limitation trial and error ARCH DES 300 semester one 2016 kimberley leonard 6505325 University of Auckland
I:CHING 60. Chieh / limitation above, K’an, The Abysmal, Water below, Tui, The Joyous, Lake The Judgement limitation. success. galling limitation must not be persevered in. The Image water over lake: the image of Limitation thus the superior man creates number and measure, and examines the nature of virtue and correct conduct. The lines Nine at the beginning means: not going out of the door and the courtyard is without blame Nine in the fifth place means: sweet limitation brings good fortune. good brings esteem. Six at the top means: galling limitation. perserverance brings misfortune. remorse disappears.
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limitation
CONTENTS introduction
doodle
/ 001
/ 003
make 6 things (2D)
/ 016
continue making things (3D)
44 coffee cups
/ 068
exhibition assembly
exhibition
modesty
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/ 084
/ 092
/ 042
DESIGNING ARCHITECTURE BY CHANCE Through an exploration of the role of chance in architecture and creative design work - FROM THE HIGHLY THEORETICAL TO THE ENTIRELY INSTINCTIVE. WE WERE QUESTIONED WITH, WHAT ROLES DOES CHANCE REALLY PLAY IN THE CREATIVE PROCESS? ISN’T IT ALL ABOUT RISK? HOW DO YOU MAKE A MAD EXPERIMENT USEFUL? HOW DO YOU ASSEMBLE A PROJECT OUT OF THE MORE OR LESS RANDOM STUFF YOUR TUTORS MAKE YOU DO? a considerable factor for this paper to work is to put in all efforts to create weirdly realistic objects that are also developed under the idea of trial and error, and being able to recognise what has worked, what hasn’t and also what could become of the successful pieces. I sought my tool of generating chance through the use of I:Ching and with the help of John Cage’s elaborate translations. I:Ching, an ancient Asian philosophy was used as a tool to generate randomisation. By asking ‘Ching’ a question it would then generate you with an answer, the answer would not be a direct yes, no, or infact directly answer the question. However this philosophical grid of 64 answers allowed for 64 different possibilities for each question asked, and the answers could be understood metaphorically or taken at more of a selection method. I initially started to generate works from my interpretation of what I read from the answers to see and understand how my imagination would work alongside the conscious and unconscious mind.
001 / introduction / limitation / kimberley leonard
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kimberley leonard / limitation / i:ching grid / 002
A0 DOODLE tools: a0 paper (2x a1 sheets) black pen (staedtler - 0.1 & 0.3 & 0.5) charcoal stick direction: using readily available materials create an a0 doodle.
003 / doodle / limitation / kimberley leonard
doodle kimberley leonard / doodle / i:ching grid / 004
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DOODLE ONE tools: a1 paper black pen (staedtler - 0.1 & 0.3 & 0.5) direction: for this doodle I generated non-recognisable organic forms, I would work on a small portion of the page and once I felt bored, uniterested or if I was trying to control too much while drawings that area I would rotate the page and also change the pen i was using to a different point. while working I tried to work the subconscious of my brain, not thinking about what I was creating but to create a true doodle of nothing.
007 / doodle one / limitation / kimberley leonard
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kimberley leonard / limitation / doodle one / 008
DOODLE TWO tools: a1 paper black charcoal stick direction: it was initially hard to explain how I created my doodle, the chalk one especially, because I wasn’t thinking about what shapes I was making, I was just trying to get the medium onto the paper and letting my arm control and restrict the movements that created the doodle. for this doodle I re-generated the non-recognisable organic forms, the were created in my first doodle. these forms were created from the restrictions that from my arm, to hand, to the grasp holding the tool (charcoal). I let held the charcoal stick in my hand and let it roll between my thumb and index finger, making sure the only movement from myself was in my fingers I stuck my elbow in the same position as a central point of rotation. I continued this movement, moving my elbow through out the page when I had run out of extra space to put my hand. I did not finish this drawing at any desired time, I continued until my hand begin to fatigue from the repetitive small movements that it was generating.
