INTENSIVE STUDIO
D5 TRIAL AND ERROR with Kester Rattenbury An Architecture Portfolio by DAMIEN PERRY
TRIAL AND ERROR
INTENSIVE STUDIO with Kester Rattenbury An Architecture Portfolio by DAMIEN PERRY
05 07 15
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T Introduction Doodle I Ching Consultations and Development
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Ching Consultation I
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Ching Consultation III
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Ching Consultation IV
Clay and Paint, 17-23 Chipboard Ink, 24-25 Ink and PVA, 26-29 Ink Spill, 31-39 Ink, PVA and Paint, 40-43 Ink, PVA and Pastel, 44-47 Ink/PVA vs. Paper, 48-51
Finger Paint Circle, 53-55 Plastered Polystyrene, 56-57 PaperAperture, 58-59 Clay and Foil, 60-61 Plasterboard, 62-67 Hoop, 68-77 Rope Circle, 78 Rope Spiral, 79 Noose, 80-83
Table Paper, 85 The Sack, 86-87 Malleability Testing, 88-91 Stingray Plait, 92-95 Pipe Plait, 96-99 Floor Paper, 100-101 Paper Arch, 102-103 Birdmouth Paper, 104-106 Y-Installation, 107-111 Projector Stump, 112-117
Exhibition
W This design project explores the opportunity and architectural potential in works generated as a result of chance. Developing upon works generated though the I Ching, this project endeavours to continue to develop each work without the influence of ongoing critical thinking and planning, usually involved in producing design work. Generating outcomes without the influence of preconception involved embracing mistakes and implementing improvisational and problem solving skills to allow these errors to inform and further develop ongoing experimental work. The objective was to create outcomes disconnected to the mind of the creator, due to the nature of mindlessness involved in their creation. This consequently allowed for objectivity in evaluative crtical thinking regarding their potential of works as generative sources for further experimentation. Through removing the bias of intellectual investment in producing the work, architectural possibility of the randomly generated resulting installations can be considered impartically. This has allowed for the realisation of ideas that would have otherwise been discarded before any form of physical realisation, whether it be though drawing or physical making. The ideas produced from randomly generated works are objectively evaluated to inform ideas or restraints for ongoing work, but without any sort of intended or derised outcome. This has allowed connection between developed works, but no limitation in the resulting outcome produced, whcih is dependant on factors that occur during the creative process. The development of the three tangents of exploration occur in tandem to help limit pre-conceptual thought from influencing the development of the work, and allow the influence of each tangent to influence others in unexpected ways. Working to create a collective exhibition in the level 4 studio mirrors the approach the critical thinking employed though the project. Using problem solving skills retrospectively after the development of works in most cases to create a cohesive display of installations produced by different students. It has also provided constraints and opportunities in the installation of given works using the the available structural components of the building, and variation of the potential spaces though the studio site. Critical evaluation reacting to the site restraints and opportunities has been influential on the development of installations in the exhibited form and the collective spaces formed as part of the exhibition.
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DOODLE Our first task was to develop a doodle on a very large piece of paper, over the course of a week.
1189mm x 841mm. No content, no brief, no digital.
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DOODLE | A0, 841 x 1189 mm. Sepia paint, charcoal, fibre tip black pen, silver foil tape, black electrical tape applied using a variety of techniques. Created with no concious orientation.
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Exhibition Photographed with Kim’s wax and chicken wire installation in foreground.
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Doodle Development Compositions 6 x A4, 210 x 297 mm Various media.
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I CHING CONSULTATIONS AND DEVELOPMENT In Week 2, after Kester arrived we were required to create three 2-dimensional and three 3-dimensional creations using the I Ching as a way of randomising the outcome of the work produced. Of the 6 creations, I have taken these random creations that were created with a sense of mindlessness and created to conform to the readings exuted by ching as much as possible. The following body of work is presented in three tangents based on three of the six models produced as this early stage and they have informed the develoment of further work. I have continued to use a randomising process to help ensure that the work continues to follow the strand of ‘trial and error’ that the design paper is all about. iChing consultations were used much more scarsely throughout this process, most prominently used to locate finished pieces into the collective studio exhibition.
