10/3 – Installation aspects that require further study

Each student to list aspects of the installation proposals that require further study.  Blog posts to be submitted as replies to this thread.  The next step is to divide up the labor to perform these studies.  This can either be done on the blog or by email.

13 thoughts on “10/3 – Installation aspects that require further study

  1. Lines of Light: I think this study of immateriality is beautiful and poetic. I think It may need a full scale mock-up to test the feasibility of containing the vapor/smoke within the Gallery. There are vents that may be running throughout the time which may cause a disturbance in the smoke that may not be wanted. I think a detailed plan/section should be drawn out and the layout should be proposed clearly. I think the mockup would help us understand how this would work but other than that I think the idea is strong.

    Cloud Group: I think a full scale model will also be needed and a detailed plan as to how and how fast this installation could possibly take to get together must be considered.

    I think that both ideas show very different but strong concepts but until we both build a full scale model and test out the results, it would be difficult to choose. I do however favor integrating the three concepts together. They seem to carry the potential to be meshed I think then the backdrop should be chosen. The cloud group seems to have chosen a white backdrop and the light lines group seems to favor (and need) a black backdrop. I think the cloud can work within a black backdrop and the images show in today’s images were shot inside a blacked out room.

  2. Planes of light exploration:

    How is the outside experience different than inside but still an engaging space where people want to be?

    How does this idea address/use the existing qualities of Donghia gallery?

    How does the transition of the light planes create a calm, heightened awareness?

    How will you conceal the lighting mechanics?

    How many people can be in the space and for how long?

    Cloud exploration:

    How could the experience/perception be heightened through the use of the glass wall?

    What amount of ‘cloud’ material would be needed to fill the space and is there an alternative material we could look at?

    How will the light change in relationship to the music? How will the subtlety affect/heighten perception?

  3. Clouds:
    My biggest concern is the that the clouds become an object in the room to be viewed, but not necessarily experienced, and thus somewhat static suspended from the ceiling. If There was movement through the clouds somehow, I think this could resolve the static issue to a degree. Ultimately just looking at the object and seeing color change, while potentially beautiful, doesn’t seem conceptually strong enough to me.
    Second, I think there needs to be a realistic assessment of materials needed and building time, in terms of set up time and storage for materials.

    Light planes:
    I like this proposal for it’s simplicity and ability to effectively create an immersible environment for the user.
    Renee mentioned that the colored lights seem too much like a party vibe etc… I agree with this. Especially after seeing the thin bands of white light created with the stage light and the other light tests, I think we could use what light in this project to very strong, elegant spacial effect.
    I agree though that we would need to get the proper equipment immediately to prove that we could fill a room with enough smoke to work. Would we need to block vents for this? Are we allowed to do this?
    I think with some finessing this proposal could be really strong.

    It seems like the reflections studies could merge best with the light planes, using reflection to it’s full potential. Could we play with a plane of light hitting a textured or wrinkled swath of mylar that would fraction light around? Something like that, could become a moment that highlights a surge in the music, or something like that.
    It’s also an opportunity to somehow give a taste of what’s going on in the gallery, to the people outside the space.

    Reflection could also potentially work with clouds if it somehow made it seem as if clouds were everywhere. But again, how to make it not static? Not just beautiful, but provocative, like the music piece.

  4. Lines of Light:
    -What kind of volume will be able to be filled with the lines of light? (This could be a factor in the experience of the space in terms of how dense the lines of light are)
    -What are some ways that the lines of light can be experienced from the outside? (Or will they be?)
    -How does the experience differ if the lines of light are projected from different heights?
    -How dense can the fog be? How many fog machines will be needed to fill the space with the desired density of fog?

    -I think different materials need to be tested to determine what will give the desired appearance.
    -Where will the light sources be located? If they are within or behind the cloud will the cloud material conceal them?

    In terms of integrating either concept with reflection, I think mock-ups will need to be built. I think it would be really interesting if we could combine both ideas together and also include reflection. Could the lines of light reflect off the clouds? Could the lines of light emanate from the clouds and move into a less dense fog below the clouds, reflecting off the glass?

