The diverse natural world provides a tremendous amount of visual material from which one can draw inspiration. By placing interpretive frames within it directs attention to its potential and allows for a deeper understanding of it. This material also increases the complexity and interest of the frame. These nature frames have the potential to produce something that is more visually stimulating then their distinct elements. The exploration is an attempt to understand what connections exist between the designs produced by nature and those derived from the human mind. Although something may be inspired by nature, when divorced from it there is a lack of dialogue. The key to each frame is to reinstate this dialogue and listen to what it tells us.
Exploring the interface between the intentional design of man and the unintentional design resulting from natural processes increases our understanding of the two worlds. Intentional design in its current state has a great disrespect for its unintentional counterpart due to its isolated development and subsequent disregard for it. Designing something in insolation from the natural order fails to make use of the tremendous variety and depth of design material that exists to help inform and in most cases improve upon a design. Each side has a unique set of qualities that it brings to the table and utilizing both of them helps to produce work with greater character that bridges the existing divide.
In order to understand this concept of the intentional-unintentional interface one needs to understand each set of design concepts. Intentional design consists of decisions that are made to produce results that are entirely predictable and uniform such as determining the shape, size/scale, and surface of an item. An example of this type of design include: producing dimensional lumber or paint that precisely matches an existing surface. Unintentional design consists of processes that through interaction produce results that are unpredictable and unique such as weather patterns, movement of limbs, growth/decay of plants, etc. Examples of this type include the uneven growth of tree rings or the patterning of leaves as they fall to the ground. Although extreme examples of each type of design does occur the reality is that they cannot be separated from each other. The goal is to celebrate this interaction rather than see it as a hindrance. The resulting effect in most cases improves upon the existing situation. Intentionality gives structure and focus and provides a means to showcase natural phenomena. Unintentionality on the other hand provides character and depth to regularity resulting in greater diversity of form.
To showcase this interface, a series of frames were constructed and placed in the environment. Each frame attempts to focus the viewer’s attention on various unintentional elements both in space and time (falling leaves, footprints in the snow, ripples in water produced from melting snow, etc) as well as improve the visual experience. In addition as literally framing the scene (a border around or next to), they serve as a frame of reference. They provide a reference point upon which to compare and contrast the colors, textures, and other phenomena with the man-made/intentional world. Despite the physical differences, strong visual similarities exist in the way in which the elements interact with each one helping to re-enforce the other. Ultimately, the environment serves as not only a means of inspiration but as a vital part of the final presentation.
The resulting images can be broken down into three components that are represented in the title. Like the classification of plants and animals, each image is based on hiearchial ordering of ideas. The first is the unintentional component that represents an environment, concept, or specific plant that gives rise to a need for interpretation or exploration. Image Fall leaves Cage subpr. Foreground tree includes in its title the concept of “falling leaves” that is explored through the conveyance of the second part of the title. The second part is the intentional component or built project that represents an abstract architectural or design typology. This typology references the shape or physical qualities of the project. For example a frame that stands vertically might be a tower or one that has an elevated horizontal surface might be a platform. Image Fallen bark Grid subpr. Fallen tree includes in its title “grid” due to the use of a grid system to arrange and showcase the irregularities of the bark. The third one is the subproject that is a specific composition of the intentional frame showcasing the unintentional elements and the resulting photographed image. Images Oak tree Tower subpr. Three trees and Oak tree Tower subpr. Bark comparison consist of the same elements “a tower and an oak tree,” but the relationship manifests itself in different ways.
Although each image divides into the three component parts listed above, each image is thought of as one intentional design adventure. Exploring the unintentional world itself is an attempt to better understand and make sense out of it. These observations translate into design ideas that provide the basis for one’s own addition. For example, a piece of bark riddled with holes translates to a rigid ordering of holes on a pegboard. These ideas are combined with formal design concepts/principles (asymmetry, contrast, hierarchy, etc) to produce something that when placed back into the setting not only references it but helps to improve one’s understanding. The placement of a frame in concert with the original observations that inspired it also results in a multitude of new and previously unknown interactions. For example, one might be evident of a falling leaf, but placing a white-painted box, which you designed and built, behind it reveals the shadow of the tree it fell from as well as additional leaves left on the tree. Finding these unknown or hidden interactions are the goal of each project as well as gaining a better understanding of the unintentional or natural world as a whole.