ever with the embracement of social media and networking. As designers, it is imperative to intervene and contribute, even if little, in social crisis around the world. There is a growing belief amongst design thinkers of the critical role of design in the creation of the future.

"T H E F U T U R E I S C R E A T E D A T T H E I N TERSECTION OF BUSINESS, TECHNOLO G Y, D E S I G N , A N D C U LT U R E "

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Nathan Shedroff, author of ‘Experience Design 1’

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I N S P I R AT I O N 1 . 1 Successful practices & precedents analysis 1 . 2 Poetry & Poetic Spaces Experiment 1.3 A Life Experience 1.4 Theoretical inspiration analysis SEMIOTIC MESSAGES: What shape should the installation take?

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I N1.1 S PSUCCESSFUL I R AT I OPRACTICES N A N A&LY SIS PRECEDENTS ANALYSIS

Who: Portuguese design studio IVOTAVARES What: UMBRELLA SKY

Who: Yayoi Kusama What: Aftermath of Obliteration of Eternity’.

American artist Daniel Arsham took photos of clouds with his iPhone and blew them up until they were beautiful arrangements of multicoloured pixels. Using around 21,000 plastic ping pong balls hand-dipped in paint, Arsham recreated these delicate clouds in the space of Paris’ Galerie Perrotin, each measuring 10 to 15 feet long. (Bayne, J. 2010)

Umbrella Sky stimulates a traditional shopping street into an engaging visual experience. Hung over a series of promenades,’colorful umbrellas’ transforms the public walk by providing an interesting variation of color contrast and hues with the correct amount of given daylight. (BonExpose, 2014)

A mixed media installation is an ‘infinity room’ with all surfaces covered in mirrors, multiplying hanging lights so that they seem to go on forever and ever.

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Who: DANIEL ARSHAM What: PIXEL CLOUDS AND PING PONG BALLS

(Steph, 2014)

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I N1.1 S PSUCCESSFUL I R AT I O N A N A LY S I S PRACTICES & PRECEDENTS ANALYSIS R E C YC L I N G M AT E R I A L S

Who: WAYNE GARRET T & CAITLIND R.C. BROWN What: CLOUD

Concentrating on other uses of everyday objects, Argentinabased Normal Studio creates colorful sculptures using hundreds of clothespins that have been dipped in paint. Originally planned as a one-off installation, the “Tender Project” explores the use of humble objects to create interesting forms.

“By placing a large number of clothespins on a tight mesh, the weight of the clothespins generates, on its own, a complex surface known as a Hyperbolic Paraboloid, a geometric shape of sensual simplicity,”

This glowing cloud appears to rain on its observers. But if you look a little closer, you’ll see an astonishing 6,000 light bulbs — some new, some used, some lit, others burnt out. This interactive sculpture invites viewers of all ages to delight in the childish fun of turning the bulbs on and off by pulling the strings that hang like raindrops below the cloud.

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Who: MARTIN HUBERMAN What: CLOTHESPIN INSTALLATION

(ArchH2O. 2013)

“As part of the process of creating the sculpture, the artists collected burnt out incandescent light bulbs from the surrounding community, forging an informal relationship with non-artists, reducing costs, and asking audiences to reconsider household items in an alternative context” (mmn. 2014)

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I N S1.2P POETRY I R AT I&OPOETIC N ASPACES N A LYEXPERIMENT SIS

Who: Tamim Al-Barghouti What: Poem “My life is a gift” The poem “My life is a gift” by the young Palestinian-Egyptian poet, Tamim Al-Barghouti, was selected to trigger the design process in an experimental manner.

The poem describes the story of the life by using metaphors that represent all the colors of life: beauty, knowledge, wealth, power, war, peace, justice & injustice, religion, rights, magic, risks, luck, surprises, joy and ,more importantly, time.

The story below summerises the Poem:

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Experiment 1 : Simplify & Abstract

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I N S1.2P POETRY I R AT I&OPOETIC N ASPACES N A LYEXPERIMENT SIS

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I N S1.2P POETRY I R AT I&OPOETIC N ASPACES N A LYEXPERIMENT SIS

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Experiment 2 : Add The actual letters of the poem & the elemet of time

Four colors represent the diversity of life

Deconstruct to Reconstruct

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I N S1.2P POETRY I R AT I&OPOETIC N ASPACES N A LYEXPERIMENT SIS Deconstruct to Reconstruct

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The TREE of knowledge, social experiences, The TREE of life!!!

