A building that attempts to look old fashioned.

Valued objects and qualities created in the present day.

Valued objects and qualities that have been passed down from generations.

It is an artwork that features all of the main colours.

It is an artwork that features at least five different colours.

It is an artwork that features only one colour.

It is an artwork that features only one object.

Sir David Adjaye designed the London 2012 Acquatics centre.

Sir David Adjaye is best known for designing sculptures.

Sir David Adjaye was born in Dar es Salaam, Tanzania.

Sir David Adjaye's artwork is heavily inspired by truffles.

Which statement about Sir David Adjaye is correct? 

Creating a sculpture inspired by David Adjaye

Key Stage 3

Art and design

3D sculpture: developing fine motor skills

Buildings or objects constructed from concrete

Buildings or objects constructed from several parts

Buildings or objects that are also artworks

Buildings or objects that exist in cities

A form that has been created and grown in particular conditions

A form that has been created in nature without any human intervention

A form that is made of 100% natural materials

A form that looks like it is natural because it is irregular, flowing and potentially unpredictable

Dame Zaha Hadid designed the London 2012 Olympics Cycling Centre

Dame Zaha Hadid received the UK's most prestigious architectural prize once

Dame Zaha Hadid was born and raised in London

Dame Zaha Hadid's work was heavily inspired by her early childhood in Iraq

Which of these statements about Dame Zaha Hadid is true?

