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designing home through the senses
Fig. 1 Personal work, (2018), 'A (Very) One Sided Conversation.) Digital art. Fig. 2 Nicole Coson, (unknown), 'Spirit Captures'. Negative Painting, Unknown.
Fig. 3 Sophie Lécuyer, (2017), 'Monotypes'. Etching, Uknown. Fig. 4 Sophie Lécuyer, (2017), 'Monotypes'. Etching, Uknown. Fig. 5 Sophie Lécuyer, (2017), 'Monotypes'. Etching, Uknown. Fig. 6 Personal work, (2018), 'A (Very) One Sided Conversation.) Digital art. Fig. 7 Gerhard Richter, (1976), 'Nach abstraktem Bild'. Indian ink (pen) & charcoal on paper, Kunstmuseum Bonn, Bonn, Germany. Fig. 8 Joonhong Min, ( Feb 2015), "URBAN ANXIETY METHODOLOGY", London. Fig. 9 Personal work, (2018), 'A (Very) One Sided Conversation.) Digital art. Fig. 10 Personal work, (2018), 'A (Very) One Sided Conversation.) Digital art.
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rory wilson-cartwright
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'A (Very) One Sided Conversation.'
designing home through the senses
Atmospheres of abuse linger within our sentient thoughts and interact with our terrestrial surroundings. This exploration of movement aims to confront typical understandings of the human body in space. When considering movement as a relative sensorial experience it is often perceived as a physical entity moving through one’s generic notion of space, yet, it can also be considered to be a physical entity moving through time. (Jirousek, C.) The chosen scenario reflects this notion, arguing that movement through a detailed personal experience of psychological abuse, or, ‘a (very) one sided conversation’ yields far greater emotional, physical and three-dimensional atmospheres. These described atmospheres linger throughout the very spaces they have defined. (Tumarkin, M.) Destructive experiences are relived through physical modelling, portraying the train wreck ride through ‘a (very) one sided conversation.’ Models one, two, and three perpetuate happiness in all senses, displaying soft curvature and symmetry. Yet models four through to nine seem to spatialize anxiety and intimidation with sharp angular chaotic forms. It is only when approaching model ten one can reconcile, only to be tossed about, manipulated to the nth degree. The final atmospheres generated linger for a sense of hope that the abused could overcome their guilt. These models translate atmospheres of abuse that linger within our sentient thoughts and interact with our terrestrial surroundings. These atmospheres have important architectural relevance, confronting negative aspects of the home, and how those aspects might be represented spatially. This could provide the ability for emotional scars to fade, and for memories to be productively ensued.
rory wilson-cartwright
_movement iterative model research
designing home through the senses
exquisite sense {project 02} 'a (very) one sided conversation.'
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rory wilson-cartwright
_movement iterative model research
'a (very) one sided conversation.'
designing home through the senses
Atmospheres of abuse linger within our sentient thoughts and interact with our terrestrial surroundings. The generic conception of home in New Zealand indulges notions such as happiness, family, wealth, and, a roof and four walls. In fact, this is a vast misconception. Atmospheres of abuse are rife within New Zealand homes. Half of all homicides in New Zealand are committed by a family member, (Family Violence Death Review Committee, 2014) and, New Zealand also has the highest rate of family violence in the developed world. (Te Rito Wellington, 2016) This attitude is reflected throughout design research titled, ‘a (very) one sided conversation’. Such research identifies and describes the characteristics of abuse within the home and then reflects on the articulated ideas embodied within the generated artifacts. Throughout this research process, evaluations were made considering the development of artefact and spatial strategies. Abstracted subjective and spatial qualities were sought after, including; plentiful light & dark contrast, traces of occupation, variety of form, proportion, composition, volume, focal field and material. This process of defining and redefining spatial values and compositions has led to the development of the idea becoming embodied within the artefact, and therefore, the process itself. It has become apparent through research that the defined, reflected and curated atmospheres are generated by perspective of the speculated occupant. This occupancy is viewed through surveilled memories, portraying scenes of an abusive history without a direct reference to human inhabitance. Objects, or rather traces of objects, are strewn throughout the documented images. It has become the experience that defines the atmospheres of abuse rather than the object, yet, the object helps to define a tableau that the atmosphere has generated. Atmospheres of abuse linger within our sentient thoughts and interact with our terrestrial surroundings, obscuring our perspective of what is in fact real.
