SYSTEMS OF INTERDEPENDENCE
0/178
Porous Borders/Systems of Interdependence by Cynthia Escalante
This thesis project is presented to the Graduate Faculty of California College of the Arts in partial fulfillment of the requirements for the degree Master of Fine Arts in Design. 8 May 2020
Thanks to/Gracias a, All CCA faculty who have shared their knowledge especially Sara Dean, Jon Sueda and Mathew Kneebone. Mi familia, que me ha apoyado ante todas las circunstancias. Aida Veliz, por la alegria que siempre me has brindado. Diego Antillon, por siempre creer en mí y alentarme a ser la mejor versión de mí en todo. Georgina Gutierrez, por siempre estar ahí (literalmente) y haber sido la mejor compañía en esta aventura. Rosa Olivia Ramos, por ser un gran ejemplo a seguir, siempre brindarme apoyo y por ser una gran guía.
GLOSSARY PREFACE ALTERNATIVE MODES OF THINKING ABSTRACT BOOK WALLS SPACE BIBLIOGRAPHY
8/178 10/169178 14/178 20/178 26/178 54/178 156/178 176/178
BORDERS / POROUS BORDERS/ INTERDEPENDENCE/
What I mean by borders are the limits of a given space (a page, a surface or a room) in which a graphic/form is perceived as a whole.
What I mean by “porous borders” is the capacity of making such limits penetrable, in other words, to disrespect, cross, traverse such
What I mean by “interdependence” is the dependence between two or more spaces in order to complete a single graphic.
SYSTE M S O F I NTE R D E P E N D E N C E
P R E FA C E
1/PAPER ARCHITECTURE Visionary architecture is the name given to architecture which exists only on paper or which has visionary qualities.
There is a gap in the relationship one has as an architecture student with the kind of work one produces, with regards to the design process and the final outcome. The scale, magnitude and impact of a specific problem, are not necessarily tangible factors for a student when solving problems through design. Usually, the results do not yield to their actual physical manifestation in the given context. Instead, they result in visual representations of what potential solutions would look like and they remain as that, projections of utopian ideals, a concept that is also known as paper architecture1. These situations occur, when the student is presented with specific challenges that involve proposing solutions to contemporary urban challenges existing communities, and regions are facing. In this kind of architectural training, the student must act as an advocate for the community, resolve problems and present solutions to the given urban context. There are many benefits towards obtaining this kind of education and acquiring this set of skills. It is very interesting to take a critical approach and imagine master plans that can impact and transform a community, but often
11/178
POROUS BORDERS
P R E FA C E
the reality of what actually gets built takes another form/outcome (produces a different outcome). The program of architecture I studied was structured in this way. For each studio course, I embarked on a new challenge, which revolved around the concept of providing alternative infrastructures for the US/ MEX2 border region. While studying architecture through this lens, I often felt distanced from the projects which I developed. One of the projects I developed in architecture school consisted of a binational park3 that interrupted the border and offered different systems of social interchange across these two countries. While this project was very educational and interesting to develop, there are many political and governmental implications before one can even begin to imagine translating these kinds of spaces into reality. Being that I always had an interest in graphic design, I want to open up the question of how something more malleable like this practice can have an effect on problems of such magnitudes? How can graphic forms
12/178
2/US/MEX El Paso, TX USA - Ciudad Juarez, CHIH MEX.
3/BINATIONAL PARK Park/area that exists in two nations at once.
SYSTE M S O F I NTE R D E P E N D E N C E
act as catalysts of change in ways architecture cannot? More specifically, if placed within the region that inspires this question, how can a graphic form coexist in different spaces and inform how two cities that belong together may be graphically/visually/ environmentally connected, regardless of its geographical and governmental borders? And that such language behaves as a medium that represents and stands up for the beliefs, desires, and intentions from those communities. P R E FA C E
13/178
SYSTE M S O F I NTE R D E P E N D E N C E The following information consists of a collection of ideas and projects from designers, artists, and philosophers that have inspired and influenced the territories and the method of working for this thesis. Included is also my response to these precedents explaining my interpretation and response to these references and the areas in which it has informed my investigation.
ALTERNATIVE URBANISM
4/BORDERWALL AS ARCHITECTURE Borderwall as Architecture A Manifesto for the U.S.-Mexico Boundary. April 2017 First Edition.
