Inflection Vol.02 Transmit | Outward Exhibition
18th September 2015 – 06th October 2015
Dulux Gallery, Melbourne School of Design
Photo: James Rafferty. Copyright Inflection 2015
Photo: John Gatip. Copyright Inflection 2015
Photo: John Gatip. Copyright Inflection 2015
Photo: James Rafferty. Copyright Inflection 2015
Photo: John Gatip. Copyright Inflection 2015
Photo: John Gatip. Copyright Inflection 2015
Photo: John Gatip. Copyright Inflection 2015
Photo: James Rafferty. Copyright Inflection 2015
Photo: James Rafferty. Copyright Inflection 2015
Photo: James Rafferty. Copyright Inflection 2015
Photo: James Rafferty. Copyright Inflection 2015
Photo: James Rafferty. Copyright Inflection 2015
Photo: John Gatip. Copyright Inflection 2015
TRANSMIT | OUTWARD
Inflection Vol.02 Transmit | Outward Exhibition
Dulux Gallery, Melbourne School of Design
18th September 2015 – 06th October 2015
SEDUCTION OF THE URBAN VOID
CHROFI, Sydney
The seduction of the urban void. Engagement at the edge – a place for the eye to rest and gaze, a seat in the sun, promenading, playing, jogging, pramming, an escapery. An ephemeral landscape of seasons – a time clock of change, the ebb and flow of water and riparian plantings, an ecological presence. An aberrant hybrid of
CHROFI, Sydney
The seduction of the urban void. Engagement at the edge – a place for the eye to rest and gaze, a seat in the sun, promenading, playing, jogging, pramming, an escapery. An ephemeral landscape of seasons – a time clock of change, the ebb and flow of water and riparian plantings, an ecological presence. An aberrant hybrid of
PICCADILLY PARK, MANCHESTER
Alex Hamilton, Melbourne/London
At first glance my style of drawing has the visualising facility of an architect’s illustrations of future constructions. We then notice texture, surface, the paper as their support, and the structure of our eyes is utilised. Material changes the imagination, no work resembles the next since each image is carefully constructed by a unique assembly of partly erased and partly drawn areas. Rather than synthesise disparate elements, logical sightlines can be ruptured or compromised when, as always, imagination takes over the documented.
Alex Hamilton, Melbourne/London
At first glance my style of drawing has the visualising facility of an architect’s illustrations of future constructions. We then notice texture, surface, the paper as their support, and the structure of our eyes is utilised. Material changes the imagination, no work resembles the next since each image is carefully constructed by a unique assembly of partly erased and partly drawn areas. Rather than synthesise disparate elements, logical sightlines can be ruptured or compromised when, as always, imagination takes over the documented.
SPACE BETWEEN DRAWINGS
George Themistokleous
These drawings work with and deviate from the conventions of drawing. They are attempts to re-create structuring and thinking of the image either by montage (time-image), or by composition thus re-considering the space of and between representations as a space in its own right. The limitations of the tools of visual representations are thus countered with the embodied visual perception, projecting and introjecting.
George Themistokleous
These drawings work with and deviate from the conventions of drawing. They are attempts to re-create structuring and thinking of the image either by montage (time-image), or by composition thus re-considering the space of and between representations as a space in its own right. The limitations of the tools of visual representations are thus countered with the embodied visual perception, projecting and introjecting.
PERTH 1985
Jeremy Eaton, Melbourne
Perth, 1985 is a fictional diary entry that belongs to a series that imagines Perth if the design ideas of Paul Ritter (Perth’s first urban designer) had been implemented. This particular work focuses on the bio-eco architectural, concrete and plant based facades he had developed in 1980. The text pieces aim to intersect the evocative possibilities of narrative with present contexts, drawing parallels and discrepancies between the architecture of the exhibition space and the fictions procured in the texts.
Jeremy Eaton, Melbourne
Perth, 1985 is a fictional diary entry that belongs to a series that imagines Perth if the design ideas of Paul Ritter (Perth’s first urban designer) had been implemented. This particular work focuses on the bio-eco architectural, concrete and plant based facades he had developed in 1980. The text pieces aim to intersect the evocative possibilities of narrative with present contexts, drawing parallels and discrepancies between the architecture of the exhibition space and the fictions procured in the texts.
BIO-WALL FROM CONCRETE FIT FOR PEOPLE, 1980
Paul Ritter, Perth (1925-2010)
Paul Ritter, Perth (1925-2010)
TOWER OF HOPE
Teresa Sanchis Darocas, Spain
The Tower of Hope was the end of a journey. Those lost in life set out in its pursuit. The tower, they said, was a place to heal the soul. The last stop in a pilgrimage to self-overcome: the peak for the mountaineer, the mecca for the pilgrim. Historically, painters, poets, architects, artists of all kinds, have longed to project light, colour, dimension; but also feelings, passion, love, even a state of mind. The Tower was evidence of this. The materialisation of hope, a symbol representing what keeps us alive, what makes us progress and what holds us together: hope.
