-do something for dissertation every day
-meditate
It seems to me that you keep a certain human aspect to you that it is hard for me to often see within the fashion industry. So if you feel like that is true, I was wondering how do you manage to do that while stil being on the highest position in fashion journalism in the UK?
http://capitadiscovery.co.uk/brookes/items/124319?query=conrads+programmes&resultsUri=items%3Fquery%3Dconrads%2Bprogrammes
http://capitadiscovery.co.uk/brookes/items/207790?query=Ockman+Architecture&resultsUri=items%3Fquery%3DOckman%2BArchitecture
http://capitadiscovery.co.uk/brookes/items/755222?query=GROAT+Architectural&resultsUri=items%3Fquery%3DGROAT%2BArchitectural%2B
http://capitadiscovery.co.uk/brookes/items/1240771?query=GROAT+Architectural&resultsUri=items%3Fquery%3DGROAT%2BArchitectural%2B
ebook of the above
http://capitadiscovery.co.uk/brookes/items/1302937?query=LEVIN%29+Excellent&resultsUri=items%3Fquery%3DLEVIN%2529%2BExcellent%2B
about writing the dissertation
http://capitadiscovery.co.uk/brookes/items/576050?query=Hale+Building+Ideas%3A+An+introduction&resultsUri=items%3Fquery%3DHale%2BBuilding%2BIdeas%253A%2BAn%2Bintroduction
http://capitadiscovery.co.uk/brookes/items/87433?query=Kostof+A+History+of+Architecture&resultsUri=items%3Fquery%3DKostof%2BA%2BHistory%2Bof%2BArchitecture
http://capitadiscovery.co.uk/brookes/items/600418?query=Forty+Words+and+Buildings%3A&resultsUri=items%3Fquery%3DForty%2BWords%2Band%2BBuildings%253A
http://capitadiscovery.co.uk/brookes/items/501450?query=Michael+Hays+Architecture+Theory&resultsUri=items%3Fquery%3DMichael%2BHays%2BArchitecture%2BTheory
http://capitadiscovery.co.uk/brookes/items/1328135?query=Forty+Words+and+Buildings%3A&resultsUri=items%3Fquery%3DForty%2BWords%2Band%2BBuildings%253A
joi, 28 mai 2015
marți, 26 mai 2015
joi, 30 aprilie 2015
ESSAY 6
Diary of a journey at Somerset
House through the London Fashion Weekend, lighting and M. C. Lam
INTRODUCING
LONDON FASHION WEEKEND, SOMERSET HOUSE AND THE CONCEPT OF LIGHT
As one can only participate in London Fashion Week if one is directly
involved in the fashion industry or belongs to the elite society, The London
Fashion Weekend is a biannual convention of the fashion industry that allows a larger public to visit the otherwise hard-to-reach world. Simply by buying a ticket and spending the Saturday and Sunday at the chosen venue, one can go through pop-up stores and see the ready-to-wear exhibited on the rooms of the former Tudor Palace.
Beneath the superfluous excuse to get more funds into an already flourishing industry, London Fashion Weekend
gives to those who like to express ideas of personal, social and
cultural identity through their clothes, a place where
they can dream, where they can meet similar people who have a story and
are not afraid to tell that story in the way they dress or create.
I have always been fascinated by the
meeting point of Fashion with Architecture. Architecture expresses a
similar creative message, sharing the same primary function of providing
shelter for the body, creating volume out of two-dimensional materials,
addressing the human scale and reflecting the needs of the user and the beliefs
of the age; yet it is different through its solid, more permanent and
monumental presence.
Recently, I have had the chance to attend the London Fashion Weekend at the Somerset House. Finding out that it will take place at William Chambers' spectacular neo-classical gem situated right in the heart of London, between the river Thames and the Strand, I could not help but keep my eyes and my heart open to dive even further into the experience of these two vast domains and observe the way in which they interact.
"My experience is what I agree to attend to. Only those items
which I notice shape my mind - without selective interest, experience
is an utter chaos. Interest alone gives accent and emphasis, light and shade,
background and foreground - intelligible perspective, in a word."
William James, The Principles of Psychology, Henry Holt and Company,
Inc., New York, 1890, vol. 1, p 402.
THE JOURNEY
As I immerse into experiencing the
London Fashion Weekend, I find myself right in front of its gates from the
Strand. I feel pulled into a darker space, surrounding by
stone Doric columns and white arches that somewhat reflect the
almost blinding light from what's on the other side of the entrance,
the courtyard.
I begin to notice that light takes over
a role of shaping my mind and guides me towards certain spaces, almost like
telling a story through the way in which it makes me perceive reality. And as
it starts to shape my experience, I let it guide me along my journey…
Light in here feels almost restricted from
the visitors of Somerset, just so that the impact of reaching the outside becomes even bigger and more
powerful, accentuating its neo-classical grandeur.
The
white ceiling with beautiful arches reflects the almost blinding light form the courtyard, directing one's sight towards the outside and building the excitement to reach the former official residence of the Queen of England, later demolished to make way for the new riverside palace that is yet to be discovered.
"Seeing is not a passive response
to patterns of light; rather, it is an active information-seeking process
directed and interpreted by the brain. Visual sensory data are coordinated with
incoming contextual information from the other senses related to past
experiences of comparable nature, and given attention or not depending on whether
the incoming stimulus is classified as signal or noise. It is the information
content and context of a stimulus, not its absolute magnitude, which generally
determines its relevance and, finally, its importance. This in turn largely
determines what we look at and what we perceive." (pag.35, LAM)
In front of my eyes, a world
buzzing with ladies dressed in minimal, geometric, hard-shaped trapezoid
dresses. And though these architectural details add a certain
character to the place, the true personality lies within the venue itself
that London Fashion Weekend has used for the last 5 years.
Although it may seem like there is not
much of a connection between the London Fashion Week and London's
architecture, the least poetic truth is that the chosen venues are a crucial
part of designers' managing of their brands.
These places almost never make it into
fashion reports but for those who attend the event, the venue and the clothes
become hard to dissociate. It is the reporters and the journalists who will form
a perception of the designer, his clothes and the show and later
share that perception with the rest of the world.
While the
catwalk shows take place in the British Fashion Council tent located in the courtyard during the London Fashion Week, the pop-up stores are spread all along the first
and second floors of the East, South and West Wings of Somerset. One can see here the creations of both established and up-and-coming designers featured within the shows and one can interract with the fabrics, the colors and the designers themselves, if they happen to be there at the time.
I can't help but notice the
relationship that is created within the inside and outside and that, while
the promotion of the industry happens within the centre of the
Somerset premises, the actual retail business moves throughout the building.
The tent this year is made of a reflective material that not only captures the flashes of the photographers, but also glares out on a clear blue sky day. Although standing on its own, in contrast with the Portland stone of London's epicentre and disrupting the pattern of a neo-classical architecture, the specular addition to the courtyard blends in with the color of the surrounding environment.
PICTURE of tent showing its reflective
qualities
"When bright light
sources are directly visible, or when their images can be seen reflected from
some specular surface such as a piece of glass or a wet roadway, pattern
becomes even more important than usual as a signal. Pattern is an easily
perceptible form of order, and triggers expectations of completeness and
consistency. [...] Expectations and a patterned context draw the eye to an
omitted element of the pattern, which becomes a de facto focus,
whether intended or not."
(pag.41, LAM)
Projected onto the tent, thousands of images and films of the runway shows that took place just before that weekend, making everyone stop and get a glimpse of what they should expect to find onto the shelves of the pop-up stores. The bright, luminous screen is definitely a point of attraction in the courtyard where most of the people gather around as they are unconsciously lured towards it.
PICTURE of screen with projections
I make my way through the
courtyard and into Somerset from the South Wing entrance, looking forward to
see how Somerset House makes
room for the talented British designers to sell their work. The building itself actually extends the
brands' image in a much more effective and exciting way that
what the Mayfair's boutiques could. Pop-up shops allow
versatility in terms of light and arrangement that the fixed layouts of their
previous stores cannot provide.
PICTURE of reception area
A luminous room where one can find the
reception area is filled with staff handing fliers on the event,
vouchers to brands selling their items in the following rooms, and the map for
every floor. Here, the natural light comes inside both through the entrance and
the exit, making the space seem like a hub for those who either begin or end
their journey, before exiting though the terrace door.
