Presented by: Clay Odom, Lead Designer with Sean O’Neill
In contemporary Interior Design, how might active, diagrammatic organization (patterning) be used to create effects that generate new, evolving situations? How might these complex configurations be understood as both generators and generated? Speculating on the role of emergent spatial-experiential phenomena created using a rigorous, systematized, yet open-ended mode of production, two iterations of the project, Tesseract 4.0 are developed from on-going research realized through interdisciplinary collaboration. This exploration focuses on how production of effects may be generated through patterning - a systemized, diagrammatic collaboration- of material, form, light, and sound activated locally by engagement with situations stemming from constraints of time, budget, existing building conditions and ultimately through a range of engagements with people. The conceptual framework, in coordination with the theme of Situation will further develop logics of patterning explored as diagrammatic interactions between tactical, operational deployment methods and material-technical systems. This method allows for the exploitation of feedback loops, noise, and generative accidents to occur between inherent material qualities and localized points of attachment and control. The basic goal is the subsuming of existing spatial and building form (as object) into an immersive series of situations generated by emergence of spatially resonant sound and light and effects both experienced and triggered by visitors.
The basic material-technical system is composed of silver mylar sheets that have been rigged to explore how space may formed as both a relationship to existing building condition and to generate new interior spaces. The mylar captures, manipulates and reflects these projections into space while generating potential for emerging, caustic effects. This effect is produced by reflection/refraction of light off the reflective and formed surface and is similar to the effect produced by water surfaces. To build on this system, the set-up (via collaboration with sound / visual artist) generates a live sound-scape through the use of digital cameras that capture movement of light and reproduce this information as sound via a computational program.
In his seminal work ‘Atmosphere as the Fundamental Concept of a New Aesthetics’, Gernot Bohme states that “Atmosphere can only become a concept, however, if we succeed in accounting for the particular intermediary status of atmospheres between subject and object.” This ongoing research facilitates exploring the implications of both design processes and design products that are subjective and atmospheric. Facilitating interactive, productive situations for the viewer -whether simply as spatial sequence, proximity to effects, touch or motion manipulation via sensors - become modes of production allowing components and effects to merge into a coherent ecology of space and experience. As a diagrammatic organization of materials, operations and interactions that generate both pre-figured and emergent situations, these by-products are not referential to preconceptions or metaphor. They are considered as essential to the totality of the system.
Finally, systems leveraging generative patterning yield new effects, new contexts and evolving situations that cannot be pre-figured. Once created, they can be optimized, tailored, repurposed, and developed. They may be re-patterned, but the resulting situations will only share qualities and traits. They will never be identical.