Assignment 2: Cube Model

This cube model was presented in class and is still at 601 Tully.

Sensory Cube Ideas Presentation

He is a link to some research I did for the sensory cube!

-Riley

https://docs.google.com/file/d/0B2IFUWhJEOhAM1pYeG5ENFdDOUk/edit

Walls Sky Floor- Leonardo Drew

Leonardo Drew

“Leonardo Drew is known for his dynamic large-scale sculptural installations. On the one hand, Drew’s sculptures can be seen as exercises in formalism rooted in the very experience of looking. On the other hand, these works explore memory by employing a wide range of material to evoke common elements of the human experience and of our diverse histories.” – Sikkema Jenkins Gallery

In his studio, 2008.

No. 8 1988

 

Detail, No.8, 1988

 

No. 43 1995

Each sculpture starts on the floor with a grid of some sort, white squares, for instance. He works on one section at a time, and as he does he keeps a television set (also drenched in rust-hued dust) going in the background. "I always have something on," he said. "It charges me. It gives me the sense that I'm connected to the world."

Close Up, No. 64, 1998.

“The immense, wall-sized 64  is composed of hundreds of small square boxes, each of which is stuffed or covered with bits of fabric, batting, threads, and scraps of lace and what might once have been quilts or rugs. As the full-scale photograph represents, from across the room, it appears like a huge, compartmentalized drawer for classification of small things. It's in your grandfather's workshop; in the dusty shop of an ancient someone selling sewing notions, trims and buttons. Unlike the dynamic works we've seen above, this piece actively casts off a sense of age. It's flatness is part of it and the fact that the material that protrudes from its surface is without suspense. It's filthy; it droops and hangs.”  

“The artist often ages his found and fabricated materials, employing a process that is physically and conceptually steeped in memory, history, and the passage of time. These disparate materials are often composed within a grid that organizes the chaos into an ordered structure. Deeply informed by the theory and practice of mid-twentieth-century abstraction, post-minimal and process art, Drew's emotionally-charged abstract compositions are evocative and carry both a metaphorical and historical weight. To encourage personal interpretation, Drew titles his works sequentially and explains that "the works in themselves should act as mirrors."

Number 26, 1992.

“Following the work as it weaves through space, the viewer must duck under an overhang to access its backmost iteration. Experienced from the inside, the structure becomes both a shelter and an obstruction: the relic of some portentous event past.” – Courtney Fiske, Artforum

No. 161 2012

 

A tutorial on moss

“got shade? Grow moss.”

-moss acres

Acrocarpous and Pleurocarpous

Acrocarps are usually unbranched and erect, forming a mounded colony. Acrocarps are slower growing than Pleurocarps.

Pleurocarps tend to grow in a freely branching fashion.

 

Acrocarps do not regenerate from fragments as quickly as pleurocarps, and due to the thickness of Acrocarp mosses they are less prone to weeds.

Pleurocarps quickly regenerate from broken fragments. 

Pleurocarps quick attachment to stone and growth rate makes them better for colonizing hard surfaces. Maintenance of Pleurocarps is easier due to their matting tendencies and low even profile, blowing debris off of them is easier. Pleurocarps can be used as a nursery for Acrocarps, once an area is colonized by these pioneer mosses, the slower growing Acrocarps can more easily spread.

Steps for growing

1. Remove any existing plants/ debris that are unwanted, (particularly weeds and grasses)

Grade and contour

 

2. Mosses are not particular about the type of soil they are planted in, but to ensure a successful growing rate and high reproduction mosses need to be able to attach to the soil and move across the surface easily.

Divide and fragment  

4. The tearing and shredding to divide or fragment signals the moss to begin new growth. The first order of business for the divisions or fragments is to re-anchor themselves to the surface.

Water and walk

-Spread the fragments onto the prepared and lightly scratched soil.

-Water to wet the first inch of soil and then press firmly to provide good contact.

-Water fragments 1-4 times a day and walk on top of plantings to keep their contact with the soil.

watering schedule

Months 1 and 2–water daily for up to two months to promote

growth.

Month 3–water every three days for one month.

Month 4–water once a week for one month.

Month 5–water twice a month then until the area is fully covered in moss.

After that, water only when rain has been absent for three weeks or more.

  

Manifesto

MANIFESTO OF 20 MINUTES & A MILLION BRICKS, 2014.

1. A place that gives new meaning to 20 minutes.

2. A place where there is a new consciousness of time

3. A place where time is of the essence; fluid and subject to change.

4. A place for 20 minutes of time IN the OUT

5. A place where forms of beauty arise unexpectedly, unintentionally; where the wind sings, the light paints, and the air smells wild.

6. A place that is uniquely functional.

7. A place that draws on particular and special dimensions; the slanted afternoon sunlight, the warm chilly wind of the fall, the color of blue green mossy bricks, the echo of street cars, the crinkle of empty Pringle bags, the scatter of pigeons and the drone of the ancient furnace.

8. A place for elevated imaginations and microscopic sensitivities to what has always been (and what will always be).

9. A place that defines feet time vs. seat time

10. A place that creates a new movement of “good behavior”.

11. A place that reveals itself over time.

12. A place that allows to be loved, adorned, and altered to suit specific needs, desires and dreams.

13. A place for revelations and revolutions of the “standard”.

14. A place that thrives on control and chaos.

15. A place in which play is survival.

16. A place that is sustenance for the imagination and for creative oppositions: the experience of forgetting and remembering the world.

17. A place for secrets and performances.

18. A place for stories told and written.

19. A place for emotional rejuvenation and physical exhaustion.

20. A place inducing pride and salubrity.

SIGNATURES OF THE PRESENT COLLABORATORS:

Assignment 3: Garden Cube - By: Alex and Tess

This presentation was presented in class by myself and Tess along with two 3D models. The models displayed a green roof on the existing sloped roof and a "cube" with multiple different features described in the slides below.

Assignment 4: Painting the West Side Courtyard - By: Alex and Tess

This presentation was presented in class by myself and Tess.