“Just a quick email to say how absolutely wonderful the 2 artworks look. I am so very pleased with them both and they add a huge amount to the spaces they are in. I will ask for feedback from staff and students but I am very very pleased with the outcome. Many thanks, Simon”
Simon Robinson – head B.H. Primary & Childrens Centre
“I called in on Friday and the work that has been done so far looks fantastic – well done! ” Jacqui Macfarlane – B.H. Childen’s Centre manager
Design key requirements:
monochrome (no colour)
transparent so as not to obstruct light
site responsive and educational
images of school children with flower motif (child’s drawing) have been constructed with reference to the ‘golden section’ or Fibonacci numerical series.
The idea references the ‘golden section’ & was prompted by a conversation with Tom Mason – we mentioned how the hall seemed of cathedral proportions & Tom thought the ‘golden section’ may have been used in it’s architectural design.
The flower drawings in the design illustrate the Fibonacci number series:
1>2>3>5>8
In the 12th century, Leonardo Fibonacci discovered a simple numerical series that is the foundation for an incredible mathematical relationship behind phi.
Starting with 0 and 1, each new number in the series is simply the sum of the two before it. 0, 1, 1, 2, 3, 5, 8, 13, 21, 34, 55, 89, 144, . . .
Divide any number in the Fibonacci sequence by the one before it, for example 55/34, or 21/13, and the answer is always close to 1.61803. This is known as the Golden Ratio, and hence Fibonacci’s Sequence is also called the Golden Sequence. (http://goldennumber.net/fibonser.htm)
This image illustrates use of the Golden Grid™ – you can print the “Golden Ruler”© grid and use it to see the golden section and phi in various objects. (http://goldennumber.net/images/goldenrulercard.gif)
The entrance glazing is designed to be a bright & cheerful front façade to the street – taking advantage of the available light without obstructing it.
The transparent shapes will cast colour into the inside of the space on bright days.
The overlaid white etch drawings will stand out in daylight against the transparent colours whilst also having a strong graphic impact at night when affected by ambient street lighting – added to this, a stained glass effect will be visible if back lit by interior lighting.
To comply with DDA (Disability Discrimination Act) requirements, glass partitioning and doors require physical markings or manifestation. Drawings from the site visits by the art group & others collected from the school, have been designed and produced on adhesive vinyl for all glazed areas within the school. They look great & we’re looking forward to the childrens responses when they see them in a couple of weeks time.
Concept:
In response to a site visit and conversations with Simon the headmaster, it was decided that this window offers the potential for detailed colour design. The space is light and as such will not be adversly affected by a stained glass approach.
The walls to the left hand side (looking at the window from inside) are light and therefore receptive to reflections of colour.
The design references the cathedral scale of the hall and aesthetic properties and colours of the new building.
Influences include the John Piper Baptistry window of Coventry Cathedral and patterns used in Somali bead / craftwork.
The images are entirely sourced from childrens’ artwork….
..and have been reworked to create a composition that is both abstract & intricately patterned.
detail
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