ARCH1142 - Experimental Modelling

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For Experimental Material Modelling, the first project consisted of selecting an architect’s work and an artist’s written work (from a selection presented in class), and creating a 3D response by incorporating and extending the ideas within the architecture and text. The maximum size of the project was 297 x 420 x 420, and only white mount board could be used.

Architect selected: Lebbeus Woods, Scar/Scab/Wound

(accepting wounds and destruction from disaster and embracing it, extending from it as a reminder of history, not to be denied)

Philosopher selected: Julia Kristeva, The Powers of Horror – Ch 1:1, 4 Approaching Abjection

(natural, psychological, physical repulsion to the space between object and subject)

In my project, I merged the ideas of Woods and Kristeva to create a model that embraces repulsion, celebrating the angular and untouchable to create an object that could be defined as beautiful yet confronting.

Initially, I struggled with the concept of creating a model based on a philosophy. During the lecture preceding the studio, I (finally) thought of an idea that I was content with for the model, and drew up sketch plans to cut out of the cardboard.

I couldn’t decide which direction the model should sit on the A3 base, and after sticking it down in one direction, I didn’t like it. So i removed it from the base, and turned to base over to use the clean side. I accidently smudged glue onto the clean side as well, so I covered it over by sticking triangular cut-outs in the are directly below and surrounding the model. This definitely took away the strength in my model, and I think it would have been better to leave the smudge rather than covering it with tacky triangular cut-outs.

Although this was a disappointing end to the project, I am happy with the way that it photographed as the triangles aren’t so obvious when they are in 2D.

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The second project required a visit to the City (anywhere from Hyde Park to Circular Quay) where a visual record needed to be created of an aspect of the urban city in relation to my senses and experience. After this, an A2 poster was to be created of the experience, and the poster needed to have a 3D aspect (cut & paste only – no Photoshop/scanning) and a 350-300 word text exploring the experience of my body and mind in relation to space and time of the urban environment. In studio, the poster then needed to be explored in 3D using any ‘found’ object, max size A3 extruded 297 x 420 x 420.

I chose to photograph the light posts in northern Hyde Park, moving from the entrance at St James Station, to the southern end of the park and back down the main boulevard (the text describing my experience is above). Creating the poster was a challenge for me as it has been a very long time since I have used the ‘cut and paste’ method rather than the aid of Photoshop and Indesign. The only part of the poster I am happy with is the far lower two light posts, where the posts appear taller than Centre Point Tower.

The model is definitely the stronger part of the project. Initially I couldn’t decide which materials to use, so I went through my craft box for ideas, and found wire, wool and cotton. I shaped the materials to create a path with an organic look. I lost marks for not thinking about how to enter the model into the base (I simply stabbed the end of the wire into the foamcore base). If I developed the project further, this is the one thing I would work on.

The last project of this consisted of reflecting on the first two projects and my own experience in the workshop, creating an A2 collage (again, cut and paste) which combined a selected project/experience with a word (chosen from: Freedom, [De]construction, Healing, Transformation, Control, Flow, Chaos) by exploring the properties of balsa wood in a way that exploits and expands its normative applications. This poster was then extended into a 3D model with balsa wood only. Max size – A3 extruded 297x420x420.

The word I selected was ‘flow’ and I developed on the second project. The model is made from carved and sanded balsa wood, linked together through grooves and cuts. No glue was used for this project.