As I look around, I begin to notice that Somerset would actually
classify as a "sequence of spaces organized along fixed corridors",
as William M.C Lam would argue when defining specific requirements of lighting according
to different types of buildings.
I make my way into the corridor, to
start discovering what fabrics and tones will make it to the shelves of clothing shops this season.
A corridor is, in Lam's opinion, an "anchor, giving fixed condition to which other elements can be related." (pag.176, LAM)
A corridor is, in Lam's opinion, an "anchor, giving fixed condition to which other elements can be related." (pag.176, LAM)
PICTURE of the corridor
"One simple form of this sort of
consistency (in orientation and guidance) in the luminous environment is the
differentiation of public and private corridors with various kinds of lighting
systems, colors, and materials. Another is the
distinctive illumination of the walls of service cores and vertical
circulation elements. A third is the use of decorative light fixtures to call
attention to circulation nodes and important destinations."
(pag.27, LAM)
PICTURE 2 of the corridor
I notice that light changes completely
its qualities from the precedent room. The narrow walkway
is flooded by artificial light of a slightly lower intensity, coming
from above, all the way to the other side of the wing.
The hanging pendant fixtures aligned on
an axis parallel to that of the corridor present a clean profile when viewed
from beneath and thus informing a linear flow through the space in order to
reach the areas of main interest.
To add to their intensity, the
fluorescent strips concealed behind the upper edges of the walls add more height to the ceiling thus increasing the sense of spaciousness.
"We are afraid of the dark at least partly because it is inherently informationless"(pag.56, LAM)
The only intrusions of sunlight come from the opening of the side rooms. I am naturally attracted towards the exterior, so I focus my attention to my right and left. This wing is only occupied by one cafe and restaurant before reaching to the staircase. Although I was impatient to dive into the clothes and necklaces, something about the tall window and the sudden wash of light coming from the adjacent rooms makes me want to start my so-called shopping spree with a large latte first.
PICTURE of the latte, and PICTURE
of the hanging lights
The lights hanging from the ceiling
are placed just above the tables, creating the perfect conditions for those who
want to sit down and go through their maps or read. They also bring a warmer
feel to the diffuse natural light coming from the clouds that make their way
over Somerset.
After looking at my map and pin-pointing the names I would mostly like to see, O go on with the journey and reach a majestic staircase.
With natural light coming from above,
spotlights all along the staircase, illuminating the steps towards the first
floor, I give into my curiosity to explore where the
six meter long Nelson Stair will lead to, whilst also admiring
the balloon installation.
The first floor is nothing less than
what I anticipated it to be. Although it has the same layout
as the ground floor with the corridor leading into the better lit rooms, there
is almost no one walking on the corridor and instead, they're using the
alternate openings to go from one pop-up showroom to the other. Of course, the
highlight shines onto the clothes using track lighters on the ceilings and wall
washes to brighten the name of the designers. In the middle of almost every room
there is a table with accessories varying in color, depending on the
influences of their creators but always brought to life by direct pendants
lighting them from up above.
The sharp shadows that they create on
the floor contrast with the luminous air of the room.
It is almost as if the artificial
warmer light symbolizes the consumer’s experience where
one enters a universe of desires and temptations and the natural blue tinted
light gives a sense of return to the reality of the outside world, turning one's awareness towards the 19th Century piece of architecture one is actually
experiencing.
Moving forward to the central area of
the first floor where the emerging designers exhibit their ready-to-wear, I
enter the brightest and most crowded room so far, with four different
windows towards the river bank.
"When all buildings were designed around a single, fixed light source -the sun- the difference between great architecture and mere building could be measured to a large degree by the skill with which that source was used. The shapes and sizes of rooms, and the materials and details in them, were determined largely by the appearance the room would take on when rendered by daylight." (pag10,LAM)
"When all buildings were designed around a single, fixed light source -the sun- the difference between great architecture and mere building could be measured to a large degree by the skill with which that source was used. The shapes and sizes of rooms, and the materials and details in them, were determined largely by the appearance the room would take on when rendered by daylight." (pag10,LAM)
The natural light plays a major role
in this space, as all the clothes are distributed in the proximity of the
windows. Together with the bright white of the surrounding walls that reflect
even more light upon the rest of the room and the high ceiling which gives air
and lightness to the space, this is by far the most crowded room yet and
still, there is an energy to it that makes it stand out from the rest.
PICTURE of map showing room
As it is the largest room on this floor, the placement of the two pendent fixtures at equal distance from one another helps illuminate the space when desired and to also houses adjustable reflectorized lamps that are directed towards the walls so that they accentuate the displayed names of the designers.
PICTURE of room
The names of the artists are written in black letters on the wall next to the windows which makes them hard to read in the blinding contrast created from the outside.
"Since the brain is constantly
monitoring the visual environment for new information which might be of
significance with the regard to biological or activity needs, things which
are unexpected or which contrast with their visual backgrounds
because of some unusual quality are likely to be treated as figures by the
visual-processing system, attracting the attention of the beholder"
(pag.19, LAM)
As I notice a jacket that I like, I
immediately go towards it to feel its fabric and once I reach it, closer to the
wall, I can see who its creator is. Lucilla Gray matches the name
on the label to that on the wall and I finally feel like I have my pick. I
check the price and suddenly, I'm brought to the harsh reality. There appears to
be no student discount for high end products! What a surprise... I carefully put it
back next to its monochrome similar pieces nonetheless, and decide I
should go for the more affordable accessories, located on the first floor.
Reaching now to the Stamp Stair, I
descend into yet another corridor and what amazes me is the exposure to light.
The door located just in front of the last step is inviting towards the outside
terrace, almost begging for a minute of stare at the river outside. But
continuing to the corridor, I notice the drastic change from the sunlight to
the enclosed walkway that almost makes me feel trapped in a
maze, eager to go anywhere that opens up to more space.
"Kruithof had measured the range of color temperature under
which objects appear 'natural' and pleasant at different levels of
luminance.[...] We expect illumination to be of a high color temperature (relatively
blue) when luminance levels are high because we refer them unconsciously to
daylight, which has a relatively high color temperature. We expect low color
temperatures (a warmer quality of light) when luminance levels are low -
perhaps by association with firelight, candlelight, and so forth."
(pag.51, LAM)
I find myself moving rapidly through
the contemporary jewellery room and into the bags and shoes area,
this time in the East wing. Following a similar layout to the clothing
department, the accessories differ from all
the rest through the more minimal approach to lighting.
PICTURE of accessories room
It is six o'clock already and the gates
of Somerset are announced to be closing in one hour.
I have to stop wondering around and head
towards the exit. On my way out, I see an advertisement of a very appealing designer that has the
most beautifully flowing dresses, Elie Saab. I suddenly remember he has a
fragrance line and think to myself : Maybe his perfume would make me feel as if
I’m wearing haute-couture. Maybe I'll give it a try on my next shopping experience."
Walking out of Somerset and along the
river, I can’t help but think that the location made for a perfect backdrop for
the London fashion scene, becoming a context that accompanied the event
majestically.
"The clarity with which an object
is perceived is influenced by its context."
On the outside, the palette of grey
colors were brought to life by the reflective surface of the catwalk tent, whereas on the inside, the white walls provided a perfect clean
background for exhibiting clothes, jewllwey, shoes and bags.
CONCLUSION
One may wonder why there is so much hustle for high-end brands that already have a well-established clientele? Well, the point of the Fashion Weekend and its catwalks is the spectacle that it delivers to the public.
Light is a powerful tool in the visual perception of this spectacle
and "involves an active process of
information selection, filtering, interpretation, and storage in which context,
prior experience and expectations are combined with incoming sensory data to
create meaningful perceptions."
The monumental presence of Somerset, the aura of exclusivity
engraved in the creative world: if not more than that, these parades sell
perfume to those who still want to be associated with this lavish lifestyle and
cannot afford the clothes, while allowing them to dream on.
Somerset House has done an amazing job in
hosting a temporary event within its pre-existing spatial requirements. Light
plays a crucial role in exhibiting the items and guiding its visitors' journey.
The adaptations that William Chambers' building had to undertake were placing additional artificial sources of lights and finding their right intensity and color to then direct
someone's attention through the space.
