Re-articulating Space

The Cube

Generic Form; Re~articulating Space, seeks to re—order space,
re—define relationships and elevate the cube beyond its Platonic, generic or a primitive form. These factors are the impetus behind an installation, the intent and function to remodulate existing space into both an art work and a practical architectural space. The cube's polyhedral form provides endless possibilities for this type of exploration and investigation.

There are five elements that order the formulation of the work:
Generic / Primitive form inherent to the Cube.
Immersive installation, practical environment.
Art / work environment.
Using not more than four faces, the cube is a shell.
The method of articulation and the ligature of structure.
Two dimensional arrangements have three dimensional possibilities. Abstracted paintings are potentially and conceptually flattened three dimensional situations. These are not exclusive ends to a study or a finished work of art, but rather are compliments of each other. It is our cognitive abilities of sight and perception that allow us to move back and forth between these two and three dimensional possibilities. In either state, they are possibilities for symbolic representation of the cube’s generic form, its newly designed aesthetics and its final specific form. This very act of sight, perception and (re) interpretation is itself an art situation. Generic Form: Rearticulating Space, explores the generic form of the cube by its freedom giving opportunities to the design of an installation where the work re—defines existing space through a highly structural approach; one that is based upon ancient and modern strategies. The cube’s archaic characteristics can be linked to the grid system of hand made brick or floor plans. 

The installation utilizes the cube’s unique properties as a polyhedra form whose formal qualities encourage a range of architectural and artistic experimentation an investigation. The resultant forms alter our normal relationship with art or architecture, and in either case shifts SpaceTime interaction as installation or as practical architectural space. In this sense our innate approach and level of comfort to the primitive grid system might be confounded when adopting a modernist architectural, structural and sculptural aesthetic. When the cube is used in a modular design its creates new, exciting potentials of complexity through repetition while also interrupting our normative phenomenological approach.
Architectural, structural and sculptural, the organizational intention is one that re-defines the space through a highly re—structured
appearance. In essence this becomes a thought provoking situation changing the viewer into a participant and thereby re—defining the traditional notion of art viewership as well as architectural interaction. This causes us to further re-assess the relational existence between art and space; viewer and art; sculpture and structure; architecture and structure. One additional place of investigation occurs when the installation becomes something more than a thought provoking art situation. This occurs when the work opens into an exploration of function, as in a dwelling, or as in an installation, that facilitates an interactive environment. Furthering the intentional scene, art might be set upon the walls of each cube and showcased as in a gallery venue; art hung on art where that art, the installation itself, is already set artistically to rearticulate space. In this context the work becomes itself functional and practical at the same time and in the same definition as the original architectural setting.

Right angles are normal building strategies and our ease and manner of use in dwelling and interaction are common frames for reference. As such the cube relates to, and naturally feels like a room we are accustomed too. When repeated, the cube in the context of an installation draws upon these references, but by re— designing and cutting away at the cube’s face, its skin so to speak, tension is created between the harmony of our known interactive architectural experience with that of a new sculptural approach to a structural design in an architecturally familiar environment. The technic of this work uses up to four faces of the cubes six faces, and at least one vertex in the design and construction of each of the installation’s cube modules.

It is in this specific form that intention and function come to the fore. (In this context specific form is conceived from intent, the primary conception of the installation and function, the physical, symbolic or metaphysical characteristic.) As a sculpture the cube becomes a specific form that is temporal, subjective and abstract eliciting unique reactions from any one or more participant(s). In the conceptual and visual language of three dimensional design the cube becomes the symbolic manifestation of Platonic form offering unique and logical multi formational, art—architectural, art—structural and sculptural works. The Platonic cube is foremost a generic form and in this state is found its formal absolutes, and from this state is developed conceptual possibilities. Recognizing this Platonic nature and its inherent laws, (A regular, convex polyhedron with congruent faces of regular polygons and the same number of faces meeting at each vertex.) the cube allows for selected designs, and these give way to specific forms and structures. The resultant specific form, that part of the shell left in tact, functions in a macro scenario within an architectural arrangement, and in a micro scenario when sculptural. In either condition there remains the formal, geometric and expressive remnants of the cube.

The installation, Generic Form: Rearticulating Space, seeks to re—modulate space artistically and architecturally. Given our ability to focus on a macro level the work functions in an architectural and structural sense. However, when focusing at the micro level the work reorganizes itself into sculptural units. This method of interactive reorganization is broken down into the Requisite Arrangement and Classification, where one is influenced through their ability to classify sculpture from structure, itself a transformative act. Through unique vantage points one begins to distinguish the whole from the parts; base, floor, width, shapes, and gestalt structure. In this setting perception is governed by, Principles Influencing Perception defined through composite forms, line, mass, object movement, movement, depth and perception.
Gestalt structure, macro view(ing).
parts, micro view(ing).
from viewer into participant.