Art & Architecture

Wiggly woggly

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arts and architecture Final catalogue

Tippireddy, S.R. (Ramya) 1350188

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The chosen art

The dirty graphics

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Object in pure material

Poetry and senses

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Tattooing models

Peer review and reflection

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THE CHOSEN ONE S TAC KED PLAT ES - T HREE D I F F ER E N T T Y P E S O F GR E EN The selected ar t piec e is t he sta cke d p la tes wh ich a re d one

by

Ro ber t

Therrien.

Hi s

a r t work

m a i n ly

focus -

es on sc al ing up t he daily obje ct s wh ich offers su rp ris ing perspect ives to t he au d ien c e t h a t i nvi te t h em to

reconsider

t heir

relat ion sh i p

to

the

ord i n a r y.

At first gl anc e, t he ar t ifact may se em c asu a l wi t h a pi le of p lastic plates stacked on to p of e a ch ot h er form i n g a ver t i ca l b lock. At a cl oser lo ok it’s cle a r t h a t t h e p la tes a re not sta cked per fect ly on to p of oth ers b ut p ush e d a n d sla nte d from others c ausing a sense of u n stab le a n d m ot ion (wig g le n ess ) in t his stat ic ar t piec e. B e c ause of t h ese u n b a la n c e, motion and t he spiral shape t h e a r t pie c e ap p e a rs as i f i t will toppl e over at any moment. Th i s c auses d i sorienta t ion a n d d iz ziness to t he viewer l ooki n g a rou n d t h e a r t pie c e.

In rea lit y, t he plates are stacke d a n d sla nte d i n a m a n n er to b a la nc e t hemselves from fa lli n g i mp lyi n g t h a t t h ere i s h id d en suppor t (c aused by pl a tes t h em selves) . Th e a r t i fa ct a n d its sil houet te also c onvey t h e fe eli n g of m ovem ent a n d motion. This dynamics bet ween t h e fe eli n g of u n b a la n c e from a balanc ed o bject and m ovem ent from a sta t ic st ructure ma de me mot ivated to st u dy fu r t h er.

Ke y w ords : M ovement , Wiggl e , Hi d d e n s t r u ct u r e , Unb al an c e

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Analysis drawings of art piece to understand the essence

At distance looks like a building made of stacked plates

At a close look, the plates are not straight but slanted and skewed

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Although seemed balance it gives the feeling of unbalance and unsteady

Movement caused from a stable structure

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STEP-1 THE DIRTY GRAPHICS

In this work sho p, t he feel ing of t h e a r t pie c e i s exp ressed wit h t he hel p of bla ck a n d wh i te d rawi n gs.

This is t he first step to exp ress t h e i nta n g i b le fe elin g into a tangibl e drawings. Th e id e a i s to t ra n sla te the essenc e of t he ar t piec e wi t hout i m i ta t i n g i t s form.

The a r t piec e c onsist s of pl ates p la c e d on top of e a ch ot h er ver tica lly. I t has a movement c om i n g out of a h id d en stab le structure. This ext racted sense was d rawn i n a horizonta l ma n ner which is different from t h e ver t ic a l sh ap e of t h e a r t.

The feeling of hidden st ruct ure a n d wig g li n ess i s exp resse d in th e form of firm ground and t h e sh ap es c om i n g out of i t wh ich are moving in different d i re ct ion s. Th ese sh ap es a re p la ced next to each ot her not li n e a r b ut overlap pi n g a n d fa llin g on each ot her. Thus t he g rap h ics g ave t h e fe eli n g of in stabilit y and movement wit h a h id d en st ruct u re sup p or t in g them.

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Plates stacked on top of each other

Plates coming from a hidden support

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STEP-2 OBJECT IN PURE MATERIALS In this work sho p, t he feeling of t h e a r t i fa ct i s exp resse d wi t h the h elp of t he ear t hware and fra m ework. Ac c ord i n g to Ch a d Schwa r tz’s “These t hree el ement s – t h e e a r t hwork, t h e fra m e work, a nd t he cladding – al l ser ve to re p resent s t h e h e a r t h”.

The hea r t h represent s t he main essen c e of t h e b u i ld d om a i n.

