romoorroppom anthropomorphosis nthhro aant THE KLEIN STUDIO
&
THE ARCHITECTURE OF THE MANNEQUIN:
a shadowplay
PREMISE An architecture which uses the broken to capture the beautiful. Shatterings, reflections and projections capture the intangible concept of the mannequin, ‘present in absence’ within the architecture of the klein studio. This gives rise to a school of fashion and proposal for a photography studio within the scheme.
DRAMATIS PERSONAE SKIN SKELETON FLESH four mannequins (FIRST MANNEQUIN) (SECOND MANNEQUIN) (THIRD MANNEQUIN) (FOURTH MANNEQUIN) BERNAT KLEIN
SETTING Set in the studio, the site of the Klein studio, and a sub-tangible Shadowland.
ACT 1:THE ARCHITECTURE AND THE MANNEQUIN Inevstigations into the klein studio in relation to the immaterial concept of the mannequin
DRAWING PRESENCE Reflections of models.
mannequins, 1:1
MANNEQUIN noun
1. a dummy used to display clothes in a shop window.
2. a person employed by a designer, costumier, etc. to model clothes
mannequin
ANTHROPOMORPHOSIS As a fashion designer and a painter, the artist Bernat Klein was constantly operating within the realm of the mannequin. The architecture of the klein studio comes into contact with the mannequin when models are pictured wearing his designs in the studio and also on the site. The klein and the mannequin also meet in his paintings, which have an anthropomorphic side in the spatial act of gestural painting.
fig 1. mannequins
DEMATERIALISING THE KLEIN STUDIO Four quarters of the klein studio in perspex.
Additional group work credits: Mia Aleksic, Emmy Martine, Filippo Mecheri, Chris McCallum, Adam Legge
COMPONENTS OF DEMATERIALISATION. Laser components for 1-50 quarter models.
Additional group work credits: Mia Aleksic, Emmy Martine, Filippo Mecheri, Chris McCallum, Adam Legge
SHATTERING THE KLEIN STUDIO Using nostalgia to shatter the klein studio.
Through iterative processes, the Klein studio is subjected to a process of removal
from itself. Each iteration is seen as a shadow of the real. By reading the klein studio through a series of projections, it may be read alongside the immaterial concept of the mannequin - which is also a shadow of a real, a model onto which current ideas are projected, and which is inherent to the anthropomorphic nature of the klein.
PROTOTYPING THE CAVE Using a projector to castshadows using the klein studio models.
Additional group work credits: Mia Aleksic, Emmy Martine, Filippo Mecheri, Chris McCallum, Adam Legge
X OF INDE IONS T ROTA
Additional group work credits: Mia Aleksic, Emmy Martine, Filippo Mecheri, Chris McCallum, Adam Legge
SIMULATING THE CAVE Casting shadows and plotting movement of the shadow in relation to the real. 1 projector
2 laser cut screens
3 models
4 projections
x: inde E shot G UP TH N I T R SET MULATO SI
Additional group work credits: Mia Aleksic, Emmy Martine, Filippo Mecheri, Chris McCallum, Adam Legge
Additional group work credits: Mia Aleksic, Emmy Martine, Filippo Mecheri, Chris McCallum, Adam Legge
SECTION OF THE KLEIN STUDIO Klein studio as static.
LEFT: SETTING UP THE SIMULATOR Models as reflections?
SIMULATION INDEX Projections are superimposed on the corresponding moment of movement. - the shadow is superimposed on the real. OVER the 16 shots are drawn and superimposed to highlight figure, model and projection.
Additional group work credits: Mia Aleksic, Emmy Martine, Filippo Mecheri, Chris McCallum, Adam Legge
DRAWING ABSENCE The shattered reflections are completed by filling in the absences. This creates a juddered series of present and absent components.
PROVENCAL SCARLET a
70 #a60
Index of colours as layers of movement within Klein’s plainting, becoming a basis for breaking down movement from the simulation into layers.
