PROBLEM 5: SCULPTING SPACE

PROBLEM: 

Combining and manipulate basic linear and modular forms to sculpt space; construct an abstract spatial model with attached and/or detached forms, creating a complex unified structure. Your model should communicate one of the following principles:
Proximity
Similarity
Asymmetry
Implied Line
Radiation
Interlinking
Interpenetration 

DESIGNER RESEARCH:

Santiago Calatrava

 Santiago Calatrava is Spanish architect and structural engineer who's body of work can be described as complex, visual feats. This image shows his method of activating space through the radiation of the linear forms that come up from not only the ground but again as a part of the roof. The bend in cantilevered roof makes it appear as if there is some interlinking between the two planes. There is a lot of asymmetry within the overall structure that evokes balance. I think this has to do with the way the roof juts up and outward while the walls point perpendicularly down to the ground. The curvature of the overall structure also gives the building a sense of movement, as if it is animated and about to rise from the ground. The two planes coming together and furthermore reaching one point at the left furthermore demonstrates a sense of unity. In researching Santiago Calatrava's body of work, I was very intrigued by his use of mixing elements of the curve in addition or layers to create a more dramatic effect. The implied line or outline of the shape of a building for a lot of his work is something that I've found myself to notice first, simply because his designs are very daring. The smooth outline always creates a contrast to the complexities of the actual structure. In designing my project, I feel like a lot of my struggle came from wanting to create with the same principles in mind - a cool overall shape that also incorporates a lot of intricacies and layers in the structure. Instead of coming up with an overall shape first, I learned that a solid structure is something that dictates what the overall outcome will be.

Eva Hesse

E. Fay Jones

E. Fay Jones is an award winning American architect. He was one of Frank Lloyd Wright's apprentices and spent the majority of his career isolated in the Ozark Mountains. In studying his body of work, it is easy to see that there is a certain lightness to his designs. The intersecting planes create a sense of interpenetration as if they are linked together. Rather than using panels boards to hold up and hide the structural support of the walls, Jones tends to show a complex, skeleton-like support structure. The beams that are close in proximity is what draws my eye in to his work. While the implied line creates a simple building structure, the contrast lies in the intricate patterning of the structural beams. What I took away from researching Jones' work is how a repeating pattern can create such a dramatic effect. After researching his work, I wanted to use thinner dowels to create this layered, complex effect. In both his and Calatrava's work, I was inspired by the intricacy of the supporting structure. What I learned from Jones is how to take a more typical shape, like a standard house or church, and elevate the appearance of it by focusing on exposing the structure to create an interesting feel. 

Sheila Hicks 

PROCESS:
I have to admit that I found the conceptualization process of this project to be very frustrating. With the freedom in the use of materials, I found myself coming up with tons of ideas and sketches involving twine, wood and corks. I wanted to pay homage to wine and hopefully make something my parents can actually set out on a counter since they're huge wine drinkers. However, none of my sketches excited me and I found myself in a conflict of wanting to make something complex, like Calatrava or Jones, but still wanting to maintain an overall simplicity. I think this was the greatest challenge to overcome. I'll be honest and say it was difficult to commit to and build my actual design since I kept going back and forth on all my sketch ideas while playing around with each of the different concepts we were to choose from.

The aesthetic principle I chose to demonstrate is interlinking. Although similarity and interpenetration can also be seen, I feel that interlinking is what the eye notices first, simply because it is the most complex part of the sculpture. I used balsa wood dowels to create the overall structure. For the outer square structure, I cut the balsa wood into sets of 3 equal pieces that decreased by two inches as the scale moves down. I had originally intended for scale to begin at 14 inches but soon found that it would be too heavy to hold it's own weight. I revised my structure and ended up starting at 10" and went down to 2". I then spray painted both the square dowels and round dowels a bright red. For my modular forms, I used little Styrofoam balls. Using a knitting needle heated in hot water, I was able to create a clean hole through the volume without breaking it. These modular forms were colored with black acrylic paint. Once the balsa dowels dried, I glued the square ones together and placed them on to a 12x12 base. I then started playing with the crisscrossing of the rounded dowels and glued them from one square to the next consecutive square. Lastly I added the modular forms on the last opening of the square. I think closing the overall structure with a modular sphere and interlinking dowels creates a sense of unity within all the components.

SKETCHES

FINAL: