GRAPHIC DESIGN
CAMPBELL ADDY
GRAPHIC DESIGN STRATEGIES
3DDA/ARCHITECTURE/BUILD IT
PROJECTS THAT INSPIRED ME: I found a splendid book about ephemeral Architecture.
From reading this book and seeing several projects, I realized I wanted to do an ephemeral sculpture that simulates a social theme.
(WINDSHAPE) nARCHITECTS
(HOMMAGE) ARNE QUINZE
(METROPOL PARASOL) JÜRGEN MAYER H.
(HOPE TREE) 24 STUDIO.
(SERPENTINE GALLERY PAVILION)SOU FUJIMOTO: I found a book in the library that was a full conversation with Fujimoto about how he ended up with this idea. I was delighted to see that the main propose he had was to maintain the pavilion completely connected with it surroundings.
(NEW BABYLON) CONSTANT NIEUWENHUYS: The way he wanted to give people that lived in the streets the facilities to live in a city constructed above the original city made me think about how could I represent this idea with my structure. Also his idea of a malleable structure gave me the idea of the twisted quadrilaterals.
3DDA/PRODUCT DESIGN/USE IT
THE CHAIR. RETHINKING CULTURE, BODY, AND DESIGN. GALEN CRANZ.
I was really interested in the ergonomic characteristics of a chair, so I went to the library and I discover this book. This are some characteristics, and photos explained in it.
In Sweden occupational therapists encourage workers to rest theirs backs like this
An example of ergonomic consensus: the seat should not betook high; both feet should beablebto restfully the floorer support bar.
A CENTURY OF CHAIR DESIGN. FRANK RUSSELL PHILIPPE GARNER JOHN READ.
THE RED/BLUE CHAIR: A first unpainted version of the chair was made in oak with larger dimensions in 1917-18. This version, designed after Retveld became a member of the De Stijl group, is in deal with ebony aniline dye, with the back, seat and terminals lacquered red blue and yellow.
BERLIN CHAIR: Thomas Rietveld. 1923,deal lacquered black, slate grey and light grey. Designed for the dutch pavilion at the Berlin exhibition.
ZIG-ZAG CHAIR: 1934, front elevation and perspective. The Zig-Zag chair, made of untreated elmwood, was originally executed by G. van Groenekan, and manufactured after 1935 by Metz & Co. Versions lacquered red or green with white edging were used by Rietveld in his country house of 1938-42, and versions with arms and a child's chair also exist.
PROYECT BRIEF
This are the chairs I got my inspiration from in class, and from them I developed my idea.
GIANCARLO PIRETTI,PLIA CHAIR,1967: When I saw this image I knew that I wanted to design a chair that was easy to storage, so that space could be used in the best way.
JERSZEY SEYMOUR, THE WORKSHOP CHAIR: This image really impacted me not only because of it form, and simplicity, but also because of the way it is connected. All of those malleable connections suggested me the idea of being able to fold every single end in a certain way, and in every direction that I wanted.
A PROJECT ON DEZEEN-DUTCH DESIGNERS BERNOTAT & CO, CREATED A RANGE OF COVERINGS FOR CHAIRS:It is interesting the idea of using a chair as a storage.
3DDA/JEWELRY/WEAR IT
EDUARDO SRUR/ SUPERMERCADO: I thought about doing que structure of the piece I did in class with food waste, or maybe doing it with the liquid of the food waste making it look as metracrilato.
MIRCEA CANTOR/ UNDERSTIMATED CONSEQUENCES/ COBIC METRE OF GARLIC: understanding her work I realised I wanted to play with an abstract representation of inequality. How she used something so basic as garlic and his smell to represent the marginated parts of society.As my first piece was related to food I decided to incorporate food as a material in the next 3d piece I designed in home. I decided to go into the most elementary esence of food, the liquid. The idea I had was to get wasted food, food that was going to no longer be used, and extract all the liquid inside. To make is look as some sort of plastic/ gem/ cristal, I thought it was a good idea to cristalise it so it looks as a fragile and shinny piece.
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ANNA MARIA MAIOLINO/ ENTREVIDAS: This gave me the idea of making the organic look non organic. changing the materials of my piece. Use food and recycling rubish to make the structure, but trying to make it look like if it was made out of an expensive material.
KATE LANGRISH-SMITH: https://www.youtube.com/watch?v=QVD0eo7psPE
I was curious about how she use her piece to make the person interact with the environment in several ways.
BURKU BUYUKUNAL AND SACHA NORDMEYER: when I saw this two pieces I knew immediately that I wanted to work with the mouth, and that led me to orientate my piece to food.
LEONORA DE BARROS/ ESTUDO PARA FACADAS: this piece gave me the idea of having a structure that kept the mouth of the model wide open.
FINE ARTS
(THE ONION) MARINA ABRAMOVIC : This piece made me think about the possibility of collecting people reactions to strong flavors. We normally don't realize that some flavors make us vulnerable in different situations. How some flavors make us feel unconformable, happy etc.
(UNTINTLED (REDEMPTIONS))CLAIRE FONTAINE: A perfect example of collection, and a really useful, and inspiring piece for future ideas.
DAN PERJOVSCHI: reading about how he decorated the walls of museum like MOMA, I came with the idea of putting my collection of symbols in every wall of a gallery.
FASHION AND TEXTILES
ALEXANDER MCQUEEN: I found a book in the library with many images explaining the creative process ofMc Queen, before getting to a final result. I realized that during the fashion pathway we followed all the steps he follows. First he looks at his environment. In this images you can see that he was really concerned about recycling, and pollution. Then he does a composition of textiles, patterns that were really abstract, and open to new interpretations. At last, he comes up with the final outcome.
Reading this book I understood how important the procedure is and that to come up with a great idea, yo have to go through several steps.
YHOHJI YAMAMOTO/ AUTUMN/ WINTER 1996-97
ISSEY MIYAKE/ SPRING-SUMMER 1995
YOHJI YAMAMOTO