My initial ideas are based around the way the human body relates to architectural form. In my undergraduate dissertation I researched the systems of proportion that have been applied to architecture in the past, from the golden ratio to the Vitruvian Man and Le Corbusier’s ‘Modulor’, focusing on how attitudes towards spirituality in society affected the use of human-based proportional systems. In the initial ideas for the folly project, I aimed to subvert these past ideas of how architecture relates to the body by instead looking at the architectural forms created in nature within the body, using SEM (scanning electron microscope) imagery.
I created a series of collages composed of SEM images, formed of elements such as bone, muscle fibers, hair cells and neurons. I found it interesting how these elements, which in a way are familiar to us, become distorted and unrecognisable. The individual forms become grotesque, and in a way even aggressive and ominous. I was interested in creating a flowing, organic shape that has a kind of movement, with the forms compiled to reach upwards, and key elements guiding the eye of the viewer.
In another collage I aimed to introduce a sense of space through the microscopic images, attempting to put together elements that have a clearer resemblance to architectural forms and are somewhat familiar looking, while retaining a sense of the abstract.
I was interested in layering textures, which my earlier initial images also explored. I then wanted to use these images to form a more rational folly. My folly was an attempt to imagine these forms within a physical space, something the viewer could move around and explore. However, I felt that the results did not show the characteristics of the initial images, and lost the sense of abstraction and ambiguity that made them interesting.