"Project Brief:
By now
you will have selected and investigated 4 artefacts within your design group,
now as a class, these need to be ‘reduced down’ to four overall; your group
will be allocated one of these four artefacts to focus upon.
The objective from the start of this project
is not to get you all to merely construct a space with four walls and a ceiling
but to tackle the object by removing your 3D Spatial ‘hat’ and look at the
project with a conceptual and open mind as to where the outcome could take you.
Please do not fear doing something which
may include sound, light projections or use of interactive medium.
You
will need to consider sound, movement and the notion that your work could take
on a 4th dimensional approach that would involve the use of
chronological or time bound constraints such as corrosion, sunlight or
movement. You may wish to consider sound as a 3D object, capturing it as an
emotional space for example.
Reflect upon how we see or become familiar an everyday
object and what values we place upon it (now and in its original context)?
For example, at antique toy fares, collectors pay the highest prices for pristine models in their original boxes. Yet such perfect items often only inform us of manufacturing details and the most sterile existence. If however, we remove the financial element of the value of an object, what physical state it’s in will inform us of the years of love, misuse and purpose of its existence. So how abstract and conceptual will any of you dare to be? You should also consider the possibility of working alongside others who are not from a 3D design practice and could, (should) ‘initiate’ a dialogue with others who may be working on a similar object and therefore can share knowledge and exchange skills."
For example, at antique toy fares, collectors pay the highest prices for pristine models in their original boxes. Yet such perfect items often only inform us of manufacturing details and the most sterile existence. If however, we remove the financial element of the value of an object, what physical state it’s in will inform us of the years of love, misuse and purpose of its existence. So how abstract and conceptual will any of you dare to be? You should also consider the possibility of working alongside others who are not from a 3D design practice and could, (should) ‘initiate’ a dialogue with others who may be working on a similar object and therefore can share knowledge and exchange skills."
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