Equally (Un)Equal

EQUALLY (UN)EQUAL III

Shelby Christensen

Architecture is explored here through three approaches and techniques towards creating form, along with three different drawing and representation styles.

First is coinciding with the ideas of:

Indifference, which is an ambiguity between fact and fiction, using found materials and ready mades to performance in new ways. In all of the drawings the exterior and interiors are indifferent to each other and self contained. The mezzanine hovers above with no connection to the exterior walls. The use of renaissance architectural elements is playful, and ironic and the object or “chuck” itself is placed on the ground with no foundational connections, separating itself from the context.

Forms of estrangement was interested in the defamiliarization of an architecture. By this it is meant to not reveal the true essence of the object. By using texture mapping as the main driver, spaces beyond the architecture are eluded to. Adding to the allure, and strangeness of what the image actually is. The drawings all take on a life of their own. The transition and experience from outside to inside are made different through these tensions.

The next form is driven by the idea of ambivalence, which is interested in an object or objects doing more than one thing. The objects choosen for this are quite banal and ordinary in and of themselves but start to have and create larger and different conversations based on the surrounding objects. The placing of these objects starts to create spacing through techniques of sorting aggregations. Relational aesthetics are revealed in order to collect and interpret connections between objects both at the scale of the individual objects and the aggregation as a whole.

Overall these forms alter and intensify an aesthetic relationship between things but not necessarily revealing a deeper or more essential truth.

Indifference Estrangement Ambivalence