What I came to realise at the end of my
journey is that light is actually one of the most material ingredients within
the composition of architecture. It is immaterial in the way that one cannot
grab it or grasp it, but it is constantly shaping all of us. The intake of
natural light is also crucially important as it is many times associated to
circulation and different temporary moments within a building.
I believe that Somerset Houses'
contribution to London Fashion Weekend was highly successful as everything I
saw and experienced was very natural. It had kept my awareness on the fashion
artworks and pursued me to discover what lies with the next room each time, even if I only ended my weekend with the same thought that I had begun it: wishing I would one day wear Couture.
miercuri, 29 aprilie 2015
ESSAY 4
Diary of a journey at Somerset House through the London Fashion Weekend, lighting and M. C. Lam
INTRODUCING LONDON FASHION WEEKEND, SOMERSET HOUSE AND THE CONCEPT OF LIGHT
To those who are not working in the industry but
still want to take part to London fashion experience, LF Weekend is a biannual
event that takes place immediately after London Fashion Week, offering the public
the possibility to attend shows or go through pop-up shops of designers that
have been presenting their collections during the week to the elite society of
the high end industry. More simply said, LF Weekend is the convention of the
fashion industry to get a larger public buy a ticket to visit otherwise hard-to-reach
world.
Indeed, one may think it is a superfluous excuse to
get even more funds into an already flourishing industry, yet I find that there
is more depth beneath all this strategic marketing.
London Fashion Weekend gives to those who like to express ideas of
personal, social and cultural identity through their clothes, a
place where they can dream, where they can meet similar people who have
a story and are not afraid to tell that story in the way they dress or
create.
I
have always been fascinated by the meeting point of Fashion with
Architecture. Architecture expresses a similar creative message, sharing
the same primary function of providing shelter for the body, creating volume
out of two-dimensional materials, addressing the human scale and reflecting the
needs of the user and the beliefs of the age; yet it is different through its
solid, more permanent and monumental presence.
Recently, I have had the chance to attend the London Fashion Weekend at the Somerset House in London. Finding out that it will take place at William Chambers' spectacular neo-classical gem situated right in the heart of London, between the river Thames and the Strand, the Somerset House, I could not help but keep my eyes and my heart open to dive even further into the experience of these two vast domains and the way they interact.
"My experience is what I agree to attend to. Only those items which I notice shape my mind - without selective interest, experience is an utter chaos. Interest alone gives accent and emphasis, light and shade, background and foreground - intelligible perspective, in a word."
William James, The Principles of Psychology, Henry Holt and Company, Inc., New York, 1890, vol. 1, p 402.
It is interesting to see how artificial light within this event takes over the role of shaping our minds and guides us towards certain objects or spaces within a building. I begon to notice how light tells a story
We think of light as one of the most material ingredients within the
composition of architectural. It’s immaterial in the way that one cannot grab
it, grasp it but it is shaping constantly all of us. So we operate with the
intake of natural light as one of the most important elements within
architecture, many times associated to circulation and different moments
of temporality within a building.
How do we see a sculpture without actually see it being lit? Everything
that we see in terms of artwork that's exhibited is very natural, you don't see
light. That's the most successful kind of lighting. successfully
My
Fashion weekend escape was more of an opportunity
to disconnect from everyday rituals and go into an environment where
there are no conventions, rules or dress codes, where nothing is
too colorful, over-sized or architectural, for that matter, to
fit the body as long as it puts a feeling though visual language and
pours out your individuality.
THE
JOURNEY
As
I immerse into experiencing the London Fashion Weekend, I find myself right in
front of its gates from the Strand. I feel pulled into a darker space,
surrounding by stone Doric columns and white arches that reflect somewhat
the almost blinding light from what's on the other side if the
entrance, the courtyard. Light here feels almost restricted from the visitors
of Somerset, just so that the impact of reaching the inside becomes
even bigger and more powerful, accentuating its neo-classical
grandeur.
The
white ceiling with beautiful arches reflects somewhat of
the almost blinding contrasting light form the other side of the entrance,
the courtyard, directing one's sight towards above. Its faded glare
informs that one's eye should look for hight in the
new architectural poetry that is yet to be discovered. I begin to
notice how light suddenly starts to create an experience for me and so I let it
guide me along my journey.
"Seeing
is not a passive response to patterns of light; rather, it is an active
information-seeking process directed and interpreted by the brain. Visual
sensory data are coordinated with incoming contextual information from the
other senses related to past experiences of comparable nature, and given attention
or not depending on whether the incoming stimulus is classified as signal or
noise. It is the information content and context of a stimulus, not its
absolute magnitude, which generally determines its relevance and, finally, its
importance. This in turn largely determines what we look at and what we
perceive." (pag.35, LAM)
In front of
my eyes, a world buzzing with ladies dressed in minimal, geometric, hard-shaped
trapezoid dresses. And though these architectural details add a
certain character to the place, the true personality lies within the venue
itself that LFW has used for the last 5 years.
Although
it may seem like there is not much of a connection between LFW and
London's architecture, the least poetic truth is that the chosen venues are a crucial
part of designers' managing of their brands.
These
places almost never make it into fashion reports but for those who attend the
event the venue and the clothes hard to dissociate. It is them that
will form a perception of the designer, his clothes and the show
and later share that perception with the rest of the world. And so
architecture comes into the picture as a tool to move an industry forward.
Once the official residence of the Queen of
England and later demolished to make way for the new riverside palace
on the same site, Somerset House is today a cultural pin-point
on the London scene with a very particular public programme that
includes temporary exhibitions, restaurants and cafes and free guided tours.
While
the London Fashion Week hosts the catwalk shows in the British Fashion Council
tent located in the courtyard, The London Fashion Weekend inhabits more of Somerset,
spreading all along the first and second floors of the East, South and West
Wings. One can see here pop-up stores of established and up and coming
designers featured within the shows.
I
cannot help but notice the relationship that is created within the inside
and outside and that while the promotion of the industry
happens within the centre of the Somerset premises, the actual retail
business moves throughout the building.
The LFW tent this year is made of a reflective material that not only glares together with all the flashes of the buzzing photographers, but also glares out on a clear blue sky day. Although standing on its own, in contrast with the Portland stone of London's epicentre and disrupting the pattern of a neo-classical architecture, the specular addition to the courtyard blends in with the color and environment.
PICTURE
of tent showing its reflective qualities
"When bright light
sources are directly visible, or when their images can be seen reflected from
some specular surface such as a piece of glass or a wet roadway, pattern becomes
even more important than usual as a signal. Pattern is an easily perceptible
form of order, and triggers expectations of completeness and consistency. [...]
Expectations and a patterned context draw the eye to an omitted element of the
pattern, which becomes a de facto focus, whether intended
or not."
(pag.41,
LAM)
Projected onto the tent, thousands of images and films of the runway shows that took place just before that Friday, making everyone stop and get a glimpse of what they should expect to find onto the shelves of the pop-up stores. The bright, luminous screen is definitely a point of attraction in the courtyard where most of the people gather around as they are unconsciously lured towards it.
PICTURE of screen with projections
I
make my way through the courtyard and into Somerset from the South Wing
entrance, looking forward to see how Somerset makes room for the
talented British designers to sell their work. The building itself actually extends the brands' image in a much more effective and exciting way that the Mayfair's boutiques could. Pop-up shops allow versatility in terms of light and arrangement that the fixed layouts of their previous stores cannot provide.
PICTURE of reception area
PICTURE of reception area
A
luminous room where one can find the reception area is filled with staff
handing fliers on the event, vouchers to brands selling their items
in the following rooms, and the map for every floor. Here, the natural light
comes inside both thorugh the entrance and the exit, making the space seem like
a hub for those who either begin or end their journey, before exiting though
the terrace door.
As I look around, I begin to notice that Somerset would actually classify as a "sequence of spaces organized along fixed corridors", as William M.C Lam would argue when defining different requirements of lighting for different buildings.
I make my way into the corridor, to start discovering what are be the
fabrics and tones that will make it to High street this season. A corridor is, in Lam's opinion, an "anchor, giving fixed condition to which other elements can be related." (pag.176, LAM)
PICTURE of the corridor
PICTURE of the corridor
I pay attention to the way that my instinct guides me throughout.
"One simple form of this sort of consistency (in orientation and
guidance) in the luminous environment is the differentiation of public and
private corridors with various kinds of lighting systems, colors, and
materials. Another is the distinctive illumination of the walls of
service cores and vertical circulation elements. A third is the use of
decorative light fixtures to call attention to circulation nodes and important
destinations."
