The Nature of Architecture
Emilio Garcia
The Nature of Architecture
Emilio Garcia
10 The Studio & I-Ching 12 Doodle & Composition 18 Composition N° 1 20 Composition N° 2 22 Composition N° 3 24 Composition N° 4 26 Objects 30 Object N° 1 32 Object N° 2 36 Flora Terrazzo 38 Object N° 4 & N° 5 40 Object N ° 3 46 Object N ° 6 52 The “Curtain Wall” 56 The Exhibition 60 Exhibition Pieces Placement 62 Exhibition Bay One Concept 64 Exhibition Bay One 76 Brise-Soleil 78 Making of the Brise-Soleil 82 Exhibition Double Height Space 84 Poster Design N° 1 85 Poster Design N° 2 86 Multiple Print Poster 88 Exhibition Photos
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Th e Studio & I-Ching This portfolio is the result of a five week intensive studio ran by Kester Rattenbury (University of Westminister) and Kim Huynh (University of Auckland) titled Trial and Error. The studio respects the joy of chance and experiments with the idea of risks, trial, and error in architecture and the design process. Random compositional methods were used, in particular the ancient Chinese oracle the I Ching to generate work driven entirely by chance. The studio encourages large 1:1 scale physical making and installing, using unfamiliar, found, and readily available materials. These pieces were used to generate interesting architecture, and/or architectural elements that are highly theoretical but realistic at the same time.
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At the end, an exhibition was held to showcase the work generated by the students which required real world architectural skills like improvisation, problem solving, critical thinking, detailing, planning, project management, installation, and curatorial skills.
Th e s i x ty -four h ex a g ra m s of th e I-C h i ng b a s ed on ei g h t s y m b ol i c tri g ra m s .
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Doodles & Compositions
22 Grace
My doodle and compositions were inspired by the hexagram Grace. I was inspired by the grace of nature and of flowers so with only a pen and paper I started drawing natural curves. Avoiding straight lines. From memory I used two of my personal favourite flowers, Irises and Orchids as the subjects. The drawing started out abstract but developed into a controlled and composed drawing. In my compositions I reworked the floral motif and interpreted them in different medias. In ink and paint, gold and silver leaf, and as wallpaper.
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‘I ris es & Orch i d s ’ Pen on Pa p er, 594x841 m m .
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Do o d le
C o mp o si tion N° 1
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‘I ris es & Orch i d s N ° 1 ’ Pen , p a i nt, a nd col l a g e on Pa p er, 297 x 4 2 0 m m .
C o mp o si tion N° 2
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‘I r i s es & Orch i d s N ° 2 ’ Pe n a nd s i l v er l ea f on Pa p er, 29 7 x 4 2 0 m m .
C o mp o si tion N°3
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‘I r i s es & Orch i d s N ° 3 ’ Pe n, a nd g ol d l ea f on Pa p er, 29 7 x 4 2 0 m m .
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C o mp o si tion N째4
‘ Iri s es & Orch i d s ’ Wa l l p a p er.
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Objects
1 Creative
In the spirit of the hexagram Creative I used different processes to produce a variety of effects in these objects. Yet still intrigued by the floral motif. I began exploring how I could incorporate flowers to create innovative and durable materials. I used waste flowers from markets and pigmented resin to preserve the ephemeral nature of flowers. This resulted into something that is precious yet durable. The material created aesthetic qualities similar to the veins and fossils found on marble and other stone. I was inspired by the natural lines and folds and the preciousness of these flowers. I developed/ interpreted these qualities in different materials such as fabric and concrete. Throughout this process I consulted the I-Ching for further inspiration and instructions.
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‘Lavandula S p i ca’ Terra zzo Dehy drate d L a v a nd er, black oxide pig m ent, a nd res i n,
Ob je c t N째 1 NORSKI KLEER-KA S T R E S IN 12 D ROPS OF H A R DE NE R TINTED WITH 3 g O F 5 0 0 MARIGOLD OXID E PO WDE R
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HOLE
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5 MM B RASS PRO NG TAPER TO 2MM R OUNDED SECTI O N
B RAS S D I S C
5 M M B R A S S PR O NG TA PE R TO 2 M M R O U NDE D S E CTIO N
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C H RYS ANT HE MUM INDICUM C H RYS ANT HE MUM INDICUM C H RYS ANT HE MUM INDICUM LAVA NDULA SP ICA LAVA NDULA SP ICA R O S A DAMASCE NA B UD A R A U CAR IA HE T E R O P HYLLA FOL IA G E H E R BACE O US P E R E NNIAL H E R BACE O US P E R E NNIAL H E R BACE O US P E R E NNIAL
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01 02 03 04 05 06 07 08 09 10
01 02 03 04
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CHRY SANTHE MUM IND ICUM CHRY SANTHE MUM IND ICUM CHRY SANTHE MUM IND ICUM LAVA NDULA SPICA
Ob j ect N 째 1 , Wa s te fl ow ers , y el l ow ox i d e p i g m ent, a nd res i n.
Ob je c t N째 2
5M M BRA SS PRO N G TA PER TO 2M M RO UN D ED SEC TI O N
N O R S K I K L E E R - K AS T R E S IN 12 D R O P S O F HA R D E N E R T IN T E D WIT H 2g O F 318 B L AC K O X ID E P O WD E R
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D EH YD RATED LAVA N D ULA SPI C A ( 168H RS)
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5 MM BRASS ROD
Ob j ect N 째 2 , Wa s te fl ow ers , b l a ck ox i d e p i g m ent, a nd res i n.
Ab ov e, B efore a nd a fter s a nd i ng d ow n.
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Ri g h t, M ateri a l tra ns p a rency.
Flo ra Terraz zo
Top, A p p l i cati on of th e F l ora Terra zzo. A b ov e, Clo s e up of th e F l ora Terra zzo.
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Rig h t, Da v i d C h i p p erfi el d , Valenti no M ontena p ol eone Store.
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Ob je c t N째 4 & 5
O b j ect N 째 4 (G re y Pa i n t i n g), I nk , b l a ck ox i d e, g es s o, a p a g e f rom a b ook , ol d b ed s h eet, on b oa rd
O b j ect N 째 4 (Pi n k Pa i n t i n g), A cry l i c p a i nt, g es s o, g a uze t a p e, ca nv a s , w ood d ow el , on c a nv a s .
Ob je c t N째3
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Ha nd m oul d ed concrete, Bla ck ox i d e, concrete, a nd p l a s ti c s he ets .
CONCRETE
POUR
PLASTIC SHEET
COVER
SHAPE
CURE
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PEEL
M oul d i ng of concrete us i ng h a nd s .
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Ob je c t N째 6
O b j ect N 째 6 (G e s s o Fa b r i c), G es s o a nd L i nen s h eets .
LINEN
GESSO
DIP
HANG & DRY
N
O
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HANG & DRY
O nce ful l y d ry th e fa b ri c h a rd ens a nd reta i ns i t ’s d ra p es a nd fol d s .
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Th e “Cur tain Wall �
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I was interested in the literal idea of a curtain wall. This could be realised using precast concrete that have been moulded to have the drapes and folds of a curtain.
PRECAST CONCRETE PANELS
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Th e “Cur tain Wall ”
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OPEN
TENSILE MEMBRANE
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Or a tensile material that could be opened to reveal the interior of a building or closed from the elements.
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The Exhibition
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Exhibition M a s ter Pl a n with I Ch i ng Gri d Overl a y.
E xh ib i tion Pie c e s Plac e m e nt
Curtain Wall
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Bay One
Paintings
Brise-Soleil
th or
N
Doodle
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E xh ib i tion Bay One Co n c e p t
I n s ta l l ati on concep t, C h a rred s l eep er p l i nth s a nd va ri ous fl ow er res i n a rti fa cts .
