selina

Elastic.light architecture… towards morphology of motion and memory.

The new architecture is elastic; that is to say, it develops out of a responsiveness to change and employs the attributes of elasticity across all elements such as spatial form, surface, materials, function, occupation, light, colour, etc.

Elimination of all concept of form in the sense of a static type is essential to the healthy development of architecture and art as a whole. The spatial composition of the new architecture is fluid in that space arises from the movement of pliable surfaces from which discrete boundaries evolve.

There is no repetition in time, no standardisation of experience, and so, the new architecture is anti-prescriptive; that is to say, it does not attempt to dictate the order and capacity of functional space, but employs elements of shifting light and shade to project functional space-cells (as well as surfaces, etc.) to facilitate an entirely new elastic expression. In this way architecture achieves a spontaneous quality.

In this instance, the elastic.light form’s behaviour will be governed by the inter-connecting relationships between surface layers, the specification of fabric weave and density, and the application of tension and warp.

Elasticity enables the user to create a light field which is infinitely reconfigurable and re-mediates the materials and ideas with which it comes into contact.

MATERIALITY & LIGHT

Elasticity fuses materiality with the spectacle of light.

The new architecture shields the user from the source of brash, hard light. Vertical and horizontal planes are constructed from staggered and offset woven panels of elastic cloth. Light enters only through openings that are shielded from straight-on view by alternately cantilevering sections of the surface.

In its relaxed state, from straight on and nearly so, only twice reflected light is visible and softened to a subtle glow. See-through openings are visible only from oblique angles and when tension is applied. In this instance, through pull and stretch motion, the light is encouraged to fill the void formed and project along the taut shaft of fabric. Contrasting combinations of light diffusing weave and light absorbing textiles control the dispersal and course of light. The distorted state is suspended via anchor points; on release the panel band contracts and resumes its original formation.

The structure uses a single-module configuration, alternately positioned in straight and mirrored positions, both in horizontal and vertical alignments. The result is a continuum of two surfaces separated by a series of vertical, slight flexing edges. The interwoven surfaces continually pass from front to back. The quantity of light is limited by the great mass of the wall; the quality of its flow through the woven channels is luminous and smooth.

The new architecture poses no single passive factor. By harnessing the passage of light, the user initiates moments of privacy and revelation. The user controls the release of light through the deformation of surface density: stretching the fabric allows the light to fill the void revealed and filter through the expanded weave. The direction of the distortion: anchoring the extended surface to a different angle and plane generates a dynamic relationship between light and shade. Engaging the movement of both user and media stimulates an exploration of boundaries, both old and new, and alters the user’s perception of their journey through space and time.

Through the use of layers, and extensions of surface form, shadow plays an important role in determining the visual depth, height and breadth of both light and space. Space and time is mapped through the inter-change of light and shade. In so doing, a four-dimensional relationship between user, form, material and light develops. In place of the mundane and uniform, the new architecture offers the elastic richness of light in an all-sided development in motion and memory.