SKIN + BONES Parallel Practices in Architecture, Fashion and Art

SKIN + BONES Parallel Practices in Architecture, Fashion and Art

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Description: We are living in a fascinating era. Concepts-those useful tools that help us to orientate ourselves in life- are getting more unruly. They are expanding and mutating, merging with one another and receding; and in the borderland between them lie many of the keys to the reality that intimately and broadly surrounds us.

The borderland between art architecture and fashion is perhaps the most explosive. Architects are using the techniques of fashion designers, fashion designers work is being understood and exhibited in art galleries and the circle, or weave, continues.

 
Author: Vanessa Bellemore, Hannah Chapman, Michelle Kals (Fellow) | Visits: 959 | Page Views: 1187
Domain:  AfterHours Category: Fashion 
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Contents:
SKIN + BONES Parallel practices in Architecture, Fashion and Art
/ program
/ critcal and historical table pages six to eight
/ artmaking assessment: the hood
/ student samples of the hood
/ artmaking assessment: oscillations pages fourteen to sixteen
/ student samples of oscillations

Authors:Vanessa Bellemore, Hannah Chapman & Michelle Kals Burwood Girls HS 08

SKIN + BONES Parallel practices in Architecture, Fashion and Art
Program
Year group

11

Duration

9 weeks

Unit of work

SKIN AND BONES, parallel practices in architecture, fashion and art.

Outcomes

Making: P1 P2 P3 P5 P6 Critical History: P7 P8 P9 P10

Rationale

Architecture & Design, Brooke Hodge.

geared to concentrate on the Conceptual Framework and the Frames.
Forms

Sculpture, Textiles, Architectural modelling and 4D.

Frames
Conceptual FW
Practice
Key Artists
/designers/architects

Architects:
Artists:

Assessments
Students will complete one art critical/ historical assessment, which comprises of Section 1 of a HSC exam with images from architects,

Resources

Artmaking
Art Critical & Historical

Authors:Vanessa Bellemore, Hannah Chapman & Michelle Kals Burwood Girls HS 08

WEEK 1 / overview
Integrated learning experiences, instruction and assessment

A

CH

Evidence of learning
Students engage with and
can articulate aspects the
role of the curator.
Students are able to explore
the concept of identity by
writing about a garment that
expresses their self.

WEEK 2 / Identity
Integrated learning experiences, instruction and assessment

A

CH

the concept of identity.
Teacher models some techniques used to create models such as cutting,
tearing, pleating, curling, twisting, scrunching, slashing, crumpling, shredding,

Evidence of learning
Students discuss,
explore and then give a
written account of their
understanding of the artists
practice and the concept of
identity.

Feedback
Teacher provides verbal
feedback as students
begin to understand how
architecture, fashion and art
can be related.
Teacher and students
discuss the answers
concerning curator!s
interview.

Feedback
Teacher marks this
artmaking identity task as
part of the overall mark of
The Hood assessment.

Students are able to explore
the concept of identity by
writing about a garment that
expresses their self.
WEEK 3 / Shelter
Integrated learning experiences, instruction and assessment

the concept of shelter.
Teacher models some techniques used to create models such as cutting,
tearing, pleating, curling, twisting, scrunching, slashing, crumpling, shredding,

represents a place where they feel protected, at peace, secure, a memory of

A

Evidence of learning
Students able to question
and discuss appropriately by
engaging with the images
concerning shelter.

Feedback
Teacher marks this
artmaking shelter task as
part of the overall mark of
The Hood assessment.

Students create 3D spaces
inspired a place they have
written about that evokes a
sense of shelter for them.

CH

Teacher also provides
verbal feedback on their
process and ability to
write about what they
understand from the Critical
& Historical lessons.

Teacher also provides
verbal feedback on their
artmaking process and
ability to write about what
they understand from
the Critical & Historical
lessons.

photocopying.

