San Fernando Valley State College A Project in Environmental Sculpture A thesis submitted in partial satisfaction of the requirements for the degree of Master of Arts in Art by George Coulam May, 1970 The thesis of George Coulam is approved: San Fernando Valley State College May, 1970 ii The candidate wishes to acknowledge the encouragement and ass.istance given him by Robert Bassler and Dana Pottish of the ! Sculpture Department. His sincere thanks must also be extended to Dr. Trabold, who taught him to see in the first place, and to Dr. Yonkers, who struggled to extend his intellectual horizons. iii Table of Contents Title page i Approval page ii Acknowledgement page iii Abstract v The Intention 1 Materials and Techniques 3 Sources and Solutions 7 Results of the Project 9 Illustrations 10 iv ABSTRA CT A Project in Environmental Sculpture by George Coulam Master of Arts in Art May, 1970 The project is the result of experimentation in the field of environmental sculpture. The materials include concrete, gunite, fragments of polychrome tile, water and stained glass. Theoreti­ cally, the concept partially involved an invitation to a viewer to experience visually the effects of colors derived from the stained glass projected upon the white interior walls and ceiling of an enveloping shell. In the project, the discipline of painting, which makes use of the element of color, sculpture, which involves a different dimension, and architecture, which encloses, all join together in one firm statement frankly designed to evoke a personal response of delight. v The Intention The candidate 1 s area of endeavour is that of environmental sculpture. The problem revolved around a structure which would function as an architectural- sculptural entity. Many factors were involved: site orientation, style of the free -form itself with its axial entry, sub­ structural support methods, the choice of finishing materials, the incorporation of such diverse elements as water and stained glass, the development of the landscape with free standing sculpture and plants which would serve to bind these elements together into a single unified expression. As a finished statement, it is hoped that the structure and its immediate surroundings will work to draw the viewer into its core -­ the 1 cathedral' itself. The effect is intended to be a unique experience in that nature, in the form of the sun and the water in the 'moat, 1 cooperate to cast reflections from four stained-glass windows onto the pure white screen presented by the warped surfaces in the interior. Nature also has a role in the essential form: the various profiles of the structure exhibit only the most organic of curves; each is planned around a specific window and its reflector wall, floor, or ceiling. The desire to creat a unified environment is not new, of course; but, here, in the structural-sculptural elements, the incorporation of various media is deliberately planned to involve as many facets of a 1 2 viewer's sensibilities as possible. The idea, partly, is to envelope him. in colored light and to evoke, psychologically, a reaction to the spatial enclosure which is, hopefully, blended with a certain visual , sensation created by the colors of the stained glass projected onto the curved surfaces. It should be obvious that both square and angle were deliberately banished; this promotes in the ·sensitive viewer a feeling of security as his focus is lim.ited to the contemplation of the vari- colored lights and the non-tactile experiencing of the enfolding space which wraps around him, punctured only by the accent of the 'throne' placed so as to permit a simultaneous view of all windows and effects at various times of day. Materials and Techniques Continual experimentation with substructural materials revolved around the appropriate method for the building of the form. The inter -weaving of steel reinforcing rod -- according to planned ele­ vations yielded the approximate free -form shell. Certain lapses between the paper stage and the process of erecting the substructure were corrected as the work of tying the rod advanced. The result of this initial step was the general outline of the final form. Wire mesh was secured to the entire surface of the steel framework. Decisions at this stage involved, first, the incorporation of rough wood elements which served to interrupt, as well as support, certain of the lateral sections; and, second, involved planning the exact dimensions of the four windows and the door. This latter step was most crucial as the silhouette is heavily dependent upon the arcs inscribed in space by the slightly overshot 'lips 1 of the windows which tend to break up surface areas that would otherwise be monotonous. The two modified ovoid window apertures rely upon these 'lips' to function as semi -reflecting surfaces to direct more light through the window. The 'moat' shape was planned and roughed in at this time, as was the double, asymmetrical convoluted form which frames the 'portal. 