The study model only shows the base portion of the first few floors. Am working towards adding height. I am using a movement concept, also inspired by organic.
Great to see you working with an actual physical model. Your model although made with planar materials creates a strong 3 dimensional volume. As you photographed the model in certain lighting, you may want to attempt various backgrounds or lighting techniques as a tool to help discover the hidden elements in your spaces, that may not be apparent upon first observation. Closeup photos as well as dramatic lighting aids in how to perceive the forms we create. I also believe, as in the architectural constructs of Gamal El Zoghby, that it is important to look at your geometry and gaze without thinking and alllow your internal motion to affect the model and your geometry. Also, perceiving space as solids and voids with various depths allows one to discuss form more specifically. Even glass, although transparent, is a physical obstacle when encountered. This means that when something is truly a void, it is truly open. Be honest to your geometry. Even geometry driven by organic language operates in forces, vectors and magnitude. Trees grow as function and form at once, and the physics within the tree operates honestly to defy the force of gravity. This is the difference between a quiet tree, and a dynamic tree in a wild setting that makes you stop and stare. Your work should arrest us, keep our stare and make us want more of it. Can a model material choice also help to define your concept well? Is there an artist you are gravitating to that will give you clues as to the direction the visual language of your drawings should aligh with?
Great to see you working with an actual physical model. Your model although made with planar materials creates a strong 3 dimensional volume. As you photographed the model in certain lighting, you may want to attempt various backgrounds or lighting techniques as a tool to help discover the hidden elements in your spaces, that may not be apparent upon first observation. Closeup photos as well as dramatic lighting aids in how to perceive the forms we create. I also believe, as in the architectural constructs of Gamal El Zoghby, that it is important to look at your geometry and gaze without thinking and alllow your internal motion to affect the model and your geometry. Also, perceiving space as solids and voids with various depths allows one to discuss form more specifically. Even glass, although transparent, is a physical obstacle when encountered. This means that when something is truly a void, it is truly open. Be honest to your geometry. Even geometry driven by organic language operates in forces, vectors and magnitude. Trees grow as function and form at once, and the physics within the tree operates honestly to defy the force of gravity. This is the difference between a quiet tree, and a dynamic tree in a wild setting that makes you stop and stare. Your work should arrest us, keep our stare and make us want more of it. Can a model material choice also help to define your concept well? Is there an artist you are gravitating to that will give you clues as to the direction the visual language of your drawings should aligh with?
ReplyDeleteYes, and working with the physical model actually helps me develop better. Thanks you.
ReplyDelete