Ok, things are getting a bit confusing....

Stop here, stay focused and inspired .. Hidaya!

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I N S P I R AT I O N A N A LY S I S 1.3 A LIFE EXPERIENCE

Day after day.. we drown deeper and deeper in everyday chores and burdens.

Forgetting how to feel, experience, enjoy and live the small details of life.

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After a hectic working day, I headed to the gym to fulfill my ‘all-day-running’ to-do-list.

Ironically, I used to join only cardio fitness and Aerobics classes to get the most of my tight workout time. Unlike everyday, the trainer ended the class with a laying down stretching. Everyone threw their gym ball aside and lied down, closed their eyes, light are off... and silence.

I cheated and opened my eyes, to see the shadows of many balls gathering around my head..

I took a deep breath and wondered .. how many sensual, colorful experiences I’m missing!

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I N S P I R AT1.4I O N A N A LY S I S THEORETICAL ANALYSIS: SEMIOTIC MESSAGES This graph presents the primary elements of form in the order of their growth from the point to a one-dimensional line, from the line to a two-dimensional plane, and from the plane to a three-dimensional volume.

As the prime generator of form, the

Point:

Line:

indicates a position in space.

A point extended becomes a point with properties of: -length -direction -position

Plane: A line extended becomes a plane with properties of: -length and width -shape -surface -orientation -position

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Volume: A plane extended becomes a volume with propedrties of : -length, width, and depth -form and space -surface -orientation -position (D.K. Ching, F. 2007)

(D.K. Ching, F. 2007)

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I N S P I R AT1.4I O N A N A LY S I S THEORETICAL ANALYSIS: SEMIOTIC MESSAGES

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roject Phylosophy: This project is a simple study, that tries to link the human social experience with the point.

Semiotically or metaphorically, the point repre sents the choice that one takes to star t drawing his own experience, and decide how rich, sensual and volumetric he/she wants it be!

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S o . . how far do you want to go?

R

eminder

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LET’S STATR CONNECTING THE POINTS.....

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CREATIVE PROCESS & DESIGN DEVELOPMENT

CREATIVE PROCESS & DESIGN DEVELOPMENT

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A point marks a position in space.

Conceptually, it has no length, width, or depth, and therefore static, centralized, and directionless.

As the prime element in the vocabulary of form, a point can serve to mark:

CREATIVE PROCESS & DESIGN DEVELOPMENT

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A point marks a position in space.

Conceptually, it has no length, width, or depth, and therefore static, centralized, and directionless.

As the prime element in the vocabulary of form, a point can serve to mark:

-the two ends of a line

CREATIVE PROCESS & DESIGN DEVELOPMENT

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2.0

A point marks a position in space.

Conceptually, it has no length, width, or depth, and therefore static, centralized, and directionless.

As the prime element in the vocabulary of form, a point can serve to mark:

-the two ends of a line -the center of a field (D.K. Ching, F. 2007)

CREATIVE PROCESS & DESIGN DEVELOPMENT

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At the center of its environment, a point is stable and at rest, organizing surrounding elements about itself and dominating its field. (D.K. Ching, F. 2007)

CREATIVE PROCESS & DESIGN DEVELOPMENT

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When the point is moved off-center, however, its field beecomes more aggressive and begins to compete for visual supremacy.

Visual tension is created between the point and its field.

(D.K. Ching, F. 2007)

CREATIVE PROCESS & DESIGN DEVELOPMENT

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2.0

Although the points give this line infinite length.

The line can also be considered a sigment of an infinitely longer path , with infinitly connected points (D.K. Ching, F. 2007)

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CREATIVE PROCESS & DESIGN DEVELOPMENT

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THIS IS A COMPARISON BETWEE TWO TYPES OF SOCIAL INTERACTION:

VIRTUAL (BLACK & WHITE)

REAL (COLORFUL)

OFF-CENTERED, UNBALANCED

CENTERED, BALANCED

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CREATIVE PROCESS & DESIGN DEVELOPMENT

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POINT IS THE FIRST MOVE MADE TO CENNECT WITH SOMEONE

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CREATIVE PROCESS & DESIGN DEVELOPMENT

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THERE IS AND ENDLESS NUMBER OF CONNECTIONS THAT CAN BE MADE. THE POINT CAN ALWAYS GROW TO A 2-DIMENTIONAL, FLAT EXPERIENCE ....