rory wilson-cartwright
_movement iterative model research BIBLIOGRAPHY
Family Violence Death Review Committee. (2014). Fourth Annual Report: January 2013 to December 2013. Wellington, Health Quality and Safety Commission. Retrieved April 2018 from http://www.hqsc.govt.nz/our-programmes/mrc/fvdrc/publications-and-resources/ publication/1600/ Jirousek, C. 1995, ‘Art Design & Visual Thinking’. New York. Cornell University. Te Rito Wellington. (2016). Family Violence in New Zealand. Retrieved April 2018 from http:// www.teritowellington.org.nz/family-violence-in-new-zealand.html Tumarkin, M. 2005, ‘Traumascapes: The Power and Fate of Places Transformed by Tragedy’. Tasmania, Australia. Melbourne University Publishing.
All unreferenced images are author's own
designing home through the senses
rory wilson-cartwright
_movement iterative model research
designing home through the senses
exquisite sense {project 03} 'a (very) one sided conversation.'
rory wilson-cartwright
_movement iterative model research
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rory wilson-cartwright
_movement iterative model research
'a (very) one sided conversation.'
designing home through the senses
Atmospheres of abuse linger within our sentient thoughts and interact with our terrestrial surroundings. The generic conception of home in New Zealand indulges notions such as happiness, family, wealth, and, a roof and four walls. In fact, this is a vast misconception. Atmospheres of abuse are rife within New Zealand homes. Half of all homicides in New Zealand are committed by a family member, (Family Violence Death Review Committee, 2014) and, New Zealand also has the highest rate of family violence in the developed world. (Te Rito Wellington, 2016) This attitude is reflected throughout design research titled, ‘a (very) one sided conversation’. Such research identifies and describes the characteristics of abuse within the home and then reflects on the articulated ideas embodied within the generated artifacts. Throughout this research process, evaluations were made considering the development of artefact and spatial strategies. Abstracted subjective and spatial qualities were sought after, including; plentiful material and textural contrast, traces of occupation, variety of form, proportion, composition, transparency, focal field and history. This process of defining and redefining spatial values and compositions has led to the development of the idea becoming embodied within the artefact, and therefore, the process itself. It has become apparent through research that the defined, reflected and curated atmospheres are generated by perspective of the speculated occupant. This occupancy is viewed through surveilled memories, portraying scenes of an abusive history without a direct reference to human inhabitance. Objects, or rather abstracted traces of objects, are strewn throughout the linear translucent sheets. It has become the experience that defines the atmospheres of abuse rather than the object, yet, the object helps to define a tableau that the atmosphere has generated. Atmospheres of abuse linger within our sentient thoughts and interact with our terrestrial surroundings, obscuring our perspective of what is in fact real.
rory wilson-cartwright
_movement iterative model research BIBLIOGRAPHY
Family Violence Death Review Committee. (2014). Fourth Annual Report: January 2013 to December 2013. Wellington, Health Quality and Safety Commission. Retrieved April 2018 from http://www.hqsc.govt.nz/our-programmes/mrc/fvdrc/publications-and-resources/ publication/1600/ Jirousek, C. 1995, ‘Art Design & Visual Thinking’. New York. Cornell University. Te Rito Wellington. (2016). Family Violence in New Zealand. Retrieved April 2018 from http:// www.teritowellington.org.nz/family-violence-in-new-zealand.html Tumarkin, M. 2005, ‘Traumascapes: The Power and Fate of Places Transformed by Tragedy’. Tasmania, Australia. Melbourne University Publishing.