CHING CONSULTATION I Page 16
CHING CONSULTATION III Page 52
CHING CONSULTATION IV Page 84
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CHING CONSULTATION I Directed by the iChing, I was encouraged work where the ‘big picture was not considered’ resulting multiple parts created on the same page developed independently of each other. This also involved working on top of the work, being as involved as possible and avoiding sepraration or distance from the work. The media used was informed by hexagram 34. Much Force, which I interpreted as using materials and methods that involved physical force to create drawings/marks on the page. Consulting the iChing once again to bring the work to completion, as suggested by the first reading, it was suggested that I remove part of the drawing, based on the advice of an older influence. This resulted in the larger of the three drawings being removed using methods such as physical force with a variety of metal tools and the application of water to the removed area.
35. Advancing to
23. Removal to
34. Much Force
62. Too Little
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7. The Army
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Composition 1 400mm x 200mm Modelling clay and sepia arcylic paint
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CLAY APPLICATION DIAGRAM Modelling clay prior to force application Initial placement of clay that did not spread attach to page Final placement of clay on page A: Right index finger, strong pressure B: Right index finger, medium pressure C: Right thumb, strong pressure D: Right thumb, strong pressure E: Right index finger, strong pressure F: Right thumb, medium pressure G: Right thumb, light pressure H: Left thumb, strong pressure I: Right index finger, medium pressure H: Right middle finger, medium pressure
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Composition 2 150mm x 90mm Modelling clay and sepia arcylic paint
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Composition 3 280mm x 480mm Modelling clay and sepia arcylic paint, removed through repeated scraping and water.
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1. Pouring PVA over ink and acrylic paint on chipboard
2. Ink on chipboard seeps into the PVA in organic fern-like pattern
Blue acrylic paint 3. Ink and PVA on chipboard visable under layer of dried PVA
India graphic ink
PVA APPLICATION PROCESS
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CHIPBOARD INK | Borrowed PVA impulsively applied to ink and acrylic paint drawing on offcut chipboard. Ink reacting with PVA glue generating unique, organic patterning.
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INK AND PVA | Experimenting with PVA and india graphic ink on an A4 OHP sheet. Applying PVA in different quanities and methods to encorage interaction with ink to display different patterning outcomes.
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INK AND PVA | Experimenting with PVA and india graphic ink on an A4 OHP sheet. Applying PVA in different quantities and methods to encorage interaction with ink to display different patterning outcomes.
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180mm x 160mm India graphic ink, arcylic paint and PVA glue on A4 OHP sheet
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INK SPILL | Further experimentation on the potential of the patterning created with PVA and ink, this time on a larger A3 transparent sheet. Spilling the ink onto the sheet early in to process had a significant impact on the result and quantity of india graphic ink used.
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1. Ink/PVA before ink spill
2. Ink/PVA after ink spill
INK SPILL DIAGRAM PVA India graphic ink Ink spill outline PVA/ink outline A3 perspex sheet outline
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Ink Spill Partially Dry India graphic ink and PVA on A3 perspex sheet.
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PATTERNING VARIATION | Using different techniques in the way the PVA and ink are applied to each other, created different patterning and can alter existing patterning and variation in colour of ink.
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Ink Spill Dry India graphic ink and PVA on A3 transparent sheet. Photographed with Paint, Ink and PVA in foreground.
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INK, PVA AND ACRYLIC PAINT | Experimenting with potenital methods to make the PVA dry white, white acrylic paint is mixed into the glue. This resulted in a thicker consistency, and was resistant to the absorbtion of the applied ink forming bubbles.