1 At this stage also the intrinsic patterns of darks and lights, of concavity played against convexity, of mass balanced by void, were checked repeatedly, and such minor 3 4 adjustments in scale or proportion as proved necessary were effected. The third step involved the rough concrete mixture that was forced into the steel mesh to act as a base for future multiple, finish coats. This first layer of concrete was trowelled on by hand following as closely as possible the contour dictated by the mesh. Finding the correct formula for concrete used in this manner on a free-form involved much correspondence with manufacturers, all of whom were most helpful in providing suggestions and information concerning chemical additives which would tend to lessen potentially dangerous cracking and as sure a proper surface for coats of gunite. In the process of searching for the proper formula several sections were either renewed altogether or otherwise reinforced, always with care to preserve the flow of the contours. The succeeding coats of cement were applied with the aid of that most useful tool -- a cement m.ixer. Once the structure, in its cement state, cured satisfactorily, it was possible to consider the nature and formula of the finish coats. It is here that technology once again came to the aid of an artist: the gun and that most unique modern material -- gunite. This versatile medium was repeatedly sprayed, in successively drier states, under pressure, onto the curved concrete, resulting in a surface of in­ credible whiteness. It provides the structure with a sharp contrast to the brace of trees on the one side and the open spaces on the 5 other; a contrast which is accentuated during the hours of sunlight, as the brightness of the major convexities serves to emphasize, and lend character to, the deeper values of the shaded, depressed areas. The window openings are oriented to take advantage of the path of the sun; and it is the nature of stained glass to glow only when light is passed through the panes. Here, most of their color and power is reserved for the viewer who, on a sunny day, chooses to open the door and step inside to experience the envelopment of his conscious­ ness by a kaleidoscope of joyful hues. The interior walls, floor, and ceiling of gunite form the screen against which these vibrant yet subtle designs in the glass are projected. The projector is the water and sunlight interacting to illuminate and animate the colors. With the 'inhabitable sculpture' itself more or less completed except for the walkway that encircles it -- the only angular element -- the cartoons for the windows themselves were begun. The technique of stained glass, its tradition, the many types and kinds of glass, the painstaking methods of its manipulation and assembly were learned under the supervision of a master craftsman-artist.>!< The cartoons were purposefully devoid of any of the usual banal symbolism; they were instead constructed around those universal elements of design which would harmonize with the statement in space made by the �<Rodger Darricarrera 6 contours of the structure. Only those colors were chosen which would carry well onto the interior screen. The windows are, of course, removable; a slight, almost imperceptible edge was introduced into the border of the opening itself. They are held vertically by gravity. The last steps taken were the installation of the interior 'throne, 1 incrusted as it is with polychrome tile, and the various free standing sculpture and benches in th e periphery, and, finally the arrangement of plants and lawn areas to complete the intended environment. Sources and Solutions Aesthetically, the above solutions were arrived at through study and observation: the investigation of current, applicable, structural techniques and the study of such diverse elements as the Catalonian Gaudi's inspired curvilinear forms activated by flashing glazed tile; the free-form components used by the masterful Le Corbusier in such structures as the Brussel' s Pavilion; and the art of India from which the notion of an interiorized, secret, all enveloping, narrowly focused dimension of space was derived. This latter source of inspiration for a 'womb-chamber' was transmuted from a concept utilizing darkness and mystery to one of brightness and color; from awe and reverence to joy. Still, the connotation is the same -- the door alone is proof enough of this organic development. Theoretically speaking, perhaps the most important influences upon the original concept of a sculpturally oriented whole came from the discovery of the Japanese Metabolists. Paradoxically, this fluid cluster of innovative designers and architects insists upon complete freedom to create, and even to fall into error; yet, at the same time, they are firmly convinced that nature and most of their ancient traditions, such as the contrast of the polished with the rough, the void against the mass, be respected wherever possible.