Authors:Vanessa Bellemore, Hannah Chapman & Michelle Kals Burwood Girls HS 08

WEEK 4 / Geometry
Integrated learning experiences, instruction and assessment

A

CH

sketch model into another model that is geometric. Procedures might include

Evidence of learning
Students are aided by the
structural frame to observe,
describe and comment
of the notion of geometry
throughout the Art History
Cano.

from identity sketch model into a folding structure of triangles.
Students select a successful
sketch model and resolve it
with a geometric sensitivity.
WEEK 5 / Construction/ Deconstruction
Integrated learning experiences, instruction and assessment

A

CH

techniques and materials are expressing their ideas.
Students hand in Assessment task 1, “The Hood!
assessment task 2, “Oscillations”.

Evidence of learning
Students work independently
to make successful aesthetic
and conceptual decisions to
resolve a “Hood!.

Feedback
Teacher observes the level
of student engagement
with the geometry
content and givse formal
written feedback on how
successfully students
are working with their art
critical & historical booklet.

Feedback
Teacher marks task
one and gives a mark
and comment based on
how successfully they
responded to the brief.

Students can analyse

Students identify similarities
Corderio and Clare Healy.
work of Sean Corderio and
Clare Healy.
WEEK 6 / Wrapping and Folding
Integrated learning experiences, instruction and assessment

Shigeru BAN and the artists Jean-Claude & Christo.

A

CH

Evidence of learning
Students explore the
possibilities of how they
might communicate their
select oscillation.
Students can defend
“Wrapped coast”, as an
artwork, and are able to
interpret it themselves.
Students describe the
structure of the Japanese
contemporary house and
compare it with traditional.

Teacher continues to guide
students understanding as
they give verbal indicators
to correct or encourage
their understanding of
the critical and historical
content.
Feedback
Teacher provides verbal
informal feedback as the
Teacher observes and
guides students to engage
in the activity of exploring
and begin to develop.
Teacher gives verbal
feedback on students
understanding of JeanClaude & Christo!s artwork
“Wrapped Coastline.”

Authors:Vanessa Bellemore, Hannah Chapman & Michelle Kals Burwood Girls HS 08

WEEK 7 / Weaving
Integrated learning experiences, instruction and assessment

A

CH

the material opportunities and limitations.

Evidence of learning
Students work independently
in an artistic practice
to communication their
conceptual and aesthetic
explorations.
Students are able to
complete mind maps, and
draw aerial and side views of
Hadid!s MAXXI.

WEEK 8 / Organic Forms
Integrated learning experiences, instruction and assessment

A

CH

pairs to the class.

Evidence of learning
Students understand that
the conceptual framework
is interdependent. Students
are is able to explain those
interdependent relationships
in an interview format.
Students work independently
in an artistic practice to
resolve their conceptual and
aesthetic explorations.

WEEK 9/ Assessment and Resolving
Integrated learning experiences, instruction and assessment
Students hand in assessment task 2, oscillations.
Students complete art critical and historical assessment task (Section 1 of HSC
paper).

A

CH

Evidence of learning
Students submit Diary with
documentation, experiments,
and their resolved artwork
with a statement of intent. .
Students can recall,
describe and analyse in a
written account aspects of
artists practice, conceptual
framework and the frames. .

Feedback
Teacher work closely with
student to guide them in
their artmaking process.
Art critical and historical
workbooks are collected by
teacher. Students receive
a grade and comment on
their progress in completing
the activities involved.

Feedback
Teacher work closely with
student to guide them in
their artmaking process.
Teacher grades students
on their ability to
communicate aspects of
the conceptual framework
in relation to Commes Des
Garcon and Le Corbusier.

Feedback
Teacher gives a mark and
comment to represent
student!s ability to engage
with all aspects of both
the artmaking assessment
and art critical & historical
assessment.

