Categories
Alex Wilton Anson Tse Guy Gardner Hayden Pattullo Jason Johnson JP Hammill SSHRC

Solium Capital Stock Wall

Date: 2017
Client: Solium
Principal Investigator(s): Jason S. Johnson, Guy Gardner
Project Budget: Withheld
Research Assistants/ Project Team: Kim Tse, JP Hammill,
Hayden Pattullo, Alex Wilton
Funding Agencies: SSHRC
Status: Built

This project was commissioned for a financial services firm in downtown Calgary. The project brief was to create an engaging multidimensional piece to activate the reception area. An iterative process with the client included the development of a number of tools for converting images associated with financial markets, regional landscapes, and symbols of the Canadian west into a large 3-dimensional wall-hanging painting.

Information related to historical performance of commodities and equity markets was embedded into the work through the manipulation of a field of dowels. Robotic arms were used to encode the color matrix and angle variation into the base surface that received these dowels.

The project deploys these techniques to produce multiple readings of the image through what has been described as pareidolia, or the tendency of viewers to perceive different images in patterns and sets of data.

Categories
Competition Entries Guy Gardner Jason Johnson JP Hammill Public Art SSHRC Uncategorized

Biomorph

Date: 2017
Client: Edmonton Arts Council
Principal Investigator(s): Jason S. Johnson, Guy Gardner
Research Assistant: JP Hammill
Funding Agencies: SSHRC
Budget: N/A
Status: Proposal

We approach this work through the lens of capturing motion. Transit stations are places of constant motion and change in ways that are highly visible to the observer. We propose a project that captures this sense of motion and uses its physical characteristics as a way to make that motion felt on the site. The built environment, although it appears static, is in a constant state of movement as it shifts to accommodate fluctuating temperatures, wind and precipitation. This piece accepts these changes and in fact uses them to create a constantly shifting presence in the urban landscape.

Biormorph abstracts and embeds the signatures of the site users (human and non-human) into the surface of the canopy. As a proposal for the Muttart stop of Edmonton’s new Valley Ridge LRT line, its reference to vaguely human and animal forms in motion visually activates the canopy of the building. The pattern compresses and overlays the built up index of the activities and movement patterns of the site and functions as fossil of its history. Seasonal precipitation in the form of rain and snow and the changing light qualities of the Alberta landscape interact with the piece to form new patterns readings of the work. The changing aspects of the piece also reference the plant collections of the Muttart, which are always in states of change.

Categories
Competition Entries Guy Gardner Hayden Pattullo Jason Johnson Public Art SSHRC Uncategorized

Floq

Date: 2017
Client: Edmonton Arts Council
Principal Investigator(s): Jason S. Johnson, Guy Gardner
Research Assistant:  Hayden Pattullo
Funding Agencies: SSHRC
Budget: N/A
Status: Proposal

The project is composed of a field of brightly coloured discs attached to a grid of thin wires in such a way as to allow the discs to flutter in the wind, reflect light and produce patterns on the spaces around them. The technique is such that we can experiment with various iterations of pattern and symbols in the consultation, design, and fabrication process. FloQ captures the ways in which we move and evolve cities and cultures in response to the one another and the conditions that surround us.

Categories
Alex Wilton Arole Oluwaseyi Guy Gardner Jason Johnson SSHRC

Limenitis Wall

Date: 2016
Client: Emerald Hills Sports Pavilion
Principal Investigator(s): Jason S. Johnson, Guy Gardner
Project Budget: $32,000
Research Assistants/ Project Team:  Arole Oluwaseyi, Alex Wilton
Funding Agencies: Strathcona County, SSHRC
Status: Built

The Limenitis Wall takes its inspiration from the White Admiral butterfly, Limenitis Arthemitis, a large and highly contrasting black and white species commonly found East of the Rockies. The butterfly has historically functioned as a potent symbol for the metamorphosis of the human soul. We believe this is an apt metaphor for the dynamic and transformational qualities of the Emerald Hills Sports Pavilion in Sherwood Park, a growing community in Strathcona County, Alberta.

The work is composed of hundreds of custom milled, rolled and anodized aluminum components mounted to an exterior wall facing a public plaza. The components, flatcut using a CNC router and formed by hand, are of different sizes and occupy a diagrid with varying levels of subdivision. The components are anodized in black or clear, or are left in a raw state. The colouration and subdivision are driven by a parametric definition which uses multiple layers of image mapping to create a complex visual effect, which is amplified by the curving forms and variety of sizes, colours, and finishes. The combination of these elements plays with the viewer’s pattern recognition system to activate a sense of pareidolia, a response where we project our own meanings or interpretations onto complex formations, which is exemplified by the act of seeing faces in clouds.

