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Illuminations /  The  V´s  project  

MARIA FERNANDA VILELLA

maria.fernanda.vilella@gmail.com


MARIA FERNANDA VILELLA

maria.fernanda.vilella@gmail.com


MARIA FERNANDA VILELLA

maria.fernanda.vilella@gmail.com


MARIA FERNANDA VILELLA

maria.fernanda.vilella@gmail.com


MARIA FERNANDA VILELLA

maria.fernanda.vilella@gmail.com


MARIA FERNANDA VILELLA

maria.fernanda.vilella@gmail.com


MARIA FERNANDA VILELLA

maria.fernanda.vilella@gmail.com


V´s/ The  project  exposed  below  it  is  a  proposal  for  the  design  of  different  floors,  as  an  attempt  to   addess    my  own  findings  and  concerns.   Walking  down  the  street  and  asking  some  questions  to  citizens  and  construction  workers,   I’ve  found  out  that    in  constructions  is  a  lot  of  cement  waste.  Sometines  this  waste  can  be   placed  in  the    indoors  of  the  construction  ,  afterwards  the  leftover  cement  breaks  and  once   it  dries  it  is  put  in  a  dump.  Other  times  it  is  thrown  away  directly  in  the  street,  thus    causing   serious  problems  for  drains.  Causing  serious    flooding  in  these  areas  and  surroundings.   Also,  stones    and  pieces  of  old  or  broken  floor  tiles  are  dumped  in  the    sidewalk     It  is  my  desire    to  work  with  this  and  other  materials  that  could  be  used  to    develop  new   floors;  some  of  them  being    reused  as  marble  dust  or  stones,  always  it  will  be  depending  on   the  context.     I  want  to    approach  this  research  taking  into  account  people  with  walking  dissabilities,  blind   people,  senior  citizens,  parents  with  their  children.  I  would  like  to  think  of  sidewalks  and   floors  that  include  everyone.     I  would  like  to  study  how    floors  are  made,  which  techniques  exist,  have  the  time  and  space   to  explore  and  create    from  experimentation  and  study.    I  would  like  to  study  different   artists,  researchers  and  designers  and  have    time  and  a  workshop  to  work  in,  with  the   theoretical  and  practical  support  from  both  peers  and  teachers.    I  am  interest  in  investigating  different  materials  and  not  hanging  on  into  one  sole  idea,  in   order  to  find  better  results,  and  I'm  interested  in  knowing  and  learning  about  tools  .  Tools   are  a  crucial  point  in  this  research.     Everything,  from  tools,  materials,  techniques.  Can  be  very  different  depending  on  the   location.  It  exists  a    a  great  diversity  in  sense  of  floors,  I  would  like  to  study  them  in  greater  

MARIA FERNANDA VILELLA

maria.fernanda.vilella@gmail.com


depth both  from  the  theoretical  and  the  practical  approachs.  Reaserch  different  materials,    like  organic  and  recylce  materials.     I  want  to  share    through    art  this  exploration  and  learn  ancient  trades,  meet  artisans,  architects  and  artists;    make  people  know  about  it    so   that  everyone  can  make  and  design  their  own  floors,  or  just    use  it  as    trigger  to  other  investigations.            