A LT E R N A T I V E M O D E S O F T H I N K I N G
If solving/addressing urban problems within a given community through architecture is not always a conceivable option and such a solution results in something distant from reality and feasibility, what are other alternatives that can be used in order to touch upon the problems/scenarios a community could be facing? If it is not a matter of solving, perhaps these alternatives could function as a gesture that “counteracts” the problem. If there is a line from A to Z, where A is the problem in the physical world, and Z stands for utopian solutions in speculative scenarios. What does M become?–a series of interventions in the physical environment that bear upon the main ideas/intentions of the current problem and yield towards those ideal scenarios. Ronald Rael’s book Borderwall as Architecture4 serves as an example of a
15/178
A LT E R N A T I V E M O D E S O F T H I N K I N G
collection of projects (precisely in the US/ MEX border region) that not only live in speculative worlds, but some of them have actually manifested in the aforementioned region, such as the Teeter-Tot Wall. In this book, Rael elaborates on the potential of the region and the infrastructure that could exist instead of a border wall. It is a collection of projects that dismantles the wall in both literal and metaphorical sense.
ALTERNATIVE GRAPHICS In Takenobu Igarashi’s essay Environmental Graphics5, he elaborates about the potential of supergraphics and graphics within an urban environment and the opportunity there is for this medium to unite a community and function as a symbol of resilience.
“The effect that graphic design has on the environment, in constant interaction with other fields, is opening new vistas. In particular, the large scale and external nature of supergraphics have social bearings which have begun to change the appearance of cities around the world. ... The sharing of one graphic image gives birth to a feeling of solidarity within the community in which un turn became a positive hope in life.”
16/178
5/TAKENOBU IGARASHI (1944-) iJapanese sculptor and designer
ALTERNATIVE MODES OF WORKING
1/ABRAHAM FLEXNER (November 13, 1866 – September 21, 1959) American educator,
In the essay the Usefulness of Useless Knowledge by Abraham Flexner6, the author elaborates on the benefits of this type of investigation:
A LT E R N A T I V E M O D E S O F T H I N K I N G
While all of these ideas and theories sound like difficult territories to explore and solve problems for, I am more interested in taking the key concepts of these questions and abstracting them to their bare essentials and basic formats. I will abstract these questions so that I may seek to begin addressing the main question behind them: If the goal is to share a graphic image throughout an urban scope, what are the most fundamental principles for how a graphic/form can be shared throughout different kinds of spaces? In other words, how can a graphic/form coexist in multiple spaces?
“...great discoveries which had ultimately proved to be beneficial to humankind had been made by men and women who were driven not by the desire to be useful but merely the desire to satisfy their curiosity.”
17/178
POROUS BORDERS
A LT E R N A T I V E M O D E S O F T H I N K I N G
Such method of working, and approaching new territories, releases the mind from preconceived ideas in the matter; in this case, how graphics/form exist in space in conventional ways and opens the opportunity to conceive unprecedented results, where the outcome is not a single solution, but many potential directions: “Any suspicion of utility would have restricted his restless curiosity. In the end, utility resulted, but it was never a criterion to which his ceaseless experimentation could be subjected.”
Even though the ideas that inspire this exploration are rooted in problems within a specific region, the aim of this investigation is not to “solve” this one problem, but to inform alternative practices and methods of working that look at connecting spaces through graphic design. If attempted otherwise, by fixing upon a specific region with a specific visual language, specific forms and specific space, I would be narrowing the lens for looking at this territory, limiting myself from thinking of other forms/formats/spaces and the general idea behind them. For me, “re-understanding” spaces in relation to
18/178
SYSTE M S O F I NTE R D E P E N D E N C E
graphics/forms and questioning/expanding on the conventional modes of interaction between them, becomes the primary question for this exploration. This method of looking at a “problem� informs my practice on a conceptual level, leading to more organic and singular results that may resurge in different kinds of spaces, scales and environments. A LT E R N A T I V E M O D E S O F T H I N K I N G
19/178
SYSTE M S O F I NTE R D E P E N D E N C E
Now that it is established that the objective of this investigation is not to come up with a “master plan”, or a typology of visual languages that can inhabit the border region, I will elaborate on the aim of this exploration:
AB STRACT
“Porous Borders/Systems of Interdependence” is an exploration of form and organization, that consists of developing other ways of perceiving spaces as well as questioning the role and implementation of graphics/forms in a given space through these other perspectives. The aim is to establish and cross conceptual borders across a space with graphics/forms based on the concept of coexistence and interdependence. The outcome of this exploration is not necessarily a right/ wrong or single answer, but rather a visualization of the spectrum of alternatives.
CASE STUDIES
The following series of exercises consist of different responses to the same question: In what ways can a graphic/form coexist within multiple spaces?”
21/178
POROUS BORDERS
This question presents the opportunity to alter three variables: the space, the methodology/ system, and the graphic/form; each of the following studies embark upon different meanings and forms for each the variables, resulting in a spectrum of tangible outcomes, illustrating what such theories/questions mean and the territories it yields within a larger context.
