The Psychology of Space: Tim Stock

...How we plan space is less about building than it is the reshaping of behaviour that the space affords.

How we plan begins with our sense of our position to the space we inhabit.

The space doesn't define the use- the behaviour does.




http://www.slideshare.net/scenariodna/the-psychology-of-space-design-research-methods

Video Research: Polansky's Repulsion

17:30-19:00
28:32-30:12

Architectural Sequence: #8, Old Mint Street, Valetta, Malta. The Basement.

The building was built around 1620 and used for residential purposes. It was always in the possession of the Central Government and prior to that was in the possession of the Knights of the Order of St. John.

As "the different methods of construction adopted at the lower levels indicate that the

building might have been constructed at different periods of time."

Further record also showed that the building was split up into a number of different tenements.From 1941 to 1961 the property was repaired the damage caused during World War II as well as any other damage that had accumulated over the years.

(source from: NUMBER 8, Institute for Masonry and Construction Research; Siying Que, 2010)

The ancient basement was a discovery. It hasn't been touched for few centuries and kept its original fascinating beauty. It has most probably been used as a laundry space. I must say, it truly is an amazing space. Its broken symmetry and irregularity, together with tall arches and 'magical' skylights bring the viewer back to the times when it has been built. The time has made only few little changes to the surfaces of the limestone, that the basement is made out of. But the rust and the moss add even more character to this ancient 'treasure'.  I have found the unity of the cladding material and the internal 'furniture' absolutely astonishing. Strange enough, i have never likes the absolute unity of the materials. But that natural stone, that has gone through the natural process of ageing, with the light tunnels, falling from the courtyard, is a killer. Would love to go back there, even if it will be in my dreams.

Frieze Art Fair, London, 2011

 Cafe

 Cornelia Parlar '30 Pieces of Silver' 2003

 John Riddy 'Pouzauges 2011'

 Mark Manders 'Yet Untitled Head' 2011

 Yuki Kimura Untitled, 2011

 Valentin Carron 'Imperia II' 2011

 Jason Martin 'Untitled (tondo)' 2011

 Uta Barth 'Composition #8' 2011

 Dirk Bell 'Freelove' 2011

 David Brian Smith 'Great Expectations- We Were Silhouettes' 2011

 Eleonor Moreton

 Lui Wei

 Pavel Pepperstein

 Hannah Wilke, Untitled 1975-78

 Georg Herold, 2011

 Sakshi Gurta 'Water shelf' 2011

 Rudolf Stingel, Untitled, 2011

 Doug Aitken 'Now (#Mirror)' 2011

 Mark Alexander 'All watched over by Machienes of Infinite Long Grace' 2011

 Unica Zurn, Untitled, 1965

 haha hello nazi 

Video Research

 "Amelia"(2003) is a work of a choreographer Edouard Lock in collaboration with The Canadian dance crew 'Lalala Human Steps'. Music by David Lang, words by Lou Reed. 
Amazing control over the bodies and imaginative relationship between 'my man' and the female dancer create truly unusual impression. The spatial tension between the bodies of partners and their 'flying around' in the computer-generated space of an almost cubical shape certainly give the viewer the sense of the exclusion. But the female dancer, as it seems, excludes herself from her partner, even though she is being fully controlled by him. Amazing new generation of classical ballet.

Directed byErika Janunger
Scenography Erika Janunger
Photography and lightDavid Grehn
Music/ Lyrics-
and Vocals Erika Janunger
PercussionPontus Langendorf
Keyharp Erik Rydvall
Saxophones Nis Bäckvall
Produced by Henrik Svensson
Different inhabitation of a space, with the illusion of the absence of the gravity. Having the dancers 'flying aroung' the room, which was build especially for the performance, the viewer experiences the unusual choreography, which happen vertically, rather than horizontally. And besides, i just love the song. 






A Clockwork Orange - Ultraviolence first Scene

Strange enough, cant post the clip itself in here. Anyway, this particular moment of the Legendary Cubric's movie was the first thing that came into my mind when i have found out about the theme for the research. The Strangeness of a dead-end tunnel has always fascinated me. From the very first second ou understand what it is going to end with, when the four shadows of famous droogs fall on the figure of the old men and occupy the whole floor of the the space.I must say the shadows play the key role in the moment of the film for me. The siluetes in the 'ultraviolence' moment, the shadows in the beggining - everything makes you aware of the tightness and danger of the surrounding. Amazing. 

And here we come: Andrey Tarkovsky. Excluded figure within the empty room. with the terrific camera work, the veiwer is being dragged out from the concentration of the hero, while the hero reaches out to us with the glasses. the absolute 'love' moment when the camera goes back and the tall glass follows it and falls over, bringing us into the the space of emotional, superstitious tension between the glass and the hero. Goozebumps!

The safe cannot be accessed. The safe is lost. The fear and the memory. I am speechless.

Brian Walker, Desiree Dolron, Antonella Arismendi: Contemporary photography

http://www.lickthesun.com/2007_Lashes.htm

http://www.desireedolron.com/info.aspx

http://www.antonellaarismendi.com/

Illustrator: 'As if...'