Final MIT MArch Portfolio

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ar thur boscolo assimilating a process and negotiating co-authorship

MIT M.Arch 2019 application portfolio


ta ble o f co nten ts

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magnets

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making + meaning

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biorhythms, g raphs, and text

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bodies change

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With the addition of ever y mark a moment exists where chance and intention co-author for m. Multiple marks buildup multiple individualities, each relating to the next, propag ating their own contributions through the body.

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ma g nets

wo r k i ng wi th ma g n eti c f i el d s & draw i ng thr ou gh p r oces s

course: independent study 2017 instructors: Mara Lonner, Antoinette LaFarge description: independent research

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co n ce pt

d raw ing wi th ma g n eti c ink

surfactant magnetic particles

Ferrofluid is an oleic solution sensitive to magnetic fields. It contains iron nanoparticles surrounded by a surfactant to allow them to move freely within the solution. The iron will stain whatever surface it comes in contact with; this gives ferrofluid potential to be explored within a visual medium.

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time between 25 drops last drop and camera shutter 5x5 5[5] 10 hours, 15 minutes

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resea rch

l ibr a r y o f for m

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r esea rch

m a k i ng a d r awi ng m a chi ne

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r esea rch

m a k i ng a d r awi ng m a chi ne

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r esea rch

m a k i ng a d r awi ng m a chi ne

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exh ib it

...... *

reticence, reticence. asterisk!

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The visual language of the didactics is just as important to the work as the pieces themselves. The viewer has no context for the inner workings of the work presented to them so hints are distributed throughout the space, begging viewers to inquire about the process at hand.


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exh ib it

...... * reticence, reticence. asterisk!

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The exhibition space allows for viewers to travel through in a manner where they can cross reference all the work. Beside the entrance sits the wooden maquet of magnets used to create the pieces. It serves as a table of contents and primes the viewer for the visual language to come. The sculptures in the center offer an active view, while static images surrounding the viewer offer a fixed view of the process.


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ma kin g + meani n g

s u m m er at s ci -a r c 2016 s el ected pr oj ect: volum e, color, inter ior i ty director: Alexis Rochas instructors: Matthew Au, Russell Thomsen, Emmett Zeifman

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week 3

vol u m e a n d col or

Instructions: 1. Generate families of Cuboids. 2. Create a complex shape using geometry from those families. 3. Sample a texture from a previous exercise. 4. Map that texture onto the complex shape.

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views of the complex shape


chosen texture

applying texture

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week 4

i n ter i or i ty

Instructions:

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1. From the families of cuboids create a new shape 2. Adapt that shape to stand upright. 3. Place the complex shape from previous exercise within the new shape. 4. Subtract area from smaller shape from the larger shape and transfer texture onto the concave surface.

views of the large shape


subtracting geometry

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b i o r hy t h m s, g r a ph s, a nd tex t ex pl or i ng l ivi ng s ys tems as a m ea ns for conce pt u al drawi ng

course: senior project and critique 2018 instructor: Daniel Martinez description: directed-study critique class in preparation for final project and life after graduation.

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co n ce pt

Conceptually there is a great deal of symmetry between the text based drawings of Sol LeWitt and the work of Deleuze and Guattari. The constructuction of meaning sits around a center which is supported by a network of syntactical nodes. The way in which we then derive meaning from a text is by holding this mental rhizomatic connectogram between the text’s individual components.

p r o l og e: l ewi tt, d el eu z e, a n d g u a tta r i

From the Word “Art”: Blue Lines to Four Corners, Green Lines to Four Sides, and Red Lines Between the Words “Art” on the Printed Page, 1972. Colored ink and pencil on paper. LeWitt Collection.

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Image sourced from http://www.visible.org/ site/cornish/slide_lectures/sol_le_witt/


translating geometry oat pellets physarum polycephalum (slime mold)

?