(pag.27, LAM)
PICTURE 2 of the corridor
PICTURE 2 of the corridor
I notice that light changes completely its qualities from the precedent
room. The narrow walkway is flooded by artificial light of a slightly
lower intensity, coming from above all the way to the other side of the wing.
The hanging pendant fictures alligned on an axis parallel to that of the corridor present a clean profile when viewd from down and thus informing a linear flow through the space in order to reach the areas of main interest.
As their instensity is not as high and the ceiling is lower than that of the rooms, The fluorescent strips concealed behind the edges of the wall add the illusion of height to the ceiling that is lower in reality than that of the rooms, thus increasing the sense of spaciousness.
"We are afraid of the dark at least partly because it is inherently informationless"(pag.56, LAM) The only intrusions of sunlight come from the opening of the side rooms. I am naturally attracted towards the exterior, so I focus my attention to my right and left. This wing is only occupied by one cafe and restaurant before reaching to the staircase.
The hanging pendant fictures alligned on an axis parallel to that of the corridor present a clean profile when viewd from down and thus informing a linear flow through the space in order to reach the areas of main interest.
As their instensity is not as high and the ceiling is lower than that of the rooms, The fluorescent strips concealed behind the edges of the wall add the illusion of height to the ceiling that is lower in reality than that of the rooms, thus increasing the sense of spaciousness.
"We are afraid of the dark at least partly because it is inherently informationless"(pag.56, LAM) The only intrusions of sunlight come from the opening of the side rooms. I am naturally attracted towards the exterior, so I focus my attention to my right and left. This wing is only occupied by one cafe and restaurant before reaching to the staircase.
Although I was inpatient to dive into the clothes and necklaces, something
about the tall window and the sudden wash of light coming from
the adjacent rooms makes me want to start my so called shopping spree
with a large latte first.
PICTURE of the latte, and PICTURE of the hanging lights
The lights hanging from the ceiling are placed just above the tables, creating the perfect conditions for those who want to sit down and go through their maps or read. They also bring a warmer feel to the diffuse natural light coming from the clouds that made their way above Somerset.
PICTURE of the latte, and PICTURE of the hanging lights
The lights hanging from the ceiling are placed just above the tables, creating the perfect conditions for those who want to sit down and go through their maps or read. They also bring a warmer feel to the diffuse natural light coming from the clouds that made their way above Somerset.
Going on with the journey, it is now time to explore
what LFW has to offer. But just I thought I'd bump into the shoes and
dresses of the West wing, I reach to a majestic staircase.
With natural light coming from above, spotlights all along the
staircase, illuminating the steps towards the first floor, I give into my
curiosity to explore where does the six meter long Nelson Stair lead
to, whilst also admiring the balloon installation.
The first floor is nothing less than what I portrayed it to
be. Although with the same layout as the ground floor with the
corridor leading into the better lit rooms, there is almost no one going on the
corridor from one room to the other, and instead, they're using the alternate
openings to go from one pop up showroom to the other. Of course, the highlight
shines on the clothes using track lighters on the ceilings and wall washes to
brighten the name of the designer. In the middle of almost every room there is
a table with accessorize varying in color, depending on the
influences of their creators but always brought to life by direct pendants
lighting them from up above.
The sharp shadows that they create on the floor contrast with
the luminous air of the room,
It is almost as if the artificial warmer
light symbolizes the consumerists’ experience where one
enters a universe of desires and temptations and the natural blue tinted light
gives a sense of return to the reality of the outside world, turning our
awareness towards the 19th Century piece of architecture we are actually
experiencing.
Moving forward to the central area of the first floor where the emerging
designers exhibit their ready-to-wear, I enter the brightest and most crowded
room so far, with four different windows towards the river bank. "When
all buildings were designed around a single, fixed light source -the sun- the
difference between great architecture and mere building could be measured to a
large degree by the skill with which that source was used. The sHhapes and sizes
of rooms, and the materials and details in them, were determined largely by the
appearance the room would take on when rendered by daylight." (pag10,LAM)
The natural light plays a major role in this space, as all the clothes
are distributed in the proximity of the windows. Together with the bright white
of the surrounding walls that reflect even more light upon the rest of the room
and the high ceiling which gives air and a lightness to the space, this is by
far the most crowded room yet and still, there is an energy to it take makes it
stand out from the rest.
PICTURE of map showing room
As it is the largest room on this floor, the placement of the two pendent fixtures at equal distance from one another helps illuminate the space when desired and to also house adjustable reflectorizrd lamps that are directed towards the walls so that they acccent the displayed names of the designers.
PICTURE of room
Is the choice of this room to host the wave of Britain's next top selling business intentional? I wonder. The names of the artists are written in back letters on the wall next to the windows which makes them hard to read in the blinding contrast created from the outside.
PICTURE of map showing room
As it is the largest room on this floor, the placement of the two pendent fixtures at equal distance from one another helps illuminate the space when desired and to also house adjustable reflectorizrd lamps that are directed towards the walls so that they acccent the displayed names of the designers.
PICTURE of room
Is the choice of this room to host the wave of Britain's next top selling business intentional? I wonder. The names of the artists are written in back letters on the wall next to the windows which makes them hard to read in the blinding contrast created from the outside.
"Since the brain is constantly monitoring the visual environment
for new information which might be of significance with the regard to
biological or activity needs, things which are unexpected or which
contrast with their visual backgrounds because of some unusual quality are
likely to be treated as figures by the visual-processing
system, attracting the attention of the beholder"
(pag.19, LAM)
As I notice a jacket that I like, I immediately go towards it to feel
its fabric and once I reach it, closer to the wall, I can now see who its
creator is. Lucilla Gray matches the name on the label to that on the
wall and I finally feel like I have my pick. I check the price and suddenly,
I'm brought to the harsh reality. There appears to be no student discount for
high end products! Go figure. I carefully put it back next to its monochrome
similar pieces nonetheless, and decide I should go for the Accessories, in
attempt to have more luck at purchasing the new "en vogue".
Reaching now to the Stamp Stair, I descend into yet another corridor and
what amazes me is the exposure to light. The door located just in front of the
last step is inviting towards the outside terrace, almost begging for a minute
of stare at the river outside. But continuing to the corridor, I notice the
drastic change from the sunlight to the enclosed walkway
that almost makes me feel trapped in a maze, eager to go anywhere
that opens up to more space.
"Kruithof had measured the range of color temperature under which objects appear 'natural' and pleasant at different levels of luminance.[...] We expect illumination to be of a high color temperature (relayively blue) when luminance levels are high because we refer them unconciously to daylight, which has a relatively high color temperature. We expect low color temperatures (a warmer quality of light) when luminance levels are low - perhaps by association with firelight, candlelight, and so forth." (pag.51, LAM)
"Kruithof had measured the range of color temperature under which objects appear 'natural' and pleasant at different levels of luminance.[...] We expect illumination to be of a high color temperature (relayively blue) when luminance levels are high because we refer them unconciously to daylight, which has a relatively high color temperature. We expect low color temperatures (a warmer quality of light) when luminance levels are low - perhaps by association with firelight, candlelight, and so forth." (pag.51, LAM)
I find myself moving rapidly through the contemporary jewellery room
and into the bags and shoes area, this time in the East wing. Following a
similar layout to the clothing department, the accessories differ
from all the rest through the more minimal approach to lighting.
PICTURE of accessories room
PICTURE of accessories room
One can only see wall
sconces illuminating the arched entrances from one room to the other
and the rest is kept to the simplest. A few mirrors along the wall facing the
courtyard and that's about it.
It
is six o'clock already and the gates of Somerset are announced to be closing in
one hour. Would my experience would have been the same without the sunlight
bursting though the large 19th Century windows? Definitely not. The natural
light played a major role in the pop up stores. The location made for a perfect
backdrop for the London fashion scene, becoming an actual context for the
event. "The clarity with which an object is perceived is
influenced by its context."
On
the outside the palette of gray colors brought to life by the reflective
surface of the BFC tent, whereas on the inside, the white walls provide a perfect
clean background for exhibiting objects of which the colors and shapes needed
to be brought to life.
CONCLUSION
One may wonder why so much hustle for high-end brands that already have a well-established clientele? Well, the point of the Fashion Weekend and its catwalks is the spectacle that it delivers to the public.