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PVA and Paint 280 x 210mm PVA glue and white arcylic paint
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1. Ink, PVA and Pastel initial stages
2. Complete Ink, PVA and Pastel
INK, PVA AND PASTEL DIAGRAM PVA/pastel India graphic ink Ink spill outline PVA/pastel/ink outline A4 perspex sheet outline
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INK, PVA AND PASTEL | Experimenting with potenital methods to make the PVA dry white, finely crushed pastel is mixed into the glue.
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INK/PVA VS. PAPER | Experimenting with methods to vary the ink and PVA patterning by dripping PVA over ink.
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PAPER OFFCUT INK/PVA
Paper Ink Skin 91mm x 142mm Result of unintentionally placing paper on partically dried ink/PVA design on perspex.
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PAPER VS. INK PROCESS Scale: 1:1 Ink/PVA on perspex Ink skin, removed with paper
1. Ink/PVA design on perspex offcut 2. After drying for 12 hours, A4 sheet placed on ink 3. Sheet removed from ink/PVA seperating dried ink/PVA skin from perspex 4. Middle of ink/PVA fully removed from perpex sheet 5. Ink/PVA sheet on A4 copy paper 6. After a further 12 hours, ink/PVA skin seperated from paper 7. Ink/PVA skin fully removed from paper
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CHING CONSULTATION III 52. KEEPING STILL True quiet means keeping still when the time has come to keep still, and going forward when the time has come to go forward. In this way rest and movement are in agreement with the demands of time, and thus there is light in life. Under the direction of the iChing, I was given hexagram 52. Keeping Still, as the starting point of my next 2D piece. I interpreted this reading as creating something where restraint of movement was employed to control the outcome. This was achieved though placing my elbow in the centre of the page and using the area that my hand could reach as the constaint of applying my selected media. Using the numeric method of iChing selected finger paint as the media, and a 10 minute time constaint to develop this piece. The colour of the paint was decided by another iChing reading that lead me to the architecture building courtyard, and blue was selected becasue of the cloudless sky which was most apparent to me during my brief visit.
46. Advancing to
52. Keeping Still to
62. Too Little
45. Gathering Together
52. Keeping Still
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FINGER PAINT + 10 MINUTES Paper Dimensions: 701mm x 1001mm Finger paint coverage Elbow pivot point
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Pthalo Blue French Ultramarine Blue Warm Blue Pthalo Turquoise
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PLASTERED POLYSTEYRENE | Polysterene, modelling clay and blue arcylic paint, set in plaster, using polystrene formwork. Intended as a 3D development of the condition created in previous painting and experimenting with the inverse using plaster. Left: Polystyrene, modelling clay and blue acrylic paint model Centre: Set plaster around polystyrene and clay model Right: Polystyrene and clay model removed from cast plaster
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CONDENSATION PATTERN| A byproduct of the plastic table cloth used when applying water to the paper aperature, created a unique patterning, with a clear connection of the ink/ pva work from earlier.
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PAPER APERTURE | A1 white card, used as surface to create clay loop, further developed by adding water to create the hole in the paper surrounded by small clay pieces that stuck when making the clay loop.
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CLAY AND FOIL | Fits onto a cutting board. Approx. 400 mm x 600 mm. Ripped up small metal baking trays, attached together by scrumpling the foil together, then covered in self-hardening clay.
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PLASTERBOARD | Using an offcut piece of jib plasterboard, covered in adhesive paper coating, plasterboard is scraped to create a circle in a different material.
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PLASTERBOARD | Intended as a white installation with a circluar hole in the centre, the application of water to remove the paper coating revealed the internal to be in many cracked pieces, held together by the paper I intended to remove.
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PLASTERBOARD PROCESS 1.
SCRAPE
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WET
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PEEL
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PAINT
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INSTALL
Dimension: 575mm x 1108mm Cracks in plasterboard offcut revealed when water applied to remove paper coating
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Watered down blue paint is then used to cover the brown paper, in an attempt to keep the plasterboard intact, rather than continuing with the intended approach.
