Notes on studio practice, exploring architectural ‘form-finding’ experiments & scaling.
Questions: What is the relationship between hook size and thread density? How does it impact upon the aesthetic of the form and it’s structural integrity?
Radius of 12, Hexagonal Division Prism
Construction begins from the centre and moves outwards as larger layers are woven and incorporated into the structure. The design is self similar as it moves from one scale to the next, however the centre piece is inverted to show what the ‘underside’ of the outer form might look like. During the construction of the centre piece, the form was initally self-standing and became morphed (and in some respects de-formed) from the addition of outer layers. Notably the 2nd, outer devision of the 2nd internal layer pulled the previously freestanding upward centre chords towards the back of the structure. Variables such as the length of the chord between the layers, along with the staring and ending points for the logarithmic spiral constructions (I sometimes refer to these as ‘pannels’) are factors which effect this morphing of the ‘final’ structure.
These elements pertaining to the relationships between aspects of self-similar crocheted froms has lead to a further detailed study which attempts to mitigate these factors. The observations are subtle progressions towards a better understanding of the material language of the practice. This knowledge will in turn inform material studies on larger scales as I continue to adapt structural designs for large-scale applications.
Colour & Affect
What effect does the cerebral material with which my mind engages while i work have upon the practice? In the case of Carapace, the colours are inspired by a particularly visceral scene in “Words of Radiance” by Brandon Sanderson, describing a chasm creature’s thick shell scraping against rocks. The word “carapace” was interesting to me and after some googling I found myself looking at crab shells. I started to think about the tension, or maybe irony, in depicting a “shell” or “carapace” – which is a hard thing – in a soft material. I decided to apply the concept within the work, echoing the concept of a fleshy centre and hard outer shell in the colours & (to some extent) textures of the work.
*Note. To ensure as much ‘sameness’ in these ‘self-similar’ forms as possible colour continuity is of primary importance. As a result factors of colour availability are taken into account when determining gradients. If there is not enough of a material to be used x times over throughout the different panels, then i will re-engineer the colour pallet.
Sample Study 1:
2.5mm hook, 12 nodes, Tetrahedron/Equilateral Triangle division.
Sample Study 2:
2.5mm hook, Open Cube Construction, 5 of 6 sides
2.5mm hook, Closed Cube Construction, 6 of 6 sides
2.5mm & 3.5mm layers, Closed/Open Cube Construction, 8/12 sides
2.5mm & 3.5mm layers, Closed/Open Cube Construction, 9/12 sides
Sample Study 3:
2mm & 3mm layers, Tetrahedron division embedded within Cube division
Texture aims to emulate ‘shininess’ coming out of the ‘fuzzyness’
Thicker tubes leads to immediate increase in structural stability
Interesting to observe how the size of the tube sits in relation to the dispersal point and dispersion radius.
Dispersion radius determines how internal section sits, for example whether the components are pulled inwards or outwards from the centre.
Sample Study 4:
2mm construction, tetrahedron division
Sample Study 4 embedded in Sample Study 1
Sample Study 5:
3mm, 4mm & 6mm layers, Cube Division