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009 / doodle two / limitation / kimberley leonard
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kimberley leonard / limitation / doodle two / 010
DOODLE COMPOSITIONS direction: using the forms generated in my initial doodles I created compositions exploring depth through variations of 2D layering
011 / doodle compositions/ limitation / kimberley leonard
COMPOSITION 1
COMPOSITION 2
COMPOSITION 3
kimberley leonard / limitation / doodle compositions / 012
“you’ll need a copy of the i:ching to help make decisions for you”
/ kester rattenbury 2016
013 / feedback from kester/ limitation / kimberley leonard
“The hand-eye-mind connection in drawing is natural and fluent, as if the pencil were a bridge that mediates between two realities, and the focus can constantly be shifted between the physical drawing and the non-existent object in the mental space that the drawing depicts.� (Juhani .Pallasmaa, The Thinking Hand, 2009, p60)
kimberley leonard / limitation / the thinking hand / 014
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make things,
kimberley leonard / limitation / make 6 things / 016
“ you should not set out to make them drawings ‘of’ anything. They will be what ever they turn out to be (and almost never what you were planning) ”
/ kester rattenbury 2016 kimberley leonard / limitation / feedback from kester / 018
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Using I:Ching as a metaphoric tool:
Q: WHEN MAKING, HOW CAN HAND MOVEMENTS BE INFLUENCED?
019 / making things 2D/ limitation / kimberley leonard
39. Chien / Obstruction above K’an The Abysmal, Water below Ken Keeping Still, Mountain The Judgement Obstruction. The southwest furthers. The northeast does not further. It furthers one to see the great man. Perseverance brings good fortune. The Image Water on the mountain: The image of Obstruction. Thus the superior man turns his attention to himself And molds his character. The Lines Six in the second place means: The king’s servant is beset by obstruction upon obstruction, But it is not his own fault. Six at the top means: Going leads to obstructions, Coming leads to great good fortune. It furthers one to see the great man.
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57. Sun / The Gentle (The Penetrating, Wind) above Sun The Gentle, Wind below Sun The Gentle, Wind The Judgement The Gentle. Success through what is small. It furthers one to have somewhere to go. It furthers one to see the great man. The Image Winds following one upon the other: The image of the Gently Penetrating. Thus the superior man Spreads his commands abroad And carries out his undertakings.
kimberley leonard / limitation / making things 2D / 020
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Q: WHAT SCALE PAPER SHOULD I USE?
63. Chi Chi / After Completion above K’an The Abysmal, Water below Li The Clinging, Flame The Judgement After Completion. Success in small matters. Perseverance furthers. At the beginning good fortune, At the end disorder.
021 / making things 2D/ limitation / kimberley leonard
The Image Water over fire: the image of the condition In After Completion. Thus the superior man Takes thought of misfortune And arms himself against it in advance.
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3. Chun / Difficulty at the Beginning above K’an The Abysmal, Water below Chen The Arousing, Thunder The Judgement Difficulty at the Beginning works supreme success, Furthering through perseverance. Nothing should be undertaken. It furthers one to appoint helpers. The Image Clouds and thunder: The image of Difficulty at the Beginning. Thus the superior man Brings order out of confusion. The Lines Six in the second place means: Difficulties pile up. Horse and wagon part. He is not a robber; He wants to woo when the time comes. The maiden is chaste, She does not pledge herself. Ten years--then she pledges herself. Six in the fourth place means: Horse and wagon part. Strive for union. To go brings good fortune. Everything acts to further. Nine in the fifth place means: Difficulties in blessing. A little perseverance brings good fortune. Great perseverance brings misfortune.
kimberley leonard / limitation / making things 2D / 022
“you must KEEP asking questions�
/ kester rattenbury 2016
023 / feedback from kester/ limitation / kimberley leonard
41. Sun / Decrease
41 above Ken Keeping Still, Mountain below Tui The Joyous, Lake
The Judgement Decrease combined with sincerity Brings about supreme good fortune Without blame. One may be persevering in this. It furthers one to undertake something. How is this to be carried out? One may use two small bowls for the sacrifice. The Image At the foot of the mountain, the lake: The image of Decrease. Thus the superior man controls his anger
sunset 9/3/16 7:43pm
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Q: WHAT TIME SHOULD I BEGIN MAKING MY 2D THINGS?
27. I / The Corners of the Mouth
above Ken Keeping Still, Mountain below Chen The Arousing, Thunder
The Judgement The Corners of the Mouth. Perseverance brings good fortune. Pay heed to the providing of nourishment And to what a man seeks To fill his own mouth with. The Image At the foot of the mountain, thunder: The image of Providing Nourishment. Thus the superior man is careful of his words And temperate in eating and drinking. The Lines Nine at the beginning means: You let your magic tortoise go, And look at me with the corners of your mouth drooping. Misfortune. Six in the second place means: Turning to the summit for nourishment, Deviating from the path To seek nourishment from the hill. Continuing to do this brings misfortune. Six in the third place means: Turning away from nourishment. Perseverance brings misfortune. Do not act thus for ten years. Nothing serves to further.
kimberley leonard / limitation / making things 2D / 024
Q: CAN I BEGIN DEVELOPING SOMETHING ELSE?
