EXPO POSTER

BRANDING

Logotype and Photographic Style

PROTOTYPE

Animation Storyboard

Opens with the "Gardener" entering the space. He or she walks through the bed of flowers and notices how the lighting and flowers change when they're near it.
Then, it gets into close up shots showing how a person interacts with the flower.

I've decided on a final title for my project: BLOOM- "The World Is a Garden"

This is where I'm developing the brand of my project. Instead of "Nurture/Nature," I would like to entitle the prototype and project "AUTOBLOOM." I also thought of names like: eco-echo; eco-assessor; databloom; fluxbloom; ecobloom; & plant persona.

Possible Logos//

Most recent prototype

Using materials like cocktail umbrellas, fiberglass mat, cloth, frosted vinyl, wax, cotton wire, and vinyl tubing, I'm creating these flowers. As for lighting, I want a strong concentrated light coming from the bottom as well as an even more concentrated spot light coming from the top. I'm hoping to incorporate greenery like moss and other green plants. In the 2nd and 3rd picture, you can see how the flower will move and adjust itself.

I added clear vinyl on the second layer.

Using these particular reference points, I hope to combine the different materials and techniques to create a prototype of what the mechanical plant would look like.

PHILLIP BEESLEY: fibers, plastics, found materials, lightweight textile environments, insert into natural environments to "catch and inject matter", ingrown
REBECCA HORN: expanding/fanning flaps, feathers, fanning, kinetic sculptures, extensions of the body
VIAGRAFIK: structural, strong, sleek, juxtaposition with green, like a machine but not a robotic,
XARENE ESKANDAR: felt, openings that breathing motion,
BEN HOPSON: kinetic design, movement, mechanical, contraption, http://www.youtube.com/watch?v=ryXW1tqcbj0&feature=player_embedded
STRING SPHERE: using this technique of wrapping a balloon with string and then applying fabric stiffener, I may be able to cut the sphere into petals. Cut like the following picture from Werner Klotz's piece called "Anemone"
METAPROJECT- creative agency, videos of blooming flowers, quote from olafur eliasson "...when the artistic language posits space and its users as its central agents, it can engage easily with architecture, science, and design. it can also raise social, political, ecological, aesthetic, and ethical questions- any area of reality is a potential collaborator and offers ground to be explored."
ROSS LOVEGROVE- solar tree: greenstem, gradient to white, lattice work
YVES BEHAR- different sized objects painted same color- everything around plants
NATALIE JEREMIJENKO- greenlight system- self sustaining carbon neutral environment sculpture; solar collector, chandelier, terranium, and indoor air purification system

I went in a more subtle psychedelic. I wanted to concentrate on the amorphous cosmic light that appears. And when the light circles around the backdrop, the light flickers creating a twinkling star effect of different colors.

The statement "Known for Being Known" is a loop in itself. I wanted this to be conveyed on the walls with the light as a guide to how to read the words. The beams of light coming from the roof shine through and are create to two parallel lines on the walls that complete the missing lines in words.

Inspired by mazes, plastic toy model assembly pieces, and the movie Tron, the walls are cut with various flaps and slits to play with dimensionality of not only the paper but the light and its various reflections.

For this model, I wanted to focus on triangles and trapezoids as the basis for designing the structure. The various flaps offer various platforms to catch the light. The crumpled mylar gives the reflection more texture and randomness.

Light takes on a myriad of characteristics in natural as well as synthetic environments. Everything and anything affects their manifestation and modulation. These effects can either be purely spontaneous or be designed with a cognitive concept driving the purpose. In the dissection of three particular light systems, I analyzed the nuances and intricacies of the performance of light in relation to its environment.

As an example of a situation in which light played a part in a familiar situation, I looked at the characteristics of the light from my laptop screen when I am in a dark room. When thinking about these familiar instances, I thought about the times in which light was used in more intimate instances that I am frequently placed. In this case, it would be doing work on my computer at nighttime or in a dark classroom.

In this system, light mostly comes from the computer screen and emits outward. It highlights everything facing the computer and creates sharp shadows with the places that are not. The brightness of screen is at its highest level. The light intensity occurs near the screen and then diminished the further away you get. Laptop designers utilized this concentration of light in order for the user to focus its attention on the screen and not have the screen be a total nuisance to those around the user. From the users perspective, this focal point of light creates dark backdrops to the computer because the eye has a hard time seeing objects that are behind the screen.

This goes for color of light as well. Depending on what I am looking at on my screen, the relative color of the light changes and the tint of the light also diminished the further away one is from the computer. The light from the computer screen is never very flattering even if the hues are warmer. This is because of the harsh shadows that it creates on the objects but also perhaps the cooler whites from all the windows open. For the future, it would be interesting if there would be a development in more flattering light for those socializing with their computers at hand.

Although I do dishes very often and it is a familiar situation I have been in, I looked at the more subtle features of light when I wash dishes near sunset. Subtler light often goes unnoticed and is not grand and obvious a gesture of brightness. There is a more natural ambiance in which things can operate without being distracted by something bright looming over them. Not necessarily less light I would say, but it is utilized in the right amount so not to allow from disturbances.

In this system, the natural light source coming from the sun comes from over the hill and through the window into the kitchen. The soft light illuminates the room from the more direct sunlight bouncing off things outside and entering through the windows. There is direct sunlight on my hands. Light is evenly dispersed at the sink and without any harsh shadows. However, as the sunsets the room gets darker and more distinct shadows develop.

The interesting intricacies in this system occur when light interacts with various reflective, clear, and non-solid objects that are located around the sink by the window. Light passes through the liquids like the water from the spout or the liquid dish washing soap. It gives the liquids a shining quality with small reflections with them. There is also the light bouncing off the reflective metals of the pots and pans, but because its sunset, there is not a blinding display of reflective light everywhere. There is just enough to show small nuances of shines and gleam. In addition, as I turn on the hot water, the steam catches the light until it disappears into thin air. All these plays with light do not occur at once but instead sporadically so that they do not draw great attention to the light. However, sadly all dish-washing experiences are not always this lyrical and poetic.

Taking the reflections like the pots and pans to another level, the wall located at the Maison Martin Margiela store in Beverly Hills creates an impressive and extreme system of light. This wall is covered with individual reflective sequins. This dramatic display cannot go unnoticed for its brilliance in light, which draws people to the store. The effect is different at different parts of the day, however I went in the morning when the sun was hitting the wall and caught a lot of light.

Light in this system worked mostly through reflection. There is first the direct sunlight beaming down from the sky. Through this, the light bounces off the surrounding area and onto the wall. Then, when the sun catches the sequins, it creates these spots that glimmer. With the wind moving these small sequins, its creates these shimmering areas similar to the surface of water. And when the light reflects onto the ground, it creates these reflective pools of light that also move. The intense modulation of light gives life to the wall and a fluidity and liquidity.

Through its various interactions with the environments, light affects the mood of places, however, not always in the most obvious of manners. Whether having a functional purpose or just an aesthetic addition, it works with the space to achieve a particular effect. Light manifests these various moods through variations modulations in position, intensity, hue and reflection.