Authors:Vanessa Bellemore, Hannah Chapman & Michelle Kals Burwood Girls HS 08

SKIN + BONES, Parallel Practices in Architecture, Fashion and Art

Art Critical and Historical Study

Resources: PowerPoint presentations & student activity handbook
Week Concept Artworks
1

Intro to
Skin &
Bones

2
Identity

Key Questions Activities:

Reference

Structural Frame:
Artists:
Yeohlee
Teng,
Hussein
Chalayan,
Issey Miyake,
etc

5
relationship does

practices-in-fashion-and-architecture/ and
fashion & architecture through
the use of themes such as
architecture and shelter and identity.
fashion?
Practice:
Artists: Doris How does each
Salcedo
artist explore
identity in his or
her practice?
http://www.sfmoma.org/msoma/artworks/8398.html
conceptual and material
Hussein
Hussein Chalayan present and past collections:
practice of each artist.
Chalayan:
Share understandings of how http://www.husseinchalayan.com/
communicate

l

m

m
3

Conceptual Framework:
Shelter

Artist: Lucy

Artwork, artist, world, audience
Daniel

Jewish Museum
create shelter?

m
/
E

community?
Berlin
sheltering from?

elements from the Jewish

architectural terms

Authors:Vanessa Bellemore, Hannah Chapman & Michelle Kals Burwood Girls HS 08

Week Concept Artworks
4

Key Questions Activities:

Geometry:
The
Greek
How has the
Golden
Architecture:
The
Parthenon. artistic practice

Reference

Structural Frame:
Mona Lisa:
/

Students annotate artworks
using the golden ratio:
o

for more)
5

6

Constru
ction/
Decon
struction

Frank

How is
deconstruction
Santa Monica and
reconstruction
Claire Healy
and
Sean
work and the
Corderio
of Cordeiro and
Healy?

Practice/Postmodern Frame:
Small Group: Students explain
the steps in deconstructing
Gehry: Santa Monica Bungalow
and reconstructing elements
Sean Cordeiro and Claire Healey

l
l
/

http://artkrush.com/gallery/89/otw/3

Cultural Frame/ Structural
Shigeru Ban
Shigeru Ban How has
Frame:
house/
& Folding
each artist
approached
Jeanne-Claude & Christo:
Tokyo.
wrapping in their
Jean-Claude own practice?
House to traditional Japanese
& Christo:
5
Houses.
The structure of the house & its
connection with the traditional
Bay 1968 -69
Japanese house.
Postmodern Frame:
Students asked to respond to
California
1972-76

l

Authors:Vanessa Bellemore, Hannah Chapman & Michelle Kals Burwood Girls HS 08

Week Concept Artworks

Key Questions Activities:

7

Reference

Practice:
Issey Miyake
and Zaha
Miyake
Hadid
and Hadid
transformed
the traditional
practice of

Students asked to document:

Miyake:
Zaha Hadid

5

d
Zaha Hadid MAXXI Museum http://www.arcspace.com/architects/hadid/maxxi/
similarities and differences in
the way each designer applies
work.
Mind map of information
practiceMAXXI

8
Organic
Forms

Conceptual Framework:
Commes Des In what way are
Garcons, Le these artworks Form pairs. Students are
organic?
and examples of their work.
Students work for 30 minutes

Commes Des Garcons collections:
http://www.infomat.com/runway/commedesgarcons.html
General info Commes Des Garcons:
s
Notre Dame Du Haute:
lhttp://en.wikipedia.
e

Authors:Vanessa Bellemore, Hannah Chapman & Michelle Kals Burwood Girls HS 08

SKIN AND BONES Parallel practices in Architecture, Fashion and Art
Hussein Chalayan, Kinship Journeys,

unruly. They are expanding and mutating, merging with one another and

with dress making skills. Lift off.
Fashionation, Moderna Museet, 1997

PART A EXPLORING + DEVELOPING
IDENTITY
Authors:Vanessa Bellemore, Hannah Chapman & Michelle Kals Burwood Girls HS 08

/ You will then create a sketch model from temporary materials as newspaper, tape, string and plastics.

