Dialog

Dialog process models

Final Model

Architectural Hardware and Light Fixtures

Dialog Questions

>How is dialog created?<
In my project, I created dialog by creating two separate spaces that both convey a sense of upward motion. The two pieces seem to fit together and the movable midsection I created allows the two spaces to be separated while the skewers in the middle connect them as well.
>How is a sense of space/place defined?<
Scale has a large part in deciding when one space is considered a place. For example, if there are two larger spaces, a smaller space may not be considered when counting the number of spaces because its size would make it seem insignificant.
>How is the idea of system generated?<
A system is created when there are two separate pieces working together to create a whole.
>How does the joinery support the project concept/strategies?<
In this project, the joinery provides structure and support and helps keep the project together. All of the designers were able to use the planes and skewers in different ways to create different forms of joinery. One example I recall from the critique was how someone split the skewers down the middle but kept it joined a the top and used compression as a means of joinery
>How is scale utilized in this project?<
In this project, scale is used to distinguish primary spaces from secondary spaces. Scale also helps when comparing one space to another in order to decide whether one space should actually be considered a space or not.
>How to two-dimensional images add to the understanding of the project?<
The two-dimensional images, or our graphics and drawings, allow for detail to be shown on a larger scale. In a drawing, a designer is able to look at one specific point of the project and enlarge it to focus on the details. Another advantage to 2D images is that it highlights the key aspects of the project.

In my initial project idea, I used the idea of the movable midsection and worked with the spaces that I was creating around it. In the beginning, it was merely two boxes on the outside of my midsection but, as a continues experimenting with models, I created two spaces that related to one another through their shape and through the repetition of folds.

Unity Drawings and Graphic

Twigs and Cell Phones

UNITY project compare/contrast

My Project

Bray's Project

While looking at the diversity among the Unity projects this morning, I noticed that my project has a lot of similarities to Bray Holbrook's project in the sense that both of our projects incorporate the use of boxes and have an altogether linear quality to them. Another similarity I noticed about our projects is the sense of continuation. In Bray's model it seems as if her middle section is a rotated version of the two other sides. Looking at it, the eye envisions the middle portion turned upright to create a bigger "box" shape and thus creates a very interesting sense of unity. Whereas my model has a box on the top, but on the bottom only has two corners of a box. Also using the idea of continuation or continuity, the eye completes the box on the bottom even though there are only two corners that are actually visible. Although our projects have a vast amount of similiarities, the differences are still obvious as well. While Bray's model had six cubes, my model only had one. The overall structure of our projects are different but the qualities we used to complete them are very similar.

Unity Project Models

In this project, we were told to create Unity in a structure of our choice using exactly twelve skewers and twelve planes of 4"x6" bristol board.

My first attempt at the Unity project
Originally, I wanted for the viewer to be able to see he spaces between the planes of bristol board. After creating 4 modules, each consisting of three skewers and two pieces of bristol board, I made the base rise up into the modules in the back to create something more than a simple solid base. However, after completing this first module, I noticed that the structure was not as supportive and sturdy as I had first intended it to be. Thus, I began to change my idea and came up with a second model.

My final model
In my final model, I kept the same idea of negative space. I first created a box-like structure, with my skewers being sandwiched in between the planes of bristol board. Looking at all of the space the skewers created by sticking out of the box-like structure, I decided to play with Gestalt's idea of continuation or continuity. With the planes that I had left I integrated two corners of a box on the end of the skewers instead of making a complete box. Although there are not two complete boxes within my project, the human eye automatically sees the incomplete box as complete.

Twig Project - Final

In my final model, I incorporated the idea of the progression of a twig. I purposefully grouped my twigs from the smallest and most fragile to the thickest, however, instead of placing the smaller twigs on the bottom, I placed the larger twigs at the bottom and the smaller twigs towards the top.

Also, working with the number twelve, there are twelve "pockets" for the twigs to lay in and there are three fold to each individual "pocket." There are also two strips of double-sided tape (my binding agent) running across the entire model. This structure definitely incorporates the number twelve and uses its divisors to give a sense of unity to the project as a whole.