After our two-dimensional work, our professor had us tackle the third.
This piece was to make us experiment with using the height and texture of the cardboard to create an effect. Having done a lot of cutting of cardboard recently, I made a grid and then blocked out the size, height, and directions I wanted, so that everything would be easy to measure and cut. It worked out quite well and the professor kept it for the next CIDA review.
For Interior Design I, Tony wanted us to learn about composition, light, texture, and craft. Our first project was to make three-volume assemblies out of corrugated cardboard and then photograph them. Each was supposed to have a clear dominant, subdominant, and subordinate volume, and to make use of the cardboard’s texture. We started by creating ten sketches:
Since Tony was interested in joinery I borrowed some ideas from woodworking, such as pegs and dovetails.
The next stage was to pick the best two. Number three (the feature photo) was one of my favourites, but I had to admit it didn’t make an exciting photo in elevation and display the light-pipe effects that made me love it. Tony and I selected sketches five and seven as the best. I remade them at higher quality and took a full set of photographs for each.
My favourite pieces played with balance, in both physical and power terms. They were supported or held together by the subordinate piece, such as the slices in five and seven, and the slender column in three. If that piece was taken away, the assembly would tip over or fall apart, so it was subordinate and dominant at the same time.
Whoever it was that said “it takes twice as long as you think it will” was an optimist. Sometimes it takes three times — as this project did. The silver lining for you is that it taught me how not to manage my time, and how to recognize when I need advice in order to stop banging my head on the wall.
We were asked to design, draw and model a 650 sq. ft. house for two people anywhere in the world but North America. Outdoor spaces were encouraged since they didn’t count towards our square footage, but no major functions could be left outdoors. I asked my friend Allison if she and her husband Paul would be my clients, and we promptly had a brainstorming session over tea. She wanted the house to be on New Zealand’s North Island, but didn’t have a specific town in mind. I located it in the Coromandel Peninsula, between Tararu and Whakatete Bay. Allison is a witch, Paul is a shaman and energy healer, and they are both tall, so they both wanted the house to be in harmony with nature, have high ceilings, and have quiet space to meditate in. There were many other desiderata, but these were the most important. Continue reading