Portfolio 2008-11

dez n a rn ss

e e in Fn progr t r Ma rk i wo

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decomposition of the square explores the capabilities of transforming a 2 dimensional abstract drawing into a set parameters for the development of spatial tension investigation.

Operating in the constrains of a 6” x 6” square and grid of 1”1/2, the initiating framework emerged from the study of Piet Mondrain’s aesthetic principles:

Balance and rhythm are enhanced by relationships of proportion and location.

Aesthetic balance can be achieved through the use of opposition.

The 2 dimensional shapes began to transform into volumetric entities.

Replicated and realigned with adherence to primary aesthetic principles, depth and materiality was introduced.

The parameter are set in an upward tension creating a vertical gesture.

The vertical gesture explores degrees of enclosure, creating pocket like spaces, with varying materiality and spatial qualities.

Even an empty space has an inherent quality of tension. This is define by scale, light, circulation, purpose, and materiality.

shape into form is the metamorphosis of a shape using a proportional system to create a habitable expression of form.

A proportion of 2:3:4 was developed to explore the possibilities of an integral and harmonic framework.

An alignment emerged through the use of different ratios, progressing into a rhythm.

By using the primary element as a datum, the placement of the secondary and tertiary elements replicated into a rhythmic organization. This composition established an asymmetric balance that could be implemented as a framework.

The massing study lead to the investigation of how rhythm could emerge in the z-axis. Similar form interlocking at different angles.

Using linear components allow the investigation of the space within the form; how they interlock and how they relate. The line weight was modify to reinforce the 2:3:4 proportion system.

whole -> shape -> form -> whole

The parts were derived from a shape.

Forms were extruded from the parts.

A whole was constructed from the forms.

matrix construct Operates over the development of creating a matrix derived from a painting, these parameters will later be translated into architecture.

Umberto Boccioni - Charge of the Lancers

Umberto Boccioni was a futurist.

Futurism was characterized by its aggressive celebration of modern technology speed, and city life, and by the vigor with which it poured scorn on the traditions of Western art. Futurists rejected the art and culture of the past: they wanted to destroy everything old and venerated to make way for everything new and vital. The movement of the car, for example and the experience of its acceleration, were more significant to futurists than its shape or appearance when stationary.

Boccioni early work will have sharp diagonal lines to represent the movement and aggression of objects.

Charge of the Lancers was dissected into a linear and a geometric analysis.

The concepts of aggression and forceful movement were taken into consideration upon the development of the framework.

Therefore curvilinear lines were broken down into tangent segments to represent aggression, and the overall directionality of the composition was allowed to break through the canvas to represent forceful movement.

elements

alignment

rhythm

Umberto Boccioni latest work was based on dynamism.

Dynamism explains the material world in terms of active, point-like forces. In other words, it can also be define

as action at a distance or the interaction of two objects which are separated in space with no known mediator of the interaction. Such as in gravity, it describes how an object could know the mass of another distant object.

Boccioni used the concept as part of a way of representing an object’s motion, both intrinsic and relative to its environment.

The first framework was reconfigured into a new language. The elements were placed along the linear alignment. Originating from the rhythm, continuous lines intersected the vicinity of the elements and traced their contour. The diagonal directionality of the first matrix was taken into consideration.

The displacement of the lines by the proximity of the elements represents dynamism. Even though the elements were not literally rendered in the final product, their action at a distance, or negative space, left a residue of their existence. Location of the colors of the first matrix, also impacted in the decision of the color of the lines implementing the environmental concepts of dynamism.

4 site matrix Operates over the development of creating a matrix derive from a painting, this parameters will later be translate into architecture.