The various elements of the work allows it’s appearance to change with different seasons and lighting conditions, and its meaning to shift depending on the viewer’s response. These dynamic forces of transformation combine to activate the façade of the emerald hills sports pavilion and the surrounding public plaza.

Categories
Alex Wilton Arole Oluwaseyi Guy Gardner Jason Johnson Matthew Parker SSHRC

The Crest & the Crown

Date: 2016
Client: cSpace King Edward
Principal Investigator: Jason S. Johnson
Project Budget: Withheld
Research Assistants/ Project Team : Alex Wilton,
Oluwaseyi Arole, Guy Gardner, Matthew Parker
Funding Agencies: SSHRC

“The Crest and the Crown” is a proposal for the King Edward School C-Space project that includes a chandelier and panelized ceiling installation, forming an entry sequence to the historic school. The ceiling panels are a mixed construction of CNC milled repurposed wood (removed during the renovation), inlaid brass, and milled translucent panels mounted to a modular dropped ceiling system. The panels use the icon of the school crest taken from a drawing in a historic school yearbook transform it. The modules are mirrored and arrayed along their axes’ to produce a combined pattern. The materials of brass and wood are inspired by details, furniture, and accents found throughout the historic building.

The Crown is imagined as a glowing object suspended above an entryway. It is constructed of stacked translucent panels lit from the interior, and visible from below and through a window between the vestibule and the entry stairs. It formally links the interior and exterior elements of the proposal. The Crown references the colonial iconography of the historic building, digitally simulated with restrained inflation and contouring. The proposal for the exterior elements uses a similar workflow of translating 2d- patterns derived from historical data into 3d form.

Categories
Alex Wilton Competition Entries Guy Gardner Jason Johnson Matthew Parker Public Art SSHRC Uncategorized

Columnulous

Date: 2016
Client: cSpace King Edward
Principal Investigator: Jason S. Johnson
Research Assistants/ Project Team: Guy Gardner,
Matthew Parker, Alex Wilton
Funding Agencies: SSHRC
Status: Proposal

“Columnulous” is a series of vertical monuments resembling cloud formations, acting as a threshold for entry to the public plaza at the south entrance of the building. Each column is formed in precast concrete and is intended to weather in place. Details from the original 1912 architectural drawings of the sandstone building were sampled and projected onto masses using digital software. By referencing instances from the façade which could be seen from the locations where the columns were placed, the goal was to subconsciously and indirectly draw the viewers’ attention to the patterns contained within the building elevation.

The projected lines were used as restraints as the masses were inflated using a physics engine. The process of inflation could be seen as a way of obscuring or “clouding” these details, so that the viewer could feel free to overlay their own interpretations of the form, in the same way that we project images onto clouds. Several iterations were developed to explore the extent to which the geometries and patterns should be obscured in order to allow for a range of associations.

The experience of interacting with these intentionally ambiguous forms encourages a similar procedure of projecting meaning onto the work. The objects can be read a number of ways at the same time. They resemble both soft, fluid forms, and rigid concrete monoliths. They operate in series and as single sculptural instances. The inscribed patterns reference the adjacent building, but are obscured.

Categories
Alex Wilton Anson Tse Beakerhead Christina James Guy Gardner Hayden Pattullo Jason Johnson Logan Armstrong Mariana Ibanez Matthew Parker Simon Kim SSHRC

Light Shells – Lamp Workshop

Date: 2016
Client: Beakerhead
Principal Investigator: Jason S. Johnson
Project Budget: $1500
Research Assistants/ Project Team : Matthew Parker, Christina James, Logan Armstrong, Guy Gardner, Alex Wilton, Kim Tse, Hayden Pattullo
Funding Agencies: SSHRC, Beakerhead

Light Shells is a continuing exploration into thin shell structural assemblies.  The project team developed a number of strategies based on the surface breakdown techniques from the Sputnik and Nancy prototypes and stitching logics used in prior investigations.  A user interface was developed to allow for versioning of the project through variations in formal logics and surface articulation.

The project team then tested this interface on a number of groups with varying levels of design experience and exposure to generative digital tools.  The results shown here are from a two session workshop held in January of 2016.  The first session asked the 14 participants tasked with making a series of constrained design decisions that generate the lamps and their cut files.  In the second session participants assembled their lamps.  Assembly time varies from 1 hour to the full 3 hours allotted for completion.

Future workshops will introduce more variables into the design process and streamline the assembly to optimize the number of surface to surface connection points.