... & ...

PROCESS: nature / reverse nature, gravity

Claes Oldenburg, 1971

"Gravity is my favorite form creator"

Link sent by Billur Turan

Gitta Gschwendtner, Consume
woodcrete stools (mixture of concrete & wood fibres)
cast from moulds based on upside down paper shopping bags

Rachel Whiteread, Stacks, 1999
With plaster, she casts the 'negative space' around ordinary objects,
inverting full and empty spaces

Rachel Whiteread, Torso, 1991

Robert Morris, Anti from, 1968

"In some case, some investigations move from the making of things to the making of the material itself. Sometimes, a direct manipulation of a given material without the use of any tool is made. In these cases, considerations of gravity become as important as those of space. The focus on matter and gravity as means results in forms that were not projected in advance [...]"

Gaetano Pesce, Golgotha Chair, 1972
resin impregnated, fiberglass reinforced textiles
Pesce performed the "contrary to nature"

Tom Dixon working on Fresh Fat Easy chair, 2002

Marcel Wanders, Knotted Chair, 1996
material composite, aramide yarn-reinforced and resin-soaked rope
with traditional macramé technique

Viktor & Rolf with architect Siebe Tettero, Upside down boutique in Milan, 2005

Antonio Gaudi, Hanging model to conceive La Sagrada Familia

Daniel Czapiewski, Upside down house, Szymbark, Poland - BBC's reportage

control / freedom

I'm also interested in the relation between a controlled & a less controlled element in the design process - referring to the technique I started to explore in November which combined a designed base and a poured substance.
I'm starting to look at the transition, the junction between these two elements, a rigid geometrical structure and a more free and random element.

Patricia Urquiola, Volant Sofa
Exploration of the dichotomy between regularity and irregularity, between underlying structure and outer skin.

Patricia Urquiola, Fat
Combination of a filled fabric bag and an aluminuim surface

aesthetic of pouring / image

The poured element can be treated in its aesthetic, its "formless", rather than its reality.
The pouring and spreading effect could be translated in others materials.

Campana Brothers, Transplastic