A piece that is versatile as well as functional is Willy, done by Tony Smith. It is abstract in its form as well as minimalist. I chose this piece because of the geometry included in it. There are three legs that protrude out of the vertical pieces that may be used as places to sit. While I will not be using this idea entirely, it will be a very good starting place to begin the design process for a place to sit, stand, and lie upon. One of the many design features of the piece will include rounded corners so that sitting and lying will be comfortable. The Golden Section will be relied upon heavily for the average person so that it may be comfortable for most people to rest upon. Legs will be elevated above the waist for the best blood-flow around the body. This is to reduce numbness in the seated and lying positions.
The space around the featured design product will focus on relaxation. This will be done by promoting a clean environment with gravel walkways and landscaping that is styled more towards a temple-like setting. A geometric “leaf” system will be used on top of the structure to give a constant source of shade throughout the year. These geometric “leaves’ will be movable so that any amount of light may come onto the structure and person using it.
My design direction is to create an outdoor piece using geometric shapes to allow the user a place that makes them want to either sit stand or lie down. Similar to the metal design of Tony Smith and his piece Asteriskos. Along its geometry there will be a clear place that will make you want to sit down or a place you want to stand in or a place to lie down on. Al tho Tony Smiths pieces aren’t meet to be used in such manner they would offer a place that would suit sitting standing and lying. I would also like to make my piece less massive and more free flowing. I would also like to incorporate a tree into my design and maybe have the piece flow and move around the tree while the tree gives you shade from the warm Texas sun. There will be grass around the design making it feel soft even though the shape is hard and geometric. Have the geometric shape will create a contrast between the design and the natural environment. I would like to keep with the same color as Tony Smiths Asteriskos because it creates a clear break from the surrounding environment. With the design and the atmosphere i would like to create a calm and relaxing place that people would wont to come and either just hang out or sit and read.
The artist I chose to research is Tony Smith. He is famous for his aluminum sculptures that are displayed all over the United States. The one piece he designed that caught my eye was the one named “Throwback”. This piece had lots of different angles going through the whole design. After seeing the artwork I started to relate it to our studies of sit, stand and lie. Also I thought back to the conversation we had about the house in Mexico that forced the guest to have different views and experience exactly what the designer planned them to see. I began to think of my own design and how I could use all this information to tie in a design plan. The use of different angles really interest me, because the design creates a specific position for the body to rest and experience the setting going on around them. I want my design to look a little more comfortable than the black aluminum pieces Tony Smith uses, but I like the way his designs still look like a piece of art. I plan on making my design relate to the concept of the house in Mexico and the design portion of it relate to Tony Smith. It will have various places for the visitor to sit, stand and lie, and the visitor will get to experience exactly what I want them to.
Anne Truitt was a originally focused on clinical psycology until she abandoned it for art in the 1950s. She is best known for her large vertical wooden pieces that are covered in multiple coats of acryllic paint. When asked about her style she responded, “I’ve struggled all my life to get maximum meaning in the simplest possible form”. I think these words are wise, there are many times where you do not NEED all of the extra fancy things and it truly is better to just go ahead and enjoy the simplest things.
Truitt’s pieces all are portraits of her own personality and a tribute to a specific relationship in her life. She uses color to represent traits in the relationship and integrates them with form that make her art unique from most minimalists. The specific piece that I looked at is titled “Creswell” (1980), the piece actually signifies the relationship with one of her daughters who actually had a piece of clothing of the same sky blue hue.
I believe that I want to go ahead and use Anne Truitt’s work and philosophy as inspiration for the sit, stand, and lie. I think Truitt did exactly what she wanted to, and focused on small pieces of information that could only represent one thing to her, which adds to the simplicity. I like that she looked for simplicity in everything that she did and used color to represent thoughts and emotions. I can definitley think of places where I could incorporate her simplicity with some of the most natural positions of the human body: sitting, standing and lying.
The Sculptor I have chosen for the project is Frank Stella who was part of the minimalist and modern movements in the 60’s and 70’s. I have selected his art piece called Harran II which he designed in 1967. Stella focuses on the elements of color,shape and compostiion in his artwork and allows for the viewer to perceive the movement within while at the same time creating a sense of “containment”. Just like the Harran II, the human body in reference to the vitruvian man can have an extended amount of movement but is contained within a series of geometrical norms like the Golden Section (Le Corbusier). As we discussed “the wall” in class, the containment of the movement of the body will act as a perception of romanticism between the structure and the person occupying the space. Color (if necessary) will be used to trigger psychological reactions, for example, temperature changes of the body when exposed to a certain color like red (warm) or blue (cool). Materials that I have considered to use in the design is probably wood, not only for its ability to become part of the “natural” but because the cultural texan stereotype of the hill country. The other material considered is aluminum to embrace the modern/minimalist appearance that will make the design stand out in a western urban setting.