Light is a powerful tool in the visual perception of this spectacle and "involves and active process of information selection, filtering, interpretation, and storage in which context, prior experience and expectations are combined with incoming sensory data to create meaningful perceptions." The monumental presence of Somerset, the aura of exclusivity engraved in the creative world: if not more than that, these parades sell perfume to those who still want to be associated with this lavish lifestyle and cannot afford the clothes.
Somerset
House has done an amazing job in hosting a temporary event within its
pre-existing spatial requirements. Light plays a crucial role in exhibiting the
items and guiding its visitor’s journey. The adaptations that William Chambers'
building had to undertake are in terms of placing lights and finding their
right intensity and color to then direct someone's attention through the space.
What I came to realise at the end of my journey is that light is actually one
of the most material ingredients within the composition of architecture. It is
immaterial in the way that one cannot grab it or grasp it, but it is shaping constantly
all of us. The intake of natural light is also crucially important as it is
many times associated to circulation and different moments of temporality
within a building.
I
believe that Somerset Houses' contribution to London Fashion Weekend was highly
successful as everything I saw and experienced was very natural, keeping my
awareness on the fashion artworks and pursuing me to discover what lies with the
next room each time.
luni, 27 aprilie 2015
ESSAY 3
A journey at Somerset House through the London Fashion Weekend, lighting and M. C. Lam
Both fashion and architecture express ideas of personal, social and cultural
identity, reflecting the concerns of the user and the ambition of the age. Their
relationship is a symbiotic one, and throughout history clothing and buildings have
echoed each other in form and appearance. This seems only natural as they not only
share the primary function of providing shelter and protection for the body, but also
because they both create space and volume out of flat, two-dimensional materials.
While they have much in common, they are also intrinsically different. Both address
the human scale, but the proportions, sizes and shapes differ enormously. And while
fashion is, by its very nature, ephemeral or ‘of the moment’, architecture traditionally
has a more solid, monumental and permanent presence.
http://www.somersethouse.org.uk/documents/skinbones_exhibition_guide.pdf
How does the technology of light influence the way we experience space and what emotions does it evoke within individuals?
"We think of light as one of the most material ingredients within the composition of architectural. it s immaterial in the way that one cannot grab it, grasp it but it is shaping constantly all of us. so we operate with the intake of natural light as one of the most important elements within architecture, many times associated to circulation and different moments of temporally within a building.
How do we see a sculpture without actually see it being lit? Everything that we see in terms of artwork that's exhibited is very natural, you don't see light. That's the most successful kind of lighting. successfully
London Fashion Weekend is Britain’s biggest biannual consumer fashion showcase [...] that offers the rare opportunity to experience trend-setting catwalk shows in the official British Fashion Council Show Space, the same catwalk used for London Fashion Week.
http://www.londonfashionweekend.co.uk/about/about-london-fashion-weekend
INTRODUCING LONDON FASHION WEEKEND, SOMERSET HOUSE AND THE CONCEPT OF LIGHT
To those who are not working in the industry but still want to take part to London fashion experience, LF Weekend is a biannual event that takes place immediately after London Fashion Week, offering the oublic the possibility to attend shows or go through pop-up shops of designers that have been presenting their collections during the week to the elite society of the high end industry. More simply said, LF Weekend is the convention of the fashion industry to get a larger public buy a ticket to visit otherwise hard-tor-reach world.
Indeed, one may think it is a superfluous excuse to get even more funds into an already flourishing industry, yet I find that there is more depth beneath all this strategic marketing.
London Fashion Weekend gives to the those who like to express ideas of personal, social and cultural identity through their clothes, a place where they can dream, where they can meet similar people who have a story and are not afraid to tell that story in the way they dress or create.
I have always been fascinated by the meeting point of Fashion with Architecture. Architecture expresses a similar creative message, sharing the same primary function of providing shelter for the body, creating volume out of two-dimentional materials, addressing the human scale and reflecting the needs of the user and the beliefs of the age; yet it is different through its solid, more permanent and monumental presence.
Recently, I have had the chance to attend the London Fashion Weekend at the Somerset House in London. Finding out that it will take place at William Chambers' spectacular neo-classical gem situated right in the heart of London, between the river Thames and the Strand, the Somerset House, I could not help but heep my eyes and my heart open to dive even further into the experience of these two vast domains and the way they interact.
My Fashion weekend escape was more of an opportunity to disconnect from everyday rituals and go into an environment where there are no conventions, rules or dress codes, where nothing is too colorful, over-sized or architectural, for that matter, to fit the body as long as it puts a feeling though visual language and pours out your individuality.
how does light tell a story
The venue where LFW took place this season is the Somerset House. The main British Fashion Council Tent was erected in its snug courtyard, providing a sense of enclosure ideal for the side of the industry that likes to promote exclusivity.
It is important to mention that the event closes at 7 p.m and so all the arrangements within and outside the Somerset House are made so that they meet daylight requirements.
Millions of items of the outward order are present to my senses which never properly enter into my experience. Why? Because they have no interest for me. My experience is what I agree to attend to. Only those items which I notice shape my mind - without selective interest, experience is an utter chaos. Interest alone gives accent and emphasis, light and shade, background and foreground - intelligible perspective, in a word. It varies in every [p. 403] creature, but without it the consciousness of every creature would be a gray chaotic indiscriminateness, impossible for us even to conceive.
William James, The Principles of Psychology, Henry Holt and Company, Inc., New York, 1890, vol. 1, p 402.
It is interesting to see how artificial light within this event takes over the role of shaping our minds and guides us towards certain objects or spaces within a building.
"Kruithof had measured the range of color temperature under which objects appear 'natural' and pleasant at different levels of luminance.[...] We expect illumination to be of a high color temperature (relayively blue) when luminance levels are high because we refer them unconciously to daylight, which has a relatively high color temperature. We expect low color temperatures (a warmer quality of light) when luminance levels are low - perhaps by association with firelight, candlelight, and so forth." (pag.51, LAM)
include light measurements charts
SOMERSET HOUSE
"The clarity with which an object is perceived is influenced by its context." In this case, Somerset becomes the actual context for the event, In regards to the ouside, the gray palette of colors brought to life by the reflective surface of the BFC tent, whereas on the insidem the white walls provide a perfect clean background for exhibiting objects of which color and shape need to be most accentuated. One should also take into consideration the fact that Somerset was turned into a public building
Once the official residence of the Queen of England and later demolished to make way for the new riverside palace on the same site, Somerset House is today a cultural pin-point on the London scene with a very particular public programe that includes temporary exhibitions, restaurants and cafes and free guided tours.
As I immerse into experiencing the London Fashion Weekend, I pay very close attention to I am very much in touch with my emotions. And I have thousands every day. I can feel energy flowing through me, I feel connected though colors, patterns, nature and I respond to light. And as I enter its gates from the Strand, I feel pulled into a darker space, surrounding by stone Doric columns and white arches that reflect somewhat the almost blinding light from what's on the other side if the entrance, the courtyard. Light here feels almost restricted from the visitors of somerset, just so that the impact of reaching the inside becomes even bigger and more powerful, accentuating its
In front of my eyes, a world buzzing with ladies dressed in minimal, geometric, hard-shaped trapezoid dresses. And though these architectural details add a certain character to the place, the true personality lies within the venue itself that LFW has used for the last 5 years.
Although it may seem like there is not much of a connection between LFW and London's architecture, the least poetic truth is that the chosen venues are a crucial part of designers' managing of their brands.
These places almost never make it into fashion reports but for those who attend the event the venue and the clothes hard to dissociate. It is them that will form a perception of the designer, his clothes and the show and later share that perception with the rest of the world. And so architecture comes into the picture as a tool to move an industry forward.
The LFW tent this year is made of a reflective material that not only glares together with all the flashes of the buzzing photographers, but also glares out on a clear blue sky day. Although in contrast with the Portland stone of London's epicenter, the specular addition to the courtyard blends in with the color and environment and makes for a perfect enclosure of this year's show space.
The show is hours away from starting so I make my way though the courtyard and into Somerset from the South Wing entrance, looking forward to see how Somerset makes room for the talented British designers to sell their work. A luminous room where the reception also sits is filled with staff handing fliers on the event, vouchers to brands selling their items in the following rooms, and the map for every floor. Here, the natural light comes inside both though the entrance and the exit, making the space seem like a hub for those either beginning or ending their journey, before exiting though the terrace door.
