Severino Alfonso Dunn (course coordinator) + Quilian Riano + Bren Gálvez-Moretti + Michelle Cianfaglione
Parsons, The New School for Design / Summer Intensive Studies: New York / PNNY 0208 Interior Design Studio
First: Deconstruct your chosen garment (for example, reversing the leg portion, cut in different pieces and sew them after in interesting conditions, create multiple layers of soft surfaces). You should experiment with several options, yet always produce results with a strong conceptual intention.
Second: Immobilize and structuralize your cloth piece. Create an innovative frame structure that can be used to allow the deconstructed piece/s of clothing to be in its most volumetric state. Instead, let this be a conceptual meeting of two materials in order to make space: the skin / surface of the tights, and the iterative frame structure. How do materials come together to form interior space? In your models the structure should push from inside and pull from outside the elastic cloth simultaneously! Will you use tension, joinery, lamination, ribs, rings (like airplane construction) etc? By iterative, we mean that the structural system should, in fact, be a system. There should be repetition, or progression, or a gradient, but not many different forms or parts. The perimeter of your construction should be considered. It may be rectangular, or amorphous, but it must be considered with respect to the formal / bodily qualities of the cloth.
You are asked to continue developing your spatial ideas by creating new models (two or more) that are similar but not identical to the first one. The new model/s will house the first one under peripheral conditions. This process will result in a new joined model that explores the potential of a thickened wall.
This will be the first time you are asked to introduce the body in your model. By doing so, you will immediately need to think and represent the scale of your concepts and ideas. We continue with the body as the driver of your project definition. But instead, for this assignment you will create a model in its inverse relationship to the body; the body in this case is inserted into the empty scene first and the model develops as it responds to the body.
These new models should come out of the ideas / concepts / arguments you have made with your previous models, translating them into an Embodied Wall Section. We will use two materials in the elaboration of these models: Basswood and a second material of your choosing: Bristol board / basswood boards, chipboard, a different textile / plastic / laminated cardboard / etc.
A client from NYC has commissioned our class to create an innovative spatial experience in a prime corner location in Williamsburg (Corner of Driggs and Metropolitan Avenues). The program required by the client is a display space for experimental textile products. The client has requested that the essence of the new display room be like the anatomy inside of the space. They would like people to come to the space as much to see the interior design, as for their product: high-end and experimental textile products.
We will work on this assignment on two steps.
STEP I: Dancing Landscapes
STEP II: Exquisite Corpse Selfie
S t u d e n t P r o j e c t s / B o d y P a r t s / E x q u i s i t e C o r p s e
S t u d e n t P r o j e c t s / D o u b l e S k i n / I n h a b i t a t i o n
S t u d e n t P r o j e c t s / W a l l S e c t i o n E m b o d i e d
S t u d e n t P r o j e c t s / A S p a c e f o r D i s p l a y
F i n a l R e v i e w
SUMMER 2014 Gabriela Borges, Stella Buckmann De Lima Netto, Paula Camarasa Sicillia, Sophie Derom, Elise Paula Julia Engelen, Shreya Ghai, Miguel Gonzalez De Haro, Maria Jose Gonzalez Lopez, Maria Dolores Gorozpe Velazquez, Mercedes Granlund, Ana Roberta Hernandez Gonzalez, Pei Shih Lee, Chantel Diane Mah, Saumya Monga, Alejandra Rodriguez Gonzalez Guerra, Sabine Schneider, Katherine White, Sean Wynell Mayow, Peter You