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28. Ta Kuo / Preponderance of the Great above Tui The Joyous, Lake below Sun The Gentle, Wind
The Judgement Preponderance of the Great. The ridgepole sags to the breaking point. It furthers one to have somewhere to go. Success.
The Image The lake rises above the trees: The image of Preponderance of the Great. Thus the superior man, when he stands alone, Is unconcerned, And if he has to renounce the world, He is undaunted.
PAINTING PROCESS
025 / making things 2D / limitation / kimberley leonard
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THING ONE:
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MAKING THINGS (2D) I translated I:Ching 28 ‘success in small matters’ to be several makings of the same thing, of things involving similar processes. After receiving the answer ‘when time comes’ that influenced the question that followed for what time to begin working, the randomisation of I:Ching gave me the answer of sunset, however needing to make several small matters I tried to ensure I could start on something else, from which I translated ‘preponderance of the great to allow development of my 2D ‘things’. understanding ‘the superior man... stands alone’ using similar concepts of making with bodily gestures I grabbed black paint, which was a material in reach and generated a series of fast paced movement painting. I ensured that I did not think about what I was painting, but tried to doodle with paint, translating more the movement of the application of the media. kimberley leonard / limitation / making things 2D / 026
027 / making things 2D / limitation / kimberley leonard
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43. Kuai / Break-through (Resoluteness) above Tui The Joyous, Lake below Ch’ien The Creative, Heaven The Judgement Break-through. One must resolutely make the matter known At the court of the king. It must be announced truthfully. Danger. It is necessary to notify one’s own city. It does not further to resort to arms. It furthers one to undertake something. The Image The lake has risen up to heaven: The image of Break-through. Thus the superior man Dispenses riches downward And refrains from resting on his virtue.
kimberley leonard / limitation / making things 2D / 028
PAINTING PROCESS
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MAKING THINGS (2D) translating I:Ching 43, I took the same process, for which is the ‘superior man’, I had been using to make the previous ‘makings’ and tried to ‘make the matter known’ by minimalising the material. using one colour paint, white, which was the same as the paper I hoped this would show more effect about the movement the material had when applied to the paper. however this did not work to the full potential I had hoped it would.
029 / making things 2D / limitation / kimberley leonard
THING THREE:
kimberley leonard / limitation / making things 2D / 030
031 / making things 2D / limitation / kimberley leonard
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Q: HAVE I FINISHED THIS?
36. Ming I / Darkening of the Light above K’un The Receptive, Earth below Li The Clinging, Flame The Judgement Darkening of the Light. In adversity It furthers one to be persevering.
The Image The light has sunk into the earth: The image of Darkening of the Light. Thus does the superior man live with the great mass: He veils his light, yet still shines.
kimberley leonard / limitation / making things 2D / 032
MAKING THINGS (2D) translating I:Ching 36, I simply took the ‘darkening of the light’by using darker greys and black over top of the ‘light’ white painting to highlight or darken the movement of the painting.
033 / making things 2D / limitation / kimberley leonard
REMAKING THING 3:
kimberley leonard / limitation / making things 2D / 034
035 / making things 2D / limitation / kimberley leonard
“do not worry if things are weird or unstable�
/ kester rattenbury 2016
kimberley leonard / limitation / feedback from kester / 036
44 Q: HOW SHOULD I MAKE MY NEXT APPROACH?
44. Kou / Coming to Meet above Ch’ien The Creative, Heaven below Sun The Gentle, Wind The Judgement Coming to Meet. The maiden is powerful. One should not marry such a maiden. The Image Under heaven, wind: The image of Coming to Meet. Thus does the prince act when disseminating his commands And proclaiming them to the four quarters of heaven. The Lines Nine at the top means: He comes to meet with his horns. Humiliation. No blame.