Teresa Sanchis Darocas, Spain
The Tower of Hope was the end of a journey. Those lost in life set out in its pursuit. The tower, they said, was a place to heal the soul. The last stop in a pilgrimage to self-overcome: the peak for the mountaineer, the mecca for the pilgrim. Historically, painters, poets, architects, artists of all kinds, have longed to project light, colour, dimension; but also feelings, passion, love, even a state of mind. The Tower was evidence of this. The materialisation of hope, a symbol representing what keeps us alive, what makes us progress and what holds us together: hope.
APERTURE STUDY: GENERATING DESIRE LINES, THE MELBOURNE SCHOOL OF DESIGN
John Wardle Architects, Melbourne
The stone facade of the 1856 Bank of NSW, relocated to the campus in 1939, is like a thin stage set that faces the Union Lawn. A parallel was drawn with the Teatro Olimpico (1580-85) by Palladio and Scamozzi where the theatre’s proscenium implements false perspective to imitate a greater depth of field. Outside, the historic facade is a catalyst. The new facades of zinc and concrete play with a language of mass, monumentality, rhythm, contrast and depth. Inside, new perspective lines are drawn from the fixed silhouettes of the historic apertures. A folding inner skin describes these lines, tapering and extending into the new building, cradling a space for students within its invented geometry.
John Wardle Architects, Melbourne
The stone facade of the 1856 Bank of NSW, relocated to the campus in 1939, is like a thin stage set that faces the Union Lawn. A parallel was drawn with the Teatro Olimpico (1580-85) by Palladio and Scamozzi where the theatre’s proscenium implements false perspective to imitate a greater depth of field. Outside, the historic facade is a catalyst. The new facades of zinc and concrete play with a language of mass, monumentality, rhythm, contrast and depth. Inside, new perspective lines are drawn from the fixed silhouettes of the historic apertures. A folding inner skin describes these lines, tapering and extending into the new building, cradling a space for students within its invented geometry.
MY HOUSE IN VIENNA
Alex Selenitsch, Melbourne
I grew up in Geelong in a household in which Vienna functioned as a magic city of origins, confirmed for me in a micro-second in Vienna Airport in 2005 when my name came over the PA perfectly pronounced. Between Geelong and Vienna is the whole earth: to drill into it, using the plan shapes of my Geelong house/home, is to provide an architectural analogue of the Viennese technique of psychoanalysis; my Geelong Home drilled through the subconscious and aiming for an origin or source, which is also a kind of fiction.
Alex Selenitsch, Melbourne
I grew up in Geelong in a household in which Vienna functioned as a magic city of origins, confirmed for me in a micro-second in Vienna Airport in 2005 when my name came over the PA perfectly pronounced. Between Geelong and Vienna is the whole earth: to drill into it, using the plan shapes of my Geelong house/home, is to provide an architectural analogue of the Viennese technique of psychoanalysis; my Geelong Home drilled through the subconscious and aiming for an origin or source, which is also a kind of fiction.
THE SEARCH
Alvaro Hidalgo, Spain
To master our landscape and rise above the elements has long been a dream of humankind. What has frustrated this dream? Gravity. This proposal uses magnetism to erase all limits of vertical projection – magnetic pieces articulated by a vertical ascension path allow us to leave flat land behind.
Alvaro Hidalgo, Spain
To master our landscape and rise above the elements has long been a dream of humankind. What has frustrated this dream? Gravity. This proposal uses magnetism to erase all limits of vertical projection – magnetic pieces articulated by a vertical ascension path allow us to leave flat land behind.
BEACH HOUSE PERISTYLE
Andrew Power, Melbourne
Time spent outdoors in the garden constitutes a major leisure activity for a retired couple. Recognition of this informs the arrangement of the house: two self-contained bedroom pavilions frame three identical yet climatically different living zones – a central room, a loggia and a peristyle. Each of these spaces is proportioned to resemble a grand room while functioning as an independent living area. This project uses model making and photography to construct a naive attempt at reality. This projection is also in the form of a film, a looping horizontal tracking shot.
Andrew Power, Melbourne
Time spent outdoors in the garden constitutes a major leisure activity for a retired couple. Recognition of this informs the arrangement of the house: two self-contained bedroom pavilions frame three identical yet climatically different living zones – a central room, a loggia and a peristyle. Each of these spaces is proportioned to resemble a grand room while functioning as an independent living area. This project uses model making and photography to construct a naive attempt at reality. This projection is also in the form of a film, a looping horizontal tracking shot.
