Oberlichtsaal Gallery

7/24/2019 Oberlichtsaal Gallery

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summ ry.oberlichtsaal.gallery.2019

mediating stratications of space I Mediale Schichten des RaumesMasterstudiengang MediaArchitecture I IMAMS I IDEintroductory project-module I Einführungsprojekt

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Eine temporäre Ausstellungsarchitektur für das 100. Bauhaus-JubiläumA temporary exhibition design for the 100. Bauhaus-jubilee

Author: Ka Man Lam, IMAMSMentors: Prof. Bernd Rudolf, Prof. Andreas Kästner, Dr.-Ing. Sabine ZieroldConsultant: Prof. Dr.-Ing. Jürgen Ruth, Jun.-Prof. Dr.-Ing. Reinhard König



content

stimulationapproachquestionsproject descriptionrationaleergonomics of designexplanatory, exploded axonometric- actual design -

material schedulesite planelevationsectionbase and timber structureappendix -process workcircuit diagramcredits



our being under light and enlightenment



1. How relevant is the geometrical form of OLS from the Bauhaus aspirations it contains?

form vs. condition

2. How are intellection at eyelevel and spatiality related?

the intellectual third skin

3. How is the skylight (literally Oberlichtsaal) signicant to the Bauhaus enlightenment?

light & enlightment; the enlightening sequel

4. How can we integrate emancipating ideas into a continually progressing modernization internationally?

the open-source digitalization of exhibition; digital modernity

5. how to capture our environment, know where we are in relation to light & technological parameters of today?

analytical deconstruction of the present scene; unity of experience

Questions

the brief involves the following question:

to be elaborated in project description



Approach

a. the fundamental/ analytical nature of questions

b. the essential rationale

c. ergonomics of design, ‘as little design as possible’ - axonometric plan section elevation

d. usage denes its meaning, core to modern functionalism;anti-metaphor / anti-parametricism. What can an installation do for the Bauhaus Jubilee?



project description

„The Bauhaus was an idea, and I believe that the huge inuence that the Bauhaus had in the world may be due to the very fact that itwas an idea.“ Mies van der Rohe (1953)1

The “Staatliches Bauhaus“ was founded in Weimar in 1919 under the manifesto, ‘the ultimate goal of all art is thebuilding’. It explains the school’s mission to overcome the limits of disciplines and the fragmentation of modernism.Much in accordance with the modernists’ trial towards modernity, ideas at the Bauhaus had expanded, evolved andrenewed. Nevertheless, the underlying belief of the Bauhaus remains clear - a forward-looking rationalization of de-sign towards an inclusive modernization, impact of which considered as relevant as ever.

The Oberlichsaal has housed the history of the Bauhaus: a classical, skylight-litted gallery space designed by the pre-Bauhaus functionalist architect Henry van Velde. The Oberlichsaal gallery was where the 1923 Bauhaus exhibitiontook place, an exhibition showcasing the Bauhaus as a “laboratory of modernism”.

The short yet turbulent existence of the historical Bauhaus in Weimar has left its traces on the Bauhaus-UniversitätWeimar today. As we leads up to the centennial foundation in 2019, how can we possibly take the 1923 exhibitionas a point of departure, thus arriving at a point of new vigor and insight? Of all goals of art and all emancipating ideasof the Bauhaus, how can we critically assessed the potentials of these ideas, through our existence in functional builtform? What would distinguish a mythologization of a legacy, from an active evaluation, continued experimentation of

the unnished ideas?

The brief asks for a pavilion whose design be inspired by the 1923 exhibition at Oberlichsaal. Several reciprocal relati-onship between space and aspirations must rst be dened.

1 Isaacs, Reginald (1991), Walter Gropius: An illustrated Biography of the Creator of the Bauhaus. Berlin: Bulnch Press. P.78



1. conditionWhat constitutes the essence of the Oberlichsaal? Its condition: a well-lit exhibition under diffused skylight; an ideallighting condition for exhibiting ideas. What constitutes the Bauhaus then? This brings us back to its all-time belief:the rationalization of design towards an inclusive modernization; an effort to put art, design, architecture and modernlife on a logical footing, in the spirit of Enlightenment that continues to the day of Rational Modernism.

2. the intellectual third skinSpatiality and intellection should not be mutually exclusive, as in the case of typical, two dimensional curatorial de-sign at eyelevel. What if an exhibition and its intellectual contents can surround us holistically, invokes all our meta-

physical as well as sensual understanding?

3. Light and enlightenmentEtymological meaning (light as a source of idea) aside, light connotes an enlightened conditon, when all understan-dings are clear and transparent. What if we can bring together light and enlightenment in one?

4. digital modernityThe challenges of our day has changed from the time of the Bauhaus. A mythologization of a legacy will deem us irre-levant; instead, a inclusive, extensive examination crossing spatiality, industrialization and digitalization, will bring us

to a more relevant response to the needs of today. We do not imitate the historical Bauhaus. We think Bauhaus.

5. safeguard thinking, quietude, creative activity of the individual and the broad practical work of the worldIn our time we do not run short of futuristic experiments. Nevertheless, how can we invest our creative activity in thelogical and meaningful areas, lest repeating the failures of past wishful thinking? An answer could be - an alignment ofour being and the world. To safeguard our existential thinking might be the most important task for architects today.



The Design

Why do we need an installation at all? What can an installation do?

An installation has its inherent limits. It cannot take the necessary role of publication nor manifesto. However, it couldprovide the best venure for our thoughts; in philosopher Martin Heidegger‘s term, space as spatium that opens up its-elf, let into the dwelling and being of men. Unlike any tectonic installation that lacks an insightful message, the designdeals with the emergence of an idea under light, and serves as a perception sharpener for the pedagogy of new desig-ners.

A site-specic installation in the Oberlichsaal Gallery. The design can be discussed in three parts –window as light bo-xes through a reoccurring appearance, the medial projection of an augmented presence, and the happenings aroundthe exhibition.

First, a long and wide strip of white fabric (2.5m(w) x 17m(l) ) forms a loop within the room; words are written on itin white sign-pen. Fabric lies in front of side and sky windows. The fabric moves slowly and gently controlled by rollerchain and gear. Whenever the content emerges in front of the window, the windows serve as a light box. Otherwisecontent is less visible.

Second, the fabric should be connected to a timber frame and base structure. The base serves as a light box/ over-head-projector simultaneously. Graspable objects will be held in hands and displayed. A real-time 3D scanner ordepth channel sensor to scan and lter the scene layer by layer. Digitalization of the exhibition content and an inter-

nationally connected exhibition.

Third, since the installation is mainly a blank fabric loop, it is expected to showcase only one artist/designer/architect’s work at once. He or she is expected to be present, and to pick, display and discuss his or her work withthe audience. The entire setting is much like a performance and live discourse. The artist has the creative freedom toexhibit whatever content.



Rationale

e. art & design - act of reectingreality through the artistic artefacts;a new design to connect the tactileand the visual

b. how might our presence in space(Oberlichtsaal) integrates spatiality

and intangible aspirations?

skylight

wall window

d. window as the light box; revealmessage written in white on blankcanvas; canvas slowly rotating;messages could be cleaned withalcohol

f. overhead projector/ depth channel reader: thescene of us grasping and engaging with artefactsis de-layered into an exploded axonometric. rst,our hands, then our work, design context... a newcomprehension

a. the design should search forpossibility beyond passive looking

at eyelevel

c. contrary to passive looking, a looping,fragmented content created by our own

imaginations and thoughts

00:10

0 0 :0 1

00:08

00:17



Rationale

f. medial sequence in detail

camera eye/ scene

the presencewarmth of humanhandslight box, artwork,hands, the person,

kinect/ depth channel/ QR code on workdeconstruct the scene of one’s presence1. hand2. exhibit3. project description - keywords4. context in mind/ implication5. time lapse

projection -deconstruct a scene in sequence;an exploded axonometric of thepresence

input

output

light/emerge

fade



FEEDBACK AND INTERACTION -students/professors each shares halfof the canvas, evaluate each other‘sdesign process; discuss explodedaxonometric, architectural model,design...etc. as if the explorationprocess on tracing paper is nowunfolded

Scenario

LECTURE -academic speech brought creativeand engaging. as a long speech orpresentation can be made moredigestable and be projected onthe canvas, a poetic yet lively andaccessible intellectual environmentis created.