The hea r t h of t he chosen ar t pie c e i s t h e fe eli n g of m ovem ent caused by stacked plates arra n g e d i n a m a n n er t h a t t h ey a re b a lanc ed and unbalanc ed a t t h e sa m e t i m e. In t h e m od el, the feel ing of movement is c onveye d i n t h e form of wig g le roof element s t hat express m ot ion. Th ese roof elem ent s a re not st raight but point to di fferent d i re ct ion s a n d a n g les of rota tion. These jiggle ro of elem ent s rest on fi rm wood en sticks ( framework ) and sol id grou n d m a d e out of wood ( e a r t h work) . These wo o den par t icles( e a r t hwork a n d fra m ework) rep resent t he hidden st ruct u re of t h e orig i n a l a r t i fa ct.

The model represent s an o bject wh ich h as a m ovem ent t h a t s ub tly rest s on a stabl e ground. Th e rest i n g of t h e dyn a m ic roof on t he ground st ruct ure im i ta tes t h e la n g u a g e of t h e a rtifa ct which is ‘Stat ic st ruct ure wi t h m ovem ent’. In t h e m od el, the a rchitect ural element s like e a r t hwork(wood en g rou n d ) a n d the framework (wo o den st icks a n d roof) a ll ser ve d to ma ke up t he hear t h t he m a i n essen c e of t h e a r t i fa ct.

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STEP-3 POETRY AND SENSES With the result s of dir t y graph ics a n d p u re obje ct s, works hops moved to t he next stag e c a lle d p oet r y a n d sen s es. In this work sho p, t he essen c e of t h e chosen a r t sh a ll b e vis ual ized and demonst rate d i n t wo p h ases - Out s id e a nd inside in t he form of g rap h ic a l p osters. Exa mp les

of

spac es

or

inspira t ion a l

pict u res

that

c om -

mun ica te t he essenc e were chosen as t h e sta r t i n g ste p.

For ex teriors, t he image of t ilted wi n d ows a n d t h ei r overh a n gs was chosen as it had many simi la ri t ies a n d a h id d en layer of interpretat ions as t he stacke d p la tes. Th e wi n d ows were a lso p lac ed next to each ot her i n a m a n n er t h ey se em t h ey a re ord ered. But t he overhangs were t i lte d a n d d i stor te d cre a t in g movement in t his stat ic and ord ere d fa c a d e. Th e pict u re For interiors, t he idea was to vi su a lize a n a re a wh ere the a tes

b right ness movement

and in

shadow t he

cre a te d

spa c e.

Th e

by

d aylig ht

ci rcu la r

cre -

c orrid or

h elps to elevate t he sense of spi ra l a n d cu r ves of t h e a r t piec e. The inside had a series of c olu m n s p la c e d n ex t to each ot her just like p la tes sta cke d tog et h er.

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Ex t e r io r

https://www.archdaily.com/883770/the-street-sanjay-puri-architects

In te r io r

https://www.pinterest.com/chruchoflight

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EX TER IORS : Mot ion, unstable yet stab le, d i stor te d a n d h id d en st ruct ure are t he main ext ra ct ion s from t h e sta cke d p la tes and t he exercises up t i ll now. Th ese elem ent s were clea rly shown in t he exterior p oster wi t h wig g le st ructures erect ing from t he steady g rou n d. Th e sk yli n e of t h e b uild ing shows different k inds of m ovem ent a n d a n g les.

Ea ch b lo ck is horizontal ly sta cke d wi t h ot h er b locks a n d wrap p ed around by a circul a r t u n n el t h a t re p resent s t h e h id d en st ruct ure of t he ar t pie c e. Th e b locks were p ush e d a n d s la nted from t he circular su r fa c e just li ke how p la tes were stacked in and skewed. Th i s cre a te d a sen se of m ove ment a nd unbal anc e to t he mod el. Th e whole m od el se em s to b e unstable but al so seems to hold tog et h er just li ke t h e sta cked pl ates.

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Wiggly woggly

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IN TER IORS : The interior is a resu lt of t h e i nterp reta t ion of sta cked plates and inspiration a l pict u res. Th e series of op enin gs represent t he element of re p et i t ion wh ich i s cle a rly vis ib le in t he ar t piec e in t h e form of a series of p la tes. the cur ved boxes c oming out of t h e i n n er wa ll shows t h e p h enomena of plates c oming out from t h e c ore h id d en structure of t he ar t piec e. The p oster a lso h as p e cu lia r vi s ua liza tion of t he sense of movem ent wh ich i s re p resente d by the light c oming out t he wind ows a n d d oors i n i nteriors.

