Add To Collection
Add to Collection
Action/Space
Action/Space
View Original
Add To Collection
Add to Collection
View Original
Add To Collection
Add to Collection
View Original
Add To Collection
Add to Collection
View Original
Add To Collection
Add to Collection
View Original
Add To Collection
Add to Collection
View Original
Add To Collection
Add to Collection
View Original
Add To Collection
Add to Collection
View Original
Add To Collection
Add to Collection
Action/Space
These impressionistic photographs were made by Brian Moore to present architectural space as an experiential world in motion rather than just a two-dimensional snapshot in time. Movement and time are captured and combined to create collages that acknowledge the way we move through and use spaces, rather than just looking at a frozen snapshot.
The study began as an attempt to reconcile the problems of the photograph; a photo offers no suggestion as to how a space is experienced. A single still displays neither motion nor depth to a space and creates an abstracted reality that removes the active element of human use. As philosopher Merleau-Ponty said, "I do not see [space] according to its exterior envelope; I live in it from the inside. After all, the world is all around me, not in front of me." This is the root of the problem with standard photography: we see only what is in front of the camera while ignoring the depth and peripherals of the surrounding world.
To make these collages, several spaces were chosen along with their action counterparts. Hallways and streets are associated with walking, playgrounds with sliding, and stairs with ascending or descending. A montage was acquired for each action/space combination by taking photos at regular intervals during the action until 30 to 40 images were acquired. These images were then all combined together digitally in a way that gives every layer an equal weight to the overall collage.
The artist's own perception and experience are used to reveal a blurred progression of action through space instead of just what is in front of the camera. A previously mundane hallway is perceived as an elongated haze. A stairway appears as spiraling fragments as the progression ascends. Each individual still makes up only a section of the overall photograph just as individual moments make up the process of an action.
Although the collages display space without clarity, new fascination is given through depth. In a way, this mimics human perception since we do not typically focus on all spatial elements with the clarity that a photograph can represent. Instead, the human eye is constantly wandering, focusing on only one point at a time while the mind fills in the rest with a vague projection.
The collages are intended to remind the viewer that architecture is made up of more than just spatial forms. The motions, experiences, and uses of people are inherently tied to these spaces and without these, architecture could not exist.
The study began as an attempt to reconcile the problems of the photograph; a photo offers no suggestion as to how a space is experienced. A single still displays neither motion nor depth to a space and creates an abstracted reality that removes the active element of human use. As philosopher Merleau-Ponty said, "I do not see [space] according to its exterior envelope; I live in it from the inside. After all, the world is all around me, not in front of me." This is the root of the problem with standard photography: we see only what is in front of the camera while ignoring the depth and peripherals of the surrounding world.
To make these collages, several spaces were chosen along with their action counterparts. Hallways and streets are associated with walking, playgrounds with sliding, and stairs with ascending or descending. A montage was acquired for each action/space combination by taking photos at regular intervals during the action until 30 to 40 images were acquired. These images were then all combined together digitally in a way that gives every layer an equal weight to the overall collage.
The artist's own perception and experience are used to reveal a blurred progression of action through space instead of just what is in front of the camera. A previously mundane hallway is perceived as an elongated haze. A stairway appears as spiraling fragments as the progression ascends. Each individual still makes up only a section of the overall photograph just as individual moments make up the process of an action.
Although the collages display space without clarity, new fascination is given through depth. In a way, this mimics human perception since we do not typically focus on all spatial elements with the clarity that a photograph can represent. Instead, the human eye is constantly wandering, focusing on only one point at a time while the mind fills in the rest with a vague projection.
The collages are intended to remind the viewer that architecture is made up of more than just spatial forms. The motions, experiences, and uses of people are inherently tied to these spaces and without these, architecture could not exist.
Product Spec Sheet
Were your products used?
Join as a manufacturer to add your products.