Wednesday, March 27, 2013

Connection Models Pt. II

Since there was a majority of comments that pointed out the fact that my first set of models lacked form I decided to keep the models but develop them further...


The first model is a representation of a mental/emotional connection that was derived from the sand model. The contained sand symbolizes an idea, which is internal at first, that when communicated externally can evolve into numerous renditions of that initial thought. So I wanted to keep that theory but develop it into more of a form. 
The second model is a representation of a social connection that was derived from the key and locks model, and the lightning and telephone line from the collage. The key communicates by unlocking the lock but I saw this abstraction in a way that if there was more than one lock, then what? The key would then fit each lock to be able to communicate, and I began see each lock as a language barrier or an age difference or signs for the hearing impaired, etc. The locks symbolize forms of communication. The strings in the more developed model represents the key making a connection within a community and beyond, which is why the string continues underneath the brown paper material and disperses going every which way. After completing this model I also noticed that it resembled the sun, and in elevation it comes across as the sun making a connection with one thing in particular, and that thing could be the break of dawn, the sunset, a moment the sun light streams into an alley or a magnifying glass, etc. That moment creates another form of connection.

The third model is a representation of a physical connection that was derived from the string of seashells model, and the Creation of Adam and the tree from the collage. The string symbolizes a bridging of several seashells connecting them as one. But in the more developed model I wanted to show a connection within a connection that wasn’t necessarily connected. I created a simple version of a tree designating one leaf to each branch excluding the longest branch, which symbolized the hand reaching out to its creation. Connection.


  1. Hi April:

    I hope these new models can be more useful for your new building. I can see in them, different ways of connecting, some more direct (string attached to pole), some indirect (tree connecting branches through trunk) and other even more indirect (wall getting strips together).

    It would be useful if you could explain what do u see in them that can be useful for your programme or design.

    Hope this helps.

    1. Yes, your advice is definitely helpful and strikes a nerve when I take a look at the models a 2nd, 3rd and 4th time. So now I'm working on hybrid models, which are a combination of several of my favorite study models thus far, that are less abstract since I'm now creating spaces within the model but they're still very rough drafts.

    2. That's great. start thinking about your programme and site constraints (the sea) when u do the models, but not too much yet. See what balance you can keep between abstract models and architectonic ones.

  2. April,
    The models are expressive of your concept, translation and differentiation/transformation. The next step is developing a diagrammatic representation of these ideas in a potentially occupy-able form. One useful precedent illustrating this step might be Steve Holl's INSTITUTE FOR CONTEMPORARY ART,VIRGINIA COMMONWEALTH UNIVERSITY, Richmond, VA.

    1. Yes, developing a diagrammatic representation is definitely where I'm headed but I'll take that step after I post my hybrid models, which are still abstract but now with additional forms that create spaces. And the precedent you suggested is definitely a great example of what I envisioned as I created the hybrid models but they're not as detailed...they'll be posted by the end of the day.


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