Drawing Through Testing & Challenging the Software
The geographical position and abundance of forests have determined the spread of wood as the main building material of Lithuania in 20th century. Therefore, Lithuania holds a rich collection of woodenware and reminiscences of wooden architecture with outstanding ornamentation. Due to industrialisation and standardised building products, material’s innate characteristics and inherent heterogeneity remain largely neglected and unexplored.
Assembly lines caused a world made of parts, framing the imagination to think about the objects as assemblies of discrete parts with distinct functions. But there are no homogenous material assemblies in nature.
We enter an age of digital fabrication, with compound wood materials allowing for reliable properties and milling technology enabling complete manipulation of solid wood.
The project’s design is based on the complex wood anatomy and material investigation, combining various scales and parts of wood, which enabled to discover new unseen forms out of wood. The goal of the project is to rediscover wooden architecture and to introduce design parameters proposing ethnographic environments that speak truly of their birthplace and the future.
It started at the beginning of spring, when the park of Schonbrunn was still in a comfortable, quiet and deep season break. Empty, vast, over-scaled spaces and vertical borders of trees, created the secret atmosphere, beating somewhere not far, but unseeable. Curiosity has taken me to the garden rooms of Maria Theresa in the Castle of Schonbrunn in Vienna, where i discovered treasures of baroque illusionism, captured still on the endless surfaces filled with flora and fauna from the menagerie, palmenhouse and orangery. All exotic, all unseen, constantly confusing the eye, but intriguing the mind. It was all baroque. This is where the exotic reality began.
The project is an interpretation of baroque illusionism, representing the atmosphere of -fata morgana- a phenomenon of nature. I used point clouds as a method of pointilism, to achieve a different substance of the components, which I chose as exotic animals, representing the power of baroque. When the animal shaped pointcloud flies away, inside organs of the animals appear. This concept allowed me to discover the hidden reality and to see exotic spaces that were invisible before. Each intervention is an illusionary composition of exotic animals, which is captured still, but in virtual reality- it is constantly changing.
The intervention sites are inspired by the baroque formal garden- dominating long distance alleys as Lichte Allee, bosquet gardens and orangery, the longest orangery in Europe. Different intervention places are presented as the postcards from the famous sights of Schonbrunn.
I focused on the intervention in orangery, which originally served also as a winter garden used for court festivities. Whereas, animal inside organs become architectonic, ready to held new festivities in the orangery and enjoy the exotic being. The viewer is enabled to enter the interior of the animal body and look throught the exotic reality. This is an example of inverted baroque.
Who influences you graphically?
During recent years I was strongly influenced by the people I met at the Academy of Fine Arts in Vienna, like Wolfgang Tschapeller, Michael Hansmeyer and my thesis project advisor Kathrin Aste.
What dictates the graphic approach/language of a project?
Constant experimentation, failure and coincidence. My graphical language is formed my testing the capabilities of the software and trying to realise my ideas with the new tools having the attempt to surprise the viewer.
What programs do you use?
I use the 3d modelling software like Rhino, Grasshopper, Maya, Zbrush. It allows me to create the infinity of views and a variety of possibilities for other project‘s representation media as the animation or digital fabrication of the models.
In Imaginary Folklore you talk and explore the materiality of wood, how would a physical model help you in giving a tactile experience of what the images can only represent?
Representing this project was very important the dialog between the natural (material) and the digital (fabrication).This project started with the detail analysis of wood as the natural material where i discovered the diversity and intricacy of the inhereted material features, even on the microscopic level, and wanted to employ it using digital tools and technological possibilities. Therefore, i used the CNC mill and 3d printer to prove the design.
To what extent do you agree with the notion ‘the medium is the massage’, and how did the formatting of the images as postcards develop as a result?
I used point clouds as a method to formulate the concept of “inverted baroque“. The idea was to use the digital tool to challenge the famous baroque garden in Vienna. The project is respresented as the virtual reality and is constantly changing. The captured images are illustrating the interventions in the famous postcard views which enables the visitors to reimagine the classical picture of baroque garden.
You seize to show how the humans would interact and enter and choose to reveal these interventions as detached even from context, why so?
Often I use humans only as a reference to the scale in order to keep the atmosphere of the image more mysterious and let the viewer imagine the scenario on it‘s own. In terms of the project, the context is never dismissed, and usually it plays a very important role, but depending on the story of the picture, i choose where to put the accent.