Suspended Displays

Paul Veroude - "View suspended II"

http://thesuperslice.com/2012/11/21/view-suspended-ii-mercedes-gp-petronas-f1-deconstructed-paul-veroude/

Paul Veroude has made it easy for the audience to find out what’s inside one of these speedy vehicles. Using a Mercedes GP Petronas F1, driven by renowned race car driver Michael Schumacher, the artist deconstructed the 2010 model and suspended each piece, right down to the nuts and bolts. Weighing just over 600 kg, the installation, known as View Suspended II, boasts an overwhelming 3,200 separate parts hovering just off the ground. Most viewers liken the display to a vehicle explosion frozen in time. I like this display as each part is suspended from fishing wire or very thin wire of some sort - a transparent approach, creating a 'floating' appearance. 

Dalton Maag Studio - "Shape my language"
http://www.designboom.com/design/bruno-maag-shape-my-language/

Shape my language is an exhibition showcasing the typographic contributions of Bruno Maag from UK graphic design firm Dalton Maag studio. The show presents typographic script systems developed by maag in various languages including latin, cyrillic, arabic and indian glyphs. Long chains of plastic cards hang from the ceiling, each card containing a single glyph from one of his thirteen different dalton maag typefaces. Currently, there are dozens of different script systems used in the world. However,  Bruno maag shares the belief that the task of a typeface designers’ is not only to visualise the emotion with which a message is spoken but also to ensure that the reader can absorb the message with minimal distraction. This is a good example of using graphic communication in a exhibition - we could incorporate symbols, keys, images or text on the suspended displays.

Display items or artefacts on a suspended shelving unit

Audio visual displays e.g. iPads could be suspended on top of each other - efficiently make use of the space

Use transparent materials to display items - creates a sense of 'look but don't touch'

Circle 'hole' continuity throughout the design

Using suspended lights to illuminate displays

Suspended tables to showcase work and objects

Standing Truss Systems

Initially we were considering attaching the sheet of material to four adjustable poles in each corner of the room. We realised that this would be a difficult method as the material wouldn't hold in place properly, and could curl under itself. We came up with another approach of using a truss system; a stronger and more ideal structure for this type of display. This truss system can be used in several ways for our exhibition; to suspend displays and audio visual material from, to attach the material to, and to hold lighting, projectors and sound systems.

Prototype: Materiality

We decided to use a stretchy elastic material as it has the greatest potential to be successful in terms of how both performers and the audience can interact with it. We would need to double layer it so that it had maximum strength in order to withstand the combined weight of several people.  To prevent it from collapsing, it would need to be stretched out to decrease the elasticity when people walk on it. This material has stretchy and bouncy properties, making it comfortable and visually interesting when pressure is applied to it. You are able to see the form and shape of whatever may be pressed against the other side - a performance in itself. Any light behind this material can be seen through onto the other side, allowing performers to play with the idea of using their silhouettes. 

We decided to stretch the material out as much as possible to reduce the elasticity when the audience and performers stand on it. We would wrap the material around a steel frame to allow for the strength and tension of the material. This steel frame would connect to a larger structure e.g. adjustable poles or a truss system.

Brainstorming

Brainstorming our thought process regarding:

- What material we would use

- How this material would connect be placed in the room - looking at truss structures

- Using box stairs - storage/place to display something/staircase

- How will the hanging displays be lifted to the ceiling? - Pulleys? 

- Lighting/projection (gobo) - potential graphic communications

- Who would move things around in the exhibition - staff, performers, audience?

- Location of lighting, projectors, audio visual, sound system

- Location of 'pop-up' holes in the material

- Will be black out the curtains? - separation of light between the two sections

- How can objects be displayed? - incorporate graphics onto objects

- Boxes, foldable storage, popup suites, shelving - hanging, wall

- Juxtaposing styles versus keeping it traditional e.g. trunks

Initially we had a lot of thoughts in terms of creating a transformative space. Today was about clarifying and refining these ideas. We were able to select certain elements and discard others. This way we could focus and continue to develop the key features before interim presentation next week. The bottom image shows the main points that we will continue to research.

Material Studies

Comparison of several materials, investigating:

- Texture and feel of it - is it comfortable enough for constant human interaction?

- Patterns, creases, marks created when moved into different shapes and forms

- Light passing through - shadows, silhouettes

- Transparency/opacity

- Strength of material when pressure is applied to it

We looked at materials like:

- Plain canvas

- Chiffon

- Linen weave upholstery

- Elastic

- Vinyl

- Hessian 

- Other scrap materials found around the textiles department

Initial Concept

From previous precedents work, we liked how the designers have:

- Allowed for the audience to interact with the space.

- Used multi functional room dividers.

- Created levels in the space.

We decided to draw these ideas, to separate space and to allow for different areas e.g. to occupy a space versus to inhabit another. "Head in" by Magma Architecture is our main source of inspiration for this assignment. We want to use this idea of transitional spaces - moving from one place to another, so in this case from the ground, up into this pop up exhibition. 

We want to continue down this path, keeping into consideration:

- Access points

- Materiality - to prevent draft in the room

- How will the public enter the holes? ladders, platforms, objects to stand on - how can these be portable?

- How can this structure move for different performers? pulleys, winding, pushing, lifting - where can it be stored?

- How can we incorporate light and sound into this structure? windows -blocked off?

- Activation of things

- How can we include the mirrors, the chandelier, the stove into the space?

- Can this structure be used for display, performance or both?

- Acknowledge the light and stove

- Design a space for 5 spectators

- Where are the entry points? How do we navigate people through the space?

Precedents: Division of space

Benjamin Hubert - "Amass"

http://www.dezeen.com/2013/10/02/amass-by-benjamin-hubert-for-100-design/

Hubert created a screen of branching modular structures to surround the auditorium at trade show 100% Design during the London Design Festival. The modular system comprises three different components that can be configured in several orientations. "The branched form of Amass was inspired by the controlled randomness found in nature and the building blocks of life," said Benjamin Hubert. For 100% Design, 46,000 pieces were hung in curtains around the stage and seating area to create a permeable visual barrier defining the space. This wall division was used aesthetically rather than to actually divide space. This could be a good idea to think about visual and functional purposes.

Stephanie Forsythe, Todd MacAllen - "Softwall + Softblock"

http://www.architonic.com/pmsht/softwall-softblock-white-textile-molo/1069011

Softwall + Softblock modular system is a freestanding partition system that can be expanded and contracted to freely shape intimate space within larger interiors. Utilising flexible honeycomb structures that expand, contract, and flex, softwall can be opened from 4.5cm (2”) to 4.5m (15’) in length, or smaller dimensions as desired. The elements of the soft collection have been designed to be uniquely shaped for a specific occasion or space, folded away for storage and/or reshaped again in variable and dynamic ways. White textile Softwall + Softblock are made from a paper-like, non-woven polyethylene. The material is beautifully translucent, diffusing light that passes through to highlight a delicate pattern of translucent fibres. White textile Softwall + Softblock can also be integrated with molo’s LED lighting to create flexible, luminous partitions. Molo’s textile material is tear, UV, and water resistant; fire-rated; and 100% recyclable. 

Magma Architecture - "Head in"

http://www.thecoolhunter.net/article/detail/1290/its-all-in-your-head

The main feature of the installation is an alarmingly orange flexible fabric (polyamide-elastan mix) stretched between the walls, ceiling and floor. The fabric is the most visible part of the exhibit, yet it is also the tool with which the viewers can focus on smaller details. Visitors bend down under the fabric into which openings were cut. Through these holes, visitors pop their heads up into the orange space to view drawings, models and photographs suspended from wires.