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FINAL MOCK-UP MODULE & REFINEMENT

Here, we have the low-grade polyester tulle to work with for our final mock-up design.

We replicated the same framework as the last model using string, wire, and bamboo.

We finally achieved a refined result of curvy and wavy forms on the edges of the fabric panels. Although the white synthetic fabric looked appealing as is, we aimed to add a neutral-colored pallet to the fabric to enhance the interpretation of the paperbark colours and textures, perhaps with already eco-dyed Tulle or with ochre pigments.

The sand may be an additional material not included in our final artwork's concept.

The result in the behavior of tulle mesh worked exceptionally well for the wind conditions, allowing the work to move gently and freely in the wind without losing any formal shape.

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DIGITAL DESIGN - ITERATIVE MOCKUP

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FRAMEWORK SKETCHES

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DIGITAL DESIGN - ITERATIVE MOCKUP

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DIGITAL DESIGN - ITERATIVE MOCKUP

The first couple of sketches explore the form by looking at various patterns on the bottom edges of the fabric panels and adding extra panels to fill the space out. Also, keeping the idea of using sand to create a path and emphasize engagement for the audience.

Sketch 1:

These sketches are then looking at having no sand and comparing the transparency variations in fabrics.

Sketch 2:

Then, the final sketches investigate what the modular panels would look like if they were angled and alternating between each tree to give less of a straight line and a more interwoven direction. Keeping the comparison of different sheer fabrics.

Sketch 3:

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WEEK 11 - WORKSHOP EXPIREMENT PROTOTYPE

REFINING FORMS & FRAMEWORK

While refining the forms of the panels, we explored which materials would be the most suitable and functional for our framework to assist in safely suspending the fabric panels. We each dedicated tasks to experiment with modeling a version of our install, one with string and the other with wire. By using just a scrap synthetic polyester curtain, we were able to get a rough idea of what our final forms would look like. We considered these key elements throughout our process in the design

line

space

direction &

repetition

The 8x fabric panels were cut into rectangular shapes with wavy edges and attached to flexible metal wires. The wires had loops on both ends to slide onto the string frame that would hold the panels in place.

The wires were not fixed to the frame, so the panels could move around and bunch up together. This created challenges and possibilities to play with different arrangements and dimensions.

REFLECTIONS

Overall, we both thought that the hanging framework for this module was a great success and something we will keep doing and refine even further. However, we were not satisfied with how the mini mockup of the fabric panels looked. They did not resemble the textures of Paperbark as we intended but rather looked like party streamers or cheap costumes. Rough and sloppy.

To improve this, we changed the design again, making the fabric curves smoother and eliminating the tunnel idea. Instead of walking through the panels, visitors will have to bend down. We will also have to refine our technique of trimming the bottom edges of the fabric to achieve the desired textures and consider the length, direction, and pattern.

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WEEK 11 - WORKSHOP EXPIREMENT PROTOTYPE

WORKSHOP ITERATATIVE PROCESS

Isabella and I met again in the workshops and had another crack at iterating a new module. We first explored the various qualities of fabric again to see how it behaved with the wind and how the transparency would lend itself to the overall layered result.

TULLE

[mariellejohnston]

WEEK 11 - WORKSHOP EXPIREMENT PROTOTYPE

WORKSHOP ITERATATIVE PROCESS

Isabella and I met again in the workshops and had another crack at iterating a new module. We first explored the various qualities of fabric again to see how it behaved with the wind and how the transparency would lend itself to the overall layered result.

TULLE

[mariellejohnston]

WEEK 11 - WORKSHOP EXPIREMENT PROTOTYPE

WORKSHOP ITERATATIVE PROCESS

Isabella and I met again in the workshops and had another crack at iterating a new module. We first explored the various qualities of fabric again to see how it behaved with the wind and how the transparency would lend itself to the overall layered result.

COTTON SCRIM CHEESECLOTH

[mariellejohnston]

WEEK 11 - WORKSHOP EXPIREMENT PROTOTYPE

WORKSHOP ITERATATIVE PROCESS

Isabella and I met again in the workshops and had another crack at iterating a new module. We first explored the various qualities of fabric again to see how it behaved with the wind and how the transparency would lend itself to the overall layered result.

