ILLUMINATIONS V´S PROJECT (ENGLISH VERSION)

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Illuminations / The V´s project

MARIA FERNANDA VILELLA

maria.fernanda.vilella@gmail.com

MARIA FERNANDA VILELLA

maria.fernanda.vilella@gmail.com

MARIA FERNANDA VILELLA

maria.fernanda.vilella@gmail.com

MARIA FERNANDA VILELLA

maria.fernanda.vilella@gmail.com

MARIA FERNANDA VILELLA

maria.fernanda.vilella@gmail.com

MARIA FERNANDA VILELLA

maria.fernanda.vilella@gmail.com

MARIA FERNANDA VILELLA

maria.fernanda.vilella@gmail.com

V´s/ The project exposed below it is a proposal for the design of different floors, as an attempt to addess my own findings and concerns.

Walking down the street and asking some questions to citizens and construction workers, I’ve found out that in constructions is a lot of cement waste. Sometines this waste can be placed in the indoors of the construction , afterwards the leftover cement breaks and once it dries it is put in a dump. Other times it is thrown away directly in the street, thus causing serious problems for drains. Causing serious flooding in these areas and surroundings.

Also, stones and pieces of old or broken floor tiles are dumped in the sidewalk It is my desire to work with this and other materials that could be used to develop new floors; some of them being reused as marble dust or stones, always it will be depending on the context.

I want to approach this research taking into account people with walking dissabilities, blind people, senior citizens, parents with their children. I would like to think of sidewalks and floors that include everyone.

I would like to study how floors are made, which techniques exist, have the time and space to explore and create from experimentation and study. I would like to study different artists, researchers and designers and have time and a workshop to work in, with the theoretical and practical support from both peers and teachers.

I am interest in investigating different materials and not hanging on into one sole idea, in order to find better results, and I'm interested in knowing and learning about tools . Tools are a crucial point in this research.

Everything, from tools, materials, techniques. Can be very different depending on the location. It exists a a great diversity in sense of floors, I would like to study them in greater

MARIA FERNANDA VILELLA

maria.fernanda.vilella@gmail.com

depth both from the theoretical and the practical approachs. Reaserch different materials, like organic and recylce materials.

I want to share through art this exploration and learn ancient trades, meet artisans, architects and artists; make people know about it so that everyone can make and design their own floors, or just use it as trigger to other investigations.

MARIA FERNANDA VILELLA

maria.fernanda.vilella@gmail.com

MARIA FERNANDA VILELLA

maria.fernanda.vilella@gmail.com

MARIA FERNANDA VILELLA

maria.fernanda.vilella@gmail.com

MARIA FERNANDA VILELLA

maria.fernanda.vilella@gmail.com

Historical context.

In this time I have also investigated the parquet. Parquet floors were originated in France. Parc was a platform reserved for judges and lawyers in the courts, it consisted of dovetailes oak planks anchored on a batten.

In the Middle Ages monumental architecture is still keen on stone (marble and limestone). At that time mechanical saws are developed so straight boards could be obtained . In England, for example, Tudor style uses large wooden pallets with linear configuration , loose joints and without any drawing. Characterized by the use of large round nails or wooden pegs, the most popular woods at the time were hard-­‐wood species like walnut and oak. Its use in mansions and castles is probably the origin of the aristocratic image created around the dais. Such platforms can also be found in the Netherlands and in Germany.

The “parquet” word floor is of French origin, parc was a dais reserved for judges and lawyers in court, consisting of dovetailed oak planks anchored on a batten.

The “fishbone” platform was first used in the Fontainebleu Palace, specifically in Gallery Francis I. It aquires the 'parquet' denomination in order to differentiate it from the big rustic paneling. The most famous parquets are the ones of Versailles (1665 -­‐ 1685) . They are actually square panels and solve the problem of the stability of the wood floors through the internal weave of the panles..

