TEXTURE

I decided on JARRING for Shinyas studio as it complements the technical difficulty and mechanical, solid nature of his work. In the middle level I chose MALLEABLE to project onto the staircase to highlight the contrast between the mood of the lower section and the linkage it provides to the upper section, onto which I projected POROUS.

 

I attempted to make the projection in more than one way. However, I need to somehow work on differentiating between the ground and upper sections.

 

Experimenting with projections to create real objects:

Week 2: THE STAIR

The preliminary sketches for possible staircases for my model attempted to emulate the structural qualities of some of my 18 sectional drawings.

 

The keywords for these two staircases are MACHINE and SENSUAL(bottom). The first set toys with the cross sectional and metallic properties of the stacked beams in my first sketchup model, and the second mimics the form of the buttress roots seen in the top half.

The following flight of stairs were designed for Antonio Stradivari to walk down to the exhibition space from his studio. Although the shape may seem quite literal, more significant is the way ones view of the following space is continually being altered as he or she progresses along the staircase, involving a juxtaposition of openness, then obstructed or enclosed, monolithic, yet delicate.

 Below are stairs leading from Shinya Kimuras studio up to the exhibition space. The transparency of the glass surfaces are crucial in playing on ones experience of the great depth of the voids below.

After speaking to Jacky about my first modelling attempt, we both agreed that the glass dome was not very powerful in conveying the atmosphere and shapes associated with the word sensual, and it was recommended that I push forth the more effective curved and twisted organic forms, which can be seen in the works of Zaha Hadid. Similarly, the lower half of my model could be improved by emphasizing the idea of randomly stacked volumes. 

This week I drew inspiration from another section, which were based on the same words (sensual and machine). I flipped this one upside down, and incorporated the two sets of stairs.

The material used for the stacked bottom half is timber (like scraps of sawed beams) and the top is currently tiled, however I hope to experiment with smoother photo textures soon to further accentuate the fluidity and changing tones of the structure. 

Above & Below

Whilst doodling, I became drawn to the ways in which a swan encapsulates the sensual and elegant curves of  an instrument, most significantly the ability of its wings to both shield and protect (its offspring) or unfold to great lengths, allowing it to take flight.

I settled on the above thumbnail on which to base my attempt at the first Sketchup model. The "below" section was inspired by a pile of stacked steel beams.

My Visual Arts HSC major work sent me on a rollercoaster of physical an emotional ordeals. Drivers passing the Prince Alfred Park intersection in Parramatta often saw me shredding bits of posters off the wall, my mother miraculously survived 6 months with a bathtub filled with soaking scraps yet to be glued and collaged, staff from PDHPE allowed me to fish around the storerooms for old unused archery boards (centre block) and those from Indutrial Arts let me crash for drilling, sawing, nailing and gluing. Interestingly, and to my dismay, the ordeal did not contribute to my ATAR at all due to the fact that I forgot to start each new response in a new writing booklet in the written exam, and so VA became the discounted 11th and 12th units.

 

The Bayon Temple is at the centre of the Khmer kingdom of Angkor Thom in rural Cambodia, built in the 12th Century. It is recognisable largely from the four carved faces standing over 4 metres in height carved on most of some 50 towers, all with the same mysterious smile, believe to represent the face of the Buddha and King Javavarman VII. The towers are also richly ornate, with bas-reliefs depicting various battles and religious scenes, however, many carvings were never completed and Bayon underwent several additions and modifications under later kings. It isn't, in my opinion, refined precision, but the small and scattered intricacies which tie themselves together and give the faces a certain holistic elegance and serenity.

 

Whilst on a roadtrip, tensions developed as we crossed paths with a neighbouring family. My dad seized the opportunity to jump out of the car with the camera, sending them into a waddling frenzy up the street (in strictly ordered single-file), not before the mother (or father?) of the pack turned around hissing with neck craned and wings outstretched. The gutsy and selfless display melted my heart, reminding me that animals are often more human than we are.

 

 

 SHINYA KIMURA: Machine, accelerate, mechanical

 

 ANTONIO STRADIVARI: Instrument, trill, sensual

 

 

 JIRO ONO: Structure, refine, delicate