I make my way into the corridor, to start discovering what are be the fabrics and tones that will make it to High street this season.
directional clues
"One simple form of this sort of consistency (in orientation and guidance) in the luminous environment is the differentiation of public and private corridors with various kinds of lighting systems, colors, and materials. Another is the distinctive illumination of the walls of service cores and vertical circulation elements. A third is the use of decorative light fixtures to call attention to circulation nodes and important destinations."
(pag.27, LAM)
I notice that light changes completely its qualities from the precedent room. The narrow walkway is flooded by artificial light of a slightly lower intensity, coming from above all the way to the other side of the wing. "We are afraid of the dark at least partly because it is inherenly informationless"(pag.56, LAM) The only intrusions of sunlight come from the opening of the side rooms. I am naturally attracted to towards the exterior, so I focus my attention to my right and left. This wing is only occupied by one cafe and restaurant before reaching to the staircase.
Although I was inpatient to dive into the clothes, something about the tall window and the sudden wash of light coming from the adjacent rooms makes me want to start my so called shopping spree with a large latte first. The lights hanging from the ceiling are placed just above the tables, creating the perfect conditions for those who want to sit down and go though their maps or read. They also bring a warmer feel to the diffuse natural light coming from the clouds that made their way above Somerset.
Going on with the journey, it is now time to explore what LFW has to offer. But just I though I'd bump into the shoes and dresses of the West wing, I reach to a majestic staircase.
With natural light coming from above, spotlights all along the staircase, illuminating the steps towards the first floor, I give into my curiosity to explore where does the six meter long Nelson Stair lead to, whilst also admiring the balloon installation.
The first floor is nothing less that what I portrayed it to be. Although with the same layout as the ground floor with the corridor leading into the better lit rooms, there is almost no one going on the corridor from one room to the other, and instead, they're using the alternate openings to go from one pop up showroom to the other. Of course, the highlight shines on the clothes using track lighters on the ceilings and wall washes to brighten the name of the designer. In the middle of almost every room there is a table with accessorize varying in color, depending on the influences of their creators but always brought to life by direct pendants lighting them from up above.
The sharp shadows that they create on the floor contrast with the luminous air of the room,
It is almost as if the artificial warmer light symbolizes the consumeri
Moving forward to the central area of the first floor where the emerging designers exhibit their ready-to-wear, I enter the brightest and most crowded room so far, with four different windows towards the river bank. "when all buildings were designed around a single, fixed light source -the sun- the difference between great architecture and mere building could be measured to a large degree by the skill with which that source was used. The shoes and sizes of rooms, and the materials and details in them, were determined largely by the appearance the room would take on when rendered by daylight." (pag10,LAM)
The natural light plays a major role in this space, as all the clothes are distributed in the proximity of the windows. Together with the bright white of the surrounding walls that reflects even more light upon the rest of the room and the high ceiling which gives air and a lightness to it, this is by far the most crowded room yet and still, there is a energy to it take makes it stand out from the rest. Is the choice of this room to host the wave of Britain's next top selling business intentional? I wonder. The names of the artists are written in back letters on the wall next to the windows which makes them hard to read in the blinding contrast created from the outside.
"Since the brain is constantly monitoring the visual environment for new information which might be of significance with the regard to biological or activity needs, things which are unexpected or which contrast with their visual backgrounds because of some unusual quality are likely to be treated as figures by the visual-processing system, attracting the attention of the beholder"
(pag.19, LAM)
As I notice a jacket that I like, I immediately go towards it to feel its fabric and once I reach it, closer to the wall, I can now see who its creator is. Lucilla Gray matches the name on the label to that on the wall and I finally feel like I have my pick. I check the price and suddenly, I'm brought to the harsh reality. There appears to be no student discount for high end products! Go figure. I carefully put it back next to its monochrome similar pieces nonetheless, and decide I should go for the Accessories, in attempt to have more luck at purchasing the new "en vogue".
Reaching now to the Stamp Stair, I descend into yet another corridor and what amazes me is the exposure to light. The door located just in front of the last step is inviting towards the outside terrace, almost begging for a minute of stare at the river outside. But continuing to the corridor, I notice the drastic change from the sunlight to the enclosed walkway that almost makes me feel trapped in a maze, eager to go anywhere that opens up more space.
I find myself moving rapidly through the contemporary jewelery room and into the bags and shoes area, this time in the East wing. Following a similar layout to the clothing department, the accessories differ from all the resy though the more minimal approach to lighting. One can only see wall sconces illuminating the arched entrances from one room to the other and the rest is kept to the simplest. A few mirrors along the wall facing the courtyard and that's about it.
THE COURTYARD
Expectations influence evaluation of the surrounding environment
"When bright light sources are directly visible, or when their images can be seen reflected from some specular surface such as a piece of glass or a wet roadway, pattern becomes even more important that usual as a signal. Pattern is an easily perceptible form of order, and triggers expectations of completeness and consistency. [...] Expectations and a patterned context draw the eye to an omitted element of the pattern , which becomes a de facto focus, whether intended or not."
(pag.41, LAM)
The way in which the tent cleverly reflects the surrounding architecture helps it to both disrupt the pattern of a neo-classical architecture therefore focus attention towards itself and blend in the courtyard of an existing Chambers' masterpiece.
There is, on one hand, the tent that occupies the courtyard, used as a runway stage and a clothing store and there are, on the other hand, the first and second floor of the East, South and West Wings of Somerset which showcase pop-up stores of established and up and coming designers featured within the shows. So one can notice the relationship that is created within the inside and outside of the hosting building and that while the promotion of the industry happens within the center, the actual business moves throughout the building.
One may wonder why so much hustle for high-end brands that already have a well established clientele? Well, the point of FW and its catwalks is the spectacle that it delivers to the public. The unusual venues, the exclusivity: if not more than that, these parades sell perfume to those who still want to be associated with this lavish lifestyle and cannot afford the clothes.
INSIDE SOMERSET
This division of space seems very strategically chosen, as the building itself actually extends the bands' image in a much more effective and exciting way that the Mayfair's boutiques could. Pop-up shops allow versatility that the fixed layouts of their previous stores cannot provide.agimilar pieces noneth
Reaching now to the Stamp Stair, I descend into yet another corridor and what amazes me is the exposure to light. The door located just in front of the last step is inviting towards the outside terrace, almost begging for a minute of stare at the river outside. But continuing to the corridor, I notice the drastic change from the sunlight to the enclosed walkway that almost makes me feel trapped in a maze, eager to go anywhere that opens up more space.
I find myself moving rapidly through the contemporary jewelery room and into the bags and shoes area, this time in the East wing. Following a similar layout to the clothing department, the accessories differ from all the rest though the more minimal approach to lighting. One can only see wall sconces illuminating the arched entrances from one room to the other and the rest is kept to the simplest. A few mirrors along the wall facing the courtyard and that's about it. "Absolute luminance levels do have a relationship to sensations of glare and distraction, but it is the patterns of light sources and the nature of their relationship to other elements i the visual field which largely determine the overall quality of the luminous environment." (pag11, LAM)
"Concepts, not hardware, are the missing ingredients in the conventional approach to the design of the luminous environment" (pag12, LAM)
THE COURTYARD
There is, on one hand, the tent that occupies the courtyard, used as a runway stage and a clothing store and there are, on the other hand, the first and second floor of the East, South and West Wings of Somerset which showcase pop-up stores of established and up and coming designers featured within the shows. So one can notice the relationship that is created within the inside and outside of the hosting building and that while the promotion of the industry happens within the center, the actual business moves throughout the building.
One may wonder why so much hustle for high-end brands that already have a well established clientelle? Well, the point of FW and its catwalks is the spectacle that it delivers to the public. The unusual venues, the exclusivity: if not more than that, these parades sell perfume to those who still want to be associated with this lavish lifestyle and cannot afford the clothes.
INSIDE SOMERSET
This division of space seems very strategically chosen, as the building itself actually extends the bands' image in a much more effective and exciting way that the Mayfair's boutiques could. Pop-up shops allow versatility that the fixed layouts of their previous stores cannot provide.
Both fashion and architecture express ideas of personal, social and cultural
identity, reflecting the concerns of the user and the ambition of the age. Their
relationship is a symbiotic one, and throughout history clothing and buildings have
echoed each other in form and appearance. This seems only natural as they not only
share the primary function of providing shelter and protection for the body, but also
because they both create space and volume out of flat, two-dimensional materials.
While they have much in common, they are also intrinsically different. Both address
the human scale, but the proportions, sizes and shapes differ enormously. And while
fashion is, by its very nature, ephemeral or ‘of the moment’, architecture traditionally
has a more solid, monumental and permanent presence.
http://www.somersethouse.org.uk/documents/skinbones_exhibition_guide.pdf
How does the technology of light influence the way we experience space and what emotions does it evoke within individuals?
"We think of light as one of the most material ingredients within the composition of architectural. it s immaterial in the way that one cannot grab it, grasp it but it is shaping constantly all of us. so we operate with the intake of natural light as one of the most important elements within architecture, many times associated to circulation and different moments of temporally within a building.
How do we see a sculpture without actually see it being lit? Everything that we see in terms of artwork that's exhibited is very natural, you don't see light. That's the most successful kind of lighting. successfully
London Fashion Weekend is Britain’s biggest biannual consumer fashion showcase [...] that offers the rare opportunity to experience trend-setting catwalk shows in the official British Fashion Council Show Space, the same catwalk used for London Fashion Week.
http://www.londonfashionweekend.co.uk/about/about-london-fashion-weekendINTRODUCING LONDON FASHION WEEKEND, SOMERSET HOUSE AND THE CONCEPT OF LIGHT
To those who are not working in the industry but still want to take part to London fashion experience, LF Weekend is a biannual event that takes place immediately after London Fashion Week, offering the oublic the possibility to attend shows or go through pop-up shops of designers that have been presenting their collections during the week to the elite society of the high end industry. More simply said, LF Weekend is the convention of the fashion industry to get a larger public buy a ticket to visit otherwise hard-tor-reach world.
Indeed, one may think it is a superfluous excuse to get even more funds into an already flourishing industry, yet I find that there is more depth beneath all this strategic marketing.
London Fashion Weekend gives to the those who like to express ideas of personal, social and cultural identity through their clothes, a place where they can dream, where they can meet similar people who have a story and are not afraid to tell that story in the way they dress or create.
I have always been fascinated by the meeting point of Fashion with Architecture. Architecture expresses a similar creative message, sharing the same primary function of providing shelter for the body, creating volume out of two-dimentional materials, addressing the human scale and reflecting the needs of the user and the beliefs of the age; yet it is different through its solid, more permanent and monumental presence.
Recently, I have had the chance to attend the London Fashion Weekend at the Somerset House in London. Finding out that it will take place at William Chambers' spectacular neo-classical gem situated right in the heart of London, between the river Thames and the Strand, the Somerset House, I could not help but heep my eyes and my heart open to dive even further into the experience of these two vast domains and the way they interact.
My Fashion weekend escape was more of an opportunity to disconnect from everyday rituals and go into an environment where there are no conventions, rules or dress codes, where nothing is too colorful, over-sized or architectural, for that matter, to fit the body as long as it puts a feeling though visual language and pours out your individuality.
Indeed, one may think it is a superfluous excuse to get even more funds into an already flourishing industry, yet I find that there is more depth beneath all this strategic marketing.
London Fashion Weekend gives to the those who like to express ideas of personal, social and cultural identity through their clothes, a place where they can dream, where they can meet similar people who have a story and are not afraid to tell that story in the way they dress or create.
I have always been fascinated by the meeting point of Fashion with Architecture. Architecture expresses a similar creative message, sharing the same primary function of providing shelter for the body, creating volume out of two-dimentional materials, addressing the human scale and reflecting the needs of the user and the beliefs of the age; yet it is different through its solid, more permanent and monumental presence.
Recently, I have had the chance to attend the London Fashion Weekend at the Somerset House in London. Finding out that it will take place at William Chambers' spectacular neo-classical gem situated right in the heart of London, between the river Thames and the Strand, the Somerset House, I could not help but heep my eyes and my heart open to dive even further into the experience of these two vast domains and the way they interact.
My Fashion weekend escape was more of an opportunity to disconnect from everyday rituals and go into an environment where there are no conventions, rules or dress codes, where nothing is too colorful, over-sized or architectural, for that matter, to fit the body as long as it puts a feeling though visual language and pours out your individuality.
how does light tell a story
The venue where LFW took place this season is the Somerset House. The main British Fashion Council Tent was erected in its snug courtyard, providing a sense of enclosure ideal for the side of the industry that likes to promote exclusivity.
It is important to mention that the event closes at 7 p.m and so all the arrangements within and outside the Somerset House are made so that they meet daylight requirements.
Millions of items of the outward order are present to my senses which never properly enter into my experience. Why? Because they have no interest for me. My experience is what I agree to attend to. Only those items which I notice shape my mind - without selective interest, experience is an utter chaos. Interest alone gives accent and emphasis, light and shade, background and foreground - intelligible perspective, in a word. It varies in every [p. 403] creature, but without it the consciousness of every creature would be a gray chaotic indiscriminateness, impossible for us even to conceive.
William James, The Principles of Psychology, Henry Holt and Company, Inc., New York, 1890, vol. 1, p 402.
It is interesting to see how artificial light within this event takes over the role of shaping our minds and guides us towards certain objects or spaces within a building.
"Kruithof had measured the range of color temperature under which objects appear 'natural' and pleasant at different levels of luminance.[...] We expect illumination to be of a high color temperature (relayively blue) when luminance levels are high because we refer them unconciously to daylight, which has a relatively high color temperature. We expect low color temperatures (a warmer quality of light) when luminance levels are low - perhaps by association with firelight, candlelight, and so forth." (pag.51, LAM)
SOMERSET HOUSE
"The clarity with which an object is perceived is influenced by its context." In this case, Somerset becomes the actual context for the event, In regards to the ouside, the gray palette of colors brought to life by the reflective surface of the BFC tent, whereas on the insidem the white walls provide a perfect clean background for exhibiting objects of which color and shape need to be most accentuated. One should also take into consideration the fact that Somerset was turned into a public building
"The clarity with which an object is perceived is influenced by its context." In this case, Somerset becomes the actual context for the event, In regards to the ouside, the gray palette of colors brought to life by the reflective surface of the BFC tent, whereas on the insidem the white walls provide a perfect clean background for exhibiting objects of which color and shape need to be most accentuated. One should also take into consideration the fact that Somerset was turned into a public building
Once the official residence of the Queen of England and later demolished to make way for the new riverside palace on the same site, Somerset House is today a cultural pin-point on the London scene with a very particular public programe that includes temporary exhibitions, restaurants and cafes and free guided tours.
As I immerse into experiencing the London Fashion Weekend, I pay very close attention to I am very much in touch with my emotions. And I have thousands every day. I can feel energy flowing through me, I feel connected though colors, patterns, nature and I respond to light. And as I enter its gates from the Strand, I feel pulled into a darker space, surrounding by stone Doric columns and white arches that reflect somewhat the almost blinding light from what's on the other side if the entrance, the courtyard. Light here feels almost restricted from the visitors of somerset, just so that the impact of reaching the inside becomes even bigger and more powerful, accentuating its
The white ceiling with beautiful
In front of my eyes, a world buzzing with ladies dressed in minimal, geometric, hard-shaped trapezoid dresses. And though these architectural details add a certain character to the place, the true personality lies within the venue itself that LFW has used for the last 5 years.
Although it may seem like there is not much of a connection between LFW and London's architecture, the least poetic truth is that the chosen venues are a crucial part of designers' managing of their brands.
These places almost never make it into fashion reports but for those who attend the event the venue and the clothes hard to dissociate. It is them that will form a perception of the designer, his clothes and the show and later share that perception with the rest of the world. And so architecture comes into the picture as a tool to move an industry forward.
The LFW tent this year is made of a reflective material that not only glares together with all the flashes of the buzzing photographers, but also glares out on a clear blue sky day. Although in contrast with the Portland stone of London's epicenter, the specular addition to the courtyard blends in with the color and environment and makes for a perfect enclosure of this year's show space.
The show is hours away from starting so I make my way though the courtyard and into Somerset from the South Wing entrance, looking forward to see how Somerset makes room for the talented British designers to sell their work. A luminous room where the reception also sits is filled with staff handing fliers on the event, vouchers to brands selling their items in the following rooms, and the map for every floor. Here, the natural light comes inside both though the entrance and the exit, making the space seem like a hub for those either beginning or ending their journey, before exiting though the terrace door.
