BOXES
Lines take a third dimensional approach and replace the aspects of white space with actual space within the cube.
The same incorporations are made within the cubes, as we draw inspiration from our line drawings. These incorporations include parallelism, thickness and weight, volume, and angles.
SIMPLE HOUSE
These simple houses are all in 4x4 cube dimensions. They are just designs, not practical layouts. The idea of this project is to go in depth to understand the spacing that a house might have to evoke safe, clean, and calm emotions.
The box houses were made with a variety of materials.
- white foam board - 2 ply bristol board - straight edge - utility blade - exacto blade - tacky glue The geometry used was targeted towards different sized boxes and lines within the 4x4 in. parameter. Not all parts of one side will touch that boundary, but the whole thing will fit within it.
The "stairs" seen to the right are less used to function as stairs or to show that there are stairs, but more to connect a low side to a perpendicular prism on the other side while remaining in a grid format. The stairs can be found in different models shown below. |
ANGLED CUBE DESIGNS
This concept was especially hard to rationalize at first. Coming up with something that would speak the same language in the piece without being too distracting was a challenge. Cubes are 3 dimensional squares and contain natural grids. Incorporating diagonal lines is something that will go against the nature of the cube. However, diagonal lines that work well with squares such as right triangles and
45 degree angles seemed to find a fitting in certain ways.
45 degree angles seemed to find a fitting in certain ways.
Their edges connected to other sides of the model all while fitting inside the 4x4 in. box. These models were significantly more fragile and delicate, but that was due to the beautiful incorporation of space that these models could naturally provide. The angles were creating multidimensional areas of space within the cube as shown in the middle piece.
A great part of these cubes were their dynamic shadows and shapes when exposed to different types of light at different angles, distances, and exposures.
The left model makes an extraordinary line of shadow and mass from the left of the picture flowing top right. The different ways to see and observe these angled models were endless as they took new design from any different way you looked at it. |
Below are further iterations of the angled cube designs and boxes.
COMPLEX ANGLED DESIGNS
I went on to take the angled designs in a more complex route. I wanted to add the idea of space within the cube, keeping the shape of the cube, so that it caused a sense of volume, vs the fragile earlier models. My goal was to really incorporate the inverse of mass in the cube in a unique way. I used lots of connecting angles, and protruding lines.
These were the early complex iterations, they were shot in different angles to reflect their dynamic use of white space.
When taking photographs of the models, I used my desk lamp to take different angled light and aim it at specific spots in the models to create vivid edges, and sharp shadows.
When taking photographs of the models, I used my desk lamp to take different angled light and aim it at specific spots in the models to create vivid edges, and sharp shadows.
I believe these were very successful models and captured the essences of the space within the cube. However, I am not finished yet. I wanted to venture on and make more interesting models as though these did incorporate angles, something seemed to be missing. I found too many corners in my pieces and I soon found this to be the weakness in the pieces. This along with parallel lines, that were trying to speak a different language, making it difficult for the diagonal lines to be coinciding with the nature of the cube.
VERY COMPLEX ANGLED DESIGNS
I ventured a step further and realized after a while that my angled iterations were spending less time explaining themselves in the idea of the space within the box, and catching your eye towards sharp angles and differences in composition. I later iterated these models to have nothing to do at all with the concept of a grid. No parallel lines, corners or anything that resembles square and boxed things. The idea was to create a pure take on spacing withing a box while still having the energy of angles.
These models had very complex angles, to the very core of the box. The models took an average of 3.5 hours each and were crafted at angles and taped with artist's tape to retain shape while working on other support sides of the box. These were more successful in opening up the main shape of the box. I'm still however working on new ideas in creating optimal design.
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Final Iterations: Angles are very detailed and prominent within the space of the cube.
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8x8 INCH ANGLED + SPACE INCORPORATED BOXES
I doubled the sizes of the models from 4x4 in. to 8x8 in. This took a lot more foam board, but the result gave lots of greater insight to ideas and possibilities in creating better models. I continued to pursue the idea of angles, forgetting about the rules of the grid, and splitting off of the true nature of the cube. All while shaping it into a cube. This was tough, and compositionally, it took a while to plan out and design. Everything was done with precision and the model took a total of 5 hours and 2 blades to create.
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These models were intended to create a more boxed approach with openings that drew your eye into the piece. Everything was meant to act like a solid piece to create the overall illusion that put your eye "past the objects". The sense is to draw your eye away from the actual objects made of foam and to draw your eye into the spaces and shadows of the piece.
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The following pictures are different angles with different light reflections and shadows. Playing with such a bigger model, brought problems in photographing the models, as I had to build a bigger white backdrop and move my desk lamp over. However, the bigger models were cleaner, just as sturdy, and made better quality pictures.
More successful iterations: The top iterations were better, but I started to understand that the whole box did have dynamics, but it lacked one thing in particular that I found first time around. The model was very six-sided, and boxy at times, creating a sort of cage, which can create a slight amount of displeasure. I wanted my models to be absolutely perfect in my form of abstract ideology, so I went on to create the following models/iterations of the top ones.
The spacing is a lot more intriguing when you can be pressed into or drawn/pulled into the little chisels and cracks in the piece. Lots of angles that are overlapping invite your eyes into the compositions successfully. I made sure that the spaces weren't open from one side to the other like my past models also. Instead, while holding the model, your eye is deflected here and there to search throughout the piece. |
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The box however is still an 8x8 in. in the sense that every point of the box would touch a point of the box from each side if the invisible box was an 8x8 in. I learned in this iteration, that the box didn't necessarily have to be a box, which was a very mind-blowing experience.
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I was trying so hard to go against the actual nature of the cube and the grid, but somehow I was forgetting the very main idea that the box could be seen as a box from any grid perspective. I thought this was achieving my goal at first, but then all of the dissatisfaction was coming from the fact that, seeing those boxes in my diagonal + angled boxes were breaking the entire idea of even including diagonal + angled shapes and lines anyway. |
More box shaped models, incorporating solids and beautiful indents.
EARLY SIMPLE HOUSE ITERATIONS
A rough cut of designs and discarded models that were used in creating the rest of the above final iterations.