Design Studio Fa l l 2 0 1 1
Inspirat ion and the IceBreaker exercise
Theclearskies, CrispAir, Freshwater. Travel Abandonedbuildings Music, Art, Friends. Professionalism
San Francisco Graffiti, Architecture &Goodtimes..
A Well-Considered & Well-Crafted
Thing of Beauty
Materials: printer paper, tape
Although unsuccessful as an abstract piece,the arrow to me symbolizes a few of the things that were in my list of inspiration: trains-symbolizing action,the sun (rays),air (waves) and water (flowing and smooth). Before having an idea of what I was going to do,I thought of using wax,toothpicks/cuetips or even a combination of toothpicks and wax. However,when I tried to glue the toothpicks together they were not stable enough for me to achieve the desired form.I then tried using candle wax, but this was also to hard to shape- as the wax chipped and crumbled apart. I then looked around and decided to use regular paper. Althoughitwasabit tedious to create, the arrow came out just how it wassupposed to.
A Thing of Beauty Iteration # 2
Before even starting the 2nd iteration of this model, I decided to simply draw different types of shapes and see how they correlate to each other in terms of proportion and composition.
As I drew in a style that is usual for me, I tried to mix curvilinear elements with some rectilinear shapes-allwhile keeping a wellbalanced and proportional piece. This mix of curvilinear and rectilinear elements represents the importance of rigidness and flexibility-important inboth nature and design.
Iteration # 3 Once again, before beginning the process of creating the model,I simply â€œdoodledâ€? ideas,
and experimented with the connections between shapes and different symbols to get inspiration from the drawings to make a model. An improvement I wanted to make from thelast iteration,was to make it more 3-dimensional, as I felt that the previous iteration was asif 3-dimensional parts were added to a 2-dimensional object. Instead of building a main vertical component- on which everything else extended out from, I constructed the model from a few horizontally-laying parts.
A Well- Considered & Well- Crafted
Thing of Beauty
This final iteration of the model incorporated the same ideas as in the previous iterations,but drastically changed the style, their layout and theirconnections with one another. Whereas in the 2nd iteration,the wave-likeform was used as a support for the structure, here this wave-like structure became a decorative element. Similarly, as in the 3rd iteration the base of the model has a triangular shape that points outward- to show action/ aggression, in this final Iteration, this shape is refined-to make a cone,that even more-so points out and demonstrates action.
Elements: Penetration, Fire, Ribs, Lineweight.
Collage Studies For this first iteration of the collage series, I decided I would fuse the structured elements of the 3rd iteration with the fluidity of the last iteration of the model.
Iteration # 2
When I startedthe collage,I was sure that it would be easy to pick out and rearrangeparts of my previous iterations of models in a way that would be both visually appealing, butalso make sensein connection with my models. But when I began designingways to connect the piecesof the models, I realizedthat a lot of my models were only of importanceas a whole. In other words, that the components of my models only looked goodIn correspondenceto each other. Eventually though I found a couple of piecesI wanted to use, and tried to put them together. What came out was the mix of rigid and flowing forms.I tried to enclose the rigid structure with the free-flowing forms of my last model iteration.I used my third and my sixth iteration for the collage as they both were the most â€˜orderlyâ€™, even though with different characteristics.The third iteration was a rigid type of structure, colored white,and had a kind of cold-like feel to it. The sixth iteration thatI used was first of all colored red, but also was full of action and even spiraled up like flames. In this last collage iteration,I tried to recreate what I had done In the first collage iteration, but using a free picture-editing program called Gimp.This enabled me to experimentmore, Instead of having to pre-calculateeach length and size of a component so that it would fit into another piece.What cameout was more repetitionof components,an idea of forms I want to create in the future iterations and differentways of inter-mingling styles and forms (such as merging both rigid and a flowing structure together.)
Collage Studies #3
For this iteration of the collage,I decided to take apart my 4th model iteration. I took specific components and put them together to see how the pieces might fit together into a different pattern than the one into which they had fit together in the model.While putting together these pieces, I used a total of only three components, and mixed â€˜curvilinearâ€™ elements, with ray-like elements. This combination of jagged lines, with flowing forms, produced movement in more than one direction.
Iteration # 4 Found inspiration: Although in this collage I only used one element, which was among others in the third collage, I believe this iteration has a more of an architectural-type feel to it, than just â€˜playâ€™ with 2-D shapes and how they fit together. What really came to mind when doing this iteration, was the critique of another studentswork,where Jerry said that their latest iteration not only accomplished the artistic and graphic-design aspect of the project,but also it made sense as a prototype for a model and in the thirddimension. So using this advice, I tried to not only configure thispiece with repetition so that it makes compositional sense but also would be logical in perspective.
