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[4-7] light vessels’ phenomenal experience looking upward from underneath

[8-9] beside: captured phenomena of first area of place

[10-11] the underbelly: the interior of the light receivers depict
different collages of transparencies and opacities, dependent upon the structure of the cloth. the secondary system of seamed lines is also depicted in different manners as the light enters the space and dwells on cloth walls

[12] light receivers (interior)

[13] receivers: particular, curvilinear openings are shaped to receive the phenomena
from the sky and surroundings. they allow light to filter through to the space below, expressed as a unique typology of the light-well. these also make subtle frames for glimpses of the sky

[14] places for light:
looking down at the construction of pocket constructions for light. the
folds of the seams and edges create a secondary system of line and provide structure. each is unique

[15] a light receiver:
a light receiver holds the phenomena, which is
thenaffectedbytheotherplace-partsofshadows casted from wooden frameworks and other cloth

[16-17] light and shadow:
the spaces for light result in casted
shadows as phenomena pass through and hit the structured planes of cloth. these painted imprints become the place-part of shadow

[18-19] the light place expands and contracts as the occupant moves through the space the light enters through a sky oculus of cloth and is filtered into the space of the occupant. the light place expands and contracts as the occupant experienc- es the space. the horizon is also a shifting line. the ephemeral-horizon-line is viewed above with occupant at the ground looking through the oculus; the solid-horizons are blocked by the cloth of the light-space. the horizone becomes the land and sky, a vertical and horizonatl horizon joint between ephemral-horizon and solid-horizon, at the center of the space; the occupant resides above the ground plane. the horizon is lost from view as occupant enters a light-space that encompases the view , and the occupant is emerged into ground.

[20] the light enters through a sky oculus of cloth and is filtered into the space of the occupant. because the occupant is cradled in a hammock structure, it is a place of horizontal occupation, but vertical viewing. this collision of axes interaction results in a small light-place of occupation. the upper light-place of sky oculus collects leaves, sky, light, and shadow. the viewed horizon is limited to the moment of land, the solid-horizon, meeting sky, the ephemeral-horizon. as the occupant is in a horizontal position, the solid-horizon also become a tactile moment

[21-22] moving through a landscape of horizons

[23] the occupant is limited to the solid-horizon of ground, as the above and ephemeral-horizon is blocked.

[24] conversely, the occupant is limited to the ephemer- al-horizon of ground, as the below and solid-horizon is blocked

phenomena receivers|marking landscapes |horizon

light is in constant motion. its ephemeral structure is broken by branches of a tree. for this brief, fleeting moment, the light becomes a places held within the structure of branches and edged against their surfaces. these minute, temporal, and ephemeral places are the places of light.a catalogued process of the making of cloth places and phenomena receivers. the marking of a field of land with the architectural intervention mirrors the process of marking the field of the blank canvas. the two acts are bold interjections of place-making.

“Not all the knives of the lamp-posts, Nor the chisels of the long streets, Nor the mallets of the domes
And high towers,
Can carve
What one star can carve,
Shining through the grape-leaves.”

— Wallace Stevens, excerpt from Six Significant Landscapes

light vessels | a catalogued process of the making of cloth places and phenomena receivers

marking place | a catalogued process of the making of a place within a place

phase [1-2] repetition of exploring shape and line
the making of cloth space is re-examined by exploring the shapes through hand sewing and the sewing machine. the shapes are re-examined to better receive light and wind

phase [3] re-examining wood framing
the structure of the wood frames takes moments from the previous but also expands on its language to provide particular typologies of frames for particular cloth constructions

phase [4] cloth vessels
the emergence of cloth vessels is the result of the studies

construction [1] framing
framing consists of two planes with apertures to
hold glass. the third plane is a shifted piece of wood meant to receive light and shadow as the painted fence was the temporal museum of its place

construction [2] frosted and reflected glass
frosted and reflected glass is designed to capture
and receive the horizon or to block its presence

sequence [3] collaging and carving
wood planes become constructions of carved
apertures and spaces. space is carved through the additive process of stacking and collaging the wood planes; the void left behind hold place

phase [4] re-examining wood
framing the structure of the wood frames takes moments from
the previous but also expands on its language to provide particular typologies of frames for particular cloth constructions

phase [5] thresholds
thresholds are marked by the reductive carving and sanding of the wood member