Uwm ArchitectureOVERVIEWTitle: Ethereal Pavilion
Size (cm): 26 x 16 x 21.5 Medium: Plastic drypoint plates, cardstock, tape Date of Completion: April 2024 EXHIBITION TEXTEthereal Pavilion is a half inch scale architectual model constructed from plastic drypoint plates, cardstock, and transparent tape. Inspired by the Serpentine Gallery Pavilion works of 2002 and 2006, it is intended to show how humans seek a place of reflection away of from society's pressures. The base is clear and allows one to observe and be surrounded by nature while still being protected. The modern aesthetic of Ethereal Pavilion contrasts with its organic environment, showing the merge of human cultivation and the freedom of the natural world.
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inspiration
Serpentine gallery pavilion 2002 - Toyo Ito
Japanese architect Toyo Ito designed this pavilion structure. It is intended for a larger group of people, but I plan to make my model fit one person. I enjoy how the inside is brightly illuminated by natural light, and has a view to the outside world. I also like the varying geometric triangles that form the structure, although I plan to adopt a more organic shape for my piece. The bright white of the structure creates a clean modern aesthetic that contrasts agains the organic complexity and earthy hues of the surrounding nature. I hope to create a similar contrast by placing my structure in a natural outdoor setting.
serpentine gallery pavilion 2006 - REM KOOLHAAS, CECIL BALMOND, ARUP
My second inspiration is another pavilion created for the serpentine gallery. Similar to the first piece, there is a modern aesthetic achieved by a crisp white color, which contrasts against the nature. The bottom of this structure is made out of glass, which allows viewers to stand inside and be protected, but still observe their surroundings. The main emphasis is placed on the top, which is not functional, but is a giant ball protecting the structure. It is partially translucent, which indicates it is lightweight, and helps develop an ethereal feeling. In my piece I plan to include a similar dramatic curved element on the top to make the structure stand out in the outdoor setting.
planning
The following three models were quick in scale models of structures that each represent a different word. The three words I chose were ethereal, perplexing, and contemplative. All three structures are meant to hold one person and provide a calming space for reflection. An individual feels freedom from society when occupying this space, which is a connection to my thematic ideas of a human tendencies, specifically how humans break away from the restrictions of society.
(click to enlarge)The simplicity and curves, as well as the soft, illuminating light, creates an ethereal feeling in this structure. It is intended for one person to sit in and feel at peace. The structure surrounds them, not in an overwhelming way, but to create a feeling of comfortable protection.
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(CLICK TO ENLARGE)The perplexing form of this structure is the result of the soap jug and egg carton it is made from. The yellow egg carton holes are meant to be decorative and hold the jug top upwards. The slippery scoop of the clear jug is meant to hold a person lying down and allow them to see their surroundings while being suspended in the air.
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(CLICK TO ENLARGE)This structure is meant to be a place of contemplation for an individual that allows them to feel connected to nature. The natural night, bright white walls and general openness allows one to feel free in their thoughts because they are not physically restricted.
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process
rough draft:
After I finished the three practice models, I noticed some commonalities among them that I knew I wanted in the final piece. I loved the illumination in all three of the pieces, although they were slightly different. I combined two of my favorite materials, the clean white paper and clear plastic, to create a new rough draft model. I still overlapped the curved white papers, like I did in the practice, to dramatically enclose the structure without feeling restrictive. I added the plastic element on the bottom to resemble glass, similar to my inspiration structures, which also have open spaces or glass on the lower half, and a white enclosure on the top. I placed a small paper figure, drawn in 1/2" scale, within the structure to represent me. A variety of photos were taken to capture the structure, and I experimented with backdrops and lighting. My favorites were the white background with a light illuminating the bottom, which resulted in a beautiful glass illusion, and the green background, which helped me imagine the structure in a nature setting.
