Inlightment: Art Installation

INLIGHTMENT

Matthew Henigsman & Edgar Ortuno

INLIGHTMENT ARTIST:

Artist: Edgar Ortuno

Artsit: Matthew Henigsman

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TABLE OF CONTENTS Light Art Installation

“Light is not so much something that reveals, as it is itself the revelation.” - James Turell

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Introduction

Medium

Mid-Process Final

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Site Analysis

Initial Process

Final Solution

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INTRODUCTION Inlighting Hale Library the natural beauty and forms through each unique Acrylic Piece. Dichroic Film was placed on each unique shape to create astounding forms that reflect all the surfaces it can manipulate. Where the revelation of light itself defines new perspectives onto the space.

The story we want to tell is a simple one. Libraries are houses of knowledge and learning. You go to a library to learn something new and be instructed.

It is often a process of receiving facts, then departing to use that knowledge elsewhere. The creativity and usage is a separate act. We wish to bring that back into the original context of the building itself.

You absorb what you take in from the space, and then creatively utilize and express that knowledge in your own way.

Inlightment is a light art piece that tunes into the space creates a new dimension by shifting our perspective of space by utilizing light as a pure material. The natural sunlight moving throughout the day allows opportunities to dynamically change the effect throughout the sunrise and sunset.

The reveal of color shifts within the source of light from the opening, demonstrating

Edgar Ortuno & Matthew Henigsman Artist

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SITE ANALYSIS Descirption:

At the Loggia Entrance of Kansas State Universities Hale Library. An opportunity is presented to take advantage of the current function of the space being a transitional/exluded space away from the library. The loggia can be considered to be one of two main entrances of Hale Library, considering careful site analysis and utilizes the spaces strong presence of natural light automatically catching your eye once walking into Hale Library.

This Observation has led us to utilize the spaces strong natural light from the concave windows to bring an interaction and new interpretation and impression to the loggia space.

-Loggia Floorplan

We had to configure and tune our art installation to be adapted to certain points of time where the sunlight was most prominent to transform the space completely with color and geometry reflecting on various surfaces throughout the day but during the night time we would allow a night cycle that can also create an ambient effect.

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11 A.M.

The sun study helped us to determine how we can begin strategizing the two openings to be able communicate cohesively through the day as the east window is more prominent at 11:00 a.m. and the west window at 2:00 p.m.

This allows us to have 3 figure times including the night cycle to plan with the daylight where the room is tranformed completely by the art piece.

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Light and Panel Study

Light and Panel Study

Existing Wood Frame Wood Frame Adjustable arm Acrylic with Dichroic Film

Acrylic with Dichroic Film

Assemblage

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MEDIUM “I like to use light as a material, but my medium is actually perception. I want you to sense yourself sensing – to see yourself seeing.” - James Turell Light

To master our medium we researched experts in transforming a room through their mediums of light, space, geometry, and perception. We studied the differrent moods of color to explore the emotions we will be confronting when experiencing the space. We focuesd on a frame that is adapted into the existing windows and added color through dichroic fiml on each acryclic panel. We also added a reflective film onto the frame to aid the reflective properties of the art installation. The shape is defined through its composition onto the frame and its effects it has been reflecting and refracting onto the surfaces of the room. The final pieces are the adjustable arms which help us adapt onto the specific times of day to be able to tune with the sun and tune the space for the final effect.

Color

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INITIAL PROCESS DEFINING THE FRAME

Our first Iteration is approached by utilizing a self supporting frame where we would use different colored lights to shine onto the standalone prism that would have three different kinds of acrylic panels, Opaque, transparent and Transparent with Color. The thought on this approach was with utilizing each solid color the different colors will mix through the light and define a new color from the three main primary colors, Red, Yellow, and Blue. The geometry of the prism would help with relecting and refracting of the light to help achieve this effect.

What we learned through this process is how the color can tune into the space we also defined our medium even further from utlizing different kinds of acrylic panels to utlizing one single transparent panel with Dichroic Film. The Metal Frame was removed and replaed with a frame that is embedded onto the window.