The d aylight c oming from t he series of wi n d ows m oves t h e sp a ce from morning to evening wi t h i t s lig ht a n d d a rk. Th i s imita tes t he feel ing of sense of m ovem ent wh ich i s p resent in th e chosen ar t piec e.

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STEP-4 TATOTTING MODEL With coll ect ive k nowl edge and i n sig ht s from p revious ses s ions, the tat to oing mo del hel p e d to g et h a n d s -on p ra ct ic e to rea lize t he final mo del. This i s t h e fi n a l ste p to t ra n sla te the essenc e of t he ar t piec e i nto a n a rch i te ct u ra l a r t i fa ct.

The ex pression of movement an d wig g li n ess was p resent i n the m odel in t he form of skewe d a n d sla nte d b oxes wh ich were p ointed towards different d i re ct ion s. Th e out li n e of the b lock s embo dies t he feelin g of u n stabi li t y a n d wavi n ess to the ent ire mo del. The boxes ere ct from a fi rm g rou n d wh ich represent s t he hidden st ruct u re of t h e a r t pie c e.

The win dows are pl ac ed in a l ine a r ord er wh ere as t h e b oxes wh ich carr y t hem were arranged i n a way to exp ress u n ste a dy a n d d istor t ions, just like in t he a r t pie c e a n d i n spi ra t ion a l pictures. The cur vat ure of t he t u n n el( h id d en st ruct u re ) a n d t h e overa ll mo del is inspired by t he spi ra l sh ap e of t h e a r t pie c e.

In

the

interiors,

counterpar t

t he

steadiness

sensat ion was

of

shown

m ovem ent on

and

d i fferent

its

sid es

of the wal l wit h stat ic win d ows a n d wav y elem ent s.

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PEER REVIEW The peer review is ver y insightful with good inputs and suggestions from fellow students. Considering their suggestions helped to deliver the essence of the ar t piece more precise ly. It also helped to arrange the catalog more organized.

For instance, one of the peer reviewers pointed out that the inte riors poster is not as showing the feeling of movement because of the flat roof which is present in the previous poster. Agreeing with that comment the poster is changed with a cut roof which shows the angular movement of adjacent blocks. This added the sensation of motion and more coherence with the essence of the ar t piece.

Another good point from fellow reviewers was to make the dir t y graphics more dir t y. This lead me to make more dir t y scribbles of the feeling and added them to the catalog. The compliments and suggestions of the reviews really helped me to improve my final catalog.

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REFLECTION Dirty graphics: This workshop helped to just express the

Tattooing model: With collective knowledge of all three

feeling more abstractly than an analytical manner. The

workshops the final ar tifact is realized with the help of

main aim is to draw the feeling but not the form of cho -

tat tooing. The results of ever y workshop helped to form a

sen ar t. This helped to look at the stacked plates elim-

strong basis and stor y for the final model. For instance, the

inating the ver tical shape. The resulted drawings tried

essence of movement in horizontal shape from dir t y graph-

to

ics, wiggliness of roof from objects in pure material and

express

movement

creatively

in

a

horizontal

way.

aspects of posters were clearly visible in the final model.

Objects in pure material: With the inferences from dir t y graphics the next step is to make a 3d model with the help

This course h ad lots to offer, fun while doing it and challeng-

of ear thwork and framework. The end results of this work-

ing many times. Looking back, its the uncer taint y of the final

shop did express the feeling of movement, but the model

outcome and even the workshop results that made this course

could use more real wood and could be a bit richer. There -

unpredictable and exciting. This course helped to sharpen the

fore the model was mediocre with a straightfor ward result.

creative and ar tistic approach of me rather than analytical and empirical ways that I usually have and use for architectural de -

Poetry and senses: This workshop helped to imagine

signing. Ever y workshop helped me to experience the feeling of

the spaces of the ar tifact, showing the essence of the ar t

the ar t piece and to think imaginatively rather than functional.

piece and translate that into an interior and exterior post er. With the help of inspirational pictures and graphics, the spaces were created to express motion, unsteady and

hidden

structure.

This

is

an

impor tant

transition

step towards imagining and creating a three -dimension al space with architectural elements and qualities in it.

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