CHIFFON

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WEEK 11 - DRAFT PICTH PRESENTATION

OVERALL PITCH:

WINDY PLACE

•Inspired by the site’s Indigenous name, ‘Barrambim’ (established by the local Turrbal group in 2008), which translates to  Windy Place, our group sought to directly engage with the site’s environment and acknowledge Indigenous histories [REF]. The mobile-like installation is designed to react with the wind currents while swaying attached to the tree branches- ideally bringing the audience’s attention to the skies.

SITE OF GATHERING

• In Acknowledging Barrambin’s long history as a meeting and gathering site for Indigenous communities across South East Queensland, interactivity and community became a strong focus for this project [REF]. Approaching this from the lens of mindfulness, we hope to engage visitors to gather beneath the paperbark trees and participate in a moment of pause.  These mindful practices may also be likened to other Indigenous traditions of connecting with the Country, asking contemporary audiences to engage with the natural world around them [REF].

• This gathering theme also appears to reflect  Barrambin’s more recent histories, including the housing of American troops during World War Two and the later gathering of rehomed/displaced citizens in the Post-war period [REF]. However, in this light, we also acknowledge that these events remain a legacy of the site’s colonization, which still lingers today [REF]. Hopefully, our work will be able to temporarily return some aspects of culture, gently engaging with the Country from our (albeit) non-indigenous heritage.

PAPERBARK TREES

• Closing in towards the specificities of the site, the paperbark trees themselves also became another essential focus.  Working with native flora (rather than imported species such as the beautiful jacaranda) felt vital, given the site’s cultural and colonial history. Our project then developed mainly around the trees themselves,  seeking to bring attention to the soft and delicate textures of the bark. Hopefully, This was achieved through transparent fabrics and curved overlaid lines.

• Paperbarks were a significant resource for the indigenous, such as building huts, sheltering, cooking, and treating ailments with medicinal and pharmacological properties.

• Paperbark Tree: Indigenous name – ‘Kurrung-durrung’

• Paperbark Tree: Latin Name – Melaleuca Leucadendra (Broadleaf)

• Melaleuca forests trap vegetation and debris deposited in coastal areas during floods and storms. Provides habitat for fish species, retains and filters water, and reduces soil and sediment run-off.

RESPONDING TO SITE:

• The row of Paperbark trees

• Medicinal, practical, environmental, and aspects of the paperbark trees.

• Formal textures of the paperbark. 

• Responding to the wind.

• Suspended installation

• Participatory art

CONCEPT:

• Practicing mindfulness

• Dadirri – inner deep listening, quiet, still awareness and waiting.

• Coming home

• Feeling safe

• Becoming intimate with the trees

• Slowing down

• A guided path

• Communication between trees

• Fluid, elegant and soft forms

ECO MATERIAL ANALYSIS

POTENTIAL FABRIC MATERIALS:

• Tulle: Recycled from fishing nets and pre-consumer waste.

• Chiffon: Recycled and repurposed material

• Cotton scrim gauze: Bio-degradable

 Potential Fixing Materials:

• Thread: 100 recycled sewing thread

• Wire rods: Re-purposed

• Rope: Biodegradable natural rope

• Fishing Line: Biodegradable or recycled fishing line

 ADDITIONAL MATERIALS:

• Sand: Re-purposed

• Ochre: Bio-degradable

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MATERIAL RESEARCH

Now that we have realized that the use of plastic bags would be unsuitable (due to their lightweight quality), sourcing other sustainable materials felt more congruent.

We chose this tulle for the following reasons:

It is made of recycled materials, such as fishing nets and pre-consumer waste, which reduces environmental impact.

It is not too costly, which fits our budget and resources.

It has the perfect colour and texture for our project, with a soft and flowy feel and small netting holes that let some air pass through.

We learned from our previous experiments with plastic bags that we needed a material that could resist the wind and maintain some shape and structure.