For this 5th iteration of the collage, I wanted to adhereto all of my principlesof design: precise boundaries/shapes, the importanceof interplay between rigid and flowing shapes,and the construction of simple shapes out of smaller complex ones. I also wanted to use all of the intricacy of the 3rd iteration (with all the curvilinearshapesintertwining and repeating), but also the simplicity and the 3-D space-like quality of the 4th iteration. Before I startedthe process of arranging the shapes,I didnâ€™t know exactly what direction I was going to head in.
Usually, when this happensI browse the internetfor pictures of art, graffiti or even natureto becomeinspired-by what usually happens to be a small little detail, or a vague outlineof a shape.This time though, I heard about a certain surrealisticcartoon show that I have never heard of, and decidedto check it out on Wikipedia. From that article, I got to the surrealism page,and from therefound a great Chilean artist named Roberto Matta. Being somewhatinspired, but stil not completely â€˜thereyetâ€™,I found out about his son, who took part in the deconstructionism movement,and from there found my way to the anarchitecture website.Seeing all these images of both real buildingsand digitally produced ones, fueled my imaginationto createthe 5th iteration of the collage. -Simple structuresbroken down into complex parts.-
Intermediate Iterations After working with a lot of foam core and aluminum I decided to test out butter board. Seeing many iterations of other students using this material toeasilycreatemanyshapesand forms,Idecided to make a small scale model using butterboard of a deconstructed box. Inspired by the VitraMuseum designed by Frank Gehry,-after making the general shape I began to make the窶電econstructed parts of the box come out and away from the box. By this I wanted to express movement and action on the contrast of the safe,secure and common object.
Iteration # 2 For this second iteration of the intermediate phase,I continued to work with butter-board. I found it easy to shape as well as glue together and even bend. I decided to also return to the theme of rectilinear vs. curvilinear shapes but also try and explore the interaction between open and closed shapes as I had in the previous iteration. I constrained myself to three components: rectilinear and closed, rectilinear and open and curvilinear and open. From the middle cube come three open rectilinear â€œarmsâ€?and a curvilinear band that loops around the entire object. By this I was trying to explore the physical connection between curvilinear and rectilinear shapes, and the way they could fit into one another.
Mobiles: Moving Sculptures that Express Self, Place, Space and Time I wanted to continue my exploration of balance- be it the balance between curvilinear and rectilinear like I explored in my first models or the interplay between open and closed shapes, and I thought of continuing this idea by making the final project something that plays with the relationship between roughness and gracefulness.This seems to be the main idea that I have been trying to express throughout The whole semester.A specific incident especially sparked this desire to express this importance of balance between being rugged and sensitive. My friend that goes to Pratt in NewYork,told me how one day she was in photography class,and the teacher suddenly collapsed during lecture. My friend ran to get help, and as she came back she saw that not a single person in the class had bothered to help the teacher lying on the floor, or even get up off their chair. This unwillingness to take action and responsibility and full of cowardice I find simply disgusting. These overly-sensitive people that aren’t used to be being in critical situations that require immediate action, are the exact opposite to my friend,who being raised in the city, has learned how to handle tough situations, but also be a kind and a genuinely nice person (with people that deserve to be treated so). So, my overall idea would be: rough, but with a possibility to be intricate and graceful. “Rough on the outside, “soft”on the inside. For the style of my model, I wanted to incorporate elements of this subculture I just recently came to realize that existed-called Steampunk. People that are involved in this style, recreate gadgets and also modify existing ones that look like they were made in the Victorian era. They use a lot of materials such as brass, leather and wood. I wanted to give my model a sort of a rustic feel to it, but also contrast parts of it with light flowing shapes, that will in some way interact with the air flow. I have two ideas on where to place my model. One would be to the curved wall directly outside the architecture department, and the other would be to the tree stump that is somewhat hidden in the middle of the bush that is in the courtyard. I was also considering (if placed inside) to somehow make a sort of a fake wall, through which my piece could penetrate.
