3D
UNIT III: Space Frames
| Project
IIIi |
Kite
Runner |
|
Objectives |
formal: To introduce the 3D elements of line, plane, and volume and their interaction. technical: To understand and apply basic structural design principles (e.g., tension,
compression). conceptual: To attempt to reconcile physical and metaphysical domains |
|
Project
Overview |
For
this project you will use linear and planar materials to create a functional
kite, designed to navigate between two distinct spatial realms, e.g.,
“heaven and earth.” |
|
Project
References |
Stewart,
Mary, Launching
the Imagination: pages 178 - 193. URLs
on Kites and Kite building:
·
Afghani kites: http://www.asu.edu/cfa/wwwcourses/art/SOACore/kites_nytimes.htm
·
http://www.2020site.org/kite/
·
http://www.pbs.org/benfranklin/exp_kite.html
·
http://lifehacker.com/software/diy/weekend-project--build-your-own-kite-165602.php URLS on structural design principles:
·
http://ocw.mit.edu/OcwWeb/Architecture/4-440Basic-Structural-TheorySpring2003/LectureNotes/index.htm Other References: Shaping Space by Zelanski and Fisher: Wharton Esherik
(1.20), Chartres Cathedral (1.33), Hiroshi Teshigahara
(1.40), Helio Oiticica
(2.3), Christo (2.4), Kenneth Snelson
(2.7), John Matt (2.25), Jean Muller, Brottone
Bridge (2.32), Max Bill (3.11), Michael Singer (3.12), Mark di
Suvero (3.16), Naum Gabo (3.19), Sylvia Stone (4.3), Shiro Kuramata (4.8), Tournament
Armor (4.9), Antoine Pevsner (4.25), George Ricky (5.4), Eero Saarinen (5.12, 5.13), Andrea Blum (5.14 and 8.18),
Gebruder Thonet (6.2), Lynda Benglis (6.11), Joan Michaels Paque
(6.14), Jesus Rafeal Soto (6.3), Alexander Calder (6.4 and 10.10), Pilobolus
Dance Theater (6.5), David Hammon (6.20),
Toshio Odate (6.21), Poul Henningsen (8.4), Frank Lloyd Wright (8.5), Larry Bell (8.6),
Linda Howard (Plate 14 and 8.17), Aiko Miyawaki (8.20), Jose de Riviera (10.6), Simon Rodia (11.15), Norma Minkowitz
(12.13), Joyce Scott (12.15), Hiltrud Schaefer
(12.16), Edward Livingston (12.21), Carol Hepper
(12.26), Georg Jensen (12.27), Liza Lou |
|
Vocabulary |
line,
plane, volume, negative space, positive space, implied line, implied
plane, space, space frame, structural design, tension, compression,
load |
|
Materials |
Flexible sticks (e.g., bamboo, bamboo skewers, fir, spruce, 1/8” x 36”
dowels), planar material (e.g, tissue paper,
butcher paper, mylar, lightweight plastic
sheeting), tape (1”-2” wide clear packing tape), string, and? |
|
Process |
Preliminary: Before coming to class, review the thematic concept of Spirit Worlds as found on the website. Also read the discussion
Space Frames for Unit III. Review the Project References
above. Discuss with your instructor
and fellow students how kites have been used in various cultural settings
and historically. Activities: a) Enter into your notebook at least four different sources for “kites”
and their uses culturally and historically (NOT “how to” sites). b) Make word lists and do a series of expressive or descriptive line
drawings of kites in your sketchbook.
At this point, don’t worry about functionality. What kind of
image would serve to bridge the gap between two disparate worlds? c) What is the primary shape? Can you simplify the image(s) that you
arrived at in #2 into something buildable—and
flyable?? How can you balance the structural requirements with compositional
ideas? d) Make at least 3 different scaled prototypes using plain white notebook
paper and bamboo skewers. You
will use ONE of these prototypes to determine the materials you need
to build the full-scale kite. e) Explore the links above for practical guides to kite building.
Find your own resources in the library and online.
Try to find appropriate materials and methods that will serve
your idea. Be open to modifying your initial design in order to solve
the problem of making a functional kite. f) Gather together all of the materials you need to build your kite.
Many designs will require a long tail in order to fly in a stable manner. g) Assemble your kite. h) Decorate your kite (but remember, paint is heavy!). i) Fly your kite! Considerations: Research and careful planning is essential. The most successful kites
will be both beautiful and functional. Conduct tests of your materials—they
must be both lightweight and strong.
Pay particular attention to points of intersection between the
linear sticks and the planar surfaces.
Can the joints, struts, and sheeting withstand the stresses of
flight? Timetable: 12-18 hours. |
|
Critique
Ideas |
When you have completed your sculpture, divide into small groups and
exchange artworks with another group from the class. Within your group,
work together to respond to each sculpture in turn. Describe the techniques
used to create the kites and explain how various problems were addressed:
formal relationship of line, plane, and volume; technical solutions
for making a structure both lightweight and strong; conceptual or compositional
ideas that help effectively address the goal of “negotiating between
disparate worlds.” 2. Point out any signature marks, patterns, or techniques the artist
used to indicate a particular meaning or cultural allusion. 3. Discuss ideas the artwork seems to communicate. After some sharing
of interpretations, attempt to state the "message" of the
design in one sentence. (This artwork is about. . .) 4. Explain how the forms, techniques, or other elements of the design
support its message. |
|
Notebook |
Your notebook should include the following:
1. Evidence of your research (sources, print-outs from magazines, web
searches, interviews, etc.). 2. Your design process (drawings, computer-printouts, photos). 3. Supplemental materials (receipts, notes about technique or materials) 4. Documentation of the final work. |
This project developed
by Dan Collins, 2007.