ZOOM (EXTRA MEDIUM)
被选为2015年1月14日至18日在洛杉矶会展中心举办的洛杉矶艺术展的特别展览。
此前曾在洛杉矶A+D建筑与设计博物馆（2014年）和加州贝弗利山蒂莫西·亚格美术馆（2014-2015年）展出。
《Zoom (Extra Medium)》是跨学科合作团队NO RELATION的一项装置，由史蒂文·克里斯滕森和马兹·克里斯滕森领导。该项目反映了尺度的主题，以及在放大时常常观察到的普通物体表面品质。该装置作为一个空间放大器，利用形式和光线产生一个沉浸式且令人迷失的空间体验，其规模似乎比项目的微小足迹更大。
以下是完整的项目描述：
XS [探求尺度]：
Zoom源于对微观细节中常见的装饰过剩的兴趣，以及在放大时这种华丽性可能产生的感知品质。
尽管这种表面细节与其所在的形式有一定关系，但它可以传达有关物体属性的额外信息（如未开凿的矿物，其微小的横截面条纹表面可能提供最准确的原子结构几何逻辑证据，而其整体形态受其他环境压力限制）。通过仔细观察微观尺度图案与宏观尺度形式之间脆弱关系，该项目研究了可以在不和谐中找到的感知效果。
形式：
这个顽固的黑曜石块体在其装饰和poche中带有一个减法形式起源的指示性记录。它显示出自己的工作。从一系列以对角轴（30°、60°、90°）旋转的立方体开始，并遵守由此产生的一系列内部裂解平面，设计过程涉及对纹理、偏心和困难的修剪。其内部表面呈现最终提取的阶段，而其外部表面结果来自过程中的一个中间步骤。外部表面的嵌入线条揭示出一个更早的阶段，其独特几何形态投射到中间对象上，形成一系列地形轮廓。
效果：
在基本层面上，我们的合作团队对形式和光线之间的关系感兴趣。在Zoom的情况下，当光线斜射到物体表面时产生的明暗图案开始微妙地唤起深度 - 这是由op艺术家如布里奇特·赖利和维克多·瓦萨雷利的图形/背景作品探索的图形效果。这样的作品利用了我们自己视觉器官微观物理几何的限制，展示了限制如何产生超越，通过在平面和静态中产生深度和动画。
该项目探讨了在三维物体上暗示第三维度的二维图形的应用，并通过在四维中实际摆动两种条件来调查这些图形中的图像和背景的感知振荡产生的暗示运动。目标绝非多余；相反，目标是虚拟（2D）和实际（3D/4D）之间的不和谐产生新兴效果，类似于叠加但不匹配的图案可以产生次级莫尔纹的方式。
价值：
这个项目是一个多价值研究。为了追求日益难以捉摸的直接目标，它试图通过在多个智力和感知层面上进行操作，来面向多样化的受众。它将指示形式主义的概念项目用于服务于替代议程，包括所得到的形式的模糊指示和其光学效果的内在冲击。
项目：Zoom
地点：多个
团队：史蒂文·克里斯滕森、马兹·克里斯滕森、德文·蒙特米尼、科里·甘德森、英格丽德·劳、杰森·斯托克、乔纳森·塔利、凯拉·鲍曼、香农·斯塔基
CNC制造：约瑟夫·库珀
标签：建筑，装置
ZOOM (EXTRA MEDIUM)
Selected as a Special Exhibit in the Los Angeles Art Show, January 14-18, 2015, LA Convention Center.
Previously exhibited at the A+D Architecture and Design Museum, Los Angeles, CA (2014) and Timothy Yarger Fine Art, Beverly Hills, CA (2014-2015)
Zoom (Extra Medium) is an installation by the interdisciplinary collaborative NO RELATION, led by Steven Christensen and Mads Christensen. The project reflects upon the topic of scale, and the exuberant surface qualities one often observes in ordinary objects when magnified. The installation acts as a space multiplier, using form and light to produce an immersive and disorienting spatial experience at a scale seemingly larger than the project's diminutive footprint.
Below is the full project description:
XS [scale of inquiry]:
Zoom originates from an interest in the ornamental excess one often observes in objects when viewed in microscopic detail, and the potential perceptual qualities of such exuberance when amplified.
Although such surface detail has a certain relationship to the form upon which it lies, it can convey an additional layer of information about an object's properties (as in an unexcavated mineral, whose micro-sectional striated surface may provide the most accurate evidence of the geometric logic of its atomic structure, while its overall form is constrained by other contextual pressures). Through a close look at the tenuous relationship between micro-scale pattern and macro-scale form, the project studies the perceptual effects that can be located within the dissonance.
FORM:
This obstinate obsidian mass carries an indexical register of its subtractive formal genesis within its ornament and poché. It shows its work. Beginning with a series of cubes rotated on their diagonal axis (30°, 60°, 90°), and obedient to the resultant series of internal cleavage planes, the design process involved the trimming of the textured, the eccentric, the difficult. Its interior surface illustrates the final extracted phase, while its exterior surface results from an intermediate step in the process. The embedded line work of the exterior surface reveals a still-earlier stage, its idiosyncratic geometries projected onto the intermediate object as a series of topographical contours.
EFFECT:
On a fundamental level, our collaborative is interested in the relationship between form and light. In the case of Zoom, the bright/dark patterns generated when light strikes the object's surfaces obliquely begin to subtly invoke depth - a graphic effect explored by the figure/ground work of op artists such as Bridget Riley and Victor Vasarely. Such work takes advantage of the constraints within the microscopic physical geometries of our own sight organs, demonstrating the manner in which limitations can yield transcendence, by producing depth and animation within the flat and static.
This project investigates the application of 2D graphics that suggest a third dimension upon a physically three dimensional object, and likewise investigates the implied movement produced by the perceptual oscillation of figure and ground in these graphics by literally oscillating the two conditions in 4D. The objective is by no means redundancy; rather, the goal is that the dissonance between the virtual (2D) and actual (3D/4D) produces emergent effects, similar to the way that superimposed but mismatched patterns can yield a secondary moiré.
VALENCE:
This project is a study in polyvalence. In pursuit of the increasingly elusive goal of immediacy, it seeks to address a diverse audience by operating on multiple intellectual and perceptual strata. It puts the conceptual project of indexical formalism to work in service of alternative agendas, including the fuzzy signification of the resultant form and the visceral impact of its optical effects.
PROJECT: Zoom
LOCATION: Multiple
TEAM: Steven Christensen, Mads Christensen, Devon Montminy, Cori Gunderson, Ingrid Lao, Jason Stock, Jonathan Talley, Kyra Bauman, Shannon Starkey
CNC FABRICATION: Joseph Cooper
TAGS: Architecture, Installation