037 / making things 2D / limitation / kimberley leonard
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6. Sung / Conflict above Ch’ien The Creative, Heaven below K’an The Abysmal, Water The Judgement Conflict. You are sincere And are being obstructed. A cautious halt halfway brings good fortune. Going through to the end brings misfortune. It furthers one to see the great man. It does not further one to cross the great water. The Image Heaven and water go their opposite ways: The image of Conflict. Thus in all his transactions the superior man Carefully considers the beginning.
kimberley leonard / limitation / making things 2D / 038
sunset 7:43pm
MAKING THINGS (2D) as I:Ching had previously told me to start working at sunset, I began this series of paintings at sunset, which according to google was 7:43pm. MAKING THING 4: STEP 1. White paint was initially used, same material as previously used.
039 / making things 2D / limitation / kimberley leonard
MAKING THING 4: STEP 2. In contrast to the white paint, black charcoal representing ‘wind’, was then added for ‘a cautious halt halfway’
MAKING THING 4: STEP 3. The charcoal was continuously added highlighting an ‘opposite’ contrast to the beginning.
kimberley leonard / limitation / making things 2D / 040
“paper is banned�
/ kester rattenbury 2016
041 / feedback from kester / limitation / kimberley leonard
continue making things,
3D kimberley leonard / limitation / making things 3D / 042
“we want you to enjoy it, be bored by it, understand it, not understand it, love it and hate it, all at the same time� / kester rattenbury 2016
MAKING THINGS (3D) for my 3D ‘things’ I decided to use I:Ching as a way of randomising the combination of materials I used. the materials chosen were ones that I already have. using the same numerical grid that is from I:Ching, I would then ask ‘ching’ what materials I should use, and based on the allocated material to that number the use of materials and combinations of materials became extremely randomised.as colour had not been a strong selective influence I decided to make that an option for the grid randomisation, however no colours were chosen
045 / making things 3D / limitation / kimberley leonard
clay
clay
clay clay
wax wax wax
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string
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string
plastic
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foam
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paint
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paint
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foil foil
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cardboard
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cardboard
cardboard
wood
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white
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thick (heavy)
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Q: WHAT MATERIALS SHOULD I BEGIN TO USE?
8. Pi / Holding together
WAX with wax the material randomly chosen I decided it was best to develop forms by melting the wax. I used wax that had a melting point of 57.c. The process involved for melting the wax was to have it in a foil bowl that would sit above a boiling pot. this would ensure a constant heat without the wax becoming directly burnt. a total of 10kg of wax was used.
047 / making things 3D / limitation / kimberley leonard
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pour 100ml of wax into the foil bowl
ensuring the water in the pot stays at a constant temperature above 57.c the wax will naturally melt into liquid form
wait for all wax pallets to melt, ensuring for a smooth liquid texture
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Q: WHAT MATERIAL SHOULD REPLACE PLASTIC? 38. Ku’ei / Opposition
20. Kuan / Contemplation (View)
PLASTIC
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initially I:Ching gave me plastic as my second material, however due to the hot temperature of the wax, when trying to use a plastic sheet as a mold for the wax to dry, the sheet melted, resulting in a mess of materials. this demonstrates that sometimes the randomisation of materials as a combination does need to be controlled.
I:Ching then generated the second material to be foil, when creating the molds from the foil for the wax to be poured into I created organic bowl molds with similar qualities to forms in doodle one and two.
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tear off approx. an a4 size sheet of tin foil
folding over the edges of the sheets, this will create the sides of the organic formed bowl
pour the melted wax from the toil bowl into the made tin foil organic form, this will then cool down and solidify at room temperature kimberley leonard / limitation / making things 3D / 048
final forms created from the tin foil bowls, some of the tin foil was left on the wax molds as they dried and set into their molds and the foil could not always be removed.
049 / making things 3D / limitation / kimberley leonard
these 3D objects had a great translucency to the material, when in sun light this contrasted the solid shadows that the tin foil created.
kimberley leonard / limitation / making things 3D / 050
051 / making things 3D / limitation / kimberley leonard
“we don’t want you to be doing something because you think it is better or nicer or more beautiful than something else. all of your work will be beautiful and ugly, good and bad, interesting and boring, succeeding and failing, all at the same time�
/ kester rattenbury 2016
kimberley leonard / limitation / feedback from kester / 052
28 Q: WHAT MATERIALS CAN REDEVELOP THE WAX FORMS? 28. Ta Kuo / Preponderance of the Great
PAINT
with beautiful wax doodle re-creations I wanted to explore what other materials could create dynamic volumes. I:Ching generated my material choice as the single medium of paint, as plastic could not previously be used I decided to apply the painted object onto plastic sheets, when dry this would allow the paint to peel of the plastic and become its own object. however as the plastic was not very absorbant, this thicker paint did take a longer period to dry, which did not allow for quick response in molding how it could dry.