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17mm
15.2mm
HOOP | Using a deformed hula hoop with the metalic green coating removed, nails are hammered into the side irregularly. Coated in a solution of arcylic blue paint and PVA, the hoop is then hung and further covered in the tacky liquid, capturing the dripping motion and interaction with the uneven nail surface of the hoop.
14mm
1.5mm
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HOOP | Process of covering hoop in blue paint/ PVA. On the ground, two containers used to coat nails and hoop as evenly as possible. Fork used to direct and move the tacky liquid over the hoop.
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HOOP | Fork used to coat and drizzle the bubblegum consistency liquid over, stuck to the dropsheet
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6350mm HP VP
VP1
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7050mm
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HOOP INSTALLATION Scale: 1:20
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HOOP| The dropsheet used when making the installation and its relationship with the hanging hoop above became a very important part of exibiting the work as part of the final group exhibition, refecting its location in the exhibition spaces in the level 4 studio.
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INSERT TECHNICAL HERE
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ROPE CIRCLE | Rope, knitting wool and 0.5mm wire. Tangled together to form vaguely round shape. Wire intergrated into rope to make sturdier without the appearance of a rigid material.
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ROPE SPIRAL ELEVATION Scale: 1:1 0.5mm aluminium wire 0.8mm white thread rope
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ROPE SPIRAL | Re-employing the wired rope after dismantling the rope circle. Tangled around arm creating a spiral form, then hung, streaching the wire due to the weight of the surrounding rope.
3. 1. Prepare wire and rope 2. Push wire into centre of rope 3. Bunch rope and push further into the rope 4. Continue until length of wire is fully imbedded in the rope
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INNER NOOSE | Abandoned paper mache model using newpaper to form around the organic and random shape formed by ripped pieces of filter wool.
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A Scale: 1:2
SECTION A-A Scale: 1:1
Projector Filter Wool Rope
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Wool
NOOSE | Newspaper and filter wool model wrapped loosely and super-glued into place. Wool and newspaper is exposed in certain places surrounded by a cacoon-like rope form.
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NOOSE | Created through wrapping the wool and newspaper model, which was then hung because of the excess rope. The noose form came from someone else tying the knot with the exess rope below the cacoon rope form.
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CHING CONSULTATION IV Asking the iChing for the location of my next 3D piece, it suggested locating it in a place where people come together. I therefore decided to install my next it in the centre of the table in our design studio bay. Consulting the iChing for a material to use and a technique in which to develop and install it, it talked of using a material that is familiar and readily available, pushing me to use brown paper which was heavily used by many other fellow students in creating their iChing consultation models. The technique I developed with the brown paper was inspired by a reading that was about movement toward the sun, which inspired the organic, root like formation of the paper and the size and height in which it occupies and interacts with the table.
13. People Together
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31. Influence
46. Pushing Upwards
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1. Sack as found
2. Cutting edges x2, opposing corners
3. Folding down sides of sack to create flatter and longer surface
THE SACK | Using sack found in the skip in the carpark, with scrumpled brown paper. Nylon and wire used to shape and hang. Experimenting with the transparency of material and light effect against window of studio. Vertical and horizontal installation opportunites.
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MALLEABILITY TESTING | Using scrumpled brown paper and testing its retention of shape, depending on the scrumpledness of the 80gsm brown paper.
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Crumpled Connection Joining of two differently scrumpled pieces of brown paper by scrumpling them together
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Crumpled Hand Brown paper, 120 gsm Finely scrumpled brown paper, moulded around hand and forearm
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STINGRAY PLAIT | Using ripped length of brown paper roll. Testing the transition from flat paper to scrumpled paper plait. Two random rips create three strands, longest strand ripped further to create smaller plait.
1-6: Process of creation depicted through unplaiting resulting ‘stingray plait.’