THERE IS ALSO AN ENDLESS NUMBER OF CONNECTIONS AVAILABLE. HOWEVER, THE POINT IT SELF GROWS FURTHER THAN MERELY A 2-DIMETIONAL EPERIENCE ...

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CREATIVE PROCESS & DESIGN DEVELOPMENT

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THOUGH..

NEVER GROWS FURTHER..

AND IT KEEPS GROWING....

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CREATIVE PROCESS & DESIGN DEVELOPMENT

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NEVER ..

AND GROWING..

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CREATIVE PROCESS & DESIGN DEVELOPMENT

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AND GROWING..

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CREATIVE PROCESS & DESIGN DEVELOPMENT

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Until a sphere is formed..

Sphere is a holistic, all-encompassing form, capable of connecting lines in all directions..

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CREATIVE PROCESS & DESIGN DEVELOPMENT

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AND IT CONTINUES GROWING..

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CREATIVE PROCESS & DESIGN DEVELOPMENT

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AND GROWING..

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CREATIVE PROCESS & DESIGN DEVELOPMENT

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AND GROWING..

Cultivation crop chairs

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CREATIVE PROCESS & DESIGN DEVELOPMENT

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STRESSING, ISOLATION...

INVITING A LIVELY, SOCIAL EXPERIENCE

CREATIVE PROCESS & DESIGN DEVELOPMENT

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THIS INSTALLATION CAN BE EITHER BLACK OR WHITE (SEMI-GLOSS ACRYLIC)

MIRROR WAS USED AS FLOOR MATERIAL TO EXPAND THE 3D EXPERIENCE

CREATIVE PROCESS & DESIGN DEVELOPMENT

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PERCPECTIVE VIEW

PERCPECTIVE VIEW

CREATIVE PROCESS & DESIGN DEVELOPMENT

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2.0

PLAN - TOP VIEW

PLAN - TOP VIEW

CREATIVE PROCESS & DESIGN DEVELOPMENT

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2.0

SIDE VIEW

SIDE VIEW

CREATIVE PROCESS & DESIGN DEVELOPMENT

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2.0

SIDE VIEW

SIDE VIEW

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DESIGN OUTCOME

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UNIQUE SELLING POINT

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Unique Selling Point

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NVIRONMENT AND SOCIAL RESPONSIBILITY:

Point can be implemented using recyclable materials as the ones shown in precedents analysis (burnt bulbs or golf balls applied to a mesh.

Moreover, It should also be technically studied and developed by voluntar y youth, who are eager to gain experience and add something of value to their societies.

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ARKETING AND SPONSERING:

Point can be par t of a marketing campagin to promote Tourisim and actual experiences,

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Encoureging people to cennect with each other and with nature ......

POINT CONNECT ...

h i d a y a

A R T I N S TA L LT I O N

b u d a i r

THANK YOU

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LO O K I N G

F O R WA R D S

T O

M E E T I N G

YO U

. . . . !

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REFERENCES

2- Bibliography Title. Ed. Title & Edition Number. In Italic

Surname

Initial.

(Date).

Place. Publisher

Kossmann, De Jong,

H. M.

(2010)

Engaging Spaces: Exhibition Design Explored.

Frame Publishers Amsterdam.

D.K. Ching

F.

(2007)

Architecture: Form, Space and Order

John Wiley & Sons, Inc Hoboken, New Jersey Canada

3- Websites

Surname

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,

Initial.

J.

Title of Web Document.

In Italic

(Date).

Latest updated

Available @ Underlined URL

(Date).

Accessed

PIXEL CLOUDS AND PING PONG BALLS – DANIEL ARSHAM [Online]

(Updated 2010).

http://artshehearts.com/2011/09/13/pixel-cloudsand-ping-pong-balls-daniel-arsham/

[10.6.2014]

Bon Expose,

Umbrella Sky [Online]

(Updated 2014).

http://bonexpose.com/featured/umbrella-sky/

[10.6.2014]

Steph,

Let There Be Light: 14 Illuminating Art Installations [Online]

(Updated 2014).

http://weburbanist.com/2011/11/28/let-there-belight-14-illuminating-art-installations/

[10.6.2014]

ArchH2O,

Clothespin Installation| Martin Huberman. [Online]

(Updated 2013).

http://www.arch2o.com/clothespin-installationmartin-huberman/

[10.6.2014]

ArchH2O,

1:1 at the Romanian Pavilion [Online]

(Updated 2010).

http://www.dezeen.com/2010/09/03/11-at-theromanian-pavilion/

[10.6.2014]