MARIA FERNANDA VILELLA

maria.fernanda.vilella@gmail.com


MARIA FERNANDA VILELLA

maria.fernanda.vilella@gmail.com


MARIA FERNANDA VILELLA

maria.fernanda.vilella@gmail.com


MARIA FERNANDA VILELLA

maria.fernanda.vilella@gmail.com


Historical context.   In  this  time  I  have  also  investigated  the  parquet.  Parquet  floors  were  originated  in  France.  Parc    was  a  platform  reserved  for  judges  and  lawyers   in  the  courts,    it  consisted  of  dovetailes  oak  planks    anchored  on  a  batten.     In  the  Middle  Ages  monumental  architecture  is  still  keen  on  stone  (marble  and  limestone).  At  that  time  mechanical  saws  are  developed  so   straight  boards  could  be  obtained  .  In  England,  for  example,  Tudor  style  uses  large  wooden  pallets  with  linear  configuration  ,  loose  joints  and   without  any  drawing.  Characterized  by  the  use  of  large  round  nails  or  wooden  pegs,    the  most  popular  woods  at  the  time  were  hard-­‐wood   species  like  walnut  and  oak.  Its  use  in  mansions  and  castles  is  probably  the  origin  of  the    aristocratic  image  created  around  the  dais.  Such   platforms  can  also  be  found  in  the  Netherlands  and  in  Germany.     The  “parquet”  word  floor  is  of  French  origin,  parc  was  a  dais  reserved  for  judges  and  lawyers  in  court,  consisting  of  dovetailed  oak  planks     anchored  on  a  batten.      The  “fishbone”  platform  was  first  used  in  the  Fontainebleu  Palace,    specifically  in  Gallery  Francis  I.  It  aquires  the    'parquet'  denomination  in   order    to  differentiate  it  from  the    big  rustic  paneling.  The  most  famous    parquets  are  the  ones  of    Versailles  (1665  -­‐  1685)  .  They  are  actually   square  panels  and  solve  the  problem  of  the  stability  of  the  wood  floors  through  the  internal    weave  of  the  panles..     This  panel  gave  rise  to  other  ones  (Chantilly,  Arambert,  Melezin,  Saint-­‐Frageau),  quickly  spreading  all    throughout  Europe  (Royal  Palace,   Hermitage  Museum,  Schonbrunn  Palace,  Castle  Pommersfelden).  Hardwood  floors  continue  to  evolve;.  Like  the  “fishbone”  in  Hungary.  Inlaid   wood  floors  are  the  natural  heirs  of  the  panel  and  use  exotic  woods  (Fine  Woods  Room  of  the  Escorial  Monastery,  the  National  Museum  of   Germany  Bayerisch  or  the  Royal  Palace  of  Turin).  It  is  in  the  seventeenth  and  eighteenth  century  that    parquet  reaches  the  peak  of  refinement   and  complexity  ,  and  began  to  become  popular  amongst  bourgeois  houses  and  public  spaces.     The  evolution  of  the  parket  cannot  be  explained  without  the  technical  improvements  as  stated  in  the  Encyclopedia  of  Diderot  and  D'Alembert.     In  the  nineteenth  century  the  use  of  parquet  continues  to  expand,  encouraged  by  the  mechanical  work  of  the  wood  with  the  first  steam   sawmill    that  gets  more  and  more  efficient.  productions  .  The  parquet  is  a  sideline  of  sawing.  Still  very  imperfect,  parts  are  not  interchangeable   or  standardized  and  all  defects  must  be  corrected  on  site.  

MARIA FERNANDA VILELLA

maria.fernanda.vilella@gmail.com


MARIA FERNANDA VILELLA

maria.fernanda.vilella@gmail.com


The cosmati  family           After  the  discovery  of  America,    wood  with  great  propierties  in  terms  of  texture,  color  and  mechanical  properties,  unknown  in  the  west,  was   imported  and  thus  facilitated  the  introduction  of  wood    for  flooring.  The  incorporation  of  tropical  species  from    the    sixteenth  century  brought  

MARIA FERNANDA VILELLA

maria.fernanda.vilella@gmail.com


distinction to  the  floors.    A  notable  example  of  the  use  of  the  new  species  is  the  decoration  of  Italian  intarsios.  Since  the  time  of    Louis  XIV,     inlaid  floors  can  be  found  in  France,  although  they  were  not  yet  proper  pavement  but  small  interior  compositions.       The  reuse  of  some  materials  is  one  way  of  protecting  nature  and  the  environment  and  generating  new  solutions      Ancient  techniques  may    help  resolve  actual  conflicts,  old  techniques    can  be  used,  to  protect    forests,  the  natural  lungs  of  the  Earth,    Reuse  of   materials  in  order  to  create,  without  forgetting  those  who  have  developed  techniques  that  can  help  us  create  and  build  new  floors.     I  want  to    go  through  history    through    architecture  and  floors,  in  developing  and  building  new  floors  through  history.  This  time  the  proposal  is   for  public  spaces,  I  want  to  create  from  what  we  have  been  left  and  taught  by    masters  from  ancient  times.  I  would  like  to  study  antiques   tecniques.  I  want    to  share  this  research  through  art.  Art  is  a  powerful  tool  to  communicate,  express,  show  what’s  happening  in  a  context  and   which  allows  us  to  think  and  to  take  action.      

