Julia Crowe, Trial and Error Portfolio

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Julia Crowe

Contents

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16

48

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20

58

Intro

Cardboard + Plastic

I Ching

Layers

Hexagram Map

Part Three

Cardboard

Part Four

Screen

Part Six

My Project

Doodle One

Part One

Doodle Two

Doodle Three

Compositions Foam

Plastic Packaging Lift Crit

Nolli Site Map

I Ching Site Map

The Exhibition Part Seven

Part Two

Wire

Installation Movement Map

Plastic Bags

The Bin

End

Site Map

Part Five

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18

54

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24

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32

60

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72

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This project focuses on an unconventional way of approaching architectural design. Using systematic processes of randomisation in architecture that can translate into a physical context. The catalyst for this randomisation process is I Ching’s “Book of Changes”, used as a generative tool to produce large quantities of work across a ranges of ideas without critical thinking. Improvisation and subconscious making means the outcomes of this process are often unusual and unexpected as a result. Through approaching the design process with a lack of control this technique opens the door to new and creative opportunities of problem solving.

Brief: Push the boundaries of what is architecture and what is art and how architectural processes can be applied in an unconventional way in a physical context with all the limitations of a real site. Within the constraints of the site install work in places that are chosen by chance, designing and developing as an individual and collaborating as a team.

Materials Used: Wire, Cardboard, Foam packaging, Yarn, Thread, Elastic, Cello-tape, Plastic bags.

intro

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The University of Auckland School of Architecture and Planning BuildingLevel Four Third Year StudioPlan, 1:100

Site Map

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I Ching

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How to Use the I Ching:

The ancient divination practice of “I Ching” or The Book of Changes was used to randomise architectural design processes through the symbolism of hexagrams by exploring the unconscious.

Method:

3 coins I Ching book

1. Hold a question in your mind2. Take three deep breaths 3. Toss three coins twice 4. Use the combinations from the coins to find the hexagram1 with your reading5. Interpret the reading 6. Apply or Repeat

1. A hexagram is made up of six stacked horizontal lines either broken or unbro-ken. The are 64 hexagrams in total.

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My Project

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Themes.

My work uses random found materials and explores the idea of invisible tangible architecture through the use of unfolded plastic bags, packaging foam and cardboard etc. Taking familiar materials and reimagining them into new elements that could be used in the built environment e.g. screens, partitions, double façades, curtains etc.

Ideas.

+ The linear relationship between mass and scale+ How to make a material appear much heavier than it is through scale+ How a material of little economic value can be given an ethereal quality and a powerful presence through its treatment+ How materials can have different properties in different states using similar processes+ How to create an atmosphere/experience out of something that is barely visible+ What can be discovered in the places between art and architecture and what is the distinction between these two disciplines

Precedents.

+ British artist Richart Sowa creator of Spiral Island in Mexico, 2007.1.

+ Daniel Arsham and Alex Mustonen collaborative Snarkitecture, in collaboration with COS clothing retailer to create a space for Salone del Mobile at Milan Design Week.2

+ Swiss sound installation artist Zimoun's 30'000 plastic bags, 16 ventilators, 2010 installation.3.

+ American architect Steven Holls Nelson Atkins Muesum of Art.4.

+ Designer, Petra Blaisse.5.

1. Maria, "Richart Sowa; A Green Island Made of Plastic Bottles" Green Travel Life. May 25, 2016. http://

greentravelife.com/richart-sowa-a-green-island-made-of-plasti-bottles/

2. Ferrarini, Paolo. "Milan Design Week 2015: COS + Snarkitecture" Cool Hunting. May 25, 2015.

http://www.coolhunting.com/design/milan-design-week-cos-snarkitecture

3. "Works" Zimoun, May 25, 2016. http://www.zimoun.net/works.html

4. "The Nelson-Atkins Muesum of Art" Steven Holls Architects. May 25, 2016. http://www.stevenholl.

com/projects/nelson-atkins-museum-of-art?

5. "Navigation" Petra Blaisse. May 25, 2016. http://www.insideoutside.nl/en/cornell-university-usa.htm

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Doodle One:

The passage of time cannot add to its dimensions, nor take anything away. Still, just as the well can be deepened to produce clearer water, we can enrich our lives by delving deeply within, to tap our essential nature and reach the true source of our spiritual nourishment. The image of the well suggests that going more deeply within produces clarity.

Rules: Listen to music, draw with coloured pencil using only blue and yellow, close your eyes, focus on the music, do not look or think about what you are drawing, change pencil at the end of every song.

The Well

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Doodle Two:

Enormous creative energy is unleashed by enthusiasm. This energy is like powerful music that inspires great numbers of people, loosening old constraints and sprouting new opportunities. The power of enthusiasm is best symbolized by music and dance. It is guided more by the heart than the head. Great good fortune can follow when the leader of an enthusiastic group is a person of strong character, one who is able to guide this positive force toward a favorable destination.

Rules: Use colours that symbolise enthusiasm and positive energy, listen to music, capture energy and movement in your drawing, only use repetitive hand movements, move around the paper as you draw, draw the sound of the different instruments, don’t think.