This panel gave rise to other ones (Chantilly, Arambert, Melezin, Saint-­‐Frageau), quickly spreading all throughout Europe (Royal Palace, Hermitage Museum, Schonbrunn Palace, Castle Pommersfelden). Hardwood floors continue to evolve;. Like the “fishbone” in Hungary. Inlaid wood floors are the natural heirs of the panel and use exotic woods (Fine Woods Room of the Escorial Monastery, the National Museum of Germany Bayerisch or the Royal Palace of Turin). It is in the seventeenth and eighteenth century that parquet reaches the peak of refinement and complexity , and began to become popular amongst bourgeois houses and public spaces.

The evolution of the parket cannot be explained without the technical improvements as stated in the Encyclopedia of Diderot and D'Alembert.

In the nineteenth century the use of parquet continues to expand, encouraged by the mechanical work of the wood with the first steam sawmill that gets more and more efficient. productions . The parquet is a sideline of sawing. Still very imperfect, parts are not interchangeable or standardized and all defects must be corrected on site.

MARIA FERNANDA VILELLA

maria.fernanda.vilella@gmail.com

MARIA FERNANDA VILELLA

maria.fernanda.vilella@gmail.com

The cosmati family

After the discovery of America, wood with great propierties in terms of texture, color and mechanical properties, unknown in the west, was imported and thus facilitated the introduction of wood for flooring. The incorporation of tropical species from the sixteenth century brought

MARIA FERNANDA VILELLA

maria.fernanda.vilella@gmail.com

distinction to the floors. A notable example of the use of the new species is the decoration of Italian intarsios. Since the time of Louis XIV, inlaid floors can be found in France, although they were not yet proper pavement but small interior compositions.

The reuse of some materials is one way of protecting nature and the environment and generating new solutions Ancient techniques may help resolve actual conflicts, old techniques can be used, to protect forests, the natural lungs of the Earth, Reuse of materials in order to create, without forgetting those who have developed techniques that can help us create and build new floors.

I want to go through history through architecture and floors, in developing and building new floors through history. This time the proposal is for public spaces, I want to create from what we have been left and taught by masters from ancient times. I would like to study antiques tecniques. I want to share this research through art. Art is a powerful tool to communicate, express, show what’s happening in a context and which allows us to think and to take action.

MARIA FERNANDA VILELLA

maria.fernanda.vilella@gmail.com

MARIA FERNANDA VILELLA

maria.fernanda.vilella@gmail.com

Parquet Influences:

-­‐The Tupac Amaru Organization. Milagro Salas (Jujuy, Argentina) Concurrently, I have studied the work of an argentinean woman who lives in the northern province of Jujuy her name is Milagro Sala. Recently I have seen the work accomplished by Milagro Sala. Milagro Sala is a woman from Jujuy who was adopted when a baby. It is said that she was abandoned inside a shoebox in a hospital, and was adopted by one of the hospital’s nurses. Milagro is coloured, all her siblings are White.

When a child, she was not allowed to enter public pools because of her skin colour . At 14, she learns she is adopted by overhearing an argument between her mother and her aunt Following this Milagro confronts her mother and decides to leave home. Until the age of 24 she lives wandering around, sometimes living with her maternal grandmother and does not lose contact with her adoptive family. However, she breaks away, she lives on the Street. It is then that she begins to realize that he of people’s needs, and that she can take action. Having lived her life in a middle class family, knowing what it is to have shelter and education, she begins looking after street children. Having two children and constantly watching the kids on the street she gives shelter to seven children more under with the condition that if they want to stay at home they should go to school, help around the house and must maintain contact with their biological mothers. She also speaks to the children’s mothers, trying to help the children to help them and the rest of the family.

She created “Copas de Leche”, where she taught the people in the neighborhood that united they would be stronger, and that to be able to feed the children everybody should carried whatever they could. She built a cooperative, thinking about work, health and education. She organized social networks where they feed children work as a team, teach them to take care of themselves, stay out of drugs, and make them realize that they can work differently, that together thay can have access to education and health , that they can work by themselves and by their own efforts. She also started cooperatives for women who are beaten or battered, and created public hospitals dealing with the rights of the disabled. She's a fighter against discrimination. With her called Tupac Amaru , she began making bricks for builiding houses, proving the government that with their support, the organization could create jobs, education and health, thus creating new neighbourhoods. Each neighborhood has public pools for the kids.