3
f3 #942
4
32 #6d1
e
30 #682
9
d2 #441 f
60 #520 f
01 #852
3
21 #441
52e #712
d
00 #361
4
5 #4f2a
f
71 #8a0 1
1 #6c07 2
e2 #5b1 2
44 #522 3
61 #571
RIGHT:
As the figures cross the grid of the Klein, they leave traces, creating a mythic constellation of mannequins.
Additional group work credits: Mia Aleksic, Emmy Martine, Filippo Mecheri, Chris McCallum, Adam Legge
SHATTERING THE KLEIN STUDIO Using mirrors and movement to reveal new architectural possibilites wthin the klein studio.
fig. 2
fig. 3
fig. 4
fig. 5
MANNEQUIN Drawing out what is immaterial in the klein studio.
INDEX OF PIECES The Mannequin is drawn out as a series of components.
PAINTING AS ANTHROPOMORPHIC Layers as components in the intangible.
RIGHT: Mannequin deposits from the three characters occurs when they cross the grid.
GROUND STUDIES As series of traces and shadows of the real. Created by casting the negative (shadow) of laser cutting pieces for a previous model in wax.
LEFT: PROVENCAL SCARLET One of Klein’s mixed media works.
fig. 8
SKIN, SKELETON & FLESH An anthropomorphic language is born by combining two iterations of Klein studio component sets.
Additional group work credits: Mia Aleksic, Emmy Martine
fig. 7
REMOVING ABSENCES Creating shattered components of the klein studio.
colour as figures The anthropomorphic nature of the klein studio is embedded within Klein’s paintings, such that unpeeling them reveals these gestural figures.
Additional group work credits: Mia Aleksic, Emmy Martine, Filippo Mecheri, Chris McCallum, Adam Legge
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hic naudio is Klein’s at uns these igures.
BERNAT KLEIN MEETS A MANNEQUIN Taken on the day of the opening of his store in Glasgow, this moment captures the meeting of the material (Klein Studio) and the immaterial (the mannequin).
fig. 6
ACT 2:THE ARCHITECTURE OF THE MANNEQUIN An exchange of language occurs between the mannequin and the klein studio, enabling the movement within the cave simulations to capture the mannequin as a mirror captures a model. This gives rise to a school of fashion as a series of assemblages, through which the four mannequins is dressed by the site.
SLICED MANNEQUIN Layers as components
right: THE SEVENTEENTH FRAME The mannequins become nomads. As shadows of the real themselves, they begin to occupy the realm of shadows created in the simulations of the cave. They pack up the klein studio around them as their tents, and begin to roam the axes of the shadow land as models processing on a catwalk, referring back to the original definition of a mannequin as a model which paraded the town wearing the latest fashions.
HE TH ME
me of ey m in he he m in he els lk, gnch ng ns.
THE SHADOW AND THE REAL “Suppose... suppose we have only dreamed and made up these things like sun, sky, stars, and moon, and Aslan himself. In that case, it seems to me that the made-up things are a good deal better than the real ones. And if this black pits of a kingdom is the best you can make, then it’s a poor world. And we four can make a dream world to lick your real one hollow.”
fig. 9
FOUR MANNEQUINS And we four can make a dream world to lick your real one hollow.�
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SHADOWLANDS The nomads roam the shadowlands as models on a catwalk, making tents out of the klein studio, creating assemblages. Whenever they settle in an assemblage, they territorialise it. Through a process of encoding and decoding, there is an exchange of language between the mannequins and the klein, allowing the mannequins to become manifest in the material world. 1 - The Klein Studio 2 - Lecture Theatre ( thoughts are projected) 3 - Library, Reading Rooms and Seminar Spaces - thoughts are digested 4 - Studio Cluster - thoughts are manifest 5 - Catwalk - manifestations are paraded 6 - Social Cluster - rest 7 - moments of flight between assemblages
CAPTURING LIGHT, CAPTURING SHADOW, CAPTURING THE MANNEQUIN: Proposal for a photography suite within the studio assemblage of the School of Fashion.