053 / making things 3D / limitation / kimberley leonard
once dry, the paint forms had a shiny texture, however, they did not want to become re-shaped. instead when trying to mold them with my hands, they were flexible to move around, but once they were left on a flat surface they would expand back to their flat state. the dried paint was a fun material to play with, however they did not create an interesting volume of the form that I was hoping for. This was an ‘error’ in method of material, and maybe another drying method, or if it was used in combination with another material could create more of a solid object.
kimberley leonard / limitation / making things 3D / 054
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3. Chun / Difficulty at the Beginning
CLAY a second material I:Ching generated to use, was clay, because of the moldable quality of the material, I decided not to ask I:Ching if it should be used with any other material but tried to develop a gesture that would create similar shapes and forms to the clay objects created, while each remaining unique. with simple hand gestures in mind I molded several clay organic tiles. these steps included: 1.‘warming’ the clay up by rolling it into a ball 2. using both hands, clamping the clay ball down the flat it out 3. stroking/sliding the clay tile, encouraging a curvaceous shape to be created by pushing the clay don the palm of both hands
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055 / making things 3D / limitation / kimberley leonard
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several clay tiles were generated, however there was an error in the drying process, as Auckland is normally of a high humidity in climate, I did not add any moisture to the clay tiles when molding them, and due to their varying, delicate thickness this did lead most of the tiles to excessively dry out and crack.
I did enjoy the quality that was held in each of these tiles, comparatively to standard housing tiles, these still held the same organic value in the sense each tile was different in size, shape and also thickness, where they would each have moments of being very thin and delicate to then becoming a thicker and more solid form.
kimberley leonard / limitation / making things 3D / 056
Q: WHAT MATERIALS SHOULD I USE NEXT? 54. Kuei Mei / The Marrying Maiden
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I:Ching then directed me to use wire, the process to create the final wire balls happened more as a ‘mistake’ in process, initally I tried to create the simple outline shape of my doodle’s, however, the excessive amount of material lead me to continue winding and winding the wire, resulting in more of a ball effect than an organic tile or form.
057 / making things 3D / limitation / kimberley leonard
Q: HOW MANY WIRE BALLS SHOULD I CREATE? 47
OPRESSION (EXHAUSTION) I translated this to be the finish
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FOLLOWING I made a total of 17 rope balls
completed wire balls are self hung, the light weight, flexible material was very easy to work with while also holding its shape
kimberley leonard / limitation / making things 3D / 058
34. Ta Chuang / The Power of the Great
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with the single material choice of rope, I chose to use the same method to construct objects as previously done with the wire. the use of a different material did create somewhat a different outcome for the object. although both of the objects (wire ad rope) are aesthetically similar, the material difference of the soft rope gives the final ball much more of a solid weight, compared to the airiness of the solid wire ball.
059 / making things 3D / limitation / kimberley leonard
HOW MANY ROPE BALLS SHOULD I CREATE? 27 21
CORNERS OF THE MOUTH I made a total of 27 rope balls
BITING THROUGH I translated this to be the ‘bite’ or end/finish
kimberley leonard / limitation / making things 3D / 060
061 / making things 3D / limitation / kimberley leonard
“keep going�
/ kester rattenbury 2016 kimberley leonard / limitation / feedback from kester / 062
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Q: WHAT MATERIALS CAN RE-CONSTRUCT MY DOODLE? 53. Chien / Development (Gradual Progress)
WIRE
23 FOAM
23. Po / Splitting Apart
063 / making things 3D / limitation / kimberley leonard
WHAT CAN REPLACE FOAM?
I decided not to use foam,with the 1:1 scale of making I wanted to try and keep forming with my hands rather than crafting tool to hand.
6 64. Wei Chi / Before Completion
TRANSPARENT (LIGHT)
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after recreating the woven balls I wanted to try and further develop the initial organic doodle forms, using the wire as a frame, I then wrapped several strips of tracing paper around these frames and used paper mache ensuring the frame held the solid object.
