Sketches & Idea Generation

Project Description

          This project will be using organic lines to simulate the growth of vines which, in turn, will complement the passing of time. To accomplish that, we will use vinyl to create the lines. The grass green color of the vinyl that will be used evokes the familiar association with the natural green of lush plant life. The design will originate from the corner alcove of the Argo House with the lines flourishing out, spreading throughout the rest of the room along the walls and the floor. 

          We chose the Argo House because of the flexible nature of the space, the amount of room the walls have, and the history of the building.  It used to be a mayor's house, a rumored courtroom, a morgue, and is now a space for creative companies to work in.  It is a space that has a lot of history and will work well with the symbolic nature of age that vines represent.  Considering also how long the space has existed in Ogden, and how much the natural landscape has been altered in order to accommodate the people, the natural looking vinyl will offer interesting commentary about the space.  Along with that, the piece allows the space to be used for other events that may be held in the room, so the installation itself won't have to be exclusive to the space but will allow other events to happen as well.

          Our goals for this project are to simplify and simulate the organic nature and growth of vines to accent the history of the building and the nature that Ogden itself exists in. The space is meant to represent the unique identity that the Argo House was able to attain after the many years and tenants it has gone through, and the changes it has witnessed in Ogden. In the hopes that the space will continue to be a place for growth and new experiences, this installation will capture the beautiful and even somewhat wild nature of its potential new, branching opportunities. Additionally, the use of such an artificial medium in order to simulate nature may evoke interesting connotations on how the destruction of nature can allow humans to exist in a space.

2 rolls Grass Green Vinyl (2' x 150')

2 rolls Vinyl transfer tape (2' x 150')

3 Cutting mats (12" x 18")

4 X-Acto knives

5 Squeegees

Flyers (marketing)

1 Month

Ben Willmore, Julio Carrillo, Jess Lewis, and Sergio Rodriguez

Critique Notes & Reflection

          We were given several suggestions as to how to accomplish the project, such as the potential difficulty for the vinyl to stay attached to the wall, and that we might have issues with it staying in place for long periods of time. Another critique addressed our use of the alcove, and how if we want organic vines to be originating from that spot, it should have some sort of "reward" when you reach the origination point.  Also, people were unable to pinpoint the connection to identity in this piece, so it needs more clarity as to what specifically is being identified with.

Project Description

          The goal for this project was to create an installation that altered the way that people would experience a space. Our driving idea that inspired us was "string can contour," which was initially "string can vandalize," but we were unable to formulate a solution that would work.  With the contouring, we used these window spaces as a sort of canvas, and utilized each individual group members' heights to create specific perspective pieces that unified the indoor space with the outdoor space.  When considering the identities of both spaces, we wanted to challenge how the outside scenery affects experiences when inside and draw attention to the world beyond.  

Process Photos

Critique Notes & Reflection

          During the critique, it was expressed that the installation conveyed a map- or tapestry-like appearance upon first glace. The mix of organic and geometric, man-made shapes, as well as the introduction of several different points of view, was said to give the project a much more interesting, engaging appearance. Though we discussed the possibility of adding fixed points for viewing the installation to allow viewers to more easily line up the contours of the string with the landscape, the group agreed that the space still worked well as a more representative piece. It was suggested that the installation created a stronger division between the space and the outside world, but simultaneously helped to bring the outside in. If we were to make changes to the project, it would be interesting to see how adding fixed viewing points (such as footprints, etc.) would alter viewers' interaction with it. 

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Project Description

          With this project, we aimed to explore the potential of line not just as a rigid, two-dimensional element, but as something that can be manipulated into a structure of its own. We wanted to create a textural, interactive display that elevated the use of line to something more tactile. Additionally, we wanted to challenge the identity of our surface - the smooth, bare pillars - by morphing them into something with an entirely different purpose and character. We also attempted to expand and connect our installation by linking the two isolated pillars with a two-dimensional zigzag design resembling the wavy pattern of the ruffles. The intention with the zigzag design, beyond unifying the pillars, was also to simulate the textural quality of the ridges as they come up and down, but it was not successful. The particular space we selected was a well traveled hallway, so the interactive nature that we were aiming for would be best accomplished there. Some issues arose when we were assembling the installation, however, as it was difficult to create straight lines going around the pillar.

Process Photos

Critique Notes & Reflection

          During the critique, we received both positive and negative feedback. In general, the class enjoyed the tactile quality of our installation and the electric-like linking between the two poles as a means of tying them together. However, several people felt as though the two-dimensional zigzag design didn't succeed in properly unifying the separate parts of the installation. In order to solve this problem and execute a more harmonious design, we could have incorporated the more organic, ruffle-like texture of the pillars into the floor design as well, or by also bringing the tape up the pillars to physically connect the tape together. This would have allowed our vision of textural, interactive lines to be represented more fully and would have given the installation a more cohesive feel.  They noticed the top band and appreciated that it stopped the eye from going beyond what was there and allowed more attention to be given to the textural quality created below it.