  5. Planes of light

    How does it feel to be in an atmosphere of smoke (comfortable or dis-comfortable)? I really mean this in regard to the idea of creating a ‘calming experience.’

    How would the the projectors/ lights work if located outside the glass wall, would the lines of light refract on the seams of the glass? what does that do to the effect? Does it make the idea of having the projectors outside unfeasible?

    Would the amount of smoke make the experience immersible enough, that it one can see and interact with the planes of light or will it feel like the space is empty even when the light is being projected?


    How much material would we need?

    The formal aspect needs to be defined to make it clear how one engages with the piece.

    How far can the source be from the material to filter through it without seeing the light source, how dense do the clouds need to be?

    Is there an opportunity to mount all clouds on a net/grid that would allow for quick mounting/dismounting?

    I like how the clouds relate to the idea of silence. I remember the quote from John Cage: “There is no such thing as an empty space or an empty time. There is always something to see, something to hear. In fact, try as we may to make a silence, we cannot.” I believe that having the clouds lit in a dim light with timed color/intensity change speaks back to this idea of silence and sound.

    ***Most importantly are there opportunities for hybridization of the schemes? We need to test the idea of creating the filtering of the light through the clouds to create “planes of light.” These could also be timed and can occur when the “ambient light” back lighting the clouds is dimmed. ***

  6. Planes/Lines of Light: If a fog machine is not permitted, what is the backup plan to create a similar effect (from today we saw that humidifiers and sprays don’t work). Where are the mirrors going to be placed? How big will they need to be? Will there be potential for it to cause glare or accidentally shoot light in someone’s eye if one is standing in the wrong place?

    Clouds: I am curious to understand the detail of how long the cloth/fabric needs to be to create a cloud that “travels” past the glass walls.

    I would love to integrate the ideas into the final installation, however, I think it is very important to rewrite the concepts to make sure that we are not loosing the structure that inspired these designs.

  7. Planes of Light:

    What size smoke machine must we use to fill the space with smoke?
    How to conceal the lighting mechanics?
    How many times can we reflect the light before it dissipates––too week to be seen?
    Test alternate light sources, projector variations, and theatre light variations.
    Must there be a clear definite geometric line to see a plane of light or can it be blurred?
    How can the light planes reflect off of the glass wall (with addition of another material or mirror behind it)?
    Where will mirrors be placed?

    How does this engage the outside space?
    How does this idea address and use the existing qualities of the Donghia Gallery?
    How will the transition of the light planes enable a calm heightened awareness?
    How comfortable and calm is it to be in a dark room of fog?
    Is the music included in this concept? If so, how?

    Light Clouds:

    How much material is needed to cover the expanse of the ceiling?
    What other soft materials can be used to diffuse colored light?
    How will this material be suspended quickly and easily across the entire ceiling?
    What kinds of lights will be used to create the desired effect?
    How will these lights be suspended on the ceiling?

    How does this engage the outside space?
    How does this idea address and use the existing qualities of the Donghia Gallery?
    Is the idea to mimic the way clouds catch color or is it to use batting to diffuse colored light?
    How does this concept relate to the rhythm of the experience in the cage piece?
    How does this concept relate to presence and absence – break and surge?
    How does this concept create/enable the effect of heightened perceptual awareness?
    Is the music included in this concept? If so, how?
    How does one engage with this piece?

    All concepts should answer:
    Plans/section drawings.
    A full scale testing.
    How many people can be in the space for how long?

    Consideration for a hybrid:
    A hybrid of the concepts will take away from the initial beauty each one presents on their own. Projected light can spill out from the clouds and into the space, reflecting several times and returning into the clouds. This requires the clouds to be split or be hung with gaps remaining at the walls of the gallery. Several holes in the clouds must be made in order for the projection to emerge from or enter the clouds. In order for the projected light to be seen the smoke machines must still be in the room, likewise the projected light must be the only light source, any other light source dulls the experience of the light planes. If the only light source is a bar of light entering into the clouds after it has been bounced around the room this is the only light left to illuminate the clouds. Suppose the clouds and the light planes share the experience alternating on and off, this conflicts with the cage piece, in that where absence of sound is experienced absence of light is not, only a substitution of a light source. Thinking of ways in which the concepts can sit in a room together can only be answered by sacrificing elements of each.