DRAW OF A DRAWING, UNDER CONSTRUCTION
Sophia Banou, Edinburgh
Draw of a Drawing is a transcription of the installation Kaleidoscopic City, which has in turn been a transcription of part of the city of Edinburgh. From the city to the gallery, and finally to the interior of a wooden box, these re-sitings can be understood as a series of re-territorialisations, where the object of representation is not merely displaced but constantly recalibrated by the agency of new space.
Sophia Banou, Edinburgh
Draw of a Drawing is a transcription of the installation Kaleidoscopic City, which has in turn been a transcription of part of the city of Edinburgh. From the city to the gallery, and finally to the interior of a wooden box, these re-sitings can be understood as a series of re-territorialisations, where the object of representation is not merely displaced but constantly recalibrated by the agency of new space.
CINEMATHEQUE
Jun Ming Kong, Sydney
Movies, despite the still frames, the continuous sequences allow a motion-like image to appear. Projections of recorded frames transmit through the glass – extending its carefully composed frames into a visual; motion piece that provides an extended view through words, sound, and pixel counts – Cinematic or Cinematheque – it emits a certain sign (agent) that connects to the other half of the world. Beyond the perceived notion of the known a certain intensity, that grasps one’s air, that provides a realm of space that transcends the vitality of Life.
Jun Ming Kong, Sydney
Movies, despite the still frames, the continuous sequences allow a motion-like image to appear. Projections of recorded frames transmit through the glass – extending its carefully composed frames into a visual; motion piece that provides an extended view through words, sound, and pixel counts – Cinematic or Cinematheque – it emits a certain sign (agent) that connects to the other half of the world. Beyond the perceived notion of the known a certain intensity, that grasps one’s air, that provides a realm of space that transcends the vitality of Life.
BOOK OF AMOS
Tessa Lancashire, Melbourne
To transmit is to allow passage through medium. This transmission becomes a projection as its very substance is thrown outwards from the artist – acting as the medium. Every portrait is essentially a transmission and fundamentally a projection. Here is a portrait of a man. He became his words, and in transmission, his words became the image. An amalgamation of projected identity through namesake. Colours replace character in the method of abstraction – a conduit for projection. in my eyes. and through my heart. to my hand. you see. Him.
Tessa Lancashire, Melbourne
To transmit is to allow passage through medium. This transmission becomes a projection as its very substance is thrown outwards from the artist – acting as the medium. Every portrait is essentially a transmission and fundamentally a projection. Here is a portrait of a man. He became his words, and in transmission, his words became the image. An amalgamation of projected identity through namesake. Colours replace character in the method of abstraction – a conduit for projection. in my eyes. and through my heart. to my hand. you see. Him.
THE ORCHESTRATOR’S TOWER
Aaron Tjie, Melbourne
The Orchestrator builds his tower ever higher. Grasping at the sky, he erects a monument to his own ambition. Below, the citizens of the tower have no time for such hubris. They push and pull at the Orchestrator’s creation, reshaping it to suit their own needs. In this way, the tower tears itself apart from within – divided between singularity and piecemeal adaptation, it cannot stand for long.
Aaron Tjie, Melbourne
The Orchestrator builds his tower ever higher. Grasping at the sky, he erects a monument to his own ambition. Below, the citizens of the tower have no time for such hubris. They push and pull at the Orchestrator’s creation, reshaping it to suit their own needs. In this way, the tower tears itself apart from within – divided between singularity and piecemeal adaptation, it cannot stand for long.
FRANKLIN D. ROOSEVELT FOUR FREEDOMS PARK
Iwan Baan, The Netherlands
Set at the tip of a narrow island in New York City’s East River, Louis Kahn’s design for the Franklin D. Roosevelt Four Freedoms Park lay dormant for almost 40 years. With fidelity to Kahn’s vision as a guiding principle, New York architecture firm Mitchell | Giurgola reached backwards in time, extracted a design that once seemed lost to the world and brought it to fruition. In this way, Four Freedoms Park offers a unique perspective on the act of architectural projection.
Iwan Baan, The Netherlands
Set at the tip of a narrow island in New York City’s East River, Louis Kahn’s design for the Franklin D. Roosevelt Four Freedoms Park lay dormant for almost 40 years. With fidelity to Kahn’s vision as a guiding principle, New York architecture firm Mitchell | Giurgola reached backwards in time, extracted a design that once seemed lost to the world and brought it to fruition. In this way, Four Freedoms Park offers a unique perspective on the act of architectural projection.
