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[edit]This article is basically a big advertisement. Can someone help?--Theoneandonlyduncan (talk) 21:05, 29 December 2013 (UTC)
Request for major update
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Proposed overhaul of article
[edit]Hello fellow Wikipedia goers,
I would like to propose a significant update to this article. The current page is tagged as a Stub, which I believe does not accurately reflect the historical significance of the work, particularly its origins in the 1960s Constructivist movement and its recognition by the Sikkens Prize.
COI Declaration: I know the creators of Colourscape personally. Because of this connection, I am posting my proposed draft here for review rather than editing the article directly, to adhere to WP:COI guidelines. I have no financial interest in this edit; my goal is to improve the encyclopedic quality of the page.
I have compiled a new draft using reliable third-party sources (The Guardian, Sikkens Foundation, Oxford Research Archive) and have restored citations from reputable architectural journals (Studio International, L'Architecture d'Aujourd'hui) that were present in previous versions of the article but lacked formatting.
Proposed Draft
[edit]Click to view proposed draft text
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Colourscape is a series of large-scale, immersive kinetic art sculptures and performance environments originally created by the British artist and mathematician Peter Jones (1939–2023) in the early 1970s. Rooted in the Constructivist and Light and Space movements of the 1960s, the work explores the phenomenology of color and spatial perception through the use of translucent PVC membranes inflated by air. Early iterations of the concept, developed in collaboration with Maurice Agis under the name Spaceplace, were exhibited at the Museum of Modern Art Oxford and the Stedelijk Museum Amsterdam, and were awarded the Sikkens Prize in 1967.[1] History[edit]Origins and Spaceplace (1960s)[edit]Peter Jones studied at Saint Martin's School of Art in London in the early 1960s, where he was influenced by the De Stijl movement's rigorous approach to abstraction and geometry.[2] In 1963, Jones established the "Space Structure Workshop" in the Woolwich dockyard to experiment with three-dimensional color grids. Collaborating with fellow artist Maurice Agis, Jones developed Spaceplace, a precursor to Colourscape that used colored panels and rods to create architectural interventions. In 1966, Spaceplace became the first self-generated exhibition held at the newly founded Museum of Modern Art Oxford (MOMA Oxford).[3] The duo's work was recognized internationally in 1967 when they were awarded the Sikkens Prize in the Netherlands, a prize previously awarded to Le Corbusier and Gerrit Rietveld. The jury cited their work for its "conception of spatial structures... determining spatial orientation [and] inspiring human movement."[1] By 1972, the project had evolved significantly, with Jones and Agis publishing their manifesto on "Spaceplace" in Studio International.[4] Evolution into Colourscape (1970s–Present)[edit]Seeking to move art out of the gallery and into the public sphere, Jones began experimenting with pneumatic (air-supported) structures in the early 1970s. He realized that daylight transmitted through colored PVC created a more intense saturation than reflected light (paint).[2]
Artistic theory and design[edit]Phenomenology and perception[edit]Unlike traditional sculpture which is viewed from the outside, Colourscape is a Ganzfeld environment designed to be experienced from within. Jones, who was also a mathematician, applied topological principles to the layout of the chambers. The structures are designed to disorient the viewer and alter visual perception through specific color sequencing. By moving participants from a chamber of intense red (long wavelength) to a chamber of blue or green, the artwork exploits the phenomenon of retinal fatigue, causing visitors to perceive colors that are not physically present in the material.[6] Engineering[edit]The structures are fabricated from custom-welded PVC. Jones and Dickens developed specialized seam-welding techniques to create "soft geometry"—structures that maintain structural integrity solely through air pressure without rigid supports. The largest structures, such as Festival One (commissioned 1994), consist of nearly 100 interlinked chambers and cover approximately one acre.[2] Reception and legacy[edit]While frequently exhibited at festivals and public cultural events, Colourscape is distinct from entertainment structures due to its roots in the "Radical Architecture" movement of the 1960s, sharing a lineage with groups such as Ant Farm and Haus-Rucker-Co who utilized inflatables to critique the permanence of traditional architecture. Peter Jones continued to work on Colourscape until his death in 2023. The works continue to tour internationally under the management of the Eye Music Trust. Notable works[edit]
See also[edit]References[edit]
Further reading[edit]
External links[edit]
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Could an editor please review this draft and, if it meets guidelines, implement the changes? Thank you. Kat Wylfa (talk) 09:12, 12 January 2026 (UTC)
- @Kat Wylfa: I'm happy to make these changes. I'm slightly dubious about notability, but your version is so much better than the existing one that it makes sense to put it in place and think about notability after that. But do you have any sources for the "Reception and legacy" section? Tacyarg (talk) 18:32, 27 January 2026 (UTC)