P1.4 - Shadow Studies

Project 1: Shadow Studies 1

School: University of Michigan

Class: UG1 (Architectural Design 1)

Image A

Model 1

The use of shadow studies provided me with a platform upon which to find new information in the layered volumes of the wire models. By using the contrasts between light and shadow in the images I began to imagine the appearance of a mass that contained one of these models  at its core. 

For Example:

In image A I took model 1 and created this shadow. If the white is considered a solid and the black considered void, you can begin to imagine a mass that contains a flute of void within it.

To better illustrate the topic: to construct my next model I focused on bringing to life the yellow portions of this image.

Model 2

The shadow studies of this model allowed me to venture further into the components of the flute-like void. By looking at the openings suggested by the shadows and the section-like effect of the studies I was able to examine the interior space of this void.

The steps that followed the shadow studies consisted of putting into construction a model that would amalgamate the two voids encountered in the shadow studies. This model was to explore in negative what the wire models sought to expose, the capturing of volumes of light in the painting Gray Tree. The new model would attempt to capture light masses by creating voids within itself and displaying those through another set of shadow studies.

P1.3 - Gray Tree Explorational Models

Project 1: Process Models 2

School: University of Michigan

Class: UG1 (Architectural Design 1)

The Models were continued, now incorporating metallic wire mesh to provide the creation of volumes with differences in texture and transmission of light as perceived in their respective fragments of the painting Gray Tree. After being finished, the models were the subjects of a light study that began, through the use of shadows, to determine the massing for the future models. 




Model 1

Model 2

 

P1.2 - Gray Tree Explorational Models

Project 1: Process Models 1


School: University of Michigan

Class: UG1 (Architectural Design 1)

After visiting the painting Gray Tree by Piet Mondrian in an attempt to decipher a possible three dimensional iteration, I've arrived at the following models:

Model 2 Crop

Model 2

Model 2

Model 1 Crop

Model 1

Model 1

     Each explaining the concepts from the images as described on the post "Looking at Gray Tree…" The attempt looked at ways of peeling away layers from the painting and placing them in a composition that describes the possible volumes encountered between the limbs of the tree. As if investigating the volumes of light that appear when sunlight passes through fog  under the shadow of a tree, the models change depending on your point of view; rotationally revealing and concealing layered and volumetric conditions within them. Again, it's only the first iteration…

     In response to this exercise I've discovered that the painting Gray Tree can be seen to have a multilingual composition. The brush strokes, color, changes in texture, lines, and the artist's systems of interpretation provided me with possibilities to create spaces within the models that explored various light conditions and volumetric connections. The painting, within my own exploration, requires me to further develop the models in order to discover the volumes that exists in the perimeter of their respective images. By enclosing more volumes and discovering ways to accurately portray the textures created by the brushstrokes I will expand the scope of the models and move to their second iterations.

P1 - Looking at Gray Tree by Piet Mondrian

Project 1

School:    Univeristy of Michigan 

Class:      UG1 (Architectural Design 1)

Gray Tree by Piet Mondrian

     The initial reaction to the Gray Tree might often be one of confusion; The brush strokes and unusual color patterns are hard for the brain to sew together into a recognizable image, the only discernible aspect amidst all its chaos becomes the central congregation of dark lines into a large shape that forces the mind to semi-comprehend a trunk with emanating branches. 

     The reason for the confusing nature of the painting is because it works reverse to reality, instead of recognizing the solid mass that it frames, it is recognizing the space that encompasses its surroundings. Every volume, streak, and profile that surrounds the shape of this "tree" is recognized and given three dimensional form alluding more to sets of fractures on a solid rather than tree. 

     The specific nature of a tree is that of a light construction versus dense occupation. The construction of its trunk, emanating form the starkly contrasting earth and then every one of its branches becoming lighter and more airy as they reach away from the trunk, force the recognition of a volume of air that exits under and in between each of its members rather than the tree itself. The only quality that allows the tree to read as a solid mass is found in its lightest elements, the leaves. The leaves enclose and provide a barrier from the surrounding spaces, a quality which highlights the volumes formed within its construction and communicates differently within the tree's volume than outside of it. In the Gray Tree, Piet Mondrian captures the spatial presence of the tree by solidifying those volumes it holds within its members, and instead of using leaves he uses darker shades, texture, and changes in color to provide the means to mass them. 

     This type of spatial recognition allows the viewer to freely assign depth to the volumes and read them in a variety of ways. Among the arguably dozens of ways that he treats the volumes within the tree, three can be easily recognized. 

     First, from the center to the leftmost edge of the frame it can be observed that the texture used on the surrounding volumes is that of grainy lines that move slightly offset from the vertical. This method of solidification of air volumes might indicate a different light condition, possibly harsher and more dense, than on the other areas. 

     Second, from the center to the rightmost edge of the frame we encounter a smoother more modulated approach to solidifying the air volumes. This method allows the stokes to follow the movement of the black lines or "branches" in a semi-dark shade while also using light patches of color to highlight small volumes. This might also indicate a different light condition, one that is filtered through elements such as leaves or the branches themselves as it emanates from left to right.  

     Lastly, when portraying the volume of the central dark element or "trunk" there are differences in shape that are attempted to be recorded through the use of lighter shades. These might serve as a transition between the conditions in the left and right of the painting, providing a visual connection across the central element and enriching the interpretation of how the volumes of air move around the tree.


Assignment:
Build up the given image in your considered fragments. With at least 8 layers, build up the image working from foreground to background. Decide which elements, and proportions of the spaces are in front or behind one another. What sort of depths are at play? What is the mass? Maintain the forms and feel of the starting image, but be inventive with the figures. Set rules of translation such as: is a dark form a solid? What does the grain of the grey mean to the form? What is near? Far? A diagonal? The edge?


Well, on to modeling...