Categories
personalising space

memory storage

Delivrer : Nathalie Elemento

A bookcase is often used as way to describe how our memories are stored, and in dementia how different types of memories are lost, and others retained. The narrative and factual memories being at the top, and the emotional memories at the bottom. The artist Nathalie Elemento explains her piece Delivrer as an exploration of the process involved in retrieving memories :”memory : the core, the form, the format (or formatting) that we are all required to undergo so that we can better re-transcribe or retransform it. Like immense receptacle libraries, we accumulate that is cultural, emotional, familial, political, that we then have to re-organise. Delivrer can be read not as a box of secrets but as an object to help us remember”. Perhaps three dimensional structures like this can be personalised to create ‘reminders’ of precious memories.    

Categories
personalising space

Materiality of colour

Asking people to select colours from a simple set of flat mat cards is one way to provoke conversations about visual aesthetic preferences.

But a common response is that it depends not only on the context. but the scale and the material.

Fabric constructed from multiple fibres like velvet or carpet surfaces create multiple facets that create variation and gradations of tone in one colour.

Making these colour choices into three dimensional faceted surfaces is one way to convey this experience.

Categories
personalising space

Conceal and reveal

Charlotte Perriand‘s designs for storage offer a variety of contained spaces with sliding doors that can conceal or reveal the contents. Ingenious discrete lighting systems that can highlight the contents of individual sections offer the potential for interaction and variety. What you choose to keep in view and what you choose to keep hidden could change from day to day or at different times of the day. The structure provides containers that keep different items separate and easier to locate. People living with dementia have described being unaware of the contents of cupboards, that what is out of sight becomes literally out of mind. Could the lighting and the colour of these sliding doors provoke interaction?

Categories
colour environment vision visual stress

What the eye doesn’t see

This piece by Ryodi Ikeda : point of no return, a pulsating stroboscopic sound and light installation, appears to be monochrome. However images captured digitally reveal a more nuanced colour spectrum.

It is suggested that the human eye is capable of perceiving between 2 and 3 million colours, whereas birds, butterflies, fish and bees can see many more. Jennings explains that this is related to a difference in number of photoreceptors or cones. Humans with three cones are trichchromats whereas the birds and bees have four and are tetrachromats. Research on gender differences colour perception suggests that some women may also be tetrachromats. When contemplating the significant variety in our environments its intriguing to imagine what else might exist beyond our perception.

Categories
colour perception preference

Describing colour

How much our descriptions of colour can convey our individual experience of colour is entirely subjective. As Josef Albers, famous for his lifelong experimentation with colour points out:”we will have different reds in our minds. Only the pigment red, the color by itself, is able to get all the different imaginations into the same direction. But the psychic reactions are still different“.

Categories
colour environment

“Our world suffers from colour anorexia” Hella Jongerius

Hella Jongerius has been researching and experimenting with colour for many years. She believes that ” our world suffers from colour anorexia. My mission is to change that.” In her exhibition: Breathing Colour  these ‘Colour Catchers’ demonstrate and explore the changing behaviours of colour according to light and shadow and the phenomenon of metamerism – where the appearance of colours changes  according to  different lighting conditions.

Categories
aesthetics beauty environment nature

beauty in nature

Much is said about the beauty inherent in nature. Having lived in an inner city environment for decades – a chance to live next to fields and gardens brings  a constantly changing visual feast of growth and freshly blooming flowers. Although fleeting – the colour, the variety, the growth are qualities that are part of the pleasurable experience. As Neutra  (Survival Through Design ) has observed, nature may often be a source of inspiration for designers, but  in nature the appearance, its ‘beauty’ is indivisible from its structure and function rather than an additional surface level decoration. The form and appearance develop simultaneously as the plant grows.

 

Categories
environment perception personal space personalising space

experiencing absurdity

Aurelie Hoegy MacGuffins Installation aureliehoegy.com

Aurelie Hoegy‘s performances, films and installations explore the more eccentric aspects of our behaviour : ”  Behind the veneer of normality every person has a mysterious side that is waiting to surface. Everyone is full of life, passion and madness, visible or suppressed” . Her drawing illustrates her proposal for lamp with a 50 metre cable – an apt way to visualise the the inconvenience of everyday life.

 

Categories
aesthetics colour environment perception shape vision

environments that challenge

Arakawa and Gins challenge the value  environments that are easily accessible by asserting that health and wellbeing is maintained by living in more challenging environments.  They collaborated to create a variety of environments that use features including vibrant colour, obstacles and uneven floors to create barriers in the environment as a deliberate means to challenge the user. Their thesis : Reversible Destinies, asks Could Architecture Help You Live Forever? proposes  that by stimulating our senses to a conscious experience,  architecture can be a means to extend life indefinitely.

Categories
pattern perception visual stress

Avoid high contrast pattern

Guidance on accessible environments often refers to the need to avoid high contrast patterns in flooring that can appear moving or three dimensional for people with visual or cognitive impairments. The confusing optical impact of this flooring in a Camper shoe shop in Valencia gave me first hand experience of what this might feel like. Its a challenge to walk across this floor but the impression is also mesmerising.