LINEARITY
Vien Hao Nguyen, Melbourne
A delicate dance between light and shadow, obscuring a seemingly linear path. A path never truly revealed nor hidden, only glimpses projected to provoke the imagination. The process of the manifestation of nothing in the darkness, to a tangible something in the light. But light is never without shadow, the pervasive presence of incompleteness. The continuous journey in and out of the dark, hypnotised by the rhythm, tainting the light with the shadows, always questioning why. The perpetual linearity of design.
Vien Hao Nguyen, Melbourne
A delicate dance between light and shadow, obscuring a seemingly linear path. A path never truly revealed nor hidden, only glimpses projected to provoke the imagination. The process of the manifestation of nothing in the darkness, to a tangible something in the light. But light is never without shadow, the pervasive presence of incompleteness. The continuous journey in and out of the dark, hypnotised by the rhythm, tainting the light with the shadows, always questioning why. The perpetual linearity of design.
LARA CHAPEL GROUND FLOOR PLAN
Robert Ventresca, Melbourne
Faced with a design question, it is almost human nature to try to answer it in that moment, completely internalised. One may simplify the problem in an attempt to understand it wholly – simplification, however, is inherently a reductive mechanism. In contrast, this diagram represents a set of subjective and interpretable instructions that suggest a set of exercises and processes to test. Ambiguous and reinterpretable in nature, its aim is ultimately to help discover new relationships.
Robert Ventresca, Melbourne
Faced with a design question, it is almost human nature to try to answer it in that moment, completely internalised. One may simplify the problem in an attempt to understand it wholly – simplification, however, is inherently a reductive mechanism. In contrast, this diagram represents a set of subjective and interpretable instructions that suggest a set of exercises and processes to test. Ambiguous and reinterpretable in nature, its aim is ultimately to help discover new relationships.
GUSH
Edward Grutzner, Melbourne
New York City’s skyline is dotted with seventeen thousand iconic water tanks. Unmistakable, utilitarian and understated, these structures have become participants in one of the largest public art shows in the city’s history. The perfect symbol of water abundance, these unadorned pieces of infrastructure are being transformed into canvasses to raise awareness for a global water shortage crisis. Across the city, otherwise banal utilities are projecting hydrological imagery to instill mindfulness of a vital resource while celebrating their function.
Edward Grutzner, Melbourne
New York City’s skyline is dotted with seventeen thousand iconic water tanks. Unmistakable, utilitarian and understated, these structures have become participants in one of the largest public art shows in the city’s history. The perfect symbol of water abundance, these unadorned pieces of infrastructure are being transformed into canvasses to raise awareness for a global water shortage crisis. Across the city, otherwise banal utilities are projecting hydrological imagery to instill mindfulness of a vital resource while celebrating their function.
DISPLACED
Katie Petros, Melbourne
It was evident everywhere we turned that developers were attempting to bypass the messy reality of the Indian mega-city, instead imagining blank slate territories to serve as new beginnings for their utopian visions. As I passed by one of countless marooned sites of incomplete high-rise villages, planted amongst what once was fertile farmland; dark, hollow and lifeless apart from a drove of grazing cattle, I realised that these planned megaprojects have emerged from the same chaotic foundations as the rest of this society. In this frontier, the projection is envisioned in its totality, devoid of context, scale and history; its very undoing.
Katie Petros, Melbourne
It was evident everywhere we turned that developers were attempting to bypass the messy reality of the Indian mega-city, instead imagining blank slate territories to serve as new beginnings for their utopian visions. As I passed by one of countless marooned sites of incomplete high-rise villages, planted amongst what once was fertile farmland; dark, hollow and lifeless apart from a drove of grazing cattle, I realised that these planned megaprojects have emerged from the same chaotic foundations as the rest of this society. In this frontier, the projection is envisioned in its totality, devoid of context, scale and history; its very undoing.
A TOWER FOR FLYING
Paco Hidalgo, Spain
A tower of air. A place between the earth and the sky. A place that connects. The ascent is embodied in a thin walkway that comes off of the earth, through the clouds and to the sky.
Paco Hidalgo, Spain
A tower of air. A place between the earth and the sky. A place that connects. The ascent is embodied in a thin walkway that comes off of the earth, through the clouds and to the sky.
BODY | MATTER | TERRITORY
Sebastián Palacios Iglesias, Chile
In the face of society’s present circumstance and its necessity for that which is “immediate,” the response from the domain of architecture won’t have the pretense of being a vessel of this conception which advances at a greater speed than even the human being. On the contrary, it will be inclined toward the search of strengthening the junction between the body, matter, and territory. Any projection toward the future must be a recognition of the past as a place of origin, a primitive state, absolute; the need will arise for an encounter with other cycles: geological, hydrologic, geographic, and astral cycles, which will converge with those essential to the being, those that are organoleptic.