MARIA FERNANDA VILELLA

maria.fernanda.vilella@gmail.com


MARIA FERNANDA VILELLA

maria.fernanda.vilella@gmail.com


Parquet   Influences:     -­‐The  Tupac  Amaru  Organization.  Milagro  Salas  (Jujuy,  Argentina)   Concurrently,    I  have  studied  the  work  of  an  argentinean  woman  who  lives  in  the  northern  province  of  Jujuy  her  name  is  Milagro  Sala.  Recently   I  have  seen  the  work  accomplished  by  Milagro  Sala.  Milagro  Sala  is  a  woman  from  Jujuy    who  was  adopted    when  a  baby.  It  is  said  that  she  was   abandoned  inside  a  shoebox  in  a  hospital,  and  was  adopted  by  one  of  the  hospital’s  nurses.  Milagro  is  coloured,  all  her  siblings  are  White.   When  a  child,  she  was  not  allowed  to  enter  public  pools  because  of  her  skin  colour  .  At  14,  she  learns    she  is  adopted  by  overhearing    an   argument  between  her  mother  and  her  aunt     Following  this  Milagro  confronts  her  mother  and  decides  to  leave  home.  Until  the  age  of  24  she     lives  wandering  around,  sometimes  living  with  her  maternal  grandmother  and  does  not  lose  contact  with  her  adoptive  family.  However,  she   breaks  away,  she  lives  on  the  Street.  It  is  then  that  she    begins  to  realize  that  he  of  people’s  needs,  and  that  she  can  take  action.  Having  lived   her    life  in  a  middle  class  family,  knowing  what    it  is  to  have  shelter  and    education,  she  begins  looking  after  street  children.  Having  two   children  and  constantly  watching  the  kids  on  the  street  she  gives  shelter  to  seven    children  more  under  with  the  condition  that  if  they  want  to   stay  at  home    they  should  go  to  school,  help  around  the  house  and  must  maintain  contact  with  their  biological  mothers.  She  also  speaks  to  the   children’s  mothers,  trying  to  help  the  children  to  help  them  and  the  rest  of  the  family.     She  created    “Copas  de  Leche”,  where  she  taught  the  people    in  the  neighborhood  that  united  they  would  be  stronger,  and  that  to  be  able  to   feed  the  children  everybody  should  carried  whatever  they  could.  She  built  a  cooperative,  thinking  about  work,  health  and  education.  She   organized  social  networks  where  they  feed  children  work  as  a  team,  teach  them  to  take  care  of  themselves,  stay  out  of  drugs,  and  make  them   realize    that  they  can  work  differently,  that  together  thay  can  have  access  to  education  and  health  ,  that  they  can  work  by  themselves  and  by   their  own  efforts.  She  also  started  cooperatives  for  women  who  are  beaten  or  battered,  and  created  public  hospitals  dealing  with    the  rights  of   the  disabled.  She's  a  fighter  against  discrimination.  With  her    called  Tupac  Amaru  ,  she  began  making  bricks  for  builiding  houses,  proving    the   government  that  with  their  support,  the  organization  could  create  jobs,  education  and  health,  thus  creating  new  neighbourhoods.  Each   neighborhood  has  public  pools  for  the  kids.       Access  to  education  is  the  most  important  thing  to  Milagro.  Within  the  schools  the  development  of  a  high  self  esteem  is  a  key  point,  as  well  as   the  protection  of    the  identity  and  culture  and  its  roots,  always  emphasizing  on  tolerance.    