Aaron Keller is an emerging artist, he lives by this philosophy that the sciences and it’s many branches (mathematics, physics, chemistry, etc.) compose a unique form of language. A rich, detailed web of common knowledge that may be our most refined form of communication to date. As we use this language to develop a deeper understanding of ourselves and environment we reveal complex layers of information, seamlessly interconnected systems and repeating patterns that echo throughout.
In all of his pieces he makes, he does not use any type of adhesives. Each piece is interlocking with one another. I like this idea because its like he has created a very intricate puzzle that when put together makes a very complex geometric sculpture. When I look at his projects I picture a very complex game of jenga. I also picture a structure with walls that are being held together by an interlocking system. He manages to integrate everything together like if it was growing. One of his sculptures that caught my eye was the black walnut. Some of his other projects revolve around the same design of the black walnut. I like this sculpture because its geometric, and complex. It can be re-arranged into many things. Details can be taken out and incorporated to the human body.
sorry its Aaron Kellner….with an “n”
BABY MONKEY! https://www.youtube.com/watch?v=5_sfnQDr1-o
Kumi Yamashita is a raising Japanese artist, who creates many works based on the manipulation of shadows and space. She is called the “master of shadows” because most of his works of art are made to be shadows. Her installations are composted of specially positioned objects, and a light source that is positioned at a proper angle to create a shadow image on a wall, the way she works her art around the idea of invisible art to remind us that there is such a thing. She has an ingenious way of using materials to produce amazing shadow art. Much of her work uses everyday objects like letter magnets, sometimes pieces of wood and cork. She has also created a work from a single piece of thread to create a portrait of a woman. She has an understanding of the human body to produce the human figure in a lot of her shadow figure. These sculptures take shadows of random objects and create them into working art forms. Kumi Yamashita is a fascinating artist from Japan. She works mainly on installation pieces that are constructed by using the most intriguing materials to trace figures in the most unlikely ways. In it, Yamashita questions all our expectations, by challenging our perceptions of predictable relationships between solids and their shadows. For example, on the wall, illuminated by a single light source, you can see an arrangement of numbered 3D blocks. These appear to be scattered randomly on the wall, however, under this apparent chaotic assemblage lies a poetic order… The artist has cleverly arranged these so that each throws a particular shadow which, when taken with all the other precisely placed objects, astonishingly adds up to the illusion of a lifelike form.
Creating figures with a distinctly pen drawn appearance, self-taught artist Gavin Worth has an amazing eye for the human form. Most of his pieces rely on a minimum of lines to convey their flowing forms, which do much to bring life to such a minimalist medium. The man himself is a talented visual artist, designer, and sculptor well known for his original bendable wire and cut out paper creations. He was born in Zimbabwe, grew up in Las Cruces, New Mexico, and is currently teaching at the American International School of Cairo, Egypt. Worth also lived in San Francisco for 8 years where he started his artistic trajectory working as an actor and musician for the Santa Fe Shakespeare Festival, the San Francisco Shakespeare Festival and the California Shakespeare Theater. Despite his successful career, Gavin Worth soon realized that Shakespeare was not his real passion. Almost from the beginning he toyed with the idea of creating a 3-D effect using bendable wire. As he knew right away that he didn’t want to create a very realistic depiction of a 3-D form, he thought that it would be perhaps more interesting to create an abstract, almost organic shape made of grouped wire that would become an image when viewed from the right angle. In this way, far from being static, the sculptures would obtain a remarkable plasticity. He has also creates amazing experimenting with videos, spray painting and stencils. At first glance the sculptures look like there on paper, but when you see look close you realize its wire that makes up the sculptures.
I came across Jack Youngerman and his work which really caught my attention. Visiting his website, one can see the many mediums he works with. These range from fiberglass, wood, and resin, to canvas and linen. At the bottom of the home page of his website there are several categories linked to his work. The category I most enjoyed exploring was the paintings. Once clicked, you are shown subcategories with one example for each. The colors in each one are so bold and appealing to me. They remind me of autumn because the paint isn’t obnoxiously bright, but there is a lot of contrast. Youngerman’s “triads” were especially amazing, “Serratus” being my favorite.