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“up the ambition: up the output�
/ kester rattenbury, 2016
067 / feedback from kester/ limitation / kimberley leonard
44 coffee cups, kimberley leonard / limitation / 44 coffee cups / 068
“this paradoxical simultaneity of forgetting and knowing, learning and unlearning, is conceivable when we understand the fundemental unconcious and collaborative nature of any artistic or creative endeavour�
(Juhani .Pallasmaa, The Thinking Hand, 2009, p145)
kimberley leonard / limitation / the thinking hand / 70
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(RE)MAKING THINGS (3D) my hands became a wonderful tool of making, forming and generating. while developing and constructing combinations of materials to become these strange and unusual forms there was a strong sense of production from materials that are commonly used to craft, however I had not yet developed something that is commonly used for daily necessities, but it used as the objects full purpose and never seen as having another use. so without randomisation, but from a purely ‘strange’ idea, developed a similar process in which I created a process of molding coffee cups and aiming the final result to shape an unusual form. with the same process used to ‘mold’ the coffee cups they were guaranteed to look somewhat similar, which they did. however there was more than just the process of destroying the cups themselves. I began to collect the cups that I had used to drink my daily (sometimes twice daily) coffee from and using them as their own object. just like up-cycling in design and architecture, we often forget that there are many objects that are used daily for their own purpose that could also end up as a completely different purpose for some one else. not only did I also start to recognise how much takeaway coffee I consumed in a little more than a week, but I also realised the entirety of the process, to get the coffee cup. although some cups were also kindly donated by class mates.
071 / (re)making things 3D / limitation / kimberley leonard
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exhibition assembly
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“most designers... rarely make the objects they design themselves. Consequently, they need to understand the possibilities and limits of the matierals and crafts�
(Juhani .Pallasmaa, The Thinking Hand, 2009)
kimberley leonard / limitation / the thinking hand / 076
WAX SHINGLES
1:100
WHERE SHOULD THEY GO? I
decided to place this object in the first open bay, the double height space and north facing window was idealic for the translucsency of the wax materials, I was interested in how this would impact the material of the wax. yet there was no impact to the material
one of the most successful 3D ‘things’ made, I decided to apply the wax shingles to the studio space at a 1:1 scale. this process involved cutting chicken wire into the shape of my doodle, creating a doodle frame. the wax shingles were then punctured into the wire frame, and hung from a wooden pole, which was suspended from a cross beam in the
077 / wax shingles technical drawing / elevation 1:100 / limitation / kimberley leonard
1:100
kimberley leonard / limitation / elevation 1:100 / wax shingles technical drawing / 078
WIRE SHINGLES
1:100
WHERE SHOULD THEY GO? 12
STANDSTILL I translated this to be within the area that corresponds to 12 on the class I:Ching map, I also wanted to ensure that my objects would be hung at a stand still, with no moving interference
the wire frame shingles were self balancing and supported by two fine nylon threads, that were looped through each individual shingle. each shingle has a strong rigid quality to it, yet also appears as a light weight floating object. although ‘paper was banned’ the use of tracing paper enhanced the floating feather like qualities of the object.
079 / wire shingles technical drawing / elevation 1:100 / limitation / kimberley leonard
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63
40
12 56`
10 43
24 23
65
64
37
9 36
55` 54`
35 8
kimberley leonard / limitation / elevation 1:100 / wire shingles technical drawing / 080
44 COFFEE CUPS
1:50
HOW MANY COFFEE CUPS SHOULD I USE? 55
ABUNDANCE I translated this to be as many cups as I could find.
