Armand Carrier, Selection of Works

This journey starts at the first project of my architectual education, an animation drawing featuring a fairly common item. Objects, even the most simple can carry with them meaning and emotion, the altoid can, along with refreshing mints, carries with it reminders of high school and life long friendship. As the first project I thought it best to root the project in something with meaning. My task was to take a sationary object and show the motion of that object through animative drawing, a daunting task for an individual with no artistic background. Everyone starts somewhere and this is where I began. Animative drawing challenged my view of movement and forced compartamentilization and itemization. Within this process I learned the most and improved most dramatically in my artistic skills. The importance of construction lines, aggregation, and deliberate color and line wheight were emphasized and became valuable tools. Animation was the begging, the starting point where I hit the road.

Mileage

The first stop of this trip takes us to the simple cube, a powerful learning tool in shaping the spacial awareness of a young architect and the appreciation and necessity of rules. Firstly the cube was divided into a grid, each square side divided into a 3x3 grid. Second, a rule set was made as to where lines would be drawn and the cube divided between filled and non filled areas. Pattern and repition became centeral tenants of the cube, my rule set being diagonal, straight, diagonal with some creative liberties taken. The image beside is the 2-D linework of the cube or unrolled version of it next to an axon drawing of the frontal view said cube. The last step of this process was producing a physical model of the cube using colored paper and wood sticks for structure as to better view the spatial properties of the cube and examine the prominence of the void. My produced cube featured 3 dominant voids the first being prominatly featured in the axon drawing and the other 2 featured in the pictures on the next page. Eximing space, voids, and structure, the cube is a good precussor for what is to come, setting the foundations of the following featured works. Grab your snacks, lets get back on the road!

FILLING UP THE TANK

Throughout the semester the building blocks began to fall into place. WIth the basics now in my tool box it was now time to start using them in more advanced settings and transfering the physical skills into the digital space. Three shapes were used, a square, triangle, or circle; combined and extruded into the 3D Plane and transformed into unique shape combinations. These shapes were then modeled in the physical and used as the learning base for the introduction into rhino and section vocabulary. Experimentation in the physical was highly encouraged and the boundaries and rules were presented as structures meant to be bent. These models were meant to experimental and expand our sense of physical awareness and modle making techniques.

Student Name ELEVATION NAME

Circular motion is at the heart of the known universe and a central theme throughout the sculptural works of Barbra Hepworth. Throughout her work from the 1920s through the 1970s circulation and flow remained the central tenants. Before you is this idea turned physical, a sculpture park dedicated to the works of Hepworth. This park focuses on the rotational movement that is found in the circle and the flow that is created when used in collaboration with other circles. The circle grid coupled with elevation changes forces the viewer the travel throughout the park in largely circular patterns. Traveling from high to low from platform to platform, always twisting. The circle creates movement. The twisted pavilion adds to this effect, the entrance and size of these pavilions varies, some face away from the path, the larger pavilions entrances located directly on their stairs. These structures use their twisted wire frames to shield the sculptures found in the interior from the viewer, forcing them to circle around the pavilion to gain entrance to the sculpture. Furthermore the circle allows for the representation of the passage of time. Moving throughout the park, depending on which entrance one enters from, the viewer will be introduced to a new time period from Hepworths work. The West entrances introduced her work from the 1920s wile the south introduces work from the 1950s. Time culminates at the highest point of the park, the sculpture residing here being two forms (divided circle), created in 1969. The circle moves through time