Artificial lights are removed and only utlize and adapted onto the daylight of each window throughout the day. This is where we transitioned even further to become even more one with the space.

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SKETCHES

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PROCESS PHOTOS

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REFRACTION & DISPERSION REFRACTION- Refraction is important for our installation. Refraction is essentially the process in which light can change direction when passed through mediums.

Depending on the direction light is both emitted as well as the orientation and makeup of the medium itself, The refraction process can vary greatly.

DISPERSION - The other half to our light component is dispersion. You may have experienced expericienced dispersion. It can occur artificially in a glass prism, or naturally in a rainbow. Essentially when ligth passes through a material or substance that has a higher refraction index then the air around it, light is refracted at different frequencies that correspond to color.

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COLOR & MOOD

LIGHT AS WELL AS COLR IN GENERAL, HAS A LARGE IMPACT ON HOW WE PERCEIVE THINGS. COLOR PSYCHOLOGY, OR HOW WE MENTALLY PROCESS COLOR, HAS BEEN DEVELOPING RESEARCH TOPIC IN RECENT YEARS. HOWEVER MANY CULTURES, LIKE ANCIENT EGYPTIANS , USED COLOR AS A MEANS OF RITUALISTIC HEARING AND RENEWAL.

WHITE- EVOKES A SENSE OF FRESHNESS AND CLEANLINESS, CONVEYS YOUTH AND MODERNITY.

PURPLE- COMBINES THE STABILITY OF BLUE AND THE ENERGY OF RED, HISTORICALY ASSOCIATED WITH ROYALT, SUMBOLIZED POWER AND NOBILTY.

BLUE- CONVEYS A SENSE OF STABILITY AND SAFETY, BLUE ATTIRE IS FREQUENTLY SELECTED IN LAW FIRMS AND COURT APPEARANCES.

GREEN- SYMBOLIZES GROWTH AND HARMONY, IT ALSO SLOWS THE HUMAN METABOLISM AND PRODUCES A CALMING EFFECT

YELLOW - ASSOCIATED WITH HAPPINESS AND ENERGY, PRODUCES A WARMING EFFECT AND STIMULATATES MENTAL ACTIVITY.

ORANGE- SITS IN THE MIDDLE OF RED AND YELLOW, COMBINES THE ENERGY OF RED AND HAPPINESS OF YELLOW, AND REPRESENTS ENTHUSIAM=SM, FASCINATION, AND HAPPINESS. RED -REDS BRIGHT HUE AND BOLD COLORS IS DESCRIBED AS AN ATTENTION GETTER, SURVEYS SHOWED YOUNGER PEOPE HAVE A HIGHER RATE OF SELECTING RED CARS THAN OLDER FOLKS. 15

MID PROCESS FITTING INTO THE FRAME During the mid process final we have concluded our strategy into fitting into the frame almost becoming seamless within the existing openning. Acrylic panels were creating a variety of geometric patterns and colors. Our vision through the process is to master the medium where the two pieces placed on each window speak and compliment each other. Certain Geomertirc patterns and angles for the acrylic panels were part of this solution.

The art installation reached a level of aesthetic experience where the space is fully reengaged bringing in a new breath and function when walking into the Library. We concluded after this iteration we must focus on composition of the piece itself embedding into the space as the effect from the sunlight only happens at small slots during the day.

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SKETCHES

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PROCESS PHOTOS

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COMPOSITION STUDY

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COMPOSITION STUDY

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FINAL SOLUTION Site, Purpose, Media.

Our study of compositional sketches led us to a final solution where the geometric patterns of both pieces speak to each other through their design language. The piece transforms the space through its reflective properties.

The frame is adapted and becomes one with the existing context of woods and stains. Sun light is focused to create its greatest effect for east window at eleven in the morning while the west window is most prominent at two in the afternoon. The beauty of the piece is not hindered as the beauty is seeked through its composition. As the sun sets the glow of the singular spot light shines through the piece.

Finalizing and defining the livliness of the piece itself throughout time.

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DAY

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NIGHT

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FALL 2021