After making the first rough draft, I created a scale drawing to help revise and expand on my ideas. Instead of using normal printer paper and recycled plastic for my final draft, I decided to incorporate more professional materials: plastic sheets used for drypoint prinkmaking and thick white cardstock. I still kept the four white paper curves on the top, and the more geometric base. At the bottom of the page, I experimented with some more detailed features, including an opening door with a latch and a ladder woven with green wire and fake flowers to reach the loft within the structure. I thought the ladder would function both as a way to get to the platform and as a connection to the nature surrounding the structure. However, after consulting the advisors from UWM architecture, I learned that scale models often do not include these types of details, so I did not include these in the final draft.
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final draft:
I was pleased with the size of the four curved papers and how they looked in relation to each other, so I deconstructed my rough draft and used the papers as a template. I unfolded each one and traced it onto a thicker higher quality cardstock. Then I used an exacto knife to cut it and achieve a crisp edge, which I wanted to contrast with the organic curve of the paper.
I had to re-cut the sides out of new plastic material because when I used adhesive the first time it resulted in bad craftsmanship. Once I learned glue was the wrong adhesive, I repeated the same cutting process to start over.
Before I connected the pieces using clear tape, I experimented on a couple of scraps because I did not want to repeat the same mistake I did before by using a messy adhesive. I found that the tape successfully attached the two pieces, and when smoothed down it looked like the frosted window material used in bathrooms. I liked this because it made the model look more refined.
After connecting both long walls, I attached the smaller walls underneath the wall on the right and above the wall on the left. I had to be careful during this step to ensure both walls didn't end up on the same side, which would prevent it forming a box.
I folded the white rectangles into curved shapes exactly the way I did for the rough draft. I connected them by securing the bottom of their edges together with glue. It was during this step that I had to cut out new rectangles because two of them were too small and could not connect to the rest. Once the top was assembled, I had to connect it to the plastic box. This was extremely difficult as I had to reach around it and into the box to secure it with tape.
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Later in the process, after the plastic base was constructed, I had to remake the rectangles on the left side to fit the base. The top one I had to make longer to extend to the edge and I decided to change the height of the other one to make it different from the other pieces, allowing the piece to become more visually interesting.
This was a difficult stage because I had to score the plastic multiple times to cleanly separate it, and as a result some of the edges were rough because I did not cut them perfectly with the exacto knife. I used a nail file to smooth them down.
To start, I connected the base to one of the longer walls by using an equal amount of tape on each side. I was able to fold it with the tape on so I knew it could form into a box.
Next I attached tape to the long side of both of the small walls to connect them to the base. Finally, to make the frosted glass edges consistent throughout the structure I added tape on the other two corners. This step was difficult because I had to adhere the tape vertically. I found by setting the model on its side I could more effectively secure the tape and press out air bubbles.
After successfully attaching the top, the final step was implementing the ladder. At first I was going to simply set it inside, but I could not pick up the model without it slipping, so I decided to secure it. I placed half of the tape on the bottom of the ladder and half on the base.
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Then I used the lower half of the deconstructed rough draft to measure how big the base of the structure should be. Originally there was not a base, since I used a recycled container, but I determined there should be a bottom to the structure to protect it from dirt and grass and maintain its cleanliness. I cut out the rectangle using an exacto knife, and repeated the process using the four sides of the rough draft to measure.
In addition to the floor and the four walls, I cut out a rectangle to act as the platform within the structure that makes it two levels. I also cut out a smaller rectangle to represent a ladder, which explains how one would reach the platform. I did not carve specific rungs or details in the ladder because I learned that architectural models do not typically include these details.
To create a clean edge with the tape I cut off the excess using an exacto knife. This also eliminated the ridges that are made by tearing tape off the dispenser, which is a small detail but was taken under consideration to make the model even cleaner.
The last step for the glass base was scoring one of the long walls to indicate a door. Using the ruler, I made two lines further apart than the width of my scale figure, but did not cut all the way through the plastic, only making a mark to suggest an entryway.
By securing it this way, the ladder can be moved back and forth, so it can lean against the platform and show how one would climb onto it.