Enthusiasm

Doodle Three:

Only by consciously accepting useful limits can your energy be channeled to good purpose, and lead to lasting accomplishment.Even limitation must be limited, so that in the effort to bring order and direction into your life, you do not choke off vital sources of lively enthusiasm and spontaneity. If the rules are too soft, sloppiness becomes acceptable, and energy is soon dissipated. The best path is one that allows for the fulfillment of individual potential, while encouraging self-discipline and focus.

Rules: Draw whatever comes to mind, don't think, don’t come back to unfinished parts.

Limits and Connections

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2

Be FAR MORE AMBITIOUS in the materials you are using. PAPER IS PROVISIONALLY BANNED.

Plastic Packaging

A period of clarity and fresh opportunity follows after a thunderstorm, or any time of extreme tension and obstacles. The storm has the effect of clearing the air and suddenly reducing atmospheric tension. Look ahead. Attend to any residual matters that need resolution, and do so as quickly as possible.

Rule: Don't think.

Deliverance

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The Exhibition

Nolli Site MapInstallation LocationsPlan, 1:100

33. Material: WireHeight: 2.70 mLength: 2.44 m Width: 0.30 m Weight: 0.20 kgI. Ching 36, Darkening of the Light

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33. Material: WireHeight: 2.70 mLength: 2.44 m Width: 0.30 m Weight: 0.20 kgI. Ching 36, Darkening of the Light

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1.2.

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Movement Map

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Bin

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Location: Fourth Floor Studio

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Wire

Material: WireA translation of Doodle Two into a three dimensional form. This object possesses kinetic energy when interacted with.

I Ching: 36, Darkening of the LightLocation: 33Weight: 20 gLength: 2.11 m Time: 32 mAttached with: Masking Tape

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Making Process

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2

Screen

1. 2. 3.

4. 5.

Bag 1 Put the handles of Bag Two through the inside of Bag Ones handles.

Repeat this process.

Reapeat this process x 20.

Material: Plastic Bags

I Ching: 11, HarmonyLocation: My FlatWeight: 90 gLength: 3.5 m Time: 2 h 46 mAttached with: Yarn

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Location: My Flat

Screen

Location: My Flat.

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2

2

1.

2.

Cardboard

Material: CardboardA translation of Doodle Three, expressing movement and weight. Has potential to be used as a mapping system or for acoustic absorption.

I Ching: 14, AffluenceLocation: 42Weight: 70 gLength: 1.8 mTime: 3 m Attached with: Pins

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1 2 3 4 5 6

920

1800

230

230

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38 39 40

32 33 34 35

41 4237

43 44 45

49

55 56 57

50 51 52 53 54

46 47 48

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26 27 28 29 30

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14 15 16 17 18

1

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45

689

1210

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Cardboard Catalogue

A catalogue of pieces in reference to where they are pinned to the board.

Method:Rip a piece of cardboard and fold into a shape that looks like a paper plane. Pin to the board in the order you pick them up.Pin them in under 3 minutes Fill the length of the boardDon’t have a pattern or sequence.

Scale 1:5

50

1 2 3 4 5 6

920

1800

230

230

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38 39 40

32 33 34 35

41 4237

43 44 45

49

55 56 57

50 51 52 53 54

46 47 48

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26 27 28 29 30

21 22 23 24

14 15 16 17 18

1

27

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45

689

1210

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2422

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3638

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4043

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4849

5051

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5354

4437

34 33

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2930

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8 9 10 11 12

Cardboard Catalogue

A catalogue of pieces in reference to where they are pinned to the board.

Method:Rip a piece of cardboard and fold into a shape that looks like a paper plane. Pin to the board in the order you pick them up.Pin them in under 3 minutes Fill the length of the boardDon’t have a pattern or sequence.

Scale 1:5

1 2 3

4 5 6

7 8 9

10 11 12

13 14 15

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Plastic + Cardboard

Material: Plastic Sheet + Cardboard Card pieces moved from the pinboard to a plastic sheet to done to allow for movement in the installation that was suggested in Doodle Three.

I Ching: 8, Holding Together Location: 37 Weight: 30 gLength: 5 m Time: 43 m Attached with: Yarn and Cello-tape

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Section, 1:50,The area the plastic moves.

Lengtjh: 5 m Width: 60 mm

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Layers

Material: Plastic BagsPlastic bags of the same colour and opacity cut into strips at different lengths, folded over at the top and sealed with cello-tape, hung with elastic, evenly spaced.- Acts as a light diffusing screen- Could function as a facade or partition

I Ching: 35, Easy ProgressLocation: 42Weight: 40 g Length: 1 m Time: 21 m Attached with: Elastic Thread and Cello-tape

Cut the handles off Cut the seam off

1. 2. 3. 4. 5. 6.

1. 2. 3. 4. 5. 6.

Keep the middle section Open the middle section and cut it in half on one side

Repeat

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I Ching: 35, Easy ProgressLocation: 7Weight: 60 g Length: 2.5-2.8 m Time: 34 mAttached with: Yarn and Cello-tape


Location: The University of Auckland School of Planning and Architecture, Fourth Floor, Third Year Studio.

