P R O C E S S
M A T E R I A L E X P L O R A T I O N S / F O R M I T E R A T I O N S / F U N C T I O N A L C O N C E P T S / M A P P I N G
M A T E R I A L E X P L O R A T I O N
M A T E R I A L and A R T I F A C T
what makes and A R T I F A C T? how do materials hold memories? how does material memory interweave with time and meaning? how is time imprinted on material? is the meaning in the imprint, the original material, or in the memory? what is the relationship of the material to the meaning? can we make artifacts?
In this material exploration I looked at how specific materials convey (or we identify with) longevity and therefore assign meaning as tokens or artifacts of our lived stories and memories. I explore how material can be shaped and imprinted in different ways. I looked at material as both the holder of the memory or the support material for the memory.
The Imprint of Time: Material as Artifact
Concept Overview:
In this material exploration, I examined how specific materials convey longevity and how we, in turn, assign meaning to these materials as tokens or artifacts of our lived stories and memories. By understanding the relationship between material and memory, we uncover the layers of meaning embedded within objects over time.
What Makes an Artifact?
An artifact is more than just an object; it is a vessel of human experience and memory. Artifacts emerge from the interplay of material, time, and meaning. They are crafted or used by humans and, through this interaction, become carriers of stories and histories.
Materials Holding Memories:
Materials possess an intrinsic ability to hold and convey memories. Each scratch, patina, and wear pattern tells a story, capturing moments of use and interaction. Over time, these imprints accumulate, turning the material into a silent witness to the passage of time.
Material Memory and Time:
Material memory interweaves with time by recording the physical traces of human interaction. These traces, whether intentional or incidental, become part of the material's history. The meaning of an object often lies in these imprints, revealing the object's journey and the lives it has touched.
Imprinting Time on Material:
Time is imprinted on material through the processes of wear, aging, and patination. Each mark or change in texture becomes a testament to the object's endurance and history. This temporal layering imbues the material with a depth of meaning that transcends its original form.
Meaning in Imprint, Material, or Memory:
The meaning of an artifact is a complex interplay of its original material, the imprints it bears, and the memories associated with it. The original material provides the foundation, the imprints add a layer of history, and the memories weave a narrative that connects the past to the present.
Relationship of Material to Meaning:
The relationship between material and meaning is symbiotic. Materials gain significance through their interactions with people and events, while the meanings we attach to them are often rooted in their physical qualities and the imprints of time they carry. This relationship transforms ordinary materials into extraordinary artifacts.
Creating Artifacts:
We can create artifacts by consciously imbuing materials with meaning through design, use, and care. By selecting materials known for their longevity and capacity to record traces of time, we craft objects that will carry our stories into the future.
Exploration Summary:
In this exploration, I focused on how materials can be shaped and imprinted in ways that reflect their role as holders or supports of memory. The table, designed as a symbol of this concept, represents the support of memory. Its layers of time and materiality signify longevity and the enduring nature of lived experiences.
Conclusion:
Artifacts are born from the interaction between material, time, and meaning. By understanding and intentionally shaping this relationship, we can create objects that resonate with our stories and memories, transforming simple materials into meaningful artifacts. This exploration highlights the profound connection between material and memory, illustrating how the imprints of time enrich our understanding and appreciation of the objects that accompany us through life.
t h e A R T I F A C T. i m p r i n t i n g / m o l d i n g / h o l d i n g t i m e
F U N C T I O N A L C O N C E P T S
Phasmids and the Illusion of Movement
The Dance of Revealing: Phasmids and the Art of Movement
Concept Overview:
Phasmids, commonly known as stick insects, are remarkable for their ability to blend seamlessly into their environment. Their slender, elongated bodies and leaf-like limbs mimic twigs and foliage, making them masters of camouflage. This ability to disguise themselves is not just a static feature but is enhanced through subtle, deliberate movements that reinforce their appearance as part of the natural landscape. In a similar vein, the perception of objects and forms is often influenced by movement, transforming how they are seen and understood.
Phasmids: Nature's Illusionists
Camouflage and Mimicry: Phasmids' physical appearance is adapted to look like sticks or leaves. This passive camouflage is incredibly effective in protecting them from predators.
Movement as Reinforcement: When phasmids move, they do so in a slow, rhythmic manner that mimics the swaying of branches in the wind. This motion enhances their disguise, making the illusion more convincing.
Behavioral Adaptations: Phasmids often remain motionless for extended periods, further solidifying their disguise. When they do move, their movements are deliberate and measured, contributing to the illusion.
Movement and Perception: The Dynamic of Appearance
Illusion of Motion: Just as phasmids use movement to blend into their environment, objects in motion can alter our perception of them. A static object may seem mundane, but when it moves, it can reveal new dimensions and characteristics.