    My understanding is the clouds and their impact is most effective when the expanse is continuous across the entire space. By combining the light planes with the clouds, this continuous expanse must be broken up to accommodate exits and entrances for the planes.

    The concept for the light planes is most effective inside a pristinely clean space. Through the absence of anything else in the room the perception is heightened enabling a concentration of the subtle light planes and their dissection of space. Addition of the cloud forms would confuse the experience.

    In each concept the treatment and the reflective qualities of the glass wall are important. Depending on the progression of this installation the glass wall will be dealt with differently depending on the intended installation.

  8. Planes of light:

    How would the light or projectors look when passed through the glass wall?

    How many smoke machines will be necessary/ what would be the ideal level of visibility?

    How will the ventilation of the room affect this level? How will we monitor and calibrate it?

    Is there any possible other fog that could be used? How can we get a more subtle, even distribution, so it doesn’t look cheesy?

    How can we widen the projection of light from either to create more of a “wall’ than a beam?

    Can it look less cheesy with a more restricted color palette? What is color doing for it anyway – how could it affect the mood or should it all be white?

    Do the planes of light frame a path and therefore beckon someone between them, or do they block a path and create perceived barriers to pass around and under? This interaction and misinterpretation of light being as controlling as structure is a very strong concept.

    How will the edges be resolved against all the glass walls?

    How far can we structurally hang it down to create a low ceiling?

    What will be the intended movement through the space? To go from walking through to laying down (for how long?) to getting back up? How will we dictate how someone crawls beneath it? Will there be a mat or pillows?

    How will we have enough lights to evenly distribute/create the illumination necessary? (This thing will be huge)

    How will the actual texture play out so it looks more epic than cheesy?

    How will we suspend lights lower to be closer to the material?

    Could the material be different to accomodate a hybrid? If it’s more of a loose paper draped paper seen in profile (think Tara Donovan) to allow light beams to pass through…? How does that impact the original intent of tactility? Is such a strong association with a cloud desirable? How can we abstract the essence of the idea to become less literal and more about the experience? What IS the intent of the experience? The change in color? The saturation? The overwhelming assertion of its mass on the body/ the tangibility of light?

  9. Regardless of what aspect of the project someone is interested in drawings need to be produced. A combination of refined conceptual drawings and sections, plans, elevations of how the effect is to be achieved with real life equipment. Where does the projector hang, how far down from the ceiling, at what angle to direct the light to achieve desired effect, etc? Where would the reflective devices be place in or about the room, what are their dimensions?

    We also need real life mock ups and tests to demonstrate that the more technical drawing layouts are legitimate. And to see if the real life effects are in line with the conceptual drawings.

    Reflections group: we need much more than pictures of the reflections of the current conditions. I was under the impression that you would be exploring the reflectivity of outside materials, not just the existing glass… we all need to be more rigorous but especially this particular exploration.

    If we are going to talk at length about our particular bent on the project it is more credible to have actualized drawings in hand to convince others.

  10. Planes of light

    1. How can the hardware ( projectors or lights) be effectively concealed
    A) can they be projected through the glass wall
    B ) can we feasibly build a fake floor cheaply

    2. What sort of smoke machines would be the most effective? How many would we need? How do we distribute the smoke evenly and not too thickly ? Will they set of the alarms ? Do we have permission to do this ?

    3. What sort of spaces can be achieved with these planes of light? Do we want to create architectural spaces that read as volumes, passageways, asymmetrical, symmetrical, etc

    4. What sort of colors if any should be used, if any? How do the colored light planes from different projectors interact with each other ? What effects does this create?

    5. How do we hide both the source and the recieved light, so that only the planes are visible? I believe this is important so that the piece is read as volumes, spaces, and no connotations of clubbing or cinemas are innovoked.

    6. What type of source light works best – boxed in projectors, lights with barn doors, slide projectors ? What are the different advantages and disadvantages of all? What can we get our hands on ?


    1. Is the cloud material flammable ? How can we make sure it is not going to combust ? I don’t think spraying fire retardant on it is a sufficient solution, it will smell and I still believe is dangerous.

