Sculptural Design 1a/G&D1
Sculptural DesignCopyright: © Friedrich
By manually grasping objects and spaces, we internalize our perception physically and establish a mental basis for creative thinking. In the workshops and studios of the department we investigate methods of plastic and spatial design in the experimental handling of classical and unconventional materials. We focus on the development of skills that develop during the making process. The slowed down time of manual work then enables reflection and fantasy from the concrete material experience.
Theme: Art - Form
In the workshops and studios of the department, we investigate methods of plastic and spatial design in an experimental approach to classical and unconventional materials. What matters to us is the development of skills that evolve in the making. The slowed-down time of hand-work then allows reflection and imagination out of the concrete material experience.
In what object-space constellations do mass and space act as equally important aspects of sculptural form and space creation? Build an abstract, space-containing object in which mass and space (or figure and ground), in their reciprocal, ambiguous interpenetration, prove to be equivalent aspects of form. "Spatial" means that the mass you design not only occupies space through its own volume, but also "creates" space to the same degree. This happens in that the forms you design open up spaces in the sculpture in their constellation, define and limit the empty space, and thereby make it possible to experience and describe.
Create a paper model that interprets a detailed architectural site. What does the model represent, what does it tell us about? It is about the kind of thoughtful, individual self-making: what options for abstraction, alienation, deconstruction arise from the material used, paper, and its craftsmanship? Through the choice of detail, composition of the selected elements, contrasts, the model gains tension and acquires its own object quality. The goal is not a perfection of the likeness, but a translation into a language of making that allows or even emphasizes traces of production. The paper as a given material implies its own quality of expression, characterized by the individual techniques of manipulation and processing of the paper.
What effects can be created by repeating the same/similar elements and what abstract means of design are available for this? Build an object according to a self-developed "modular principle", which consists of lawfully related or identical elements. These modules should be aligned according to simple, precise laws and spatially organized (3-dimensional grid system). The material-appropriate constructive, spatial joining of the modules is the focus, in addition to the design/proportion of the modules, e.g. interfitting such as folding, clamping effects, connecting links if necessary, etc.
Simple geometric initial shapes become complex through transformations. They gain dynamic effects through minimal changes in their contour, through the design of their edges, through their proportions and through their surfaces, which make them seem to float, to move, so that they appear alive and literally 'breathe'. Transformed in this sense either a cylinder or a cuboid.
Prof. Thomas Schmitz Axel Friedrich Mirko Tschauner Odine Lang Frank Posthoff