Movement Map:

The size of the rectangles indicates the space the installation occupied. The numbers beside the rectangles indicates the order in which the installations were moved

0.1 x 1.0 m2, 40 g0.9 x 2.8 m2, 60 g 0.5 x 1.0 m2, 60 g 2.5 x 2.6 m2, 90 g

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2 .

3 .

1.2.3.4.

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4 .

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Layers

+ Panels function as a light diffusing screen. + The material quality of this instalation made people interact with it by walking on and through it, unlike other installations in the exhibtion. + How a transparent curtain can darken a space but still keep a visual connection to outside.


2

2

Foam

Material: Packing Foam (Polyurethane foam/ Polystyrene)

I Ching: 56, The WandererLocation: 7Weight: 50 g Length: 2 m Time: 11 mAttached with: Pins

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2

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Foam

I Ching: 56, The WandererLocation: 4Weight: 50 g Length: 2 m Time: 5 h Attached with: Cotton Thread

+ Can function as curtain, a partition or a screen.

Location: The University of Auckland School of Planning and Architecture, Fourth Floor, Balcony.

2

1.8 m

Length: 2.0 mWidth: 2.5mWeight: 80 gMaterial: Polyethylene, sewn with cotton thread

0.6 m

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1.8 m

Length: 2.0 mWidth: 2.5mWeight: 80 gMaterial: Polyethylene, sewn with cotton thread

0.6 m

Location: The University of Auckland School of Planning and Architecture, Basement Carpark, Skip.

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Location: The University of Auckland School of Planning and Architecture, West Wing Lift.

Lift Crit

15:19

15:30

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I Ching: 56, The WandererLocation: 14Weight: 50 g Length: 1.7 m Time: 5 h Attached with: Masking Tape

Lift Crit

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Movement Map of the Lift CritLocation: The University of Auckland School of Planning and Architecture, West Wing LiftNumber of Stops: 15Number of people: 7 - 10Duration: 13 Minutes

B

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(Start) 1

(End) 158

21 495

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Plastic Bags


I Ching: 35, Easy ProgressLocation: 37Weight: 10 g Length: 2.3 m Time: 29 mAttached with: Nylon

92

10.

1

3 4

5

6

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line weightswhat its hung onlabelsa little bit of di�erentiation in line weights

10.

1

3 4

5

6

2

line weightswhat its hung onlabelsa little bit of di�erentiation in line weights

1.

6. 7. 9. 10.8.

2. 3. 5.4.

Find the holes in the handels and tie the seam and strips onto them

Reapeat

Cut the handles off Cut the seam off Cut the middle into even strips

Location: My Garage, Mount Eden

Location: The University of Auckland School of Architecture and Planning, Fourth Floor Balcony

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The Bin

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The Bin

The University of Auckland School of Architecture and Planning Building Carpark.

11th April 2016

07:28

At approximately 07:28, Monday 11th April 2016, two installations were cut down from the balcony of the fourth floor of The University of Auckland School of Architecture and Planning Building by an unidentified member of the public. At approximately 07:48 the installations were found in a skip in the basement car park.

Case Title: Location:

Date:

Time:

Narrative:

X

X

Movement Map the Morning of The Incident: Plan, 1:500Black: Installer's movements Red: Unidentified member of the publics movements

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Plastic Bags

Location: The University of Auckland School of Architecture and Planning, Fourth Floor Studio


I Ching: 42, IncreaseLocation: 4Weight: 1.6 k g Length: 3.5 m Time: 96 h Attached with: Nylon and Cello-tape

+ No system to making.+ Juxtaposition between mass and weight. + Could act as a screen or a partition.+ The way the material has been treated gives the material an ethereal feel, moves when interacted with.

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1. 2. 3. 4. 5. 6.Acquire one plastic bag Cut off the handels Cut off the seam Cut the middle section

into strips Collect all seams and handles Tie all seams and strips to the

handles

Instructions

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1

3 4

5

6

2

7. 8. 9.Tie handles together Reapeat Reapeat

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2.8 m

1.73 m

2.1 m

Height 3.8 m

Width 4.9 m

2.8 m

1.73 m

2.1 m

Height 3.8 m

Width 4.9 m

This project centres around physical making at a 1:1 scale using found materials to explore the role of chance in architecture. This has been a generative process that puts critical thinking on hold and allows ideas to be explored to their full potential whether they are good or bad. The concept of risk and chance through out this process in studio has parallels to real projects with set limitations and restrictions. Furthermore it demonstrates how materials could be applied in the built environment for example to create atmospheres using plastic screens. This project could be explored further explored through the use of light, sound, texture,opacity, colour and the application of different scales. The experience of light, sound and space can be investigated in more depth and be manipulated so that new perspectives emerge. My project has the potential to constanly re-configuring the organisation of a space and create new experiences along the way. There are endless possibilities this project could be pushed to perform.

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Julia Crowe, Trial and Error Portfolio

Documents