DESIGN 5 2016 TRIAL AND ERROR
ZINNIA DOGRA (8065837)
CONTENTS
TRIAL & ERROR
WEEK 1
CONTENTS
DOODLE
INTRO
WEEK 2 HOW TO PAINT ON FILM COMPOSITIONS
WEEK 3
WEEK 4
WEEK 5
FURTHER
I-CHING NUMERICAL PROJECT EXPERIMENT
PAINT ON ACRYLIC
STUDIO PLAN
PAINT ON FILM PAPER
HOW TO WRAP A TABLE
PAINT APPLICATION AT LARGE SCALE
PAINT ON CONCRETE
THE COMPLETED TABLE
POTENTIAL FLOOR PLAN
PAINT ON PLASTER
THE CRIT
CONCLUSION
PAINT ON TIMBER
THE EXHIBITION
OUTCOME 1 OUTCOME 2 OUTCOME 3 OUTCOME 4 OUTCOME 5
Intro LEAD BY KESTER RATTENBURY OF THE UNIVERSITY OF WESTMINISTER, THIS DESIGN STUDIO WAS A UNIQUE OPPORTUNITY TO DESIGN BY CHANCE. TRIAL AND ERROR INTRODUCED TO US THE UNCERTAINTY OF ARCHITECTURAL PROJECTS, AND HOW NOTHING EVER REALLY GOES OUR WAY WHILE WE DESIGN. THROUGH THE USE OF THE I-CHING, AN ANCIENT CHINESE BOOK OF DIVINATION, WE WERE ABLE TO CONSULT AND EXPLORE UNKNOWN OUTCOMES WHEN IT CAME TO OUR WORK, AND FIND OURSELVES PROBLEM SOLVING TO UNDERSTAND WHAT THE I-CHING WAS TRYING TO SUGGEST TO US. MY WORK ENDED UP BEING AN ELABORATION OF WHAT I AIMLESSLY DO WHEN I’M NOT THINKING - PAINT. I TOOK WHAT IS YOUR GENERIC PAINT TO PAPER COMBINATION AND EXPLORED DIFFERENT POSSIBILITES AND MEDIA. I ALSO PLAYED ON THE IDEA ABOUT HOW PAINT COULD BECOME A THREE DIMENSIONAL ASPECT OF ARCHITECTURE, AND HOW IT CAN APPLIED TO BUILDING MATERIALS - SUCH AS TIMBER, CONCRETE AND GLASS. MY PROJECT IS NOT JUST A SERIES OF PAINTINGS, BUT AN ANALYSIS OF HOW 2D MEDIA CAN BE USED TO TRANSFORM AN ENVIRONMENT.
ZINNIA DOGRA
THE CUTTING SAGA: PART ONE WHAT STARTED OFF AS AN A0 PIECE OF CARD, SLOWLY STARTED TO BE CUT UP INTO SMALLER AND SMALLER PIECES. THE IDEA BEHIND THIS: “IF I MAKE THE PAGE SMALLER, THEN I’VE FILLED THE PAGE, THEREFORE I AM DONE AND CAN GO TO SLEEP.”
STILL NOT SATISFIED, THE CUTTING UP OF THE CARD CONTINUED
THE POINT AT WHICH I REMEMBERED WE WERE SUPPOSED TO BE WORKING AT A0
it’s not supposed to be a galaxy
TURNS OUT ALL OF US GOT THE BRIEF WRONG. WE WERE ONLY SUPPOSED TO USE A BALL POINT PEN
... NOT EVERY FORM OF MEDIA UNDER THE SUN
THE CUTTING SAGA: PART TWO FOR THE COMPOSITIONS, WE FOCUSED IN ON THE BEST/FAVOURITE PARTS OF OUR DOODLE. I FOCUSED ON THE PAINT.
YET I STILL CUT EVERYTHING UP
HOW TO PAINT ON FILM PAPER
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METHOD
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8
1
START WITH A FLATTENED PIECE OF PLASTIC/PLASTIC BAG AND ADD THE PAINT AND WATER
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TAKE YOUR PIECE OF FILM PAPER AND PLACE IT ON TOP. LEAVE FOR ABOUT 20 MINUTES
4
AFTER 20 MINUTES, FLIP THE FILM AND PLASTIC OVER SO THAT THE PLASTIC IS NOW ON TOP
5
GENTLY PEEL BACK THE PLASTIC, ALLOWING FOR ANY PAINT AND WATER TO DRIP BACK ONTO THE FILM
6
LEAVE TO DRY.
