Collage Adventures

June 14, 2011

Here I wanted to share my work from my collage class these past few months.

Our class website is located here, and I highly recommend you check out the reading sources/presentations – good images and ideas.

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

s e n s u o u s n e s s

Sensuousness

sensuousness_diagram

Inspired by a bank barn and my own fragmented memories of barns.

Shadows / Time / Textures / Tempo

Buildings are instruments of time. Shadows are cast and the light uses our bodies as a canvas.

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
s i l e n c e

Silence

Silence_diagram

Inspired by Splitting by Gordon Matta Clark and Joseph Cornell’s collages based in his world of imagination and use of framing.

Revealing layers, depth.
The silence of a disappearing industry.
The quiet of the left-over infrastructure, architecture.
Exposing the depth of a new world.
Grounding.
Curiosities of construction.
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
p l a s t i c i t y

Plasticity

plasticity_diagram

Inspired by San Carlo by Borromini and constructed geometries.
.Poche as play between positive and negative
.space
.curv-i-linear
.integration of wood’s inherent plasticity,
.weaving of geometries
.a play on re-creating volumes.
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
s l o w n e s s

slowness

slowness_diagram

James Corner
.space and time as a dialogue between natural and surveyed
landscape
.(one’s sense of self and place is integral to the way we understand our context)
James Turrell
.(art of light, sky, and astronomical events)
.(distance crystalized)
focusing on:
The relationship to ground and sky, juxtaposed
perspectives, ambiguity, and fragmentation of form
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
i d e a l i z a t i o n

idealization

idealization_diagram

Exeter Library (Louis Kahn)

.idealization through geometry – pure form
.understanding the organization of space
.compression and expansion of space
.constraint of materials – a building within a building
.sense of suspension
Laszlo Moholy-Nagy
.diagonal lines create tension, movement, and depth
.photoplastics
focusing on:
the suspension of space, pure geometric form. the beauty of
architecture filling a void – in this case, the voids of the form also create the diagonal lines that allude to depth and motion.
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
a u t h e n t i c i t y

authenticity

authenticity_diagram

authenticity
:identification with physical + cultural context as well as to the body and the viewer’s position in space and time
miralles tagliabue
.simultaneity of the spatial experience
.multiples of a single moment
.overlapping time
romare bearden
.abstract expressionism
.piecing together the past and the present
layers
Säynätsalo town hall (alvar alto)
.aalto developed a cellular module with the brick that was meant to be expanded and keeping
the possibility of a larger more complete building open
.throughout the building, stitching the details of scale between regional and personal
.patterns and tactility at a human scale, then expanded.
focus
.capture the overlapping details and gestures toward a culturally and haptically aware place/space
relations:
.building massing = responsive to social/political dynamics
.brick bonding = finnish industrial, nordic fortress building
.roof lines = landscape and forest beyong
.varied facade = woods surrounding
.windows + fenestration = patterning of the forest
.height of the chamber = rising to democracy
.fountain in the court = admiration of nature
.grassy courtyard = forest floor
.door handle = human scale/hapticity
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Now for part 2 of the class – our final project. Our task was to choose a building a we’ve been to that we feel exhibits these qualities and ideas. I chose Peter Zumthor’s Bruder Kapelle, which I had visited while studying abroad in Europe in 2008.

Many of the themes overlap and boundaries blur. The volumetrics of the space not only show plasticity, but also sensuousness, authenticity, and idealization. Time is the unifying factor, it’s meter found first in the making, then in its day-to-day acting as a canvas for the weather and it’s petina. Each collage has some segmented element, each representing a different aspect of the time so crucial to its making.

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

s e n s u o u s n e s s

sensuousness_zumthor

curious about the process of making, techniques used, and the relationships and reactions to contrasting materials, i decided to experiment at my own scale.

wood dissolves, allowing itself to be absorbed into concrete. contrasts abound. boundaries blur. dark | light

rough | smooth orthogonal | organic

process of time and materials melding. chemical reactions.

the smell of char and fresh air mingling. the bright points of light pierce the dark. the smooth exterior, at contrast with its textured landscape. the vertical jagged interior at contrast with its envelope.

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
s i l e n c e

silence_zumthor

the chapel’s open oculus lets the light, rain, and stars in. the building acts as an open canvas to the landscape and weather.

there is a duality of moment and materials, the patina of time. fragments of seasons mark the meter and blending of time. humble, still, and towering, it stands in seeming quiet solidarity to its rolling landscape.

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
p l a s t i c i t y

plasticity_zumthor

compression and release of space. verticality. even from the aproach, 300m away, the mysterious tower sits, condensed within the wide fields. upon approaching, the experience is channeled and refined. there is an inverse of positive and negative space.

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
s l o w n e s s

slowness_zumthor

shrinking wood, dissolving into layered concrete. 24 layers, 24 hours. time.  the wood grain canvas also acts as a marking of time,

the rings denoting the health of each year.

depicting one component of making, of process, that of the wood dissolving into the concrete.

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
i d e a l i z a t i o n

idealization_zumthor

built in honor of the switzerland patron saint, bruder klaus, this mystic and hermit drew an image of a circle with the structure of a wheel. The movement flows from the center outward, to return again to complete the cycle.

this chapel also has a strong presence of the fundamental elements: water, earth, fire, and air

the circles repeat to emphasize a cycle; elements contrast their surroundings, while all brought together by the bruder klaus’ drawing.

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
a u t h e n t i c i t y

authenticity_zumthor

when i went to visit the chapel, i didn’t know exactly where it was. i arrived in the closest town that had a train station and proceeded to wander to find clues to its location. it was sunday. everything was closed. i asked 6 people where it was, until finally, at a cafe, a couple overheard me talking about it and pointed me in the right direction. i took a taxi there, learning that the next closest train station was 10km away, a bit of a walk that would have been. Arriving at the chapel, i walked at least 400 meters up a hill, steadily getting closer while soaking in the brilliant yellow of the canola.

the experience of wandering through the town, searching, experiencing the local culture first, then the excitement of the hard work reveiling the reward, at first viewed from afar, then, details eagerly sought the closer

i came. my first reaction was to run right up to it, to see what was inside, but a counter reaction wanted to explore it slowly, understanding the context, the landscape, and the form from outside. the inside was beckoning, its cool, raw surfaces were in such high contrast to the flowing, smooth landscape outside. the flow of material was slowed and stopped. the glass spheres that cap the smoke holes are reminders of a material in constant, slow motion, while their liquid visions reflect the changing skies beyond.

it is this transistion of coming to this place from a nearby town, then steadily getting closer, and finally getting to absorb the details first hand that i want to illustrate.

 

Thoughts? Queries? Comments?

Advertisements

Leave a Reply

Fill in your details below or click an icon to log in:

WordPress.com Logo

You are commenting using your WordPress.com account. Log Out / Change )

Twitter picture

You are commenting using your Twitter account. Log Out / Change )

Facebook photo

You are commenting using your Facebook account. Log Out / Change )

Google+ photo

You are commenting using your Google+ account. Log Out / Change )

Connecting to %s

%d bloggers like this: