why?
A past experience is important to explain the subject of my Xref aspirations. During my last years of architectural studies, I took a few classes that had a real impact on how I thought about design and the design process. One of these classes explored the Gestalt and Phenomenology theories with an unusually active approach. It was essentially a design class grounded in some of these philosophical concepts which, in essence, seek to explain the intriguing relationship between observer and thing observed. We could dive into the theories as much as we wanted, although
the investigation and final product had to be conveyed by three dimensional shapes, not words or long essays. We worked on several visual investigations, transitioning from two to three dimensional elements; some quick same-day studies and others more involved. A few of these studies will be presented as part of my Xref submission. Designing these three dimensional pieces was especially attractive to me. The possibilities of creating this spatial element, a sort of site/observer specific “sculpture” (if I may attempt to define it), was truly instigating. As a premise, this
exercise cannot happen without a space - which can be imagined and exist solely in our own minds – but still a three dimensional space. The coexistence of space and observer is also crucial to this design process; it’s a two-point perspective, from the ground, not from an axiom, not with a bird-eye. Those are the aspects that make this investigation so dependent of a specific spatial condition and the aspirations of the observer to intervene and create. For these reasons, this type of design investigation and the Xref proposition seem to walk hand-in-hand by triggering similar discoveries. I want to go to new places with an active look and allow my perception, with all senses, to engage in a singular relationship between self and space and express that through the design of these “sculptures” – a three dimensional element that has the inherent capability of creating post, new singular “site/ observer” experiences for other people, in different times and conditions.
This sculpture had a cube as a predefined mass, its dimensions and volume were to be determined during the conceptual development. What can a cube be turned into without losing its recognizable shape? How much can be added or subtracted in order to give place to something new but still communicates its original form? This type of search really pushes us to understand the particularities of an object and the role they play on people’s perception – a cube: sharp corners, solidity, stability, etc. For this type of conceptual sculpture, a place has to be defined as a part of the object’s design. It’s a symbiotic process; scale and location are completely interconnected aspects. Where is it going to be and what level of contact should the observers have? Answering these questions is essential to determine the object’s size and materiality. Twice and three times the human size seemed to be appropriate, through the first alternative, bring it closer to the human eyes and hands; through the second, achieve a slight monumental condition.
One side remained as a solid wall while the other three were shaped to allow people to pass below it and observe closely its unusual planes and angles. Since object and place are part of a common construction, the decision to place it on a deactivated train track aimed to suggest a certain type of appropriation and reinforce the level of proximity sought. When put to seat on top of a preexisting linear structure – a previous transit way – the public is driven by its continuity and is clearly invited to pass below it and interact with it more directly.
where?
I want to use this opportunity to pursue my personal interest for visual and urban art and exercise it when traveling through the many instigating and iconic places that I have yet to visit. The short distances and cultural plurality of Europe make it an obvious but extremely exciting choice! Traveling to the most vibrant urban centers of France, Italy, Spain, Germany, Denmark, England, Spain, Czech Republic, Hungary and so on is such an amazing dive into the most diverse urban crowds and spaces. As an attempt to trace a more compact
and realistic Xref path on Europe’s map and travel through some of the most diverse places, I’ll start in London, go to Amsterdam, then Berlin, Prague, Budapest, Florence and Paris; ending the loop back where I started. I intend to fly to some of the places in order to save time, but I want to take mostly trains on the shorter distance trips whenever an interesting ground route is available. I’m thrilled with the chance of exploring all of these places and investigating them with a purposeful eye; a purpose of finding in them an empty lot, a hidden alley, an open plaza or even a simple and inviting corner where sensibility and creativity can take place and a spatial element can be conceived. This element is specific and universal at the same time. It makes use of universal concepts of visual apprehension but it’s made to fit a singular combination of subject, place and present conditions. It’s thus a result of the relationship created immediately by observer and space observed or, more specifically, by the interconnected and absolutely unique relationship between the two – oneself and the space.
I lived near an unattractive urban canal for many years. I always looked at it and saw a lot of wasted potential. This canal is located in a densely constructed urban area in the city of Sao Paulo; its shores vary a lot in size given its urban condition, being uncomfortably narrow and underused at some parts and pleasantly large and full of green at others. It has its severe rhythm dictated by the contention structural beams that run continuously all along its course. It’s a space where so much can be done. A long linear urban park which
could be populated with qualifying spaces and elements, creating distinction and character to the several neighborhoods through which the stream runs. That’s the context where this sculpture was thought out – an element that would interact with the canal’s structure, creating interesting views and proportioning unexpected perceptions of a mostly ignored urban infra-structure. The perforated metal panels were designed to embrace the canal beams, partially interrupting the visibility from one side of the shore to the other and
redirecting lights and shadows during the day and night. I imagined other objects could be conceived along the entire canal, a series of art interventions with a common approach – repurpose the way we see neglected pieces of the urban fabric.
I chose to submit a physical model of this last sculpture because it evokes to me a lot of Xref’s intent. This sculpture is unveiled at each step, the changing position of the bars gradually proportionate various perceptions of the element itself and of the surrounding space. There’s a lateral blockade that slowly opens up, transitioning to a horizontal plane. It attempts to smooth the right angle between ground and wall at the same time that creates interesting eye-level perspectives. It was designed to be placed in a very common urban condition, a narrow sidewalk by a tall, solid and intimidating wall. It takes over an entire portion of the passage-way, almost getting passers into a tunnel of a short but impactful contact with the sculpture. It has depth and a constant and mutant print of shadows on the adjacent surfaces, in a way that it also creates interesting views for people walking along the opposite side walk and seeing it from a distance. The physical model can be very easily assembled! I hope it’ll be able to convey my message to the readers of this submission in a more tactile and interesting way.
When I return from this undoubtedly amazing travel and design immersion, I want to show my colleagues at HMC the process I’ll have been through to create these urban sculptures, from my first ideas and sketches to photo-montages, 3D renderings or physical models of the final piece in its place – accompanied by the discussion of some key concepts of visual perception and space investigation theories.
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ASSEMBLE ME! I’M EASY! Join wood boards as shown above. Insert the numbered wood dowels in the numbered holes as marked on pictures. Numbers 9-16 have a cap and are inserted from the back. Adjust the angle of the dowels in order to create the wave look of the last picture!
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