Creating “Serratus” was sure to be fun. It’s so symmetric and abstract that I think you have to have a certain working environment for this style as opposed to other works. There’s the abstract paintings one can make that are free in movement and high energy to create. For those works of art, I feel large messy studios work well. Then there are works such as “Serratus” which I believe require a more calm nature.
Working with large-scale assemblies of sheet metal, Richard Serra is an American minimalist sculptor and video artist. Serra’s earliest work was abstract and process-based made from molten lead in large splashes against the wall of a studio or exhibition space. Around 1970, Serra shifted his activities out of doors and became a pioneer of large-scale sculpture. A recent sculpture Serra designed was a piece called “Inside Out”. The piece is made out of two inch thick weatherproof steel sheets bent into each other creating ellipses and curved walls. Its change in space manipulates our perception as we walk through the sculptures pathways and is a series that plays with compression and expansion, but as an enclosed, participating experience.
Inspired by Richard Serra and his sculptures made completely out of large-scale sheets of steel, my direction in the design is to create a large-scale piece that alters the space around us. Not only will there be just one big wall, but a few other pieces that will incorporate spaces to sit, stand or lay down. I would like to change the material of the structure because having steel outdoors in the Texas heat will not be the best thing to stand against. Although Serra sculptures were not meant to incorporate a place to sit or laydown, the two inch thick pieces will have curves that will allow a person to sit or laydown. There will be grass around the piece and as well in the pathways. Richard Serra challenged us to maintain our body in relation to the surrounding environment and that is one concept I would like the keep.
When you drive to the field, it is because you want to work on your art work and need this place to get away where there are no distractions. Once there, you can’t just walk up to the studio. There is a paved walkway that is blocked off on both sides by a two and a half foot walls that make up two pools of water that run along the whole path. Approaching the studio, the path turns into a small set of stairs at which point the pools of water level off and appear to be ground level. At the top of the stairs is a small garden type area. From here, the studio is straight ahead. You see a rectangular building made of bamboo with five tall screens on the front wall, one of which is a door. All of the screens however can be opened.
With this studio, I want the person using it to feel at ease while they work. I want them to enjoy walking to the studio as well as working inside. There will be windows on all sides of the studio which can be opened or closed at any time. The roof will have an incomplete feel because I want the sky to be visible while one rests in the hammock in the middle of the studio. However it will be able to be closed in case of too much sun or rain. Also the middle of the studio, the floor will be hallowed creating a little den which provides a nice place to sit or take a break from drawing. There will be a room inside the studio to the right which will be solely for working. The roof will be solid here but it will also be higher to allow for a window to let in sunlight. The two parts of the studio will work well together because in the main part, one will be able to think clearly, relax the mind and create new ideas. You can even sketch in this area but once you know what you want to do for a final piece, you can go into the work room to concentrate and paint.
The book that I chose was Alice in Wonderland by Lewis Carrol. In the book, Alice often changes sizes and so in the structure I am designing in the orchard, I plan on playing with this and making one feel like the space is a bit small at first, then changing quickly to the sense of a big space. The place in the orchard will slightly resemble a cottage. It will have a wooden frame that is exposed from the outside and quite possibly white walls to contrast the dark wood. The path leading to the cottage will be a slightly curved cobblestone path. On one side of the path close to the cottage, there will be a table for people to be able to eat outside and enjoy the shade and open air.
The cottage will be a peach orchard which will grow to about twenty or twenty five feet. At most, one tree might be cut down to make the cottage into an L shape, though only if it does not fit when none of the trees are cut down. At first, I was going to make part of the cottage slightly taller than the trees in order to let in sunlight through a window, but I decided that enough light will pass through the trees. For the winter, there will be a fireplace inside if needed. For more light in case of cloudy days, there will be lanterns posted for part of the path outside.
The architect that I chose is Paul Rudolph. The specific structure that I was looking at is the Burroughs Wellcome Company building. I found this structure through drawings first and I chose it because of its triangular shape and how you can see the platforms at different levels of the building.
Triangle Roof Hay Dark Wood Stones Lanterns Pink Blossoms
Cottage Peach Afternoon Tea Relaxing Time Safe
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