I make my way into the corridor, to start discovering what are be the fabrics and tones that will make it to High street this season.
directional clues
"One simple form of this sort of consistency (in orientation and guidance) in the luminous environment is the differentiation of public and private corridors with various kinds of lighting systems, colors, and materials. Another is the distinctive illumination of the walls of service cores and vertical circulation elements. A third is the use of decorative light fixtures to call attention to circulation nodes and important destinations."
(pag.27, LAM)
I notice that light changes completely its qualities from the precedent room. The narrow walkway is flooded by artificial light of a slightly lower intensity, coming from above all the way to the other side of the wing. "We are afraid of the dark at least partly because it is inherenly informationless"(pag.56, LAM) The only intrusions of sunlight come from the opening of the side rooms. I am naturally attracted to towards the exterior, so I focus my attention to my right and left. This wing is only occupied by one cafe and restaurant before reaching to the staircase.
Although I was inpatient to dive into the clothes, something about the tall window and the sudden wash of light coming from the adjacent rooms makes me want to start my so called shopping spree with a large latte first. The lights hanging from the ceiling are placed just above the tables, creating the perfect conditions for those who want to sit down and go though their maps or read. They also bring a warmer feel to the diffuse natural light coming from the clouds that made their way above Somerset.
Going on with the journey, it is now time to explore what LFW has to offer. But just I though I'd bump into the shoes and dresses of the West wing, I reach to a majestic staircase.
With natural light coming from above, spotlights all along the staircase, illuminating the steps towards the first floor, I give into my curiosity to explore where does the six meter long Nelson Stair lead to, whilst also admiring the balloon installation.
The first floor is nothing less that what I portrayed it to be. Although with the same layout as the ground floor with the corridor leading into the better lit rooms, there is almost no one going on the corridor from one room to the other, and instead, they're using the alternate openings to go from one pop up showroom to the other. Of course, the highlight shines on the clothes using track lighters on the ceilings and wall washes to brighten the name of the designer. In the middle of almost every room there is a table with accessorize varying in color, depending on the influences of their creators but always brought to life by direct pendants lighting them from up above.
The sharp shadows that they create on the floor contrast with the luminous air of the room,
It is almost as if the artificial warmer light symbolizes the consumeri
Moving forward to the central area of the first floor where the emerging designers exhibit their ready-to-wear, I enter the brightest and most crowded room so far, with four different windows towards the river bank. "when all buildings were designed around a single, fixed light source -the sun- the difference between great architecture and mere building could be measured to a large degree by the skill with which that source was used. The shoes and sizes of rooms, and the materials and details in them, were determined largely by the appearance the room would take on when rendered by daylight." (pag10,LAM)
The natural light plays a major role in this space, as all the clothes are distributed in the proximity of the windows. Together with the bright white of the surrounding walls that reflects even more light upon the rest of the room and the high ceiling which gives air and a lightness to it, this is by far the most crowded room yet and still, there is a energy to it take makes it stand out from the rest. Is the choice of this room to host the wave of Britain's next top selling business intentional? I wonder. The names of the artists are written in back letters on the wall next to the windows which makes them hard to read in the blinding contrast created from the outside.
"Since the brain is constantly monitoring the visual environment for new information which might be of significance with the regard to biological or activity needs, things which are unexpected or which contrast with their visual backgrounds because of some unusual quality are likely to be treated as figures by the visual-processing system, attracting the attention of the beholder"
(pag.19, LAM)
As I notice a jacket that I like, I immediately go towards it to feel its fabric and once I reach it, closer to the wall, I can now see who its creator is. Lucilla Gray matches the name on the label to that on the wall and I finally feel like I have my pick. I check the price and suddenly, I'm brought to the harsh reality. There appears to be no student discount for high end products! Go figure. I carefully put it back next to its monochrome similar pieces nonetheless, and decide I should go for the Accessories, in attempt to have more luck at purchasing the new "en vogue".
Reaching now to the Stamp Stair, I descend into yet another corridor and what amazes me is the exposure to light. The door located just in front of the last step is inviting towards the outside terrace, almost begging for a minute of stare at the river outside. But continuing to the corridor, I notice the drastic change from the sunlight to the enclosed walkway that almost makes me feel trapped in a maze, eager to go anywhere that opens up more space.
I find myself moving rapidly through the contemporary jewelery room and into the bags and shoes area, this time in the East wing. Following a similar layout to the clothing department, the accessories differ from all the resy though the more minimal approach to lighting. One can only see wall sconces illuminating the arched entrances from one room to the other and the rest is kept to the simplest. A few mirrors along the wall facing the courtyard and that's about it.
THE COURTYARD
Expectations influence evaluation of the surrounding environment
"When bright light sources are directly visible, or when their images can be seen reflected from some specular surface such as a piece of glass or a wet roadway, pattern becomes even more important that usual as a signal. Pattern is an easily perceptible form of order, and triggers expectations of completeness and consistency. [...] Expectations and a patterned context draw the eye to an omitted element of the pattern , which becomes a de facto focus, whether intended or not."
(pag.41, LAM)
The way in which the tent cleverly reflects the surrounding architecture helps it to both disrupt the pattern of a neo-classical architecture therefore focus attention towards itself and blend in the courtyard of an existing Chambers' masterpiece.
There is, on one hand, the tent that occupies the courtyard, used as a runway stage and a clothing store and there are, on the other hand, the first and second floor of the East, South and West Wings of Somerset which showcase pop-up stores of established and up and coming designers featured within the shows. So one can notice the relationship that is created within the inside and outside of the hosting building and that while the promotion of the industry happens within the center, the actual business moves throughout the building.
One may wonder why so much hustle for high-end brands that already have a well established clientele? Well, the point of FW and its catwalks is the spectacle that it delivers to the public. The unusual venues, the exclusivity: if not more than that, these parades sell perfume to those who still want to be associated with this lavish lifestyle and cannot afford the clothes.
INSIDE SOMERSET
This division of space seems very strategically chosen, as the building itself actually extends the bands' image in a much more effective and exciting way that the Mayfair's boutiques could. Pop-up shops allow versatility that the fixed layouts of their previous stores cannot provide.agimilar pieces noneth
Reaching now to the Stamp Stair, I descend into yet another corridor and what amazes me is the exposure to light. The door located just in front of the last step is inviting towards the outside terrace, almost begging for a minute of stare at the river outside. But continuing to the corridor, I notice the drastic change from the sunlight to the enclosed walkway that almost makes me feel trapped in a maze, eager to go anywhere that opens up more space.
I find myself moving rapidly through the contemporary jewelery room and into the bags and shoes area, this time in the East wing. Following a similar layout to the clothing department, the accessories differ from all the rest though the more minimal approach to lighting. One can only see wall sconces illuminating the arched entrances from one room to the other and the rest is kept to the simplest. A few mirrors along the wall facing the courtyard and that's about it. "Absolute luminance levels do have a relationship to sensations of glare and distraction, but it is the patterns of light sources and the nature of their relationship to other elements i the visual field which largely determine the overall quality of the luminous environment." (pag11, LAM)
"Concepts, not hardware, are the missing ingredients in the conventional approach to the design of the luminous environment" (pag12, LAM)
THE COURTYARD
There is, on one hand, the tent that occupies the courtyard, used as a runway stage and a clothing store and there are, on the other hand, the first and second floor of the East, South and West Wings of Somerset which showcase pop-up stores of established and up and coming designers featured within the shows. So one can notice the relationship that is created within the inside and outside of the hosting building and that while the promotion of the industry happens within the center, the actual business moves throughout the building.
One may wonder why so much hustle for high-end brands that already have a well established clientelle? Well, the point of FW and its catwalks is the spectacle that it delivers to the public. The unusual venues, the exclusivity: if not more than that, these parades sell perfume to those who still want to be associated with this lavish lifestyle and cannot afford the clothes.
INSIDE SOMERSET
This division of space seems very strategically chosen, as the building itself actually extends the bands' image in a much more effective and exciting way that the Mayfair's boutiques could. Pop-up shops allow versatility that the fixed layouts of their previous stores cannot provide.
Abonați-vă la:
Postări (Atom)