esign. Or it’s a 2-D representation of what a 3-D design could potentially look like, as is often the case with architecture software (hey, you can’t make a scale toothpick-model of every house that you’re hired to design. If you do, you should probably stop reading blogs and get back to work). Architecture software, such as AutoCAD (computer aided design or drafting), can help a person visualize what a building will look like and whether it is structurally sound (it probably does more, but I’m fairly unfamiliar with the program. Sorry).The image to the right (1) is from AutoCAD (as if you couldn’t tell). The image, and other similar creations, provide a proportionate, scale-model view of how the building could appear, hypothetically.
However, as I mentioned, there are also 3-D designs. To see these, one really should travel to a museum. Or, for just a beautiful 3-D scene, good ol’ Mother Natu
re tends to do a good job. Regardless, one particular example of a 3-D design can be seen to the right and down a little bit in Lisa Hoke’s The Gravity of Color, New Britain (2008). Although the image does not provide the full “oomph” of 3-D design “in the flesh,” it does provide the essence. The pinwheel-esque color explosion is 30 feet high and covers parts of three walls; the focal point is the center of the wheel, where the colors meet, but the real draw of the design is its unity: proximity of the cups to one another, the continuation of the color outward, and the repetition of cups. The design, assembled onsite entirely out of plastic and paper cups (and screws and some paint), is slated to be held at the Connecticut New Britain Museum of American Art until 2010 (3).(1) http://www.jtbworld.com/images/AutoCAD_2009_splash.jpg
(2) http://www.artinamericamagazine.com/files/2009/02/24/img-hoke_132030592636.jpg_standalone.jpg
(3) http://www.artinamericamagazine.com/reviews/lisa-hoke/
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