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SCIOGRAPHIA
PHILADELPHIA, PA | FALL 2019 | 502 STUDIO
CRITIC DANIEL MARKIEWICZ
PARTNERS | JULI PETRILLO, SONJA MILLERMEIER, + TIANCHANG CHU
This construction and installation critiques how museums, specifically the Penn Museum, organize artifacts by their geographic origin and use. All artifacts are displayed simultaneously and under the same conditions, regardless of their unique characteristics. Our project gives preference to one artifact at a time, individually highlighting its geometry through cast shadow. At 10:00, 11:00, 12:00, and 1:00, shadows of a framed artifact are revealed on the base of the exhibit, informing its general form.
While one object is revealed, the other three objects’ shadows are hidden and obscured by transparent fabric. Geometries are notated on the base, visually linking each light tube to its cast shadow. Artifacts are split within each light tube to further reveal their geometric qualities. The structure of the cabinet is derived from studies of sun paths at the Penn Museum and the Wassily Chair by Marcel Breuer. Light tubes prioritizing the shadow of each artifact rest on repetitive U-shaped steel tube pipes, which both conform to and support each light tube.
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︎︎︎ Back
SCIOGRAPHIA
PHILADELPHIA, PA | FALL 2019 | 502 STUDIO
CRITIC DANIEL MARKIEWICZ
PARTNERS | JULI PETRILLO, SONJA MILLERMEIER, + TIANCHANG CHU
This construction and installation critiques how museums, specifically the Penn Museum, organize artifacts by their geographic origin and use. All artifacts are displayed simultaneously and under the same conditions, regardless of their unique characteristics. Our project gives preference to one artifact at a time, individually highlighting its geometry through cast shadow. At 10:00, 11:00, 12:00, and 1:00, shadows of a framed artifact are revealed on the base of the exhibit, informing its general form.
While one object is revealed, the other three objects’ shadows are hidden and obscured by transparent fabric. Geometries are notated on the base, visually linking each light tube to its cast shadow. Artifacts are split within each light tube to further reveal their geometric qualities. The structure of the cabinet is derived from studies of sun paths at the Penn Museum and the Wassily Chair by Marcel Breuer. Light tubes prioritizing the shadow of each artifact rest on repetitive U-shaped steel tube pipes, which both conform to and support each light tube.
SCIOGRAPHIA
PHILADELPHIA, PA | FALL 2019 | 502 STUDIO
CRITIC DANIEL MARKIEWICZ
PARTNERS | JULI PETRILLO, SONJA MILLERMEIER, + TIANCHANG CHU
This construction and installation critiques how museums, specifically the Penn Museum, organize artifacts by their geographic origin and use. All artifacts are displayed simultaneously and under the same conditions, regardless of their unique characteristics. Our project gives preference to one artifact at a time, individually highlighting its geometry through cast shadow. At 10:00, 11:00, 12:00, and 1:00, shadows of a framed artifact are revealed on the base of the exhibit, informing its general form.
While one object is revealed, the other three objects’ shadows are hidden and obscured by transparent fabric. Geometries are notated on the base, visually linking each light tube to its cast shadow. Artifacts are split within each light tube to further reveal their geometric qualities. The structure of the cabinet is derived from studies of sun paths at the Penn Museum and the Wassily Chair by Marcel Breuer. Light tubes prioritizing the shadow of each artifact rest on repetitive U-shaped steel tube pipes, which both conform to and support each light tube.