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Once the model was done, I photographed it in several places outside, with varying backgrounds, and with the sun illuminating it in different ways.
location:
The next step was finding an official location for the structure. Based on the photo I took I knew I wanted my structure to be surrounded by nature in a place with natural light, so I examined several areas in the park near my house. Unfortunately, due to it being early spring the plant life was not as lush as I had wanted. Instead of vibrant and lively green trees and grass, there were thin brown branches and tangled bramble, with dry grass. Once I saw my structure placed in these areas, I realized a visually pleasing contrast was created between the smooth, precise model and the organic, chaotic nature.
Ultimately I chose this photo as my official structure location. The sky is a vivid blue and the scattered white clouds add a dynamic feeling to the thin and complex tree branches. I also like how there is bramble and dried leaves on the left side and trees on the right, with grass covering the center, because it displays a variety of natural elements to contrast with the piece. The surrounding trees also help give the structure a more enclosed feeling, emphasizing it as a thinking place to escape the rest of the world.
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experimentation
At first I constructed the base of the structure by wrapping the plastic into walls, instead of doing four separate pieces that form perfect sharp corners. I cut out the plastic using an exacto knife based on the size of the rough draft, which I did for the final model.
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Using the exacto knife, I scored three lines in the center of one of the wall pieces. I did not cut all the way through because I intended for the wall to fold with a softer curve. I used multiple pieces of plastic with scores to form the corners to fit all the way around the base.
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As shown in the image above, the wall was able to fold successfully. However, the problem came with using wood glue to secure it to the base. I used a paintbrush to apply it to the thin edge of the base and thin bottom of the wall. This little amount of wood glue did not stick, so I had to use more.
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I had to apply an excessive amount of wood glue to secure the edges, and even then once it dried the pieces broke apart. I hadn't realized that wood glue does not dry clear, so there was yellow residue all along the edges and smudges on the rest of it. I tried to clean off the smudges using an alcohol swab, which was partially successful.
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I knew at this point I had to change the adhesive because the structure was falling apart, and adding more wood glue was clearly not the solution. I broke the remaining pieces that were still stuck together. Once I had individual pieces, I used a wet wipe to try and clean the residual wood glue off. I also washed the pieces using water and soap. Most of the smudges disappeared, but there were still traces of wood glue, and the plastic was very scratched.
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As a last resort, I tried to use hot glue the pieces back together. This was not as bad as the wood glue, but there were clumps of glue all along the edges and the craftsmanship was extremely poor. After this I decided the pieces could not be further salvaged, and I recut them out without scoring the edges for a soft curve. I used clear tape the second time, which worked much better.
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critique
first inspiration
compareBoth structures are a combination of bright white shapes and clear or glass openings. The emphasis is placed on the crisp white contrasting against the earthy hues and organic shapes of the natural setting. The structures are illuminated by sunlight and allow occupants to experience nature while being partially shielded.
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ContrastThe Serpentine Gallery Pavilion is much larger than the Ethereal Pavilion and is intended for a group of people, as opposed to being a solitary thinking space. Also, the Serpentine Pavilion is extremely geometric with sharp angles and straight lines, while Ethereal Pavilion is a combination of a square base and a softly curved, organic top. There is also a platform within my piece, while the inspiration is only one level.
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second inspiration
compareBoth pieces have a clear base that allows one to observe their entire surroundings, and a dramatic white element on the top, where the emphasis is placed. Ethereal Pavilion and the Serpentine Gallery Pavilion of 2006 are both placed in natural settings, which are juxtaposed against the modern aesthetics of the structures.
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contrastThe Serpentine Gallery Pavilion can be illuminated by natural sunlight or artificial light during nighttime, while Ethereal Pavilion does not utilize artificial light. In my piece there are four different pieces that compose the top, while in the inspiration there is only a giant sphere. Similar to the first inspiration, my piece is only intended to accomodate one person at a time, while the Serpentine Pavilion is intended to hold a group.
