Second Year | Second Semester Project

CREVICES

Crevices was created through the studio’s process R.O.C.R (Room, Object, Chair, Room). This precedent room, the Varengeville Room, was quickly translated into a line drawing. Spots of interest were taken from this line drawing and blown up to create an object. Most notably, the gilded-oak decor pieces representing living objects. The qualities of these lines created an object. The focal point being the crevices found inbetween each “arm” sparked the creation of the noodle chair and noodle room. While the chair focuses on the ends of the noodles, the room expands the noodles’ capabilities when its sides are used in bunches. Whether they are uniform or bent to create specific interactive points, the room brings to life once static artifacts.

Room Precedent

Beginning with the Varangeville Room, a baroque-style room, the task involved recreating the room through linework and selecting a point of interest in the drawing, taking the lines in this area, and blowing them up to create the shape of the object. 

The object's materiality derives from the major use of gilded oak and exposed wood within the precedent room. This gold is represented through the tinfoil-like gold paper which is crumpled to allow light to scatter as it hits it. The wood acts as a foundation for this gold, demonstrating the structure hidden behind the gilded gold.

This transition marks the beginning of this transformation of static lifeforms (the decorative, plant-life inscribed in the gold) into lively, tubular forms.

Object

Chair

As this form translates into a chair, the arm-like features from the object are given emphasis as they morph into noodle-shaped arms, strapped together to give stability and usability as a chair. The gold material begins to take over the exterior, while the wood stays hidden beneath as pure structure. When one sits on the chair, some legs bend and sprawl out, enhancing the lively aspects of this noodle-form.

The final transition, chair to room, is defined by the enlargement of the noodle-form which takes over all aspects of the room- wall, ceiling, and floor. It also begins to function as furniture in limited capacities. The lively forms begin to interact with the user more effectively, enhancing aspects of the room, such as allowing for structure, lighting, and wildlife to weave in and out as desired by the user. While the chair is mainly an interaction of the noodle-form using mainly its tops and bottoms, the room takes advantage of the form's sides as mushy, moveable, and reconfigurable elements in the space.