SHELTER

/ You will then create a sketch model from temporary materials such as white paper, tape, string and plastics.

GEOMETRY

pattern or a folding structure of triangles.

PART B RESOLVED WORK
THE HOOD

articulate your ideas of identity, shelter and geometry.

Authors:Vanessa Bellemore, Hannah Chapman & Michelle Kals Burwood Girls HS 08

hood, shoulder hood and face hood. teamsugar.com

SKIN + BONES
Parallel practices in Architecture, Fashion and Art

Student Name:
Outcomes: P3, P4, P5, P6
Due date
WEEK ONE: INDENTITY

Limited
0-2

Basic
2-4

Sound
4-6

High
6-8

Outstanding
8-10

Limited
0-2

Basic
2-4

Sound
4-6

High
6-8

Outstanding
8-10

garment that expresses identity
and documented sketch model.
/ Sketch model that explores
your concept of identity with
technical and material resolution.
WEEK TWO / SHELTER
expression of architectural
shelter and documented sketch
model
/ Sketch model that explores
your concept of shelter with
technical and material resolution.

WEEK THREE / GEOMETRY

Authors:Vanessa Bellemore, Hannah Chapman & Michelle Kals Burwood Girls HS 08

Limited
0-2

Basic
2-4

Sound
4-6

High
6-8

Outstanding
8-10

Limited
0-2

Basic
2-4

Sound
4-6

High
6-8

Outstanding
8-10

documented sketch model.
/ Sketch model that uses geometry
technical and material resolution.
WEEK FOUR / THE HOOD

Documentation of hood.
more of the concepts of identity,
shelter or geometry to construct a
hood.
FEEDBACK:
Total Marks:

/40

Student
Samples
/ Hood
Assesment
Below right / Identity sketch model
and translated
Geometric sketch
model. Below left /
Geometric models.
Left / Shelter
sketch model
and translated

Authors:Vanessa Bellemore, Hannah Chapman & Michelle Kals Burwood Girls HS 08

Student sample
Holding hands mitten

Authors:Vanessa Bellemore, Hannah Chapman & Michelle Kals Burwood Girls HS 08

SKIN AND BONES
Parallel practices in Architecture, Fashion and Art

os·cil·la·tion n

You are to choose one

allusions/reality
Old/new
natural/man-made
Fragility/strength

DESIGNING

Authors:Vanessa Bellemore, Hannah Chapman & Michelle Kals Burwood Girls HS 08

London East End, 1998. Image Source:
www.thedesignofprosperity.se
Menashe Void in
Jewish Museum Berlin. Image
source:

felt/seen
tradition/trend

artwork.

Authors:Vanessa Bellemore, Hannah Chapman & Michelle Kals Burwood Girls HS 08

“The Mobius”, 2005.

Parallel practices in Architecture, Fashion and Architecture

Student Name:
Outcomes: P3, P4, P5, P6.
Due Date
Visual Arts Diary contains:
1. Thorough documentation of
processes.
2.
3
artist/s that your artmaking
references.

LIMITED
0-1/2

BASIC
1

2

HIGH
3

4

/4

Lead up work:
1. Experimentation of materials

LIMITED
0-1/2

BASIC
1

2-3

HIGH
4

5

/5

Independent Artmaking:
1.
conceptual practice for Oscillations
artwork.
2.
practice.
3. Thorough photographic

LIMITED
0-1/2

BASIC
1

2-3

HIGH
4

5

/5

Statement of Intent:
1. Type A4 statement of intent that
outlines the experimentation of
media, lead up work and resolution
in your Oscillations artwork.

LIMITED

BASIC

2.
conceptual decisions in artmaking.

Authors:Vanessa Bellemore, Hannah Chapman & Michelle Kals Burwood Girls HS 08

HIGH
/1

Total Marks: /15
FEEDBACK:

Student Sample

Below: Mask me and I can see

Authors:Vanessa Bellemore, Hannah Chapman & Michelle Kals Burwood Girls HS 08