Model I started thinking about the ways I wanted the mobile to interact with the environment. I wanted the model to move due to the wind, but I still needed to think more about how to efficiently make the part move and for what purpose (or visual goal). I also wanted the model to make a sound when the wind â€œtouchesâ€? it, as I believe that for the model to be a true mobile it should react somehow to wind and make sounds as if it were alive. For this I thought I would either somehow create my own sound making device, or use the inside reeds of a harmonica. Even if I used this part from the harmonica,I would probably have to guide the air toward it, so the wind would actually pass through the reeds to make a sound. Another option-put some sort of overly-sensitive material inside of the modelhidden from view to make SURE that the model will produce somekind of noise even with the least amount of wind. I also got the idea of using a tiny mallet offa hinge that would be propelled by the wind to hit certain metal tubes, or even rows of these tubes and mallets, some of which would only be triggered by stronger gusts of wind. Next I went through a list of materials that I would possibly use: metal (preferably brass), wood,wire, nylon string (fishing line),some sort of see through skin-type material, plastic bag(for the sound), and leather.
As the wind turnsthe sails, a nub that is attachedto the wheel hits the rubber-band, making a sound.
The shape of thewings were designed to catch wind that is going either way parallel to the wing, or perpendicular. Wind that is traveling on the side of the mobile would be caught up in the little compartmentsthatthesewings have.
After dyeing the balsawood.
Walking around the Architecture department- one is used to seeing the similar scene of students working on projects, people using the computers in the lab and smokers taking a break in the outside courtyard. Other than these main points of focus, there is not much to notice, discover or explore other than the occasional model laying around or the pictures hung up in the designated behind-the-glass posting area. Walking to the outside courtyard, one sees a table on the left, a huge curved wall and a tall tree-bush. The wall being an obvious place for something to be, is taken up partly by a sculptured wall of faces- but is both big and in plain sight and looks like it is meant to be there. As one walks around the big bush and coming toward the single opening of the plant, a single stump projects out from the heart of the bush- from which a series of wooden gears continue from it. An otherwise lifeless and rudely cut- off stump, the tree is brought back to life by the moving of the wind- powered gears and the more gradual and natural form it has taken. As an abandoned building eventually transforms itself back into a living â€œcreatureâ€? and place, it serves a different purpose now and attracts a different type of people such as junkies, graffiti writers and photographers, but it also changes its whole personality as a building. The mechanical building has now changed into a more natural thing- there is rust showing in places, the mold gives off a distinctive smell, and rain water drips down onto metal making a taping sound. It transforms into a different state of being- no less important, just different. Similarly, the mobile gives the stump a new meaning to its being- instead of existing to grow tall and make oxygen, the stump now is a creature suspended in time, quite literally cut-off before it got to grow any taller. This projection from the stump, although not as obvious as the wall of faces, is seen as a little oddity. It is not the usual place for one to find things, but also it is a reversal of nature. As with most things when left untouched- nature usually returns to override it, this left alone stump is on the contrary overrun by this mechanical piece that represents the ever growing presence of technology in our lives. Even such a queer looking object found in a little hidden corner is mechanical and pre-designed, but at the same time almost let run wild- just as an old wooden home is built to fit the hillside, and then abandoned, to take on a once-again naturalistic look.
Over the years as technology has so rapidly increased, people tend to have shorter and shorter attention spans. Whereas before, many times people used to gather around and tell stories to each other and even later read books to spend their free time, more often than not people are accustomed to more dynamic and dramatic ways to spend their time. Even on the seldom occasion of sitting still, many are used to watching action packed movies, playing video games in which everything is possible and talking to people across the world by video while sitting in their heated massage chair. Because of all this new technology that is part of our everyday being, people have high expectations for so-called perfection and donâ€™t appreciate the simple beauties of life, such as a stroll around the neighborhood or seemingly unattractive objects. Things that are out of place or slightly odd are nowadays at-once sterilized and corrected- such as a warped wooden bench is straightened, or an unpaved path through the park is concreted and made completely uniform. Technology should be used to help individualize certain places or objects instead of making everything by code and undistinguishable. Even a bad place can be remembered, joked or told about, whereas places such as the suburbs or malls all look the same, are not remembered and have no creativity to them. The set of gears on the stump of different sizes and different capabilities of spinning, all attract attention back to the â€œforgotten and overlooked beautyâ€? of the small abandoned and dirty object. The 5 gears projecting out from the tree are in decreasing complexity, with the outer most gear being made of solely of wings to catch the air. But with this seemingly simplistic design comes more movement, whereas the heavier and more pre-designed gears closer to the trunk of the tree only move in heavy gusts of wind. This conveys the idea of the importance of simplicity but at the same time combined with intricacy that makes an object not only a dirty and odd thing, but a beautiful extension to the tree.