Weathering as Decay

Following the material exploration, in conjunction with the tool development, various means of fabric dyeing were explore. One of these methods consisted the use of blue food safe powder, whereby deposits of it would sit on the fabric, while staining it. This image is presented as a scan of one of the fabrics.

This thesis promotes ideas of continuity, movement, and chance, executed, and explored through a series of experiments which lead to the final design. The moment which initiated this, would be an image whereby the man made, and natural can be seen. In this image, the man made has a clear disruption by the natural, as highlighted through the cracking of the concrete, spilled dirt, and overgrowing roots. This begins to initiate ideas of ruin, and decay, which are explored below.

The work, in conjunction with ideas of authors such as Umberto Eco in “The Open Work”, place me as the creator, leading another to be the author. In this case, whether presents itself as the author, whereby its influence leads to the structures decay, and downfall. Leaving its many states, and points of interest in time, to be interpreted and questioned by the viewer.

Through extensive research into weathering, and its portrayal into a physical form, my analysis began with a research tool. This tool consisted of a wood frame, whereby fabric could be hung into the ocean, leading the tide, and salinity to displace dye, and plaster, decaying much of its surface and appearance. My research then focused on leather, and how humidity, and sun would affect it over time. Taking these into a digital state, then became imperative as it allowed me to look at minute detail such as the weaving of the fabric, and its dye displacement is affected once removed from the ocean.

This led to the pavilion's creation. Following data research, such as wind studies within the site, it allowed for the displacement of materials within its form. The pavilion consists of dimensional lumber, whereby fabric is hung in the North and South. Leather is placed from east to west, as strong currents of wind allow for it to move within the placed tracks on the upper most past of the structure. At its initial state, the materials are presented dimensionally long enough for it to appear within the different tides. A small board walk leads to its interior, with the inner perimeter of the structure left untouched, as visitors can engage with the ocean, and the structure below.

The weather then allows for the structure to decay, and ruin, allowing for the weather and nature, such as wildlife, to take it over, eventually claiming the man-made structure as part of the decaying nature. The pavilion relies heavily on chance, as the weather becomes its author.

In my research and exploration, weather can be seen affecting the pavilion moderately, over a span of months to years, fabric can be seen as the first to deteriorate due to its fragility. This leaves leather and the wood structure, which in time will collapse, tear, and break, eventually leaving it unwelcoming to its interior, as it once were.

The exploration of decay and creation ruin, was a driving factor for this purposeful disruption of nature. Allowing it as the author, leaves great opportunity to chance. This opens up for its many interpretive and vast possibility of different states, all surely leading to one thing, its decaying form.

Beginning with the walk, an important moment which triggered the exploration would be this encounter. In the image, a mixture of man-made and natural elements can be seen present, whereby a clear disruption by the natural can be seen. This is presented though the overgrowing, and spillage of soil and grass onto the path, as well as the overgrowing of roots, and cracking..

The material exploration further developed through the development of its tool. Composed of dimensional lumber, the structure aims to hold various pieces of fabric across its two racks. When hung into the  ocean, the different fabric lengths interact with the ocean tides, causing much of its salinity to disrupt of the dye. The final result aims to have a clear gradient of which the dye erasure from the ocean can be seen.

Following the dyeing, and submerging process, the fabric pieces were then analysed and documented. Once digitally explored, a clear distinction of the tide erasure on the dye could be seen. This image represents a series of quadrants on the fabric, whereby the lighter parts indicate the most dye displacement. This is a cause of tide movements interaction with the fabric.

The Pavilion

Consisting of dimensional lumber, of two significant sizes. While the 4 x 4 make the primary structure, spanning 3 m in perimeter; the smaller size, 2 x 2, make up the outer perimeter, cantilevering 50 cm. The larger structure allows for a boardwalk to span out, as well as for the leather to be hung on a track system. This allows for movement to occur within the structure, east to west, and vise versa, physically moving the leather. The outer structure allocates for the lighter fabric, which when at full capacity, interacts with the ocean below, structure, and boardwalk. The series of images below represent the proposed decay over a period of time. A clear distinction can be seen through the decayed pieces of fabric, and leather, as well as on the construction of the structure itself.

This series of stitched images aim to show the interaction of the fabric, and leather with the wind and tides, as well as how its interaction leads to its decay and ruin.

This series of stitched images aim to show the interaction of the fabric, and leather with the wind and tides, as well as how its interaction leads to its decay and ruin.

As the pavilion aims to explore weathering, it is imperative to consider an array of possible weathering patterns. This render presents the pavilion in a different setting, that being in Algonquian Park, Canada.