Friday, March 29, 2013

Designer: Jolan van der Weil

"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!





Gravity Stool production process

Gravity Stool production process

Gravity Stool,
Photo by Peter Lipton

Gravity Stools,
Photo by Peter Lipton

Wednesday, March 27, 2013

Critique!

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!

Photos: Foam Core Explorations

Vertial Serial Planes

Experimentation with multiples

Curvilinear foam-core experimentation

Curvilinear foam-core experimentation

Curvilinear foam-core experimentation


Sunday, March 24, 2013

Midterm Critique!

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:








Artist’s Statement:



1.     Modular Relief
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.
2.     Serial planes samples / curvilinear foam-core sample structure
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.
3.     Architectonic sculpture w/ re-purposed materials
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.

Sunday, March 17, 2013

Homework


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.”
Charles Ginnever, Rashomon, 1998.
Steel, 13 x 13 x 13 ft., three units.
Click here for more on Ginnever
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…
a.     Geometric shapes (rectangles, triangles, circles)
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.
Derick Melander, Where do I stop, where do you begin, 2003.
Click here for more info
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.
Zenos Frudakis,  Freedom.
Click here for more info
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.…)
Ali Tregaskes, Cover.
Click here for more info
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.
Gerhard Petzl, Layer Sculpture.
Click here for more info

Friday, March 8, 2013

Progress & Experimentation


 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

Saturday, March 2, 2013

Biomimicry in Architecture

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.

Architect: Zaha Hadid & Biomorphic Forms


Zaha Hadid,
Photo by Giovanna Silva
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

Dubai Financial Market,
Zaha Hadid Architects