Sebastián Palacios Iglesias, Chile
In the face of society’s present circumstance and its necessity for that which is “immediate,” the response from the domain of architecture won’t have the pretense of being a vessel of this conception which advances at a greater speed than even the human being. On the contrary, it will be inclined toward the search of strengthening the junction between the body, matter, and territory. Any projection toward the future must be a recognition of the past as a place of origin, a primitive state, absolute; the need will arise for an encounter with other cycles: geological, hydrologic, geographic, and astral cycles, which will converge with those essential to the being, those that are organoleptic.
EMBRACING CHANGE
Kristina Levenko & Jae Seccull, Melbourne
The city embraces change; it thrives when exposed to randomness, disorder and tensions. The drawing re-imagines a future city were form and void collide. Unrelated urban conditions and programs are fragmented and re-arranged to create a diverse and idiosyncratic evolving ‘city’ where the city’s streets and crevices become defined and filled by the architecture and new spatial networks are formed.
Kristina Levenko & Jae Seccull, Melbourne
The city embraces change; it thrives when exposed to randomness, disorder and tensions. The drawing re-imagines a future city were form and void collide. Unrelated urban conditions and programs are fragmented and re-arranged to create a diverse and idiosyncratic evolving ‘city’ where the city’s streets and crevices become defined and filled by the architecture and new spatial networks are formed.
PROJECTION: AFTER JOSEPH MALLARD WILLIAM TURNER
Alexandra Bell, Melbourne
The piece consists of a greyscale, panoramic digital print on paper, fixed to large panels and layered with spray paint, oil paint, architectural drawings on drafting film, found metal and electrical wire. Amalgamating and visually exploring the processes of construction, dereliction and demolition, the panels presents a past/ present/ future view of a city. There are generic elements but the outcome is a portrait of Melbourne, with multiple contextual layers of existence. Concepts of fluctuation, transience and change are explored in this piece – a constant situation in the urban landscape.
Alexandra Bell, Melbourne
The piece consists of a greyscale, panoramic digital print on paper, fixed to large panels and layered with spray paint, oil paint, architectural drawings on drafting film, found metal and electrical wire. Amalgamating and visually exploring the processes of construction, dereliction and demolition, the panels presents a past/ present/ future view of a city. There are generic elements but the outcome is a portrait of Melbourne, with multiple contextual layers of existence. Concepts of fluctuation, transience and change are explored in this piece – a constant situation in the urban landscape.
LOOSE CONTROL
Alexa Gower, Melbourne
Using a Polargraph drawing machine, images are drawn in a computer as vector lines are translated into a length of script that plots the X and Y coordinates of each line. This script is uploaded into a miniature computer, which controls the mechanics to move a pen around a page. While the scripted instructions for this method of drawing originate in the digital realm and are endlessly reproducible, the artist’s lack of control over the idiosyncrasies of pen on paper ensures that every image is unique. A lack of control is not something to be feared and avoided in the realm of architecture, but should instead be fully embraced.
Alexa Gower, Melbourne
Using a Polargraph drawing machine, images are drawn in a computer as vector lines are translated into a length of script that plots the X and Y coordinates of each line. This script is uploaded into a miniature computer, which controls the mechanics to move a pen around a page. While the scripted instructions for this method of drawing originate in the digital realm and are endlessly reproducible, the artist’s lack of control over the idiosyncrasies of pen on paper ensures that every image is unique. A lack of control is not something to be feared and avoided in the realm of architecture, but should instead be fully embraced.
INSIDE THE USB
Adrian Bonaventura, Melbourne
The year is 2139, Melbourne. The economic, social, civil and urban climates are drastically in flux. The anonymity and unpredictability of cryptocurrency foreshadows a volatile, tense environment. As the traditional brick and mortar typology of the financial institution is slowly abandoned – absorbed by the singular, empowering desire of financial autonomy and anonymity – the physical implications of the globalised digital currency network offer opportunities to re-imagine how these systems can be strategically integrated into architectural and urban environments.
Adrian Bonaventura, Melbourne
The year is 2139, Melbourne. The economic, social, civil and urban climates are drastically in flux. The anonymity and unpredictability of cryptocurrency foreshadows a volatile, tense environment. As the traditional brick and mortar typology of the financial institution is slowly abandoned – absorbed by the singular, empowering desire of financial autonomy and anonymity – the physical implications of the globalised digital currency network offer opportunities to re-imagine how these systems can be strategically integrated into architectural and urban environments.
CT_MESH
Stanislav Roudavski, Melbourne
CT_MESH explores the tension between control and creativity, illustrating the accrual of technical knowledge dependent on standardisation, compartmentalisation and reuse. Architectural design has become increasingly dependent on reusable structures such as data-types, operators and expressions, algorithms and data programming; the growing use of parametric modelling a telling example. Can the emphasis on controlled outcomes inherent in parametric modelling discourage innovation? With a heightened resistance to conventions, standards and tactics that utilise change, disruption, and chance across various creative disciplines, volatility, spontaneity, improvisation, heuristics, stochastics and randomness – as explored in CT_MESH – become appreciable as productive design behaviours that can increase innovation and cultivate surprise.
Stanislav Roudavski, Melbourne
CT_MESH explores the tension between control and creativity, illustrating the accrual of technical knowledge dependent on standardisation, compartmentalisation and reuse. Architectural design has become increasingly dependent on reusable structures such as data-types, operators and expressions, algorithms and data programming; the growing use of parametric modelling a telling example. Can the emphasis on controlled outcomes inherent in parametric modelling discourage innovation? With a heightened resistance to conventions, standards and tactics that utilise change, disruption, and chance across various creative disciplines, volatility, spontaneity, improvisation, heuristics, stochastics and randomness – as explored in CT_MESH – become appreciable as productive design behaviours that can increase innovation and cultivate surprise.
DISASSEMBLING CHANCE: 8900 MINUTES
Gergely Kovacs, London
Dissembling Chance investigates the tedious formation of a forged randomness within the deterministic body of the computer; its fundamental incapacity to make a mistake.
Gergely Kovacs, London
Dissembling Chance investigates the tedious formation of a forged randomness within the deterministic body of the computer; its fundamental incapacity to make a mistake.
DIGITAL RECONSTRUCTIONS OF SKETCHES 12 + 13 FROM SHEET 3R CODEX ASHBURNHAM 2037
Marco Carpiceci, Italy
For Leonardo da Vinci, a projection signified a transformation, and his design process testifies to the flowing of an endless metamorphosis: every design, every single sketch not only shifts the point of view of the investigator but also means a further step in the project development, opening the process to different alternative routes.
Marco Carpiceci, Italy
For Leonardo da Vinci, a projection signified a transformation, and his design process testifies to the flowing of an endless metamorphosis: every design, every single sketch not only shifts the point of view of the investigator but also means a further step in the project development, opening the process to different alternative routes.
PREDICTION
Janine Dias, Melbourne
In a moment of adjacencies of calm still water. The predicted lifelessness of built form comes alive, no longer is it considered a still object, the exotic possibilities of a movement are discovered. The boundaries of space are no longer solid or fixed in places, as you move around a reflection the perceptive warps and transforms shape. Gravity no longer pulls the built form to the ground; rather columns seem to be moving with the wind, as if they were floating. As structure floats around the air and water heaviness of such a large context disappears.
Janine Dias, Melbourne
In a moment of adjacencies of calm still water. The predicted lifelessness of built form comes alive, no longer is it considered a still object, the exotic possibilities of a movement are discovered. The boundaries of space are no longer solid or fixed in places, as you move around a reflection the perceptive warps and transforms shape. Gravity no longer pulls the built form to the ground; rather columns seem to be moving with the wind, as if they were floating. As structure floats around the air and water heaviness of such a large context disappears.
THE ESCALATOR
James Carter, Melbourne
The potentiality in darkness establishes experiential qualities in a space that are not solely derived from the physicality of that space. This experience of architecture forces an occupant to project the individual parts of themselves into the black abyss of the darkness, knowing full well this projection will never be reflected and confirmed. This “projection” relates solely to the pysche and the ego of that occupant. The space that is thus formed is a space of projection, confusion and excitement.
James Carter, Melbourne
The potentiality in darkness establishes experiential qualities in a space that are not solely derived from the physicality of that space. This experience of architecture forces an occupant to project the individual parts of themselves into the black abyss of the darkness, knowing full well this projection will never be reflected and confirmed. This “projection” relates solely to the pysche and the ego of that occupant. The space that is thus formed is a space of projection, confusion and excitement.
UNTITLED
Danielle Rose Mileo, Melbourne
“I think of the past and the future as well as the present to determine where I am, and I move on while thinking of these things.” – Ando Tadao In the iterative process of architectural practice, physical manifestations of projection intertwine with intangible apparitions of work to come. This image of Ando’s Times I + II building in Kyoto reflects an endeavor to understand the architect’s past intentions and future aspirations through present experience.
Danielle Rose Mileo, Melbourne
“I think of the past and the future as well as the present to determine where I am, and I move on while thinking of these things.” – Ando Tadao In the iterative process of architectural practice, physical manifestations of projection intertwine with intangible apparitions of work to come. This image of Ando’s Times I + II building in Kyoto reflects an endeavor to understand the architect’s past intentions and future aspirations through present experience.
DISORIENTATION
Tessa Williamson, Melbourne
This image explores the notion of refuge in a hostile environment: the moon. It speculates as to how one might inhabit an environment with 17% of Earth’s gravity and fourteen days of continuous sunlight. The drawing is a projection of an architecture of solitude. The spherical form buried within the lunar regolith is pierced by a habitable refuge. Defunct satellites are placed between dwelling and oculus to become the point of orientation both physically and psychologically, highlighting at once the physical isolation and visual connection between humans and space exploration.
Tessa Williamson, Melbourne
This image explores the notion of refuge in a hostile environment: the moon. It speculates as to how one might inhabit an environment with 17% of Earth’s gravity and fourteen days of continuous sunlight. The drawing is a projection of an architecture of solitude. The spherical form buried within the lunar regolith is pierced by a habitable refuge. Defunct satellites are placed between dwelling and oculus to become the point of orientation both physically and psychologically, highlighting at once the physical isolation and visual connection between humans and space exploration.
REFLECTION OF URBAN TRANSITION
Jo Harrison + Roberth Pinarete-Villanueva, Melbourne
The piece consists of a greyscale, panoramic digital print on paper, fixed to large panels and layered with spray paint, oil paint, architectural drawings on drafting film, found metal and electrical wire. Amalgamating and visually exploring the processes of construction, dereliction and demolition, the panels presents a past/ present/ future view of a city. There are generic elements but the outcome is a portrait of Melbourne, with multiple contextual layers of existence. Concepts of fluctuation, transience and change are explored in this piece – a constant situation in the urban landscape.
Jo Harrison + Roberth Pinarete-Villanueva, Melbourne
The piece consists of a greyscale, panoramic digital print on paper, fixed to large panels and layered with spray paint, oil paint, architectural drawings on drafting film, found metal and electrical wire. Amalgamating and visually exploring the processes of construction, dereliction and demolition, the panels presents a past/ present/ future view of a city. There are generic elements but the outcome is a portrait of Melbourne, with multiple contextual layers of existence. Concepts of fluctuation, transience and change are explored in this piece – a constant situation in the urban landscape.
HOUSE IN NAGOHARA
doubleNegatives Architecture, Japan
Various local conditions are programmed as intentions of the architectural plan. The continuity of the changing angles and distances lead to an ordered structural framing. The brief and the existing conditions were forced into inevitable reconciliation by mathematics. This was done to capture things that fall outside the comprehension of a two-eyed architect; the resulting structure is an artificial cavern that reflects the surrounding environment, with various conditions and points of view already incorporated within.
doubleNegatives Architecture, Japan
Various local conditions are programmed as intentions of the architectural plan. The continuity of the changing angles and distances lead to an ordered structural framing. The brief and the existing conditions were forced into inevitable reconciliation by mathematics. This was done to capture things that fall outside the comprehension of a two-eyed architect; the resulting structure is an artificial cavern that reflects the surrounding environment, with various conditions and points of view already incorporated within.
UNTITLED
Gumji Kang, Melbourne
This image seeks to encapsulate the state of void that is constantly changing depending on surrounding variables. Sometimes it absorbs everything around it, yet sometimes it opens up infinitely. Captured in Jewish Museum, Berlin (Daniel Libeskind)
Gumji Kang, Melbourne
This image seeks to encapsulate the state of void that is constantly changing depending on surrounding variables. Sometimes it absorbs everything around it, yet sometimes it opens up infinitely. Captured in Jewish Museum, Berlin (Daniel Libeskind)
THE EXPANDED FIELD: TAKE 1
Katie Miller, Melbourne
As an idea radiates outwards from the mind of its ‘authors’ it is bound to warp, distort and change. So, herein it is thrown forth (projected) into the public arena (inflection). As scribe, the medium though to be most fitting, the humble sketch. Mere inscriptions on the page, the object, a white modernist cube thrown onto itself.. gaining meaning through space and time as it enters a heightened state of being – a cyclic, colourful history in the mind of the ‘reader.’
Katie Miller, Melbourne
As an idea radiates outwards from the mind of its ‘authors’ it is bound to warp, distort and change. So, herein it is thrown forth (projected) into the public arena (inflection). As scribe, the medium though to be most fitting, the humble sketch. Mere inscriptions on the page, the object, a white modernist cube thrown onto itself.. gaining meaning through space and time as it enters a heightened state of being – a cyclic, colourful history in the mind of the ‘reader.’
