NO MORE ROOM
Location: SCI-Arc Gallery Exhibition - Los Angeles, California
Designers: Kelly Bair, Kristy Balliat
Project Assistant: Irvin Shaifa
Production Team: Malvin Bunata Wibowo, Melody Chu, Burak Celik, Victoria Hatsenko, Hans Steffes, Ceema Sheikha, Sahar Simforoosh, Gerry Tao
Fabrication: Advanced Foam (Foam), Nick Rodriguez (Metal)
Videography: Jesse Corcoran, Dakota Rayfield, Jackson Rayfield
Photography: Joshua White
INTRODUCTION
Cultural production pivots during unstable moments, often utilizing fragments to reflect the fragility of our environment. However, No More Room prefers an architecture of the incomplete to an excessive reconstruction of parts.
Leveraging our aptitude for habitual cropping, framing, and construction of one’s world that merges our physical thresholds and virtual realms, a core sample is employed as both a process and product. Core sampling produces an inherent outside from insides, making it both an interior volume and exterior mass. A designed core is a projective act that renders walls obsolete as it reveals unforeseen relationships between rooms. Formal negotiation is favored over extrusion and challenges the notion that the core is a vertical connection between floors or a geometric center between rooms. No More Room represents a collection of spatial intensities at the intersection.
In the gallery, the project aims at the perception of fullness overfilling. There are minimal material-
objects: one core and three blue screen walls that expand and contract the space of the gallery. The core is both an object and a backdrop. As an object its base sits unsteadily on the ground, reaching up to reveal its roofline to the building exterior. As a backdrop, it leverages muteness, allowing overlays of various associations.
Blue screen walls, devices normally used to project a limitless and immersive environment are misused. Here, edges are exposed, highlighting the potential zone between one world and the next. As an alternative to full immersion, surfaces meant to be invisible in order to complete a scene, instead are objects that redact and replace visual content. The exhibition is a partial construction and a finished stage designed for viewing in multiple states. A split-screen aesthetic broadcasts the physical side in the form of live feed surveillance and its virtual side through animated content. The show is episodic as it unpacks the many ways we encounter rooms.
ANIMATIONS