Transformation Through Movement: Movement can change how we interpret the shape, size, and nature of an object. For instance, a spinning top appears as a blur, its true form obscured by speed, yet this motion gives it a dynamic presence.
Perceptual Shifts: Movement can draw attention, create patterns, and evoke emotions. A leaf fluttering in the wind can appear alive, just as the deliberate movements of phasmids breathe life into their static disguise.
Comparative Analysis:
Purpose of Movement:
Phasmids: Movement serves as a functional aspect of their camouflage, enhancing their ability to remain undetected.
Objects: Movement transforms perception, often creating a sense of life and altering the viewer's interpretation.
Impact on Perception:
Phasmids: Their slow, swaying movements make them appear as part of the natural surroundings, effectively deceiving predators.
Objects: Movement can obscure or reveal details, creating an illusion that can captivate or confuse the observer.
Behavioral Strategy vs. Visual Experience:
Phasmids: Their movement is a survival strategy, a behavioral adaptation to avoid predation.
Objects: The movement of objects can be artistic or functional, intended to engage or manipulate the viewer's perception.
Conclusion:
The study of phasmids and their use of movement to enhance their camouflage provides a fascinating parallel to how movement affects our perception of objects. Both use motion to alter appearance, either to deceive or to transform. In understanding this dynamic, we gain insight into the powerful role of movement in the natural world and in human perception, illustrating that appearance is not always static but can be fluid and dynamic, shaped significantly by motion.
Contextual Application:
Consider a corner of a room where a light fixture, could come alive. When the room is still, the fixture appears as a static, elegant piece of decor, seamlessly blending into its environment. However, as it begins to move subtly the light transforms the perception of the space. This movement not only enhances the aesthetic appeal but also alters the viewer's experience, creating an illusion of life and fluidity within the room. The fixture, through its dynamic motion, illustrates the powerful role of movement in changing appearance and perception, much like the phasmid's natural strategy in the wild.
t h e a c t o f a p p e a r i n g
F O R M I T E R A T I O N S
Form iterations in my process refers to the repeated cycles of creating, refining, and evolving the shapes, structures, and overall design of an object. This involves experimenting with different versions or variants of a form to explore and develop its aesthetic and functional qualities. Each iteration allows for adjustments, improvements, and modifications based on feedback, new insights, or changes in conceptual direction. This process is crucial for honing the final form to achieve the desired artistic expression and functionality.
Key Aspects of Form Iterations:
Exploration:
Trying out various shapes, sizes, and configurations.
Experimenting with different materials and techniques.
Refinement:
Making incremental changes to improve the form.
Addressing any issues or shortcomings identified in previous iterations.
Feedback:
Incorporating feedback from critiques, observations, or user interactions.
Using this input to guide further iterations and refinements.
Conceptual Development:
Evolving the underlying concept or idea through the iterative process.
Allowing the form to respond to and embody the conceptual direction more effectively.
Aesthetic and Functional Balance:
Ensuring that each iteration balances visual appeal with practical functionality.
Striving for harmony between form and purpose.
Documentation:
Recording each stage of the iteration process.
Analyzing and learning from each version to inform subsequent iterations.
F U N C T I O N A L C O N C E P T S
M A P P I N G
d e f i n e t h e s p a t i a l h i e r a r c h y o f p u r p o s e
The circulation spine was the hierarchical function to organize services and movement through the proposed community cultural center. The spine was conceived as an interior street scape connecting and interacting the community with the activities and artists in the space. I mapped ways to move through and around this central circulation corridor with layered diagrams and 3d sketch models. I experimented with how one moves through the central corridor and also has the ability to weave through the cultural centers indoor and outdoor spaces experiencing different scales and opportunities for engagement.
M A P P I N G
d e f i n e d t h e s p a t i a l p e r i m e t e r s o f a s i t e
The city of Macau has a rich and meaningful architectural history. The design brief wanted to explore ways the site could maintain the integrity of a pre-existing historic stone wall with new construction that interacted and complimented the history and present evolution of the city.
M A P P I N G
d e t e r m i n i n g b u i l d i n g p l a c e m e n t t h r o u g h c o n s e r v i n g p r e - e x i s t i n g n a t u r a l p a t t e r n s
The garden center on the Willamette Valley River was mapped to strategically place buildings that did not compete with the pre-existing vegetation, views, and natural paths existing on a site. The garden center was meant to highlight and fit into the environment.
m a t e r i a l m a p p i n g
d e v e l o p i n g a p a l e t t e f o r c o n s t r u c t i o n
A three material palette of similar natural elements to the surrounding was chosen to integrate the building into the landscape and showcase the site unique properties.
C O N C R E T E
W O O D.
G L A S S.
U S E R E X P E R I E N C E