    2. How does this proposal deal with the ephemeral qualities of light.

    3. How do we make sure that the experience is not so object based ie how do we make it about the light and not the cloud.

    4. How do we avoid it been read with religious connotations

    5. How does this proposal relate to the feelings evoked by the John cage piece?

    6. If the clouds lighting is linked to a surge and pause rhythm, does that distract from the original concept of trying to create a ‘ natural’ rhythm of lighting that evokes feeling of watching a real sunset ?

    7. Does it effectively create an absence in the space by simply turning off the lights on the could ? Will the cloud still be read as an object in the voids of the music? Is there another way of addressing the John cage piece, that is more appropriate to this proposal ?

    7. How do we stop this from looking like a set design?

    Combining :

    I believe that both proposals would be greatly compromised by trying to create a hybrid idea. They both approach light from opposing conceptual points. The cloud is about reading of light on or through an object, whilst the planes of light is about creating volumes from light in space. In other words One is object based and the other is entirely about the absence of objects, ( creating spaces not objects )

    I think that there are conceptual similarities between the two projects, both projects seem to be interested in combining colored light and the effect that has. Planes of lights experimented with bright colors this week, but there has been suggestion that a more toned down colour plalet may be more successful. Either way , colour could be an important link between both proposals.

    Both projects actually have an interest in cloud like structures. Clouds in reality are suspended particles of water vapor . This is actually more similar to smoke machines then it is too Halloween spider webs. Because the demonstration didn’t work so well we were unable to show the ethereal qualities of the smoke passing through the planes of light, but it has a very cloud like feel to it as the mist circulates through the air.


    I believe this can be integrated seamlessly into both proposals and is strongly linked to the inherent qualities of the space.

    What material works best / is available cheaply to completely black out the space?

    Is there a way of creating a one way black out – so that what is happening on the inside can only be read from the outside, whilst maintaining darkness inside.

  11. Planes of light:

    It seems now the experiments we have done have to do with fog. Now the big issue is how to create a large amount of fog but still not create bad air quality. Also is there any way to create this effect? For example, using translucent material to form the planes we want, so in the dark space, these materials won’t be seem until light spot on those area we designed. So it could be combined with cloud idea and even with reflection. I still think the installation has to be a connection with John Cage, so it should be controlled well by our settings.


    How can clouds function with John Cage composition? Or they don’t have relation each other? Is it ok to use fog machine to create this effect as well? ( Integrated with planes of light)


    How this concept link to another two concepts?( Planes of light and cloud) And what’s the center effects that this idea needs to be conveyed?

    All ideas above:

    I agree all of these ideas has to be test in a full scale and has to be integrated each other( if we still have these three ideas in the next progress). Also, since we already have these three ideas after the first proposal , maybe each of us could make a drawing/rendering/description , explaining what do you think the installation should be look like in the end. Now we feel a little confused because we don’t have a scene in our mind (Or, the scene we guys all agree with ), so maybe next time we can share the image we create, that’s could be helpful to let others know more.

  12. Plane of light – I think it’s really interesting and challenging at the same time. To see the plane of light, there has to be a medium to reveal the surface of light. Also, we need to think about when the beam of light is projected the black part of the projection should be considered. Even though a fog machine is not allowed, there might be a way to realize it using materials like scrim. A full scale mock up is necessary.

    Cloud light – I think in terms of engaging with music, it is not really as much relating as planes of light proposal. I was thinking about what if it moves up and down in different parts along the music. Instead of static physical space and light changing, moving cloud can go along with light changing and let viewers experience more physical changes along with the music. Also, it needs a full scale mockup as well.

    I thought about crepuscular light effect to integrate ideas. Maybe the beam of light from cloud behind can be represented by planes of light and cloud itself can work like scrim for catching the plane of light. Reflection of light can give a peek what’s going on inside and create dual experience.

  13. For the Plane of light I think would be the best option because in terms of the fact that are are using the element of light so the inmaterial& intangible aspect of it would be really important, also the components should be as minimal as possible.

    The cloud idea is also nice but I think the materialization would be a little confusing and if we are using the idea of cloud I think the color aspect should be minimal too.

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