The assembly technique was rather simple cladding sticking the balsa to the back on the silver coated card- same as the black card onto the back of the silver card for the train. The real difficulty was maintaining accuracy for the precise flush look i.e, even though I would assume a thickness of 2mm once the materials were joined they would be between 2.2-2.4mm, and once this extra amount becomes cumulative it completely distorts the accuracy. To remedy this I had to regularly cut back ends so that they would line up with the base. Another difficulty was cutting through the silver and black laminated card which even at 1mm requires a bit of force. Another issue was the brittleness of the balsa, which I did not factor in when making the openings in the alcoves as this was the first time I worked with the material. It often took 3 of 4 cuts to get a face that did not snap. At this stage I am satisfied with the result as is has materialised in the way I visualised it, the warmth of the light balsa representing humanising, socially engaging space set against the generic, industrial silver of the exterior tower form. There is a clear definition that has been given to the warmth of the interior space, by having distinguished it from the exterior, however this contrast is not too vivid as both the silver and balsa are warm in their own way. I feel I have achieved my symbol of a fountain, with the balsa starting at the bottom alcoves and running its way up the inside of the tower and remerging with the protruding top alcove and roof. The warmth of the balsa also clearly sets its intention as a socially encouraging and engaging space against the deadness of the dark train space.
No comments:
Post a Comment