AB STRACT
Each of the following exercises follows the same process which consists of the following: Space Analysis Once a space has been selected, the conventional ways in which forms/graphics inhabit such space are determined and conceptual borders are established based on the limits around the areas/surfaces where a form must exist in its complete essence in order to be understood/read as a whole. Establish systems of interdependence The next step is to devise systems that provide alternatives of displaying graphics/forms in order to allow for such graphic/form to exist in multiple surfaces at the same time, crossing the established borders of the given space.
22/178
SYSTE M S O F I NTE R D E P E N D E N C E
Determine forms/graphic The remaining step is to determine different kinds of graphics/forms with different sets of characteristics that provide different visual results and behavior based on the established system it is following.
AB STRACT
23/178
SYSTE M S O F I NTE R D E P E N D E N C E
SPACE ANALYSIS
BOOK
The conventional book space consists of structures developed around systems that offer reliability to the reader. One can often predict these systems and navigate through them naturally. Such understanding of these methods allows for a seamless interaction through a book’s content and information. To illustrate these concepts better one can simply take a look at the relationship of a letterform with this space. In a book, one can expect to see such letterforms in its whole “essence” within a single surface (page) of the book as seen in fig 1. If the dimensionality of a book is considered, it can be said that conventionally, a single letterform responds only to the two-dimensional aspect of the book. Therefore the letterform’s relationship to the book is equal to one-to-x number of pages (or the book’s dimensionality). The page behaves as a border between the second and third dimensions. If conventional methods for displaying graphic/forms throughout a book are analyzed and questioned, they can then be released from their traditional formal implications and
25/178
SYSTE M S O F I NTE R D E P E N D E N C E
characteristics; leading to the development of alternative methods for displaying and reading through a book’s content/information, transforming the way in which one interacts and perceives this object.
BOOK
Borders: If the book is analyzed in terms of borders, where traditionally information/ form does not cross through them and the page is seen as a metaphorical border where a two-dimensional form must exist in its whole essence. How could this relationship between a two-dimensional form and its three-dimensional medium (book space) be subverted?
SYSTEMS FIGURE 1
Going back to the example presented in fig 1, which illustrates the conventional relationship between a single letterform and a book. If the letterform is then positioned in alternative ways in its relation with the book, one can begin to visualize the possibilities. Fig 2 - 5 illustrate different formats that represent such alternatives.
27/178
BOOK
POROUS BORDERS
Fig 2 - Format 1: Perpendicular - The graphic/form exists perpendicularly to the book, it acquires dimension and it is divided by the total number of pages in the book. Therefore each page shows a section of the graphic/form. When viewed in section, the graphic/form reads in its natural state.
FIGURE 2 Perpendicular
Fig 3 - Format 2: Escalating - The graphic/ form exists parallel to the book and is divided into four sections. Therefore, each quarter of the book shows one section of the graphic/form. When viewed in section, the graphic/form reads in an escalating effect.
FIGURE 3 Escalating
Fig 4 - Format 3: Edge to Center - The graphic/form exists parallel to the book and it is divided in sections of the same width from its center to its outer edges. Therefore, depending on the number of sections, each section of the book shows one section of the graphic/form. When viewed in section, the form reads in an inverse “v� effect.
FIGURE 4 Edge to Center
Fig 5 - Format 4: Diagonal - The form exists parallel to the book and it is divided by the FIGURE 5 Diagonal
28/178
SYSTE M S O F I NTE R D E P E N D E N C E
total number of pages. Therefore, each page shows a section of the graphic/form. When viewed in section, the form reads in a diagonal effect. FORM A
FORM B
BOOK
FORM C
FORM D
29/178
USELESS ACTIONS DRIVEN BY CURIOSITY
The following spreads/pages are a representation of the outcome of this case study. Spread A: key - layout of form organization and format. Spread B: Axonometric view of book’s content. Spread C - K: Facsimile pages of the book.
A
1
2
3
a
b
c
d 0/128
4
B
C
1/128
D
16/128
E
32/128
F
48/128
G
64/128
H
80/128
I
96/128
J
112/128
K
128/128
SYSTE M S O F I NTE R D E P E N D E N C E
SPACE ANALYSIS
If the conventional methods for displaying graphic/forms throughout a series of surfaces or walls are analyzed/questioned, they can then be released from their traditional formal implications and characteristics; leading to the development of alternative methods for displaying and reading through content displayed in this format, transforming the way in which one interacts and perceives information through a series of surfaces/ walls.
WALLS
When graphic/forms are displayed on a given surface (eg. a wall), such graphic/ forms, tend to exist in its whole essence within that single surface. One can say that the edges/limits of such a surface behave as borders that establish the area where information must be displayed completely, in order to be read/understood as a whole. If there are a series of walls that are not necessarily connected to each other, therefore every wall contains different or the same information repeated throughout.
