a winery
thesis advisor : Martin Bressani
barbora vokac barbora.vokac@mail.mcgill.ca
The model began with a found piece of wood, from there rectangular prisms we arranged in elevation. By excluding the plan view, one can only work tangibly with the experience. The model can only effectively exist at this scale. It is by moving around the work that one’s sense of perception is challenged. The relationships the prisms have with one another cheat the perspective view. The notion of a revealing picture plane is eliminated when one realizes the shortcoming of perspective, and is forced to close one eye. The crooked nails seem arbitrary from every aspect except for one, where they collapse into a single plane of circular heads. This works to reinforce the axis formed by two prisms when one reveals the other. No element of the plan reveals anything about the experience of the elevation, and no experience of the elevation reveals anything about the plan. The difference in the transparency of the prisms acts to reinforce this idea.