IMMERSIVE INSTALLATION/ENFRAMINGenhance the sharp yet thin nature of themembrane, a gradient colour or projectionto play with light contrast and an enhancedperspective.



a stage for collective ideas & vision



rethinking ourplace under

light andenlightenment



Ergonomics of Design

may refer to 1:10 physical model



main structure

sub-structure

overhead projectorrealtime 3D scannerlightbox

a stage for connecting the tacileand the visual



upper frame detail

lower frame detail

detailing for a minimal inner surface



upper mechanism and detail



fabric strips on the back forminimal appearance

U-bolt and wire strings

through connections on the outer ring

tensioner totighten chain;connected to basestructure

aluminium post slides on metal planes;or most ideally, rollers

lower mechanism and detail



Material Schedule and supplier

components' name description (dimension) material colour quantity remark supplier

F1 Kronospan OSB 3 Superfinish ECO 2500 x 625 x 15 recycled wood natural wood 30 laminate 2 layers together Kronoply

F2 circular wood stick 8mm diameter x 900 wood natural wood ~10 OBI bauma

B1 wood batten 58 x 38 x length wood natural wood 36400 in length carpentry joint OBI bauma

B2 transluscent acrylic plane 2500 x 1100 x 5mm acrylic frosted 1 OBI bauma

B3 MDF 2800 x 2070 x 6mm raw MDF natural wood 4 inside painted white Kronoply

B4 LED diodes light bulb white 100 installed inside light box

mechanical

M1 Roller chain length? iron with oil natural 25000 in length Bike shop/M2 gear diameter , teeth, pitch steel plane with oil natural ~100 www.geargenerator.com OBI, cut by

M3 pulley outer diameter 80mm plastic with oil white OBI/ 3D pri

M4 tensioner 1 ebay/ self d

M5 steel post 8mm diameter x 180 steel natural 75 OBI

M6 steel disk 8mm diameter steel natural 150

M7 steel hexagon lock 8mm diameter steel natural 150

Secondary structure - membrane

S1 Airtex GT 7533-914-5300 2500x 25300 white matte Mehler

S2 wire 1mmx56900 (L) natural

S3 aluminium post 5mm diameter x 2500 natural aluminium natural matte 38 hollow aluminium cylinder

S4 wire lock natural 76S5 U bolt natural 38

MATERIAL FINISHING SCHEDULE

frame structure

base structure

supplier

Kronoply

OBI baumarkt

OBI baumarkt

OBI baumarkt

Kronoply

Bike shop/ OBI OBI, cut by waterjet machine at B

OBI/ 3D print

ebay/ self designed

OBI

Mehler



Site Plan

s k y w i n d o w

I n t e r i o r E l e v a t i o n A A '

e l e v a t i o n B B '

D A T E : 1 3 J A N 2 0 1 6

B a u h a u s J u b i l e e 2 0 1 9 , i n s t a l l a t i o n a t O b e r l i c h s a a l G a l l e r y , B

U W

S I T E M A P

1 1 8 9

2 5 0 0 5 7 3 0 5 7 3 0

8 0 0

3 7 7 0

3 0 0

3 6 8 5

8 5 0 0

4 4 8 0



Interior elevation

tensioner

DATE: 13 JAN2016MediaArchitectureBauhaus Jubilee 2019, installation at Oberlichsaal Gallery, BUW INTERIOR ELEVATION AA'

150

4 0

0

8 5 0

8 2 5

3 1 8 0

150

150

4 8 0 0

770

1 8 5 0

670

1 8 4 0

6809730

3 5 0

1189



MediaArchitecture Elevation BB'Bauhaus Jubilee 2019, installation at Oberlichsaal Gallery, BUW DATE: 13 JAN2016

2330 23302500

Section



Base structure

DATE: 13 JAN 2016MediaArchitectureBauhaus Jubilee 2019, installation at Oberlichsaal Gallery, BUW

Note:heavy seating, in concreteor water, to hold installationin place

Note:membrance passes through within lightboxsupported by U-steel on both ends

F1

B1

B2M1

M2

M5

S1 S3



connection - cloth and chain

F1

M1

M2



Appendix - process work

may refer to two physical models at 1:20 and 1:10

T h i n k B a u h a u s

?



Appendix - circuit diagram

555 timer pulse width modulationcontrol the speed of a DC motor

source: learnelectronicsandrobotics.blogspot.com



Credits

special thanks to:

Dr. Sabine Zierold,for her tolerance and support

teachers at the Faculty of Media, Jason M. Reizner, Lecturer, Interface Design Group,Darsha Hannah Hewitt, Kuenstlerische Mitarbeiterin, GMU,for their advice and assistance

fellow classmates and friends,

Stephan KrieglederRoy Muellerfor thier advice and their electronic components

Oberlichtsaal Gallery

Documents

Transcript of Oberlichtsaal Gallery