55/178
SYSTE M S O F I NTE R D E P E N D E N C E
Borders: If walls are analyzed in terms of borders, where traditionally information/form does not cross through them and the limits of one wall are seen as a metaphorical borders where a two-dimensional form must exist in its whole essence. How could this relationship between multiple surfaces not necessarily related to each other be subverted?
SYSTEMS
WALLS
For this case study there will be four independent walls, where the visual components of a single form will be distributed throughout. A single form will be divided into four sections in four different ways. As shown in spread A + B for a circle and spread D + E for a square. For each of these divisions there will be a pattern or color that distinguishes each of the different division formats. Each wall will include a section of each cutting method for both forms (the circle and square). The result consists of different ways to interact with a single form, read it throughout multiple spaces.
57/178
CAN BE UNEXPECTEDLY THE SOURCE FROM WHICH
The following spreads/pages are a representation of the outcome of this case study. Page A: (Square) key - layout illustrating form, division methods and pattern of representation Page B: (Square) Division outcome per wall. Spread C: (Square) formal addition of columns. Page D: (Circle) key - layout illustrating form, division methods and pattern of representation. Page E: (Circle) Division outcome per wall. Spread F: (Circle) formal addition of columns. Spread G: (Square + Circle) addition of both results. Page H-K: Rendered view of potential walls layout. Page L: Plan view of walls layout organization. Following pages/spreads: Graphics of wall A divided in 80 8� x 10� pages.
A
A
B
C
B
D
A
B
C
C
D
C
D
A
B
C
E
D
A
B
F
C
D
F
A
B
G
C
D
G
H
I
J
K
L
SYSTE M S O F I NTE R D E P E N D E N C E
SPACE ANALYSIS When graphic/forms are displayed inside an enclosed space, such graphic/forms tend to be displayed as two-dimensional representations throughout the surfaces of the room. For this particular case, the characteristics that entail the borders, have another level of complexity; one can say that the physicality of such surfaces, serve as the borders, which dictate the areas where a two-dimensional form must be displayed completely in order to be read/understood. S PA C E
If the conventional methods for displaying graphic/forms throughout an enclosed space are analyzed/questioned, they can then be released from their traditional formal implications and characteristics; leading to the development of alternative methods for displaying and reading through content displayed in this format, transforming the way in which one interacts and perceives information within a space. Borders: If an enclosed space is analyzed in terms of borders, where traditionally
157/178
SYSTE M S O F I NTE R D E P E N D E N C E
information/form is literally translated into the physical components of the space. How could this relationship between physical and non-physical surfaces and graphics be subverted?
SYSTEMS
S PA C E
For this case study an abstract room will be utilized to create projections of three - dimensional graphics that will habitat the space alternatively–not necessarily in its physical components. Instead, an “invisible form” is placed in this room and different points of projection are utilized to activate the surfaces of the space. As the point of projection shifts, different views/information from the invisible graphic are revealed. A similar process occurs when the space changes its physical aspects, additional views/information from the graphic emerge.
159/178
UNDREAMED-OF UTILITY IS DERIVED.
The following spreads/pages are a representation of the outcome of this case study. Page A: Conceptual diagram illustrating a graphic object being projected onto the tangible surfaces of a space. Spread B: Diagram illustrating graphic A being projected onto the surfaces of a given space, utilizing different points of projection as well as different space structures. Spread C: Diagram illustrating graphic B being projected onto the surfaces of a given space, utilizing different points of projection as well as different space structures. Pages D-G: Rendered view of projections.
A
A (6,6,6) B (4,2,4)
A (0,0,0) B (-5,10,10)
B
A (7,-10,-7) B (-3,-2,7)
A (-1,-10,2) B (-6,-2,-2)
A (-1,-10,2) B (-6,-2,-2)
B
A (1,-1,-10) B (-5,8,-1)
C
A (1,-1,-10) B (-5,8,-1)
A (1,-1,-10) B (-5,8,-1)
C
D
E
E
F
G
These series of “useless� exercises investigate and propose different methods/formats for displaying information/forms/ graphics throughout different kinds of mediums and spaces. The result does not lead to a right or a single answer, instead they point towards different alternatives that begin to illustrate new/ different kinds of potentials, that drift away from traditional modes of organizing content; resulting in a range of endless possibilities.
Bibliography Rael, Ronald. Borderwall as Architecture. University of California Press, 2017. Abraham Flexner. The Usefulness of Useless Knowledge. Harpers. June/ November, 1939. Issue 179, 545-552. Inventory Press. Dimensions of Citizenship. Los Angeles, IP, 2018. Igarashi, Takenobu. Igarashi Space Graphics. Tokyo, Shoten Kenchiku-sha, 1983.
POROUS BORDERS
178/178