ADS12: Sight/Seeing
Kane Carroll
Kane’s current work explores the way in which read and interact with imagery - specifically challenging traditional modes of architectural representation and communication. This year Kane has looked at how the construction logic of animation software can be used to read, dissect and unfold lived spatial experience in a way that bypasses more objective forms of drawing in place of imagery that is more viscerally communicated.
To complement his studies, Kane’s recent professional work consists of exhibition design for Studio MUTT and ongoing contributions to the critical design collective +44 formed between himself and several other designers at the RCA.
Now more than ever, our relationship with the future is defined by a state of fear and uncertainty. Each day, we face new omens that remind us of our inability to know or act. Against this perpetual unknowing, we have only visceral emotion and feeling to drive us forward. We live inside a horror movie. But without end credits.
Thinking of a child's coming-of-age as a microcosm of our contemporary anxiety, the project explores through architecture, how base instinct and emotions guide us through strange and unfamiliar territories. Dissecting, unfolding and augmenting the everyday exchanges between the physical exterior and emotional interior worlds, the design acknowledges and develops a language around primitive and often polarised relationships with our material reality.
Realised within of a set of filmic reconstructions of a home - the project uses the construction logic of animation software to express, unfold and dissect the emotional architecture of childhood - focusing particularly on the fluctuation of positive and negative emotions that inform a child's ability to grow and learn.
on the relevance of relevance and critical nature of visceral experiences to the early growth and learning experiences of childhood.
Medium:
Film and AnimationReconstructing and reanimating mundane moments in childhood as way to produce new working methodologies for designing within and around the lived experience. Working from family photos and description, rebuilding my childhood home and using software assets as way to organise, dissect and extract new meaning from minute second-to-second visual sequences. Exploring routines and everyday dialogues between both subjective and objective realities.
Medium:
Film and Animation
Unfolded Bedroom — This animation looks at all the interactions made within the first twelve seconds of getting out of bed in the morning. The objects and materials that are inviting and make this space comfortable clash with those that tell the child they need to be elsewhere, and that the bedroom is only a place of temporary respite from the world outside.
Unfolded Corridor — The space outside of the bedroom is one that can be likened to the public thoroughfare of the home. The space here is spliced with that of a school. The language of the school hallways is included here to evoke the change in scale, and level of comfort. The soft surfaces of the home clash with the hard and utilitarian geometry and texture of a school.
Unfolded Bathroom — The idea here is that the bathroom in school and home differ radically. In the home this space is a haven, one place where it is perfectly acceptable to lock the door and escape. Though it is still publicly accessible to all household members. It is often the cleanest of all spaces, despite its function. The school bathroom on the other hand is the space in which elicit activity would occur, this is a space of escape from the rules. But it is not a place of comfort. It is one of disorder, vandalism and shit covers the walls.
The animation try to evoke considerably significant moments and spaces within a child's daily experience. Though each animation is about 1minute in length, the real time they represent ranges from a second experience to one that lasts 8 hours.