9
THE PLASTIC BAG CAN BE REUSED WHILE IT IS STILL WET TO MAKE MORE PRINTS WITH ADDITIONAL FILM
PAINT ON PLASTIC BAG
PAINTED SIDE
FLIPPED
COMPOSITION ONE
COMPOSITION TWO
COMPOSITION THREE
I-CHING
NUMERICAL METHOD I FIRST WROTE OUT THE NUMBERS 1-64, THEN ALLOCATED A MEDIA/METHOD TO EACH NUMBER
I THEN USED AN I-CHING APP TO FLIP COINS - AND THEN RECEIVE A RANDOM HEXAGRAM TO WORK WITH. I DID THIS 5 TIMES. THE I-CHING BOOK OF CHANGES WAS ALSO USED.
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TAI
KUAI
BLACK PAPER & A RULER MOVING UPWARDS TOWARDS LIGHT SINCERE & SIMPLISTIC “YOUNG TREE” PATIENT
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FIRST, I MADE CREASES IN THE PAPER BY FOLDING THE PAPER AROUND A METAL RULER
2
I THEN FOLDED THE PAPER ALONG THE CREASES
3
ONCE FOLDED, I TRIED TO MANIPULATE THE PAPER IN DIFFERENT WAYS/ANGLES SO IT DIDN’T END UP BEING A SIMPLE BOX
4
FINAL OUTCOME
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CHIN
22
PI
A1 PAPER & LEFT HAND “WHAT MEDIA SHOULD I USE?” “PAINT” “WHAT COLOURS SHOULD I USE?” “ABUNDANCE” “LIGHTENING FILLING THE SKY” “DARKENING OF LIGHT”
ANGRILY TAPED TO THE PROJECTOR BRACKET BECAUSE I DIDN’T KNOW WHAT TO DO WITH IT
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8
CHIN
PI
MDF STRIPS & CLAY “HOW SHOULD I USE THIS CLAY?” “GROWTH” “LIKE THE RISING SUN”
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I STARTED OFF WITH A TUB OF CLAY, AND A MDF STICK
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I THEN PULLED THE CLAY APART INTO LITTLE PIECES
3
I THEN ATTACHED THE STICK TO THE LID OF THE CLAY TUB AND PROCEEDED TO MOLD THE CLAY UP THE STICK
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I
I
5 MINS & TAPE I HAD 5 MINUTES TO MAKE SOMETHING OUT OF AN A1 PIECE OF CARD USING NOTHING BUT TAPE AND MYSELF
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NOT HAVING THE TIME TO THINK, I RANDOMLY RIPPED UP THE CARD
2
I THEN MOLDED THE RIPPED FLAPS IN DIFFERENT WAYS, TAPING THEM DOWN AS I WENT
3 FINAL OUTCOME
2
K’UN
63
CHI CHI
WHITE PAINT & ON THE FLOOR BY USING AN A1 SHEET OF FILM PAPER, I CREATED THE ILLUSION OF PAINTING DIRECTLY ON THE FLOOR WITHOUT ACTUALLY DOING SO. THE I-CHING ALSO SUGGESTED I ADDED MORE COLOURS TO THE WHITE PAINT
PAINT IS DRAGGED IN THE DIRECTION OF THE ARROW
THE WEEK OF THE PAPER BAN THE OVERUSE OF BROWN SCRUMPLED PAPER LEAD TO ITS BAN. THIS MEANT EXPERIMENTING WITH OTHER MATERIALS THAT I USUALLY WOULDN’T USE.
PAINT ON FROSTED ACRYLIC RED TONES
PAINT ON FROSTED ACRYLIC BLUE TONES
PAINT ON FROSTED ACRYLIC PURPLE TONES
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FIRST I ROLLED UP PAINTED FILM PAPER
2
ONCE ROLLED, I TAPED THEM TO SECURE THEM IN PLACE
3
I THEN STACKED THE ROLLS INTO EACH OTHER TO CREATE A COLUMN-LIKE FORM
MOCKING UP POTENTIAL STRUCTURAL ELEMENTS
I HAD MY ALREADY PAINTED PAPER JUST SCATTERED AROUND
SO I PILED THEM TOGETHER
HOW TO MAKE A PAINTED MOLD
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METHOD
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TO MAKE THE MOLD, START WITH 4 SIDES AND A BASE
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ATTACH THE SIDES TO THE BASE WITH PINS OR TAPE
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ADD ADDITIONAL TAPE WHERE NEEDED
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MAKE SURE THERE ARE NO GAPS FOR THE PLASTER/CONCRETE TO LEAK THROUGH
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POUR IN THE CONCRETE/PLASTER MIXTURE
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LET THE MIXTURE SET FOR 1-2 MINUTES
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PROCEED TO ADD WATERED DOWN PAINT TO THE MIXTURE AND LET IT BLEND
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AFTER 24 HOURS, REMOVE FROM MOLD
INITIAL PAINT BLOBS
THE ADDITION OF WATER AND WATERED DOWN BLACK AND WHITE PAINT
THE I-CHING TOLD ME TO USE THE TABLE IN OUR DESIGN BAY FOR MY INSTALLATION. THIS 6 METRE LONG TABLE JUST HAPPENED TO BE SOMETHING THAT EVERYONE IN OUR GROUP USED EVERY DAY FOR THEIR OWN WORK.
