"jólan van der wiel has been combining technology with natural phenomena to develop new 'tools' which he uses to create various forms. his ongoing 'gravity' project explores the physics of magnetism to pull and manipulate polarized material into functioning pieces of furniture as seen in his 'gravity' stool..."
I came across this article on Designboom. I find Wiel's quest to defy gravity intriguing. The article describes the designer's latest gravity project the Puppeteer. Upon further research, I found out more about Weil and his "gravity" stools that are mentioned in the above quote. They are what really made me interested in finding out more about his work. Luckily, Designboom had featured a video on Weil's process. I think it's one of the coolest things I've seen. I was seriously just staring at the screen the entire time. Thought it'd be fun to share with everyone!
Thought everyone did really well during the midterm critique! I'm hoping to make the suggested corrections to my project as soon as possible. Once I do, I'll be posting images of the finished product.
Here's a few photos from the start of the critique:
I'm excited to be moving on to the second half of the semester!
I've been gearing up for the midterm critique tomorrow all weekend! I have lots of process pictures that I will be posting of my projects as well as shots of the finished products. For now, here's a few of my inspirational images for my second project:
In working as a
design team, we began by proposing the eventual form, function, and unity
of the final construction. It was important for the piece to be a joint effort
and to reflect the design aesthetics of both team members as individuals. In
our modular relief structure, we centered our project on the repetition
of origami hearts of varying sizes. The overlapping of the paper hearts in
conjunction with the transition and gradation of size of the separate
units allowed for the development of unity and rhythm within the piece.
Along with this, our wall hanging also exhibits the design element of symmetry
through its use of mirrored forms.
When developing my
serial plane samples, I felt it important to focus on the gradual transition
in size and shape from one plane to another. To me, the organization
and craftsmanship of each experimental structure were most important. Keeping
these two things in mind, I felt it easier to then pay strict attention to the interaction
of the planes, their shape, stability, and use of space.
When approaching the curvilinear foam-core sample structure, I focused on
similar design elements. However, along with my previous considerations I
shifted my focus to the specific visual interaction of architectural planes.
My initial
inspiration for this project came from the growth and structure of flowers.
After thorough research I narrowed my creative inspiration down to the
structure and form of the stamen, the male reproductive organ of a flower. In
my piece I used the repetition of forms to develop a sense of synergy.
I did this by joining several smaller, individual forms together to create a
larger three-dimensional piece. This allowed for the creation of positive and
negative space within the sculpture. Along with this, I wanted my piece to be symmetrical
in shape, reflecting the growth patterns of a flower. To adhere to the project
requirements, I relied heavily on the use of recycled materials, such as the
newspaper, and the use of the Terracycle wrappers. Also, to create visual
interest, I mounted and raised my sculpture onto a circular base that allowed
me to incorporate the use of serial planes as a support system. Overall,
I am very pleased with the physical stability and visual balance of my
sculpture.
1.Experimenting with small-scale paper studies
shows that two planar forms have the ability to interact with each other in one
of three ways (1. Folding, 2. One plane is adjacent to another, 3. Planes
interpenetrate). Through the process of
experimentation, one comes to understand that certain arrangements stand alone
without problem, while others collapse.
The challenge in developing a planar composition is in balancing
physical stability with perpetual dynamism.
The simplest method for achieving stability is the three-plane
rule. This rule states: “a stable
structure results when any three planes meet so that each plane interacts with
both of the other planes.”
2.An environmental plane is used to define a space
in which a planar object is experienced. A planar structure is created through
the combination of separate planes to make one unified structure. When three planes interact through three
dimensions, they form a stable structure.
Fraaiheid, "+ table," 2013.
3.Architectonic forms are prominent in the world
of man-made objects (architecture and furniture fall into this category).
Examples include…
b.Horizontal and vertical orientations /
orthogonal placement of elements
c.Contrast of closed and open space (with emphasis
on the transition between the two)
4.Reflective surfaces posses the ability to effect
the transition of space. This is because
they aid in creating the illusion of space entering into a closed surface.
5.Planes define volume by virtue of their
shape. They exist to shape and active
space.
6.Organizational principles:
1.Organization: The overall structure or pattern
that joins parts of an object together into a sensible, unified, purposeful
whole. The organization of a design
derives directly from its intended purpose, meaning, and function.
2.Synergy: Emerges through the organization of
separately unimpressive elements that join to produce an outcome greater than
expected.
3.Order & Freedom: In design there needs to be
a balance of order and freedom. This will create and harmonious composition as
well as interest and variety. A designer must think about which they wish to
emphasize in order to achieve their design goals.
4.Structure & Unity: A systematic structure
relies on the effective use of unified principles. These principles visually bind a composition
together. (Principles include: balance, proportion, continuity, repetition, etc.…)
5.Symmetry: The most common type of symmetry is
mirror (bilateral) symmetry. It occurs
when half of a composition is repeated by its reflection in the other
half. Radial symmetry employs the use of
repeated forms that radiate from a central axis point.
Tony Orrico, Penwald: 4: Unison Symmetry Standing, 2010. Permanent marker on wall. 12 hours. 80" x 216". Photo by Michael Hart. Click here for more info
6.Repetition within Variety: Repetition creates
order in a composition, but too much of it can be boring. Therefore, variety is needed in order to hold
the viewers’ attention. Repeating
compositional elements of specific relationships develops strong unity within a
design.
Erich Remash, Jeremy Berglund, Don Peterson, & Chad Ingle, Bellatrix & Betelgeuse. Click here for more info
7.Rhythm & Gradation: These two forms of
application with variety use the systematic repetition of intervals of change.
Over break I've been experimenting with different recyclable materials and techniques. Some of them I hope to incorporate into my final architectonic project. Here's a few pics of what I've been fooling with!
Interlacing with recycled bottle wrapper
Coiling with recycled newspaper
Preparation for my surface texture using multiples experiment
Preparation for my surface texture using multiples experiment
Biomimicry is the study of natural forms and processes in
order to find solutions to man-made problems.
Within recent years, it has been incorporated into the field of architecture.
Michael Pawlyn is an example of an architect who seeks to integrate biomimicry
into his work. He says, "If you look beyond the
nice shapes in nature and understand the principles behind them, you can find
some adaptations that can lead to new innovative solutions that are radically
more resource efficient. It's the direction we need to take in the coming
decades." However, many
architects are not willing to embrace the idea of biomimicry. It seems as though they are unaware of the
potential benefits that can come from it.
Still, Pawlyn remains faithful.
He speaks of biomimicry positively and believes that it is the best source
of innovation to “get to a world of zero waste.”
The Eden Project. Michael Pawlyn worked as one of the architects for this visitor attraction in the UK.
Eastgate Centre, Harare, Zimbabwe. Mimics the cooling chimneys & tunnels of termite dens.
Biomimicry: Innovation Inspired by Nature, By Janine M. Benyus. One of many books written on the topic of biomimicry.
Born in Baghdad in 1950, Zaha Hadid studied at both the
American University in Beirut, and the Architectural Association. In 1980 she started her own architecture
practice in London and quickly built a reputation for herself. Painting and drawing are important to her
design process. She constantly seeks to
push boundaries and enjoys experimenting with spacial concepts. Much of her work references biomorphic
forms. These are forms that are
suggestive of organic shapes found in nature.
Examples of her work can be seen below:
Abu Dahbi Performing Arts Centre,
Zaha Hadid Architects
Changsha Meixihu International Culture & Art Centre,
Zaha Hadid Architects
Abu Dahbi Performing Arts Centre,
Zaha Hadid Architects