38
OPPOSITION contradicting the initial reading of ‘abundance’ I decided to use the opposition to take and amount away from the initial 55,
[3+8= 11, 55 -11 = 44]
WHERE SHOULD THEY GO? 44
OBSTRUCTION I translated this to interfere with the area that corresponds to 39 on the class I:Ching map
081 / 44 coffee cups / elevation 1:50 / limitation / kimberley leonard
1x 25mm stainless steel pin used per cup,
26 first cup pinned 25
15
41
1
30
5
36 14
19
40
7
20 6
2
21
39
16
13
4 32
34
9 8
3 31
18
42
23 10
27
17
37
11
43
33 29
12
24
44
22
38
35
28 direction of movement, showing where each following cup was pinned
kimberley leonard / limitation / elevation 1:50 / 44 coffee cups / 082
“this is not an imaginary project, IT’S A REAL ONE” / kester rattenbury, 2016
083 / feedback from kester / limitation / kimberley leonard
exhibition kimberley leonard / limitation / exhibition / 084
kimberley leonard / limitation / exhibition / 086
087 / exhibition / wax shingles / limitation / kimberley leonard
kimberley leonard / limitation / wax shingles / exhibition / 088
089 / exhibition / wax shingles / limitation / kimberley leonard
kimberley leonard / limitation / exhibition / wire shingles / 090
091 / exhibition / class planning diagram / kimberley leonard
5 1
modesty kimberley leonard / limitation / modesty/ 092
kimberley leonard / limitation / modesty / 094
1
doodle two doodle one wax shingles
crit starting point 43
JULIA CALLUM KIM CALLUM 9
19 KIM
RENEE
17
CALLUM
7
RENEE
21
24
27
17
SAM SAPHRON
64
CALLUM
56
59
7
JULIA
GAELLE 29 DAMIEN
4
50
DANIEL
40
6
CALLUM AMANDA CALLUM LAURA
BEN
53
EMILIO
CALLUM
MANON
RENEE
15
52
DANIEL 62
39 DANIEL
SAM
MANON GAELLE
KIM
2
JULIA
JULIA 23 BEN
8
16
48
30
LAURA
46
AALIHAH
RYAN BEN
18
MANON
37
DAMIEN
36
22
63
19
41
60
AALIHAH
crit finishing point
55
44
BEN
LAURA
30
12
ZINNIA
AALIHAH
49
RYAN JULIA
LAURA
DAMIEN
DAMIEN
57
ZINNIA
33 RYAN
DANIEL
20 BEN
28
25
DANIEL
CALLUM
35
1
17
CALLUM BEN
AMANDA
45
43
wire shingles
42 AMANDA EMILIO SAM CALLUM
AMANDA
31
43
44 coffee cups
EMILIO RENEE EMILIO DAMIEN EMILIO RENEE
26
KIM
CALLUM
AALIHAH EMILIO
11
MANON
RYAN DAMIEN SAPHRON LAURA KIM
KIM
13
DANIEL
58
38
61
54
10 ISABELLE
44 cups elevation
095/ modesty / exhibition space / floor plan 1: 200 / limitation / kimberley leonard
15
I:CHING TRANSLATION 15. Ch’ien / Modesty
above K’un The Receptive, Earth below K^en Keeping Still, Mountain The Judgement Modesty creates success. The superior man carries things through. The Image Within the earth, a mountain: The image of Modesty. Thus the superior man reduces that which is too much, And augments that which is too little. He weighs things and makes them equal. The Lines Nine in the third place means: A superior man of modesty and merit Carries things to conclusion. Good fortune. Six in the fifth place means: No boasting of wealth before one’s neighbor. It is favorable to attack with force. Nothing that would not further.
through out our years of study we are suggested to visit an architectural site to develop our knowledge and understanding what an actual site looks like at a 1:1 scale. this project of trial and error has allowed us to develop our knowledge and understanding of non-conventional architectural materials applied to our site (the studio space) at a scale of 1:1. during the final exhibition the issue of modesty became strong, with the final objects displaying in much more of a limited and smaller scale than other students work. with the work being installed at a 1:1 scale this made the true craft of the work evident. with some students using very larger scaled materials they were able to take advantage of the double height space where my wax shingles were displayed. initially I chose to display the wax object there as only one other person was displaying their work in this bay, however as more students realised the true advantage of this space it became fuller faster. this took away some of the delicate quality of the object. I was also interested in how the curtain glass walls would impact the material of the wax as the sun hit the wax shingles for most of the day. this however did not impact the weathering of the object. the brutal structure of the building evident in the exhibition became a very raw space to work with, much like the qualities of my objects. the structure and framework and main working components are visible through out the building, harmonising with the same raw qualities of the material, visible frames and attaching components through out the installed objects. through out “the thinking hand” it is discussed the growing use of the computer with the lack hands on craftmanship. I chose to use the computer to give clean and precise technical drawings. however the contruction of making at a 1:1 scale of the objects may have become more present in the craft through hand crafted drawings.
“the greater the work the more present the hand of the maker” (Juhan Pallasmaa, The Thinking Hand, 2009)
without having to worry about a metaphoric descriptive outcome for the architectural project, working at the 1:1 scale has involved the physicality of making the work, whilst exploring how the object and materials used reacted and interacted with the studio space before, during and after the exhibition.
kimberley leonard / limitation / modesty/ 096