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resea rch

unvei l i ng the r hi z o m e

12hrs of incubation

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24hrs of incubation


36hrs of incubation

48hrs of incubation

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resea rch

unvei l i ng the r hi z o m e

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12hrs of incubation

24hrs of incubation


36hrs of incubation

48hrs of incubation

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resea rch

l a s er r a s ter o n a r ches

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Digital Scan of Petri Dish

Vector Drawing


The process of growth is documented on a series of laser engravings on watercolor paper.

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ex h ib it

a nnu a l j u r r ied s how 2018 thoughts on the decentralization of a mind bio-computed through layers of abstraction and the transportation of resources transcribing the topography of a text through time site specific installation room gallery, 2018

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The display is made to engender a clinical affect of the work. Combining both warm tone and cool tone lights allows for contrast between two separate indices of information. The warm tone of the lights illuminate the laser engraved paper, process, and the cool tone demarks the final result, the cast petri dishes showcasing the physarum.


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ex h ib it

a n nu a l j u r r i ed s h ow 2018

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b odi es ch ang e

exa m ini ng d i fferent i n d i ces of a p r oces s

course: honors exhibition 2018 instructor: Shelby Roberts description: preparation, installation, and participation in the annual honors exhibition

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co n ce pt

a l i ce no more

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The Caterpillar and Alice looked at each other for some time in silence : at last the Caterpillar took the hoo kah out of its m o u t h and addressed her in a languid, sleepy voice . “Who are you ?” said the Caterpillar. This was not an encouraging opening for a conversation. Alice replied, rather shyly, “I—I hardly know, sir , just at present —at least I know who I was when I got up this morning, but I think I must have been changed several times since then.”

replacing nouns with Physarum

=

looked The and nd h other oth hee for so h at each some in : at last the took thee out of its and addr d ad her in a languid,, sl sleepy . “Who yooou u ?” said the are you . his was not an eencouraging hi raging This for a . re“I hard plied, rather shyly,, “I—I hardly j ast I know,, , just at —at least wh w ho I was w when n I ggot up this know who , but I think I mustt h have been ed several al times tim im mes m e sincee changed .”


condensing time After a series of physical transformations Alice grasps the impermanence of her selfhood. Identity in the text is troubled in a similar way by replacing the nouns with physarum, removing the grammatical subject. The slime mold, the new subject, is the agent that is shaped by the text that surrounds it. In this project, the focus is the process of the mold contending with that text. A time lapse offers us a linear view of the events, but it’s not the only alternative for observing this event. We need a way to condense time.

oat squares physarum polycephalum (slime mold)

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resea rch

co nd ens ing ti m e

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A week long timelapse video allows us to see an extended period of growth. However, to be able to see the process in a single instant the data needs to be changed to a different format. The frames from the timelapse are processed into vector lines outlining the slime mold’s growth.

vector linework composite

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resea rch

ma k ing a n d str i ngi ng b ea d s

Th wood an acrylic a

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he linework is cut onto balsa nd the pieces are string onto an armature like beads.

side view of sculpture

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exh ib it

u nd e rg r a du ate honors t he s is ex h ibit i on

arrangement by which a hardcoded bio-macrochip ruminates upon a textual labyrinth where thinghood has been replaced with multi-nucleated slime extruded into the z-axis through the deposition of layers site specific installation university art gallery, 2018

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The installation offers three points of entry into this process: The acrylic dish housing the physarum cast in resin, the time lapse video of the growth process, and the sculpture. Sharing a visual language of transparency and organic form the objects of different proportions, materialities, and temporalities together inform each other. but also complicate each other’s relationship with the source material.

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exh ib it

u nd e rg r a du ate honors t he s is ex h ibit i on

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arthur boscolo email: arthur.boscoli.rodrigues@gmail.com phone number: (949) 280-3395 address: Av. Pq. Aguas Claras Q. 105 Lt. 2525 Apt. 101 Ed. Victor Hugo Brasilia, Brazil 71906-500


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