Floor Construction:
+Platform made from two sheets of 3'x5'6" double ply 3/4" MDF with tung+grove center connection. Shims as required to balance against floor.
+White Venetian Plaster applied with a large trowel. Three coats, burnished, waxed and polished to a high gloss.
+White Maple Trim around exterior edges with a 1/8"x1/8" reveal. Screwed in place after plaster application. Pre Drill MDF prior to plastering. Reveal painted black=emphasize the gloss of the plaster and also create the illusion of depth and weight.
+White Maple 1/8" 'shim' with center joint of panels.
Light Scoop Construction:
Construction Undecided: - Purpose - To Direct light under wall to reflect onto floor and also to direct light up along the back side of the laths.
Need to Determine:
Connection to floor - smooth, reveal between flat panel and curves.
Framing material - could be lath, could be metal sheet
+Finish with white and Orange Venetian Plaster. Orange colour hidden, only its reflected light gives warmth to reflections on the floor.
+4' florescent light attached to 2x3 sill of wall frame.
+ 2x3 White Maple Framing with 3/8"x1 1/2" Ceder Lath strips set into maple and spaced 1/4" apart.
+ 1/2" Skim Coat Gypsum plaster over lath with sand and horse hair added to improve structure.
+3/4" Gypsum plaster stucco (slow drying and thick). While plaster is wet, textured cloth is layered over plaster and surface is impressed with knees, hands elbows, etc...
Plaster is applied in sections beginning at the bottom. After drying textile is removed.
Construction of Mezzanine Construction:
Details to come...
Plaster 'cloth' will wrap over mezzanine floor.
'Making' Time line:
Weekend_ Prime MDF, Purchase materials (Gypsum Plaster, Screws) wood is delivered. Finalize detailing of wall/light scoop design. Layout photshop panel.
Monday_wood shop. Prepare the maple trim, the framing and lath. Build the wall and mezzanine connection.
Tuesday_Venetian Plaster arrives. Apply layers of plaster, begin scratching/marking to determine walls character. Work in wood shop between coats.
Wednesday_Skim Coat Plaster on wall. allow to dry. Continue marking floor.
Thursday_plaster 'cloth' layer on wall.
Friday_Wax floor. Document details to include in presentation panels.
Jen Said...
Chloe,Thanks for the sketches; very informative.Is there a reason that the base is slightly longer than the wall?Your 'color' light will stop at the wall (I assume) and then what?If it matched the wall width would it be more clear as an integral system?Did you mention what would be etched on the floor? Is the wood trim exposed with the wood finish? If so, seems like it would be more effective for the plaster to seemingly float away; frameless? Just imagining a painting.Just some thoughts to consider in the realm of the minute.Jen
Chloe said...
Jennifer,I think you are very right about the base/floor being the same dimension to the wall. I was considering having the floor/base larger to have a larger surface to reflect the wall, but after looking at the light scoop, I realized it makes more sense for the floor to be slightly smaller then the wall. In that way the scoop/base can directly 'scoop' into the wall cavity (avoiding the framing) and I think you are right when you suggest that it would bring cohesion between the elements. I am still considering the coloured plaster. It is my hope that by applying it to the bottom of the scoop the light would reflect its colour onto the floor and in a subtle way back onto the walls surface, but without any direct view of the colour. I am now planning that the back of the scoop/base might be a bench and that it could be plastered in the orange. That the orange plaster might wrap abound the curves. I am still thinking about the edges of the floor. The sides of the MDF is ugly and I think need some sort of treatment. I think I will wait till I plaster the floor and then make the decision with some tests. I am waiting for the white Venetian plaster to be delivered and intend to use that surface to etch my plans for the surface of the wall, also I am hoping to include quotations by baldessari subtle in the layers of plaster. Perhaps the "betweenness" quotation running between the imagined crease of floor to wall. Right now my major concerns are;1) Cohesion between the floor, to base, to wall2) The plaster on the vertical wall. The lime plaster I was planning to use cracks very badly. So I now need to switch to a gypsum based plaster. 3) The construction of the light scoop and integration of colour.4) Making sure that my intention of 'baselessness' is clear.Thank you for your comments, they address many of my own concerns and it was helpful for me to attempt to clarify them. (Sorry for the long email as a result) I will post renewed sketches/process for Wednesday morning. Chloe
Jen said...
Chloe,All good thoughts. It is the essential connections that you mention in you’re (a) that make for elegant detail. I use the work elegant because I once had an amazing conversation with a neuroscientist at Salk. He spoke about an elegant experiment….in the same way that we do about design…I may talk about that a bit at my lecture.As far as edges and plaster go, for me the most gracious combination has been a solid metal; brass, hot rolled steel. It seems to capture the elasticity of the plaster in a determined manner.Jen
4 comments:
Jen Said...
Chloe,
Thanks for the sketches; very informative.
Is there a reason that the base is slightly longer than the wall?
Your 'color' light will stop at the wall (I assume) and then what?
If it matched the wall width would it be more clear as an integral system?
Did you mention what would be etched on the floor?
Is the wood trim exposed with the wood finish? If so, seems like it would be more effective for the plaster to seemingly float away; frameless? Just imagining a painting.
Just some thoughts to consider in the realm of the minute.
Jen
Jennifer,
I think you are very right about the base/floor being the same dimension to the wall. I was considering having the floor/base larger to have a larger surface to reflect the wall, but after looking at the light scoop, I realized it makes more sense for the floor to be slightly smaller then the wall. In that way the scoop/base can directly 'scoop' into the wall cavity (avoiding the framing) and I think you are right when you suggest that it would bring cohesion between the elements.
I am still considering the coloured plaster. It is my hope that by applying it to the bottom of the scoop the light would reflect its colour onto the floor and in a subtle way back onto the walls surface, but without any direct view of the colour. I am now planning that the back of the scoop/base might be a bench and that it could be plastered in the orange. That the orange plaster might wrap abound the curves.
I am still thinking about the edges of the floor. The sides of the MDF is ugly and I think need some sort of treatment. I think I will wait till I plaster the floor and then make the decision with some tests.
I am waiting for the white Venetian plaster to be delivered and intend to use that surface to etch my plans for the surface of the wall, also I am hoping to include quotations by baldessari subtle in the layers of plaster. Perhaps the "betweenness" quotation running between the imagined crease of floor to wall.
Right now my major concerns are;
1) Cohesion between the floor, to base, to wall
2) The plaster on the vertical wall. The lime plaster I was planning to use cracks very badly. So I now need to switch to a gypsum based plaster.
3) The construction of the light scoop and integration of colour.
4) Making sure that my intention of 'baselessness' is clear.
Thank you for your comments, they address many of my own concerns and it was helpful for me to attempt to clarify them. (Sorry for the long email as a result) I will post renewed sketches/process for Wednesday morning.
Chloe
Jen said...
Chloe,
All good thoughts. It is the essential connections that you mention in you’re (a) that make for elegant detail. I use the work elegant because I once had an amazing conversation with a neuroscientist at Salk. He spoke about an elegant experiment….in the same way that we do about design…I may talk about that a bit at my lecture.
As far as edges and plaster go, for me the most gracious combination has been a solid metal; brass, hot rolled steel. It seems to capture the elasticity of the plaster in a determined manner.
Jen
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