Do not Bodies and Light act mutually upon one another; that is to say, Bodies upon Light in emitting, reflecting, refracting and inflecting it, and Light upon Bodies for heating them, and putting their parts into a vibrating motion? (from Isaac Newton's Opticks (1704), Query 5)
White is not a colour. It's a combination of all light frequencies, playing on your rods and cones, see. Your brain, on the receiving end of those rays, perceives white. When something appears coloured, it's because the object has absorbed some frequencies of light and reflected others. The rays that bounce back onto our eyeballs define the colours we see. A crystal is a machine for revealing white's constituent colour frequencies. Similarly, this analog device, which operates like an oversized lenticular, is white when viewed one way. But as your body—and your eye—moves around it, another condition is revealed.
Museum of Contemporary Canadian Art (MOCCA) Toronto, CANADA
"Architecture is too slow in its realization to be a 'problem solver,'" said Cedric Price. If this is true, how much stock can we place in architecture's ability to define the future of museums? And who's to say these future museums will be physical entities at all?
So what fate beholds these jagged, serpentine, crystalline and crumpled architectures? The proposed suggests an end to the museum as we know it, and a way of reading these institutions as majestic necropolis for a time when standing solemn before an artifact of art/culture, with hands stuffed in pockets, was among the noblest of pursuits.
Historically there has always been something of a contrivance or deceptiveness about the folly as an architectural type. Frequently we find it used as a vehicle for romantic escapism: images of ancient ruination mixed with visions of vernacular exoticism, designed deliberately as imperfect counterpoints to Palladian perfection. Such images often spoke to a nostalgic longing for the “wholeness” of past civilizations, just as the contrived formlessness of the picturesque revealed something of nature’s lost “purity” (in the face of its rational cultivation). Indeed, as a “planned accident,” the folly has always lent itself to an ambiguous or contradictory definition. On the one hand, it stands as a deliberate appeal to “otherness”—to the strange or uncanny; on the other hand, it remains perfectly integrated in the routines and rituals of enlightened society.
This insight, in our view, is what distances the folly conceptually from its modern incarnation as the technologically-mediated “expo” pavilion. The folly in its contemporary expression should rather resist such exhibitionism for its own sake, attending instead to questions of built form from the standpoint of the contradictory or paradoxical.
Hand-stamped newsprint, tape, 12'-4" x 9'-8" x 12'-0"
For the annual design event Come Up To My Room, WE-3 installed thousands of hand-stamped and hand-numbered waybills on the walls of a room at the Gladstone Hotel. The piece explored the ideas of place and personal collection, home, hoarding and the mundane, and attempted to create an effect (random, communal, bodily), and evoke emotion (wonder and weariness) via the collection and display of a single banal artifact ad infinitum (ad nauseam).