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DIGITAL DESIGN - ITERATIVE MOCKUP

This mockup design reflected upon the use of wire alone, however, the details and movement of the lines in the wire disappeared within the site.

This digital sketch became a lot closer to what we were aiming for.

We had to think about other ways to join the space of the trees and make it seem more purposeful so that the installation becomes more inviting for the audience. By adding sand around the base of the trees, we hoped this would create a path for people to walk/sit on and perhaps provide another chance for mindfulness by taking shoes off and engaging with the sand's texture.

Initially, the thought about including some sort of fabric matting, maybe perhaps padded mycelium-based leather? would draw more attention to the textural qualities of the sand?

This design is simpler and may also be more achievable to make. It also follows our previous work with similar styles, considering the qualities and characteristics of the types of transparent fabrics. Perhaps the fabric panels would be longer and not connected to each other.

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FURTHER SKETCHES

Refining logistics of framework and compositions.

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WEEK 10 - WORKSHOP EXPERIMENT PROTOTYPE

This week, we had a good idea of what forms to create, but instead, we decided to give the recycled plastic bags in response to the Arocene artwork by Tomas Sareceno.

We began by cutting up various pieces of wire to attach the plastic panels to.

We then cut several plastic bags into shapes and experimented with heating and ironing the plastic to bind them together and create a pleated and textural effect.

Each panel/sheet of plastic was then melted and fixed to the wire pieces and wired to each end together.

We were happy with that result and then iterated this on a larger scale. Except this time, we didn't attach all the wire panels together. We kept them separate and installed them in different tree sections to allow more space for the plastic to move with the wind.

We tried to make a bigger version of our model, but it didn't work out. The plastic material was too light and couldn't hold the shapes we wanted. It was a messy flop.

We liked how the wire forms looked without the plastic sails attached. They moved slightly with the breeze and gave a subtle impression of the motion we were aiming for. They also showed off the curves better than with the sails on. So, we decided to go for a larger-scale model with just the wires.

REFLECTIONS

Our experiments did not yield the desired results. We had envisioned a plastic fabric made from recycled plastic bags that would create beautiful stained glass quality and flow freely in the wind, but we realized that it needed to be more light and stable. Instead of creating a gentle motion, the plastic flapped wildly and unfortunately lost its shape.

We then focused on the wire support structure, which we found more effective and appealing. It showed the curved forms clearly and swayed softly in the wind. We are still looking for a suitable transparent fabric to complement the wire, but we might end up with a wire-only sculpture that resembles a line drawing.

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FURTHER SKETCHES

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WEEK 9 - WORKSHOP EXPERIMENT PROTOTYPE

We began by dividing our tasks to experiment with different materials to achieve similar forms....

Cotton, wire rods and ochre.

Paper and string.

COTTON, WIRE, OCHRE

4 pieces of wire rods were measured and cut to roughly 1 meter in length.

A cotton bedsheet was then cut into 4 individual pieces.

The existing seams from the edges were utilized by feeding the wire rods through.

Each fabric panel was then trimmed in a wavy-like shape.

Dyed with watered-down diluted ochre pigments and left out to dry.

The mockup was then installed into the trees to further reflect on how it responds to a similar site to the final install.

PAPER, STRING

Single sheets of brown paper from the workshop were cut into many pieces

The ends were trimmed in various shapes following that wavey texture.

The twine string was then pierced through each end of the paper to bind it all together.

We could then see what effects would appear when this repetition of layers was combined.

REFLECTIONS:

We had a fairly fruitful first workshop together. Our common goal was to recreate the textures of the Paperbark tree. I used cotton fabric from a re-purposed fitted bedsheet, and Isabella used paper and twine.

We both agreed that the ochre effect was appealing. Still, we wanted to find a more transparent fabric to highlight the layers, creating more depth to the installation and also reacting effectively to the wind. We also liked the shapes that the paper formed, but they were not flexible enough to move with the wind as we envisioned for the final installation. We needed to try different materials.

Perhaps with tulle, silk, chiffon, or sheer cotton??