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PIPE PLAIT | Brown paper plait, 2260mm cable pipe, 21mm diameter. Using Ching consultation, pipe is threaded through the paper plait.
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13 numbers selected at random using Ching to decide which part of the plait will be threaded through the pipe.
Row I: I Ching intersection numbers Row II: Ordered I Ching numbers Row III: Intersections is practise, due to impracticality of certain numbers
I 16
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III 19
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Testing the strength capabilities of plaited paper, through applying significant force and weight.
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Pipe plait installed, supported on the overhead electrical cabling system, with the tail of the plait hanging and resting on the ground.
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FLOOR PAPER | Using variably scrumpled and plaited experimental components of 80gsm brown paper. Intended as a hanging installation it was developed for final exhibition as a floor piece intergrated with surrounding installations.
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Scale: 1:15
PAPER ARCH | Using variably scrumpled and plaited experimental components of 80gsm brown paper, contributing to columnade as part of the group exhibition.
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1550mm
2000mm
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600mm
1. Roll paper out 2 meters 2. Birdmouth cut, 600mm isoceles triangle 3. Seperate cut triangle from roll 4. Repeat birdmouth cut 1550mm along the roll 5. Seperate cut from roll 6. Scrunch paper from pointed end toward birdmouth cut 7. Scrunch two birdmouth cut pieces in opposing directions.
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BIRDMOUTH PAPER INSTRUCTION |
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BIRDMOUTH PAPER COMPONENT Scale: 1:10
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Y - INSTALLATION | Exhibition piece composed of 26 scrumpled Birdmouth Paper components connected through a series of plaits. Installed on a nylon frame, supported by the uni struts of the building structure.
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PLAN Scale: 1:20
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Y - INSTALLATION PLAN
Level 4 Studio, Bay A Brown Paper 80gsm. 0.5mm Fishing Wire. Consists of 26 Birdmouth Paper components, connected by plaits installed as depicted in supporting diagram, 1-5.
Connection Plait Hanging Paper Electrical Cabling Beam Furniture Lighting
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PROJECTOR STUMP | Using birdmouth paper components attached to each other and around a basketball hoop, 3 components at a time - the middle one connecting them, wraped in another piece of scrumpled paper to secure additions into place and cover the metal hoop.
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PROJECTOR STUMP Scale: 1:15
Massing outline of projector stump Stainless steel basketball hoop Consists of 45 Birdmouth Paper components, of two lenghts: 1000mm and 2000mm, secured to a basketball hoop, and then installed onto a projector cage through self supporting plaits and knots.
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STUMP SECTION Scale: 1:15
Projector Scrunched paper outline Scrunched paper detail Section Cut Section showing the variability of the scrunching and plaiting technique used in the creation of the installation.
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3 A B
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1: Y - Installation - Bay 1, Installed on unistructs 2: Plasterboard - Bay 2, Screwed onto pin board, 2 x 0.8m screws 3: Doodle - Exhibition Space 1 (previously Bay 2), Pinned to pin board, 4 x 15mm pins 4: Hoop - Exhibition Space 2, Hoop hanging on unistrut 5: Projector stump - Exhibition Space 3, Attached to unused projector cage 6: Paper Arch - Corridor, Attached to electrical cabling beam 7: Pipe Plait and Stingray Plait - Corridor, (previously Bay 3), Supported on electrical cabling system 8: Floor Paper - Back Bay, Installed on floor, intergrated with surrounding installations
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A: Birdmouth Paper Instruction, A0 B: Y - Installation Plan, A0 C: Projetor Stump, A0
KEY: Exhibited installations Exhibited installation previous locations (at time of ink mapping the exhibition) Technical Drawing locations Ink screensavers on desktop computers around studio
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EXHIBITION PLAN Scale: 1:100
FINAL EXHIBITION 119
Mapping installation locations using ink and PVA/white acrylic paint
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“Creation without intention is where we allow ourselves to be truely objective with our own work”
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