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reflection
This was the first architectual project I have ever completed and also my first time experimenting with plastic drypoint sheets. It has been a good introduction to constructing three dimensional models and inspired me to undertake future projects, particularly with balsa wood and more specific details, such as furniture or objects. The most frustrating aspect of this project was learning how to use good craftsman ship with the plastic sheets. It was difficult to cut them, and required repeated scores using the exacto knife in order to make a clean cut, which took incredible patience. I also was told to use wood glue to connect them, but discovered it was not the best adhesive for achieving crisp edges. I felt discouraged when I had to redo the entire base of the final draft, but I'm glad I did because I was pleased with the final outcome. I especially enjoyed working with the paper to create beautiful and dramatic curves, which has inspired me to work more with paper in the future. Another aspect I enjoyed was the photography, whether it was capturing the final piece in nature or manipulating artificial lighting to illuminate the rough draft models. I hope when others view Ethereal Pavilion they appreciate the clean craftsmanship and imagine themselves occupying the space.
ACT
Clearly explain how you are able to identify the cause effect relationship between your inspiration and its effect on your artwork?
Both of the Serpentine Pavilion inspirations are a combination of dramatic bright white elements and clear openings, which my piece also includes. Also, I placed Ethereal Pavilion in a natural setting to create a contrast between free and organic elements and modern manmade aesthetics, similar to the other two pavilions.
What is the overall approach the author has regarding the topic of your inspiration?
Pavilions with modern aesthetics that are placed in natural settings still appeal to people despite the stark contrast.
What kind of generalizations and conclusions have you discovered about people, ideas, culture, etc. while you researched your inspiration?
Humans can feel a strong connection with nature, which influences their thougths and reflections, but still want to be shielded while observing their surroundings.
What is the central idea or theme around your inspirational research?.
A structure in nature that is brightly illuminated by sunlight is an ideal place to be alone with one's thoughts.
What kind of inferences did you make while reading your research?
A modern aesthetic structure can represent human cultivation in general, and demonstrate how people want to connect with the natural world they were born into, but still feel the need to change it.
Both of the Serpentine Pavilion inspirations are a combination of dramatic bright white elements and clear openings, which my piece also includes. Also, I placed Ethereal Pavilion in a natural setting to create a contrast between free and organic elements and modern manmade aesthetics, similar to the other two pavilions.
What is the overall approach the author has regarding the topic of your inspiration?
Pavilions with modern aesthetics that are placed in natural settings still appeal to people despite the stark contrast.
What kind of generalizations and conclusions have you discovered about people, ideas, culture, etc. while you researched your inspiration?
Humans can feel a strong connection with nature, which influences their thougths and reflections, but still want to be shielded while observing their surroundings.
What is the central idea or theme around your inspirational research?.
A structure in nature that is brightly illuminated by sunlight is an ideal place to be alone with one's thoughts.
What kind of inferences did you make while reading your research?
A modern aesthetic structure can represent human cultivation in general, and demonstrate how people want to connect with the natural world they were born into, but still feel the need to change it.
bibliography
Serpentine Gallery. (2024). Serpentine Gallery Pavilion 2002 by Toyo Ito and Cecil Balmond with Arup. Serpentine Galleries. Retrieved April 24, 2024, from https://www.serpentinegalleries.org/whats-on/serpentine-gallery-pavilion-2002-toyo-ito-and-cecil-balmond-arup/
Serpentine Gallery. (2024). Serpentine Gallery Pavilion 2006 by Rem Koolhaas and Cecil Balmond with Arup. Serpentine Galleries. Retrieved April 24, 2024, from https://www.serpentinegalleries.org/whats-on/serpentine-gallery-pavilion-2006-rem-koolhaas-and-cecil-balmond-arup-0/
Serpentine Gallery. (2024). Serpentine Gallery Pavilion 2006 by Rem Koolhaas and Cecil Balmond with Arup. Serpentine Galleries. Retrieved April 24, 2024, from https://www.serpentinegalleries.org/whats-on/serpentine-gallery-pavilion-2006-rem-koolhaas-and-cecil-balmond-arup-0/