MARIA FERNANDA VILELLA

maria.fernanda.vilella@gmail.com


Milagro has  been  criticized  for  his  work,  and  is  controversial  within  the  political  environment,  however,the  results  are  out  there.  Milagro  has   been  working  on  this  project  for  over  ten  years.  As  a  response  to  different  needs  and  to  fights  between  different  political  groups    Milagro     decided  to  seek  solutions.  It  is  for  this  motive  that  I  brought  her  up,  I  think  her  work  is  important.  Learn  from  it,  and  what  you  can  create  when   working    as  a  team.     -­‐The  Wayuu     The  Wayuu  are  people  of  sand,  sun  and  wind,  carried  in  the  moral  desert,  have  stood  for  centuries  in  the  Guajira  peninsula,  are  great   craftsmen,  and  merchants,  tireless  fighters  for  their  historical  rights  that  have  been  violated  by  the  discrimination  and  racism.   They  live  in  the  state  of  Zulia,  Merida  and  Trujillo  and  its  original  territory  is  called  the  Guajira,  in  the  municipality  of  Paez,  live  between   Colombia  and  Venezuela,  because  predate  the  creation  of  nation  states,  not  taking  into  account  its  history  and  customs  when  establishing   their  location.  The  area  is  almost  deserted  and  consequently  very  dry  and  arid,  so  one  of  their  first  needs  is  the  request  of  democratization  of   water  and  the  possibility  of  access  to  drinking  water.   The  most  developed  industry  is  textiles,  followed  by  ceramics.  The  women  are  expert  weavers  and  have  retained  the  beautiful  traditional   designs  in  hammocks  in  the  blankets,  which  are  costumes  worn  by  women  and  the  susu,  portfolios  that  are  woven  and  have  also  developed   many  useful  objects  with  colored  tissue  very  showy.  The  Wayuu  not  live  in  permanent  settlements,  is  common  for  families  to  move  to   temporarily  reside  elsewhere  when  exhausted  or  pasture  for  their  animals  when  they  fulfill  a  social  commitment.       Wayuu  textiles  

MARIA FERNANDA VILELLA

maria.fernanda.vilella@gmail.com


The knowledge  held  in  memory  passed  from  one  generation  to  another  for  Wayúu  hands  reflected  in  a  number  of  tissues  objects  of  singular   beauty  and  functionality,  produced  in  a  variety  of  techniques,  forms  and  colors.  The  fabric  for  the  people  Wuayuu  is  merely  a  cultural  practice   and  heritage  of  their  ancestors.  For  the  Wayuu  is  a  way  of  thinking  and  expressing  life  as  we  feel  and  want.  The  observation  of  countless   tissues  allowed  to  read  the  spirit  that  guides  action  and  thought.  

MARIA FERNANDA VILELLA

maria.fernanda.vilella@gmail.com


Objetives:

MARIA FERNANDA VILELLA

maria.fernanda.vilella@gmail.com


-­‐Learning the  history  of  art  through  the  study  of  floors  design  and  architecture.   -­‐Learn  ancient  techniques  and  turn  them  to  adapt  them  to  nowadays  needs.  The  design  must  take  into  account  these  conditions  as  is  done,  its   installation,  its  way  of  working,  the  care  of  the  earth,  and  must  suits  the  needs  of  people  elderly  and  disabled.   Experimenting  from  adobe,  bamboo,  marble  dust,  or  materials  found  within  the  context  wherever  I  am.       Being  able  to  adapt  to  transform.   Share  researched  information  through  practical  and  theoretical  workshops.   Production  of  new  floors  proposed  for  public  establishments,  whether  in  schools,  libraries,  sidewalks,  cultural  centers,  parks,  public  spaces,   sidewalks.  New  spaces  that  are  interested  in  fairness  and  equal  rights.   Create  from  the  given.   Getting  in  shape  at  times  and  the  specific  timing  of  the  residence.   Create  proposals  for  new/old  floors  in  a  particular  way.     Needs     -­‐Place  and  tools  for  working.     -­‐  having  time  for  research,  working  with  artist  in  residence.  Sharing  different  points  of  views,  sharing  what  each  one  of  us  is  working  in.     -­‐  Relationship  between  different  areas,  as  arquitects,  designers,  writters,  artists,  artesans.    

MARIA FERNANDA VILELLA

maria.fernanda.vilella@gmail.com


Expectations   Take  this  time  for  researching,  as  a  lab  of  experimentation,  enjoying  and  playing.   Learn  and  share  the  experience  of  the  residence   Count  with  assessment  in  the  residence   Meeting  people  from  different  areas,  inside  and  outside  the  residence    

MARIA FERNANDA VILELLA

maria.fernanda.vilella@gmail.com


MARIA FERNANDA VILELLA maria.fernanda.vilella@gmail.com.ar Mariafernandavilella.blogspot.com.ar

MARIA FERNANDA VILELLA

maria.fernanda.vilella@gmail.com

ILLUMINATIONS V´S PROJECT (ENGLISH VERSION)  

drawing in the public space

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