Embedded Triangle

Catch up post from 2016, Embedded Triangle Design

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Test installation in the Art Building Foyer, Oct 2016

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Studies of Scale, pt2

Experiment 3, Moving towards complexity…

Aim: to add more elements without compromising the overall aesthetic.

Awareness of; starting points when joining structures (as determines curvature & can cause kinks/deformation)

Size, length & density of tubes in relation to layers

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3mm, 2 of 4 layers

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3mm & 4mm layers, 5 of 8 sides

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3mm & 4mm layers, 7 of 8 sides, Left: the free-standing form, Right: underside of form
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3mm, 4mm & 6mm layers, 10 of 12 sides

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3mm, 4mm & 6mm layers, 11 of 12 sides, Free-standing height of approx 30cm

Notes: No colour shift within the dispersal section allows for the form of these sections to aesthetically merge into one another.

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3mm, 4mm & 6mm layers, 11 of 12 sides, Free-standing height of approx 30cm
Left: front-view, Right: side-view

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3mm, 4mm & 6mm layers, 11 of 12 sides, Flattened, Top-down view

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3mm, 4mm & 6mm layers, 12 of 12 sides, Top-down view

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3mm, 4mm & 6mm layers, 12 of 12 sides, Side-views, Approx. 30cm free-standing height

 

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Studio View, University of Newcastle, Mon, April 18th, 2016

Studies of Scale, pt 1

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?

Experiment 1;

Carapace

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Reflections;

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.

 

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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.
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*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.
Experiment 2:

Prism Abstractions

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Sample Study 1:

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2.5mm hook, 12 nodes, Tetrahedron/Equilateral Triangle division.

 

Sample Study 2:

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2.5mm hook, Open Cube Construction, 5 of 6 sides

 

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2.5mm hook, Closed Cube Construction, 6 of 6 sides

 

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2.5mm & 3.5mm layers, Closed/Open Cube Construction, 8/12 sides

 

 

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2.5mm & 3.5mm layers, Closed/Open Cube Construction, 9/12 sides

 

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Sample Study 3:

Tetrahedron/Cube Abstraction

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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.

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Sample Study 4:

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2mm construction, tetrahedron division

 

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Sample Study 4 embedded in Sample Study 1

 

Sample Study 5:

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3mm, 4mm & 6mm layers, Cube Division

 

 

 

 

Large-Scale Installation

Branching patterns / Tetrahedron Abstractions

Translation & Distortion

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Original Concept, 2D representation, each vertex is intended to represent a tetrahedron prism.

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First iteration, lack of tension. Blue as a reference to “colour is information” post, non-mirroring of form due to lack of materials, the result is a singular tetrahedron abstraction.

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With tension applied.

The experiment has lead to this revised design concept…

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Again, each vertex represents a tetrahedron prism. The 6 top points would be tethered to environmental structures while 3 lower points would be pulled to the floor using weights.

I like the idea of using sand, sugar & flour, Ernesto Neto inspired, a poetic reference to things which ‘ground’ us & and a personal reference to the diet which fuels the creation of the work (staples, comfort & natural inspiration). I also like the idea that much like fiber, these substances can take on virtually any form when subjected to simple forces.

Web v1.0

One of my current works-in-progress is a composition of white phyllotaxis designs of varying sizes, drawing on concepts of weaving, mythology, space and science-fiction. The piece will be constructed in phases. I like to think of each individual design as representing an interval of time, emotions and thoughts. More will be added to the overall composition as stockpiles form of these translated time-periods.

The eventual ideal setting for its installation was initially envisioned as a big public space,  showcased at night accompanied by a projector with colourful, changing visuals.

After a brief chat with a colleague it became apparent that different fibers reflect light differently, some better than others, and I realized that before doing an initial test installation at uni, I should first do one in my studio.

So here’s a summary of the results:

Pre-production:
Initial construction composition (around 20 individual designs at this stage)
Sourcing of public domain projection footage; ‘The Thread of Life‘, ‘Sperm‘ and ‘Electric Sheep

White fluorescent light –

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‘The Thread of Life’ –

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Electric Sheep –

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(one of the more interesting results IMO)

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Sperm –
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[Back wall with shadows]
[[I found the footage itself quite beautiful, however underutilised in this application.]]