In preparation for the final critique, we had a silent critique a week in advanced. This helped in tweaking all the things we didn’t notice about our work. The result from this silent critique was much better than the last one, as I found all the feedback to be helpful this time, as displayed below:
This information was extremely useful in figuring out what I hadn’t previously seen needed to be changed, as well as in improving my statement of intent. There was, however, some difficulty as at this point, most people, including myself, hadn’t yet prepared all the work they wanted in their final presentation, so there was a lot of information missing.
The work and statement of intent I presented for the critique at this stage is as posted below:
The experience starts at the door handle, which is covered in a pigment, staining one’s hands and leaving a trace on both a person’s hands and mind. Once entered, the stairwell can be seen to be marble, pure and untouched. At one’s feet, however, is a tray of the same powder. As one steps towards the apartment, traces of powder is left, creating an impermanent path. The apartment is designed around process and precision, influenced by Wolfgang Laib. Process is arguably the most important part of Laib’s work, as he spends years collecting pollen for his installations. The apartment is one of no interior walls, the rooms dictated by tiny dots. The dots are painted on, but after some time, will each be a drilled hole, done by the tenants of the apartment. The only instruction they have is the number ‘3’ on the wall, as well as the observation of holes having already been drilled in areas within the apartment, as Laib often sold his work without explanation of how to exhibit it. As the tenants are designers themselves, the hope is that they will understand that the apartment is more than a simple apartment, but a working studio of experiential magnitude. It is their choice, however, how much they decide to participate in the interactive installation, rather than using it just to temporarily live within. The rooms are each on a slightly raised platform, establishing a difference between the working space and the living space. These platforms, however, will be made from resin, the transparency acting as a disappearing barrier between the two spaces, as designers tend to make their work their lifestyle, just as Laib has dedicated his life to collecting pollen for his art. The balcony heavily relies on Auckland’s dramatic weather, as the floor is covered in tiles, with chalk covering the grouting. When it rains, the chalk will dye the rainwater a milky colour, giving it natural colouration and washing itself away in a continuous cycle. The apartment is a minimalistic white in the ‘working spaces’ devoid of colour, but the living spaces are splashed with pastel colours, conceiving a softer tone for which the transition to smoothen. In testing, light became a considerable factor, as it heavily affected each material within the apartment differently. Due to there being no interior walls, the windows will be a frosted glass to provide privacy, while still allowing some natural light.