﻿- Hi everyone and welcome to Art with me, Mr. Salvo. And today we're going to be looking at Creating a sculpture inspired by the work of David Adjaye. Now, the things you're going to need for today's lesson, equipment wise, is you're going to need some paper, some glue, a pencil, some scissors, and some cardboard. If you can now please pause the video, go and collect your resources, and then press play when you're ready. Okay, so we're going to look at the structure of our lesson today. So, we're going to, hopefully, you've attempted the intro quiz. We're then going to be looking at a bit about David Adjaye's work. Sir David Adjaye, should I say, rather. And then looking at the idea about it's being inspired by heritage, followed by creating our sculpture, and then our end of lesson exit quiz. Okay, so the key words for today's lesson are as follows. The word Heritage, which means to look at valued objects and qualities such as historic and cultural buildings that have been passed down from previous generations. Inspiration, so the idea of the process of being mentally stimulated to do something especially creative. And Monochromatic. So, a monochromatic artwork is one that includes only one colour, shades or tints of that colour, but just one colour. Now who is Sir David Adjaye, you ask? Sir David Adjaye is an architect who was born in 1966 in Tanzania. He's best known for designing multiple buildings around the world. So, he's a world renowned architect, And he was deeply inspired by his childhood travels. I'm just gonna go back there. So you can see there are on the left hand side, two images of Rivington Place, which is in London, which is the building I'm going to look at, and see how David Adjaye was inspired by that. And you see that picture there of David Adjaye getting his knighthood from the queen. The idea of being inspired by Heritage. So on the left hand side is Rivington Place which Sir David Adjaye designed, and on the right hand side are some sowei masks from Sierra Leone in Africa. And Sir David Adjaye took the look of, or the the designs of some of those masks and then transformed it into a building, a design for a building. And although they don't look like the mask, that's why we talk about the idea about being inspired by a place or in this fact, the heritage of a place. So the idea of taking something that's of importance and part of one's heritage or part of maybe a travel and using that to create a design for, in this case Sir David Adjaye looked at a building, but we're gonna create a sculptural form from that. Now, on that note, this may seem sort of an odd connection, I took the idea of what I could be inspired by. And this again now is down to sort of personal choice, but I looked at the idea of something of my heritage. Now, my family are Italian, from Italy, and the area that my family are from, or my dad's from, in fact, is really renowned for the growing of or picking of, rather of mushrooms and truffles. And you can see some photographs there that we've used. On the left hand side are some mushrooms, on the far right are some truffles. And I've just looked at that, and hopefully you can see that in the middle of the screen there, taking some of those ideas for how one could take something as simple as a mushroom which seems odd perhaps to look at the idea of your heritage, but certainly where my family are from, you know, it's well-known kind of Mushroom Province, shall we say. And so I like the idea of it's something I remember as a child visiting grandparents and some my grand-dad used do. And so the idea of taking something very simple and using it to create a design or taking something just shapes from it. And as you can see that I've got, there's just some looking at the sort of this geometry of the truffle and also some of those curved lines from the stalk and the kind of gills of those mushrooms and not trying to create a sculpture of a mushroom but rather the idea of looking at something and taking some of those forms to create a 3D design. Now, this is what we'd like you to do. I would like you in a second, to pause the video and to find an object or something that you can somehow link to your own heritage. And I want you to make a series of sketches which can be used to create a sculptural form, okay? So again, I'm not asking you to make a sculpture of an object. Likewise. So David Adjaye didn't create a sculpture of a mask, but he used the mask to create his, he used, sorry the sowei mask from Sierra Leon to create ideas or use it as inspiration for his building that he created. And likewise, I've used the idea of a mushroom. So this is what I'd like you to do. I would like you now, please to pause the video and create a series of small sketches that could be used to create a sculpture form. Pause the video now, and please create your sketches. Okay. So welcome back. So we are going to now look at how I took the idea of those sketches and created a sculpture. And then I'm gonna ask you then to not copy me but rather look at how you could take those ideas. So hopefully you've got your sketches behind you. Now, I'm just going to open up my video. And just then show you what I've created and how I've gone about that. So I'm just going to share with you my video and this is what I've done. So I have looked at those geometric forms that we, I showed you. Now I've just used cardboard. And all I've looked at is the geometry of a truffle. And that sounds a strange thing, I know, if you dunno what truffle the mushrooms are growing the grounder and they're quite sort of relatively rare. And when I looked at the skin of that truffle it was of lots of geometric shapes. So, all I'm doing here, is looking at how I can use something as simple as cardboard. And my first thoughts were actually, it looks kind of oval would that work as a sort of flat sculptural form. So again, it looks less mushroom, like more like a kind of geometric kind of oval ball shape. And again, this is about looking at what we can do with our resources in terms of as a shape. So, simple kind of cutting techniques being really careful of course when we are cutting and you can see there there's the example that I was looking at with my work. Now, I had that and realised that what I wanted to have was a more sculptural form. So, you know, it not being as flat. So, you know, my first what's where, okay, let's look at and I do quite like this but I don't think the there's enough of a sculptural form. It's essentially just a collage and that's not what I want. So, this is what I'd like you to do that from your sketches, I'm gonna hit pause in a second and I'd like you to, from your design, begin using, hopefully you've got your cardboard. And if you haven't, then paper is fine. Seeing how you can begin to explore and experiment with creating a sculptural form. Again, I'm not trying to make a mushroom. They really didn't try and make a mask, but rather he looked at what he could put together from his Inspiration. And that was looking at Heritage and likewise what I've done there. And I'm just simply now looking and exploring out how it could work. I've got my designs just off screen and I'm looking at the shapes and such forth. So I'm gonna press pause now. And I would like you to take your designs and begin cutting shapes or cutting forms from now and seeing if you can also begin to create a sculptural form. Let me pause there. Please now begin cutting your shapes. And then once you've began looking at the composition of your piece, please then press play again. And I'm gonna show you how I then began constructing my sculptural form. Okay, please do your task now and then hit play once you are ready with that. Okay. So welcome back. So I then from my pieces realised that what I wanted to do was look at how I could piece my work together without using any glue here, I'm just cutting sort of simple notches into the cardboard pieces. And now trying to make a 3D sculptural form. And again, this could be taken further in the sense of looking at working bigger. But we're just working now with what we've got. So those little notches are just showing how we can sort of simply in a very basic sort of way, construct our form. Very simple idea. It's a case of just cutting notches and then, the reason notches are cut is because the carbon will twist If it's not kind of actually kind of cut a sort of very small little V shape. And again, it's a very, very simple idea but you can create some amazing forms. So what we've now got is those, for me, those truffle like geometric shapes and they're now being kind of pieced together in a more sculptural form. Just says there's no glue needed. And what I would like you to do please, is I'd now like you if you've got those pieces at hand, to look at how you put them together, and again if you wanna follow my example, all we're doing is cutting very small V shapes and then looking at how we piece this together. Now, I've made a series of these as you'll see rather than simply one big structure, 'cause of it being kind of kind of big thing or sort of unstable sort of structure. Please pause the video now and begin piecing your sculpture together, please. And once you've begun trying that and exploring that, I'd like you to spend five to ten minutes on that. And then once you've done that please press play and then we will continue. Okay, so welcome back. And we are just going to look at now and I'm just gonna move my video forward as you can see, I've made a number of these and I'm trying different compositions and that's the key thing here not ever three piece works and that's fine. Now at the end of my work, you'll see. I didn't end up painting this, just because I wanted to sort of try and mirror the kind of a mushroomy grey colour, but that's not important, that's not part of what we're doing but I've just looked at the very end of the lesson. But what I was keen on was that as I was creating this, the light that was shining on onto my work, I noticed how interesting the shadows were and I found that really interesting in terms of taking, you know, these are sort of like handheld sculptures. They're only sort of so big as big as the Palm of your hand, but then that use of light that we've looked at and discussed before in lessons, sort of can create kind of a much larger sculpture. So we're taking this very small form and looking how light is used. And that's really important. We're looking at a 3D form, we need to consider, not just on a sort of two dimensional level of how it looks from the front, but as we turn it and rotate it, what we can do with it. And I'm just gonna move my video forward just so you can see that I've got here now a couple of my sculptures and I'm of course, sort of looking at how they work together and the intention of making a bigger form. And so you've got here. So I've looked at, would they work together? I realise that from a sort of structural form. And then again, I'm just here now with a sort of torch of camera, oh, it actually my phone. I'm just sort of looking at how the light works and how this sculpt almost kind of grows in size. And I found that really, really fascinating that I thought in actual fact, that's where I can rather than making the sculpture bigger. I can give the impression of scale and size just by that. Now, as I said, I haven't painted these surfaces and you don't need to it was something that I just did afterwards. 'Cause I was just interested to see how I could take this on a different level. So that's not something you need to do. And it's more about how we can look at the idea of light in a sculptural form. I'm just gonna move my video forward a little bit. What I would like you to do now before we look at that is this, I would like you now to to really sort of finalise the composition, the layout, the structure of your work. And then I would like you to then look also at the lighting and how we can sort of create a bigger sculpture really, without actually making the sculpture bigger but rather how we can use light. Please press pause now and finalise the look or the construction of your sculpture. Okay, so you guys can now look at the last part of my demonstration for you. And, the last part really was again was how we could use this to extend our work further. I had three sculpts that I made. I realised that they wouldn't be structurally safe or not safe, but sturdy