REFLECT
Rita Liao, Melbourne
“On the corner of La Trobe and Elizabeth, the Argus building is derelict, with all the windows smashed out. In London there are some old churches where the roof isn’t there and the structure has just been left – and it’s like a park inside. Sometimes I look at that building and imagine it empty with the floors taken out and it becoming a public space.” – Ghostpatrol, The Age, August 12th, 2012
Rita Liao, Melbourne
“On the corner of La Trobe and Elizabeth, the Argus building is derelict, with all the windows smashed out. In London there are some old churches where the roof isn’t there and the structure has just been left – and it’s like a park inside. Sometimes I look at that building and imagine it empty with the floors taken out and it becoming a public space.” – Ghostpatrol, The Age, August 12th, 2012
PROJECTION & THE INTERNAL
Stephanie Kitingan, Melbourne
Reality; articulated through the combination of what is external to us, and our understanding of these things. A two way street; we take these concepts, mould them with an internal perspective and project out an expression – of art, creativity, the built environment. In this way, our projections allow for new and creative capacities in the world around us. It seems easy now to begin to understand how societies develop myth, legend; imagination and story; the idea of subjective beauty. Projection sheds light on our creativity; We inhale and submit our interpretations; Shedding light on our visual extensions. It all starts with a projection. Everything starts with a projection.
Stephanie Kitingan, Melbourne
Reality; articulated through the combination of what is external to us, and our understanding of these things. A two way street; we take these concepts, mould them with an internal perspective and project out an expression – of art, creativity, the built environment. In this way, our projections allow for new and creative capacities in the world around us. It seems easy now to begin to understand how societies develop myth, legend; imagination and story; the idea of subjective beauty. Projection sheds light on our creativity; We inhale and submit our interpretations; Shedding light on our visual extensions. It all starts with a projection. Everything starts with a projection.
Transmit|Outward, Inflection’s annual exhibition for 2015, explores the theme of projection and its relationship to the creative process as a perpetual state of becoming.
Projection (noun), from the Latin ‘prociere’, to ‘throw forth’.
A projection is fundamentally an active event. It is an act of transmission in which something – light, information, thoughts, ideas – is thrown outward and reshaped; projection implies a process in which abstract concepts or data are thrust into a new state of being. The act of design is an act of projection, in which ideas are guided from the mind of the designer into the world. This is also an act of imagination – a mental projection into an uncertain future.
The tools used to convey an imagined vision inherently shape its development, impacting both process and outcome. Historically, artists experimented with linear perspective to project an imagined world beyond the picture frame. Today, adaptations of visual projection are used to construct highly polished digital renders of buildings and objects yet to emerge in the physical world. In both cases, every line, every mark – on page or screen – carries information on the evolution of the work, and can be traced back through a process of projection.
Given that this outward transmission of an idea has a significant impact on the way it is received and understood, how can we reflect on the processes of projection in design? What impact do the tools used to communicate a vision have on the way ideas become reality?
Transmit | Outward is presented by Inflection journal, and seeks to advance the journal’s mission of engaging our community in a discourse on architecture and the built environment. The gallery simultaneously becomes an event space, an exhibition space and a dynamic generator for ideas and student growth that moves beyond the requirements of the classroom or studio crit.
As an exhibition, Transmit | Outward directly responds to the spatial context of the Dulux Gallery, designed around two distinct installations. Exploring contemporary art theory, the exhibition positions the visitor as an active participant free to roam and navigate.
Exhibition Curation: Ariani Anwar & Danielle Rose Mileo
Exhibition Team: Ariani Anwar, Alexandra Bell, Danielle Rose Mileo, Katie Petros, Jonathan Russell & William Cassell
Timber Construction: Ross Berryman, Karl Weber, Pei Wen Kwek, David Anthony, Chris Haddad, Sascha Bauer, Samuel Tait, Anne-Gaelle Poussin & Yui Uchimura
Paper Threading: Ariani Anwar, Tanya Banagala, Alexandra Bell, William Cassell, Jeremy Eaton, Kate Farhall, Courtney Foote, Clara Friedhoff, John Gatip, Shang-ting Hsu, Danielle Rose Mileo, Chris Moloney, Jesse Moss, Katie Petros, Jonathan Russell, Cordell Ryan, Liam Shambrook & Bhargav Sridhar
This exhibition would not have been possible without the generous support of Philippa Knack, Ross Berryman, Jas Johnston, Michele Burder and the Melbourne School of Design.
#transmitoutward
