While working on the 3 pieces for Lazzoni, I had a couple of things in my mind. First my research on movements and second my interest in experimenting with the sculpture’s installation in different architectural spaces and how the interaction between the audience, sculpture, and space may alter according to the design and movement of the sculpture.
My research on the movement started with the first Kinetic Sculpture series I made. I was interested in the secondary surprise motion that arises from the meeting of the mechanical elements and the structural elements of my pieces. I categorized parts of the art pieces as the skeleton, muscles, and skin. Skin is fabric, skeleton, the harder elements ( in this case, corrugated plastic and tubes), and the muscles, the mechanics. I continued this investigation on motion in these pieces because I was particularly interested in experimenting with flat shapes turning into 3D shapes that take space in a given architecture. This is particularly apparent in the bigger piece. This takes me to my interest in how we move through architecture and architectural mutualism.
Gordon Pask defines architectural mutualism; as “a building is only meaningful as a human environment. It perpetually interacts with its inhabitants, on the one hand serving them and, on the other hand controlling their behavior. In other words, structures make sense as part of larger systems that include human components and the architect is primarily concerned with these larger systems ...meaning mutualism between structures and men or societies.”
As the visitors enter this installation and walk through, they have to change their behavior to walk around the sculpture, which is installed in a “living space” in this case. Or they can wait for it to flatten and walk under it. As the sculpture, in this case, is an extension of the architecture, this creates an interaction between the architecture and the visitor.