LEE YANG YANG

lee yang yang

an architect
Archive for May, 2019

WHEN ARE YOU

ephemeral mixed-media installation 

in association with Joy Artists Collective
2019, PAPER MOUNTAIN GALLERY

also presented at PECHA KUCHA PERTH VOL 24

The installation, a fusion of the concrete and the ephemeral, particularly tries to question the metaphysical idea of the present and being. Are our thoughts and actions conscious of themselves or our consciousness a by process of our unconscious actions. The installation consists of two elements; the first;  spatial objects as the journey and the second,; a wall projection as the piece de resistance. The journey is orchestrated to orientate the observers, an exposition to build up towards the final act.

Spatial elements consisting of opaque and mirrored panels suspended in serial progression. This arrangement affords fleeting glimpses of the destination, drawing the participant through the work.  As the final destination is approached it becomes clear that the flat image glimpsed at the outset is actually a parallax-distorted digital mirror. Projected on two angled screens, the image becomes warped and stretched as the viewer advances. Constantly dislocating from the regular passage of time, this fluctuating mirror asks the participant to reflect on their experience as the distorted reflection stares back at them.

A break from the routine, When Are You? is a liminal space, an experience bracketed by time. Generating a reflective state, the work encourages viewers to interrogate the mechanisms that propel us, both figuratively and literally, on our routine passage through the built environment.  Every day is a chain of decisions and actions, these unexamined decisions and pathfinding habits we follow are directed by our environment.

As we navigate our path, the spaces we design influence us in return. As much as humans affect their habitat,  When Are You? seeks to instill the  awareness that our habitat also builds us.

just past

immediate past

recent past

Time dilation, surveillance and spatial orchestration are amongst the tools we use to transform the banal into the unknown and unexpected. It explores the concept of time;  the just past, the immediate past, the recent past, Рand questions where is the present. When Are You?

GARDEN BOLLARDS

shortlisted proposal for a temporary garden installation

in collaboration with Louise Allen
2019, NATIONAL GALLERY OF VICTORIA ARCHITECTURE COMMISSION

https://architectureau.com/articles/2019-ngv-architecture-commission-shortlist-announced/

Our proposal is born from the question of safety in cities in our era of Trumpian xenophobia, the overreaction of the city installing anti terror bollards in response to car attacks and the perception of building walls and fences are necessary for safety at the sacrifice of sense of welcoming and openness in public spaces. While the discussion of urban security remains an issue of complex dimensions, with this pavilion we have intended to hark back to the humble garden bollards, simple and low natural timber poles that lines our parks that while also preventing car access to parks, they lies within our psyche of public parks, defining a malleable and soft territory within parks and the playful juvenile imaginations of garden bollards as stepping stones and zig zag runs.

The garden bollards dotted in a serial and linear manner, forming an invisible line that only exists in the mind. Bounding in response to the geometry of the surrounding buildings, regions of open air garden rooms defined within the park. The diagonal transverses the paved and the lawn seemingly joining and inviting passers-by to walk across the lawn. Then the bollards connects park paraphernalias, the sculptures, trees, playground not unlike a walking trail, reacting, marking and carving spaces around such objects in the landscape.

At one moment the bollards are arranged in a grid-like manner, marking a region of a space rather than an imaginary line, in the hopeful intention of being a gathering space, where the bollards present themselves as seats. And the other, tall bollards or rightfully poles in a grid, evocations of tree trunks in a forest setting. Childlike imaginations of playful running among the trunks, or of aimless meandering. The third structure, a culmination of bollards slowly merging into a mass structure, a stepped hill. A prompt for climbing experiences and standing on the top of the plinth.

The densities of the bollards change, denser and intensifies the enclosement of boundaries. And serendipitously the height of the bounding bollards grows taller and slowly morphs into a fence. Impeding movement and visual transparency, objects beyond the fence becomes landmarks of curiosity and hopeful pedestrians trail along the bollards to eventually breach into the forbidden territory.