O
de la paz
O2
1
2
3
4
1.Mirror 2.shear 3.rotation 4.dialation
joints:
fluid
using ernst heackel radiolaria as a fluid form, these drawings explore a grid in flux. A grid that transforms from an orthogonal state to a fluid state.
final grid
final drawings
VIgnettes
final model The project struggles to interpret a seemingly two-dimensional unit of measure as it evolves into a state of three-dimensionality. Breaking away from the Grid Why break away from the grid? I can see the two dimensional complexity of the grid as rhythmic intersection made by overlaps. I broke away from the grid to create tension and instability in the rhythm, to emphasize the border between the predisposed and the arbitrary. The “grid” was a foreign form of measure, predisposed, and resolved. Thus I felt that any three dimensional solution that emerged from it would be too literal, too much of an “android”. I extruded a moment from the grid, the extrusion was explicitly authentic to the grid, and it was an imperfect representation of the grid in a solved three dimensional state. I thought of it a dead end. I rearranged spaces created by the intercepting lines from the two dimensional plane within 3x9 moment. This process of fictionalizing the grid, by reinterpreting the facts, allowed me to expand on concepts of space and time that I wanted to portray. Planes and lines began to emerge from a two dimensional condition, the pieces collide and move, and float. Am I being true to the aesthetic of the grid? I don’t know. Through the process of rotating, dilating, sheering, and mirroring the grid onto itself I was able to discover many spatial and dimensional qualities that were not apparent before. The grid had evolved into a literal and metaphorical set of layered planes that intersected and created a sense of distance and priority, an atmosphere. As I moved into the third dimension I questioned the authenticity of my solutions. I question how much I could bend the rules of the grid, and I struggled with the grid until its meaning would rise to the surface. I decided to treat the grid as a constraint; I thought of it as a medium that reduced the probability of creating an arbitrary outcome when a spatial idea is applied to it. Introducing color Red, the color red is extreme; it is implicit and explicit in our daily lives. Red’s wavelength is long, it distorts the sense of distance, appearing closer than what it actually is, Red makes objects heavier, it captures our attention. How I applied Red. The human response to the color red is almost intrinsic, it is a captivating color, I did not want to limit my use of Red, I wanted to exploit the capabilities of the color and the effect it had on the spaces I created.