> = < (convergent – parallel – divergent): 110211 - landscape material (julie, alyssa, matthew, yoshi)

The system that creates our group's landscape is based on the characteristics of a braided river. Each strand is created by using three different units, all put together in different ways. There are three types of strands and two different types of moldings.

The units are created by 10 to 15 individual pieces that change incrementally within each unit. We tested several oblique angle cuts to explore the ways to manipulate moldings to emphasize the profile of the moldings rather than the surface(top).

There are three primary strand that run individually to each other and secondary strands that weave under and over each of the three primary strands. After creating primary and secondary strands we end up with three bigger 'units' and the four tertiary strands are the ones that weave the entire structure together to transform individual strands into a single landscape.

Unit A was inspired by this study unit. Unit A does have curvature
in it but the curvature is not extreme.

Unit B is quite similar to unit A but has slightly bigger curvature,

it was inspired by this study unit.

Unit C has the most extreme curve out of three units,

it was inspired by these study units.

studio description......................

Jorge Luis Borges’ short story, The Garden of Forking Paths proposes a model for the world composed of multiple splitting strands. In the story, temporal strands form “a growing, dizzying web of divergent, convergent, and parallel times.” This notion of convergent, parallel, and divergent strands served as a model for spatial explorations in the studio. Work began along two parallel tracks: a modeling exercise based on cutting extruded wood molding profiles and re-assembling them into strands with variable curvature, and a mapping exercise studying the organization of a braided river. Together, these exercises led toward building a braided field of strands.

Once braided, strands produced a landscape of nascent surfaces and quasi-interiorities. When viewed in terms of site / intervention or landscape / inhabitant, these surfaces and interiorities were seen to have effective and affective potentials. As described by John Rajchman, effective potentials are grounding; constructed qualities of surface, enclosure, and atmosphere suggest a level of stability in the earth. Affective potentials are ungrounding; they suggest open-ended trajectories of bodies in space. As such, landscape and intervention operated in concert to produce effect and affect in strands of space and time. Final spatial propositions were not attempts to insert movements or narratives into a preformed framework, but sought to release figures from this type of prescription and allow them to navigate alternative paths.

> = < (convergent – parallel – divergent)

110211 - landscape material (julie, alyssa, matthew, yoshi)

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