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E xh ib i tion Bay One
Grey Painting 600mm x 840 mm x 6mm
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Weathered Macrocarpa Railway Sleeper
In C o l lab o rati o n wi th Dam i en Pe rr y a nd R e ne e d e Thi e rr y
Weathered Macrocarpa Railway Sleepers Various Dimensions (See Detail)
FLORAE ARCHITECTUS ARTIFACTS (See Detail)
Pink Painting 915mm x 610mm x 35mm
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Fi rs t B a y E x h i b i ti on S ecti on D ra w i ng S ca l e 1 :2 0 @ A3
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E xh ib i tion Bay One
An ep h em era l rep res entati on of th e ra i l w a y s l eep er s i l h ouette.
E xh ib i tion Bay One
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I Ching inspired me to use scent as an element of design. I became interested in stimulating the olfactory sense in my installation to help the audience to be more present when occupying the space. The incorporation of scent also helped attract the audience’s attention upon entering the space as well as from a far. Along with the sleepers’ natural fuely scent, I infused them with incense (Myrrh resin) & Jasmine to invoke a humid, dark forest, woodsy atmosphere.
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E xh ib i tion Bay One
Th e cut l i ne d i ctates th e up ri g h t s ta nd i ng a ng l e of th e ra i l w a y s l eep ers .
E xh ib i tion Bay One
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88째
87째
87째
89°
89°
88°
Sta nd i ng a ng l es of ra i l w a y s l eep ers a nd i t ’s g ra i n p ri nts .
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E xh ib i tion Bay One
Left, Gra i n p ri nts of ra i l w a y s l eep ers . A b ov e, Da v i d C h i p p erfi el d I nsta l l ati on “Sti cks & Stones ” at th e N eue N ati ona l g a l l eri e
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Bris e -S ole il
Left, Materi a l p ud d l i ng on th e fl oor. A b ov e, Bri s e S ol ei l Ins ta l l ati on Dra w i ng
Ma k in g o f the Bris e -S ol e i l
20mm
COTTON FABRIC
NYLON NETTING A b ov e, Rip 2 0 m m th i n ca l i co fa b ri c.
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Rig h t, Deta i l of ri p p ed p i ece of fa b ri c.
Ma k in g o f the Bris e -S ol e i l
NYLON NETTING
A b ov e, Pin th e ri p p ed p i ece of fa b ri c onto th e b l a ck netti ng .
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Rig h t, Ov er 1 5 m of fa b ri c w ere ri p p ed and p i nned on th e netti ng .
E xh ib i tion Double He i g ht Sp a c e
Rope Lashed On To Table Leg
Cotton Rope 4mm
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Black Nylon Tulle Netting Sewn On Pine Dowel With Black Cotton Thread
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Ripped Cotton Calico Varying Lengths, Width Apprx.20mm
Rope Hung Over X Brace
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Pine Dowel 20mm x 1400mm
Rope Lashed On To X Brace
Fabric Puddles On Floor 300mm
B ri s e S ol ei l Ins ta l l ati on S ecti on S ca l e 1 :5 0 @ A3
Po ste r De sign N째 1
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TRIAL & ERROR
DESIGNING ARCHITECTURE BY CHANCE 02
EXHIBITION
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W E D N E S D AY 6 T H A P R I L 4:00PM LV 4 S T U D I O
Po ste r De sign N째 2
TRIAL & ERROR OR D E S I G N I N G TARRICAHLI T& E CETR UR E BY CHANCE X HI ITBE I TCI O D E S I G N I N G A R CE H TNU R E B Y C H A N C E EXHIBITION
W E D N E S D AY 6 T H A P R I L 4:00PM L V 4 S W E D N E S D A Y 6 T H TAUPDRI IOL 4:00PM LV 4 S T U D I O
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Mul tiple Print Po ster
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DESIGNING ARCHITECTURE BY CHANCE 02
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TRIAL & ERROR
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Exhibition Photos
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Photos by Em i l i o Ga rci a an d Gaelle Dom i ng ue
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E xh ib i tion Photo s
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E xh ib i tion Photo s
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E xh ib i tion Photo s
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E xh ib i tion Photo s
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E xh ib i tion Photo s
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E xh ib i tion Photo s
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The End