I HAD TO KICK THEM OUT
HOW TO GIFT WRAP A TABLE
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METHOD 1
CLEAR THE TABLE
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ARRANGE THE PAPER TO COVER THE TABLE
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START TO FOLD THE PARTS UNDER THE TABLE AND TAPE WHERE NEEDED.
4
CONTINUE TO DO THIS UNTIL THE WHOLE TABLE APPEARS ‘GIFT WRAPPED
AN UNEXPECTED SURPRISE
EACH PAINTING WAS DONE ON AN A1 PIECE OF FILM PAPER. FOR EVERY PAINTING, I DECIDED TO STICK TO A CERTAIN COLOUR PALLETTE WHICH CHANGED AS I PROGRESSED UP THE TABLE. THE A1 FILM PIECES WERE PLACED ON TOP OF A1 PIECES OF NEWSPRINT TO MIMICK THE LOOK OF A CONCRETE SLAB
11 12 13
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16 17
2 9
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3
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4 5 6
AXONOMETRIC OF TABLE INSTALLATION NUMBERS 1-18 REPRESENT THE ORDER IN WHICH I PAINTED
THE IDEA OF TRANSFORMING THE 2D TO 3D WAS THE NEXT AREA OF FOCUS FOR THIS PROJECT. I STARTED RESEARCHING REAL WORLD APPLICATIONS WHERE PAINT COULD BE APPLIED IN INTERESTING WAYS AND THEN INSATLLED IN BUILDINGS. I FOUCSED MOSTLY ON HOW PAINT COULD BE APPLIED TO CONCRETE FLOOR SLABS WHICH COULD THEN BE APPLIED TO PLACES LIKE THE STUDIO ENVIRONMENT.
PAINT APPLICATION AT LARGE SCALE
METHOD 1 2 3
ONCE THE CONCRETE SLAB HAS BEEN CAST, PUT WATERED DOWN PAINT INTO A BOTTLE AND DRAW PATTERNS ALONG THE CONCRETE LEAVE THE PAINT TO SETTLE FOR A MINUTE OR TWO. AFTER THIS IS DONE, USE A BROOM TO SPREAD THE PAINT TO DESIRED AESTHETIC THIS TECHNIQUE CAN BE REPEATED WITH DIFFERENT COLOURS, LAYERING IT UP UNTIL DESIRED COLOUR AND LOOK IS ACHIEVED.
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MULTIPLE FLOOR SLABS APPLIED TO THE STUDIO SPACE
End
IN CONCLUSION, THIS PROJECT ENABLED ME TO UNDERSTAND THAT PAINT ISN’T JUST PAINT. I WAS ABLE TO EXPLORE THE PROPERTIES OF PAINT, HOW IT COULD BE APPLIED TO DIFFERENT MATERIALS, AND HOW IT CAN BE MANIPULATED TO INFUSE WITH ARCHITECTURAL ELEMENTS. MY PROJECT COVERED THREE DIFFERENT ASPECTS: APPLICATION, COLOUR AND TECHNIQUE. I APPLIED PAINT IN A SERIES OF WAYS THAT CHANGED AS THE STUDIO PROGRESSED, EXPLORED A RANGE OF COLOUR SCHEMES, AND DEVELOPED A DISTINCTIVE TECHNIQUE WHICH COULD BE USED AS A BUILDING SPECIFICATION IN THE INDUSTRY. THE TRIAL AND ERROR STUDIO WAS AN INFORMATIVE WAY TO LEARN ABOUT THE REAL LIFE ISSUES IN ARCHITECTURAL PRACTICE,. IF I WERE TO FURTHER THIS PROJECT, I WOULD LOOK BEYOND THE APPLICATION OF PAINT MANUALLY, TO MANIPULATING IT DIGITALLY, AND PERHAPS DEVELOPING A NEW ARCHITECTURAL LANGUAGE.