SECTION A-A Conceiving the architecture of the mannequin as layers of klein studio: skin, skeleton and flesh.
STUDY MODEL 1:50
FINAL TECTONICS MODEL 1:50
C D B
2
LOWER BASEMENT Concieved as The Cave, part of the realm of “Underland.”
1
2
B
A
1 1 - top lit photography space
1
2 - backlit screen
C D
3 A
CAPTURED BY THE MANNEQUIN from 1-50 model
“Many fall into the shadowlands - and few return to the sunlit lands” - The Silver Chair
C D B
2
BASEMENT As part of ‘Underland.’
GR B A
1 - flexible photography booths
1 1
2 - fashion display
3 A
Co to
“M ow to
13 - mannequin storage
2-
3-
C D
N
C D B
2
GROUND FLOOR Conceieved as the ‘return to the Sunlit lands.’ “Many fall into the shadowlands - and few return to the sunlit lands”
1 2
A
3
1 1
1 - workspace 2 - workspace 3 - main entrance
C D
N
B
3 A
C D B
FIRST FLOOR Part of the sunlit lands.
B A
1- model dressing area
1-D Mak
1 A
C D
N
MEZ Par Sun
C D B
MEZZANINE Part of the realm of the Sunlit Lands
B
1 A
1 - Division of Hair and Make-up
1 A
C D
N
C D B
MEZZANINE The Mannequin
B A
1 - sunlit photography studio 1 1 A 1
C D
N
BLUE BRICK Adopted from a previous steudent’s model - the iterative process thus continues.
SECTION B-B
AN ARCHITECTURE OF JUDDER Movement or ‘judder’ enables in between moments to capture the intangible.
SECTION C-C
-C
SECTION D-D
THE MAKE UP OF THE MODEL painting layers of/as make-up for the architecture of the mannequin
INSCRIBING THE SITE Writing the shadowlands onto the site. Casting the site requires making an inverse form model - a shadow fo the real.
A NOMAD Territorializing the site., model made at 1:200
SHATTERING THE SITE Writing the shadowlands onto the site.
NOMDAS Occupying the assemblages of the klein studio, parading the catwalks.
fig. 10
encore...?
IMAGE REFERENCES fig. 1 - Dresses by Bernat Klein, Photo by Brian Duffy, 1962. Image accessed at https://uk.pinterest.com/pin/524880531555541716/ fig. 2 - Mohair Knitting Pattern by Bernat Klein. Image accessed at http://www.nms.ac.uk/explore/stories/art-and-design/bernat-klein-collection/ fig. 3 - Dresses by Bernat Klein. Image accessed at http://www.theskinny. co.uk/fashion/designers/bernat-klein fig. 4 - Dresses by Bernat Klein. Image accessed at http://www.theskinny. co.uk/fashion/designers/bernat-klein fig. 5 - Dresses by Bernat Klein. Image accessed at http://www.theskinny. co.uk/fashion/designers/bernat-klein fig. 6 - Klein chats up one of the shop store dummies/mannequins. Image accessed at http://www.scran.ac.uk/database/record. php?usi=000-000-543-175-C&searchdb=scran&PHPSESSID=9c9g776i3dbo1n1ih57n2aseq0 fig. 7 - “Provencal Scarlet,” painting by Bernat Klein. Image accessed at https://dovecotstudios.com/tapestry-studio/artists-weavers-tufters/ bernat-klein/ fig. 8 - Xray of a mannequin. Image accessed at http://www.fitzmuseum. cam.ac.uk/news/newsletters/enews/20141001.html fig. 9 - Front cover, “The Silver Chair” by C.S. Lewis. Image accessed at http://www.cslewisreview.org/2013/10/new-narnia-cast-what-kindof-movie-will-the-silver-chair-make/ fig. 10 - The man himself: Bernat Klein. Image accessed at http:// scotsman.com/news/obituaries/obituary-bernat-klein-cbe-textile-designer-artist-and-colourist-1-3385512
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