Access to education is the most important thing to Milagro. Within the schools the development of a high self esteem is a key point, as well as the protection of the identity and culture and its roots, always emphasizing on tolerance.

MARIA FERNANDA VILELLA

maria.fernanda.vilella@gmail.com

Milagro has been criticized for his work, and is controversial within the political environment, however,the results are out there. Milagro has been working on this project for over ten years. As a response to different needs and to fights between different political groups Milagro decided to seek solutions. It is for this motive that I brought her up, I think her work is important. Learn from it, and what you can create when working as a team.

-­‐The Wayuu The Wayuu are people of sand, sun and wind, carried in the moral desert, have stood for centuries in the Guajira peninsula, are great craftsmen, and merchants, tireless fighters for their historical rights that have been violated by the discrimination and racism.

They live in the state of Zulia, Merida and Trujillo and its original territory is called the Guajira, in the municipality of Paez, live between Colombia and Venezuela, because predate the creation of nation states, not taking into account its history and customs when establishing their location. The area is almost deserted and consequently very dry and arid, so one of their first needs is the request of democratization of water and the possibility of access to drinking water.

The most developed industry is textiles, followed by ceramics. The women are expert weavers and have retained the beautiful traditional designs in hammocks in the blankets, which are costumes worn by women and the susu, portfolios that are woven and have also developed many useful objects with colored tissue very showy. The Wayuu not live in permanent settlements, is common for families to move to temporarily reside elsewhere when exhausted or pasture for their animals when they fulfill a social commitment.

Wayuu textiles

MARIA FERNANDA VILELLA

maria.fernanda.vilella@gmail.com

The knowledge held in memory passed from one generation to another for Wayúu hands reflected in a number of tissues objects of singular beauty and functionality, produced in a variety of techniques, forms and colors. The fabric for the people Wuayuu is merely a cultural practice and heritage of their ancestors. For the Wayuu is a way of thinking and expressing life as we feel and want. The observation of countless tissues allowed to read the spirit that guides action and thought.

MARIA FERNANDA VILELLA

maria.fernanda.vilella@gmail.com

Objetives:

MARIA FERNANDA VILELLA

maria.fernanda.vilella@gmail.com

-­‐Learning the history of art through the study of floors design and architecture.

-­‐Learn ancient techniques and turn them to adapt them to nowadays needs. The design must take into account these conditions as is done, its installation, its way of working, the care of the earth, and must suits the needs of people elderly and disabled.

Experimenting from adobe, bamboo, marble dust, or materials found within the context wherever I am.

Being able to adapt to transform.

Share researched information through practical and theoretical workshops.

Production of new floors proposed for public establishments, whether in schools, libraries, sidewalks, cultural centers, parks, public spaces, sidewalks. New spaces that are interested in fairness and equal rights.

Create from the given.

Getting in shape at times and the specific timing of the residence.

Create proposals for new/old floors in a particular way.

Needs -­‐Place and tools for working.

-­‐ having time for research, working with artist in residence. Sharing different points of views, sharing what each one of us is working in.

-­‐ Relationship between different areas, as arquitects, designers, writters, artists, artesans.

MARIA FERNANDA VILELLA

maria.fernanda.vilella@gmail.com

Expectations Take this time for researching, as a lab of experimentation, enjoying and playing.

Learn and share the experience of the residence Count with assessment in the residence Meeting people from different areas, inside and outside the residence

MARIA FERNANDA VILELLA

maria.fernanda.vilella@gmail.com

MARIA FERNANDA VILELLA maria.fernanda.vilella@gmail.com.ar Mariafernandavilella.blogspot.com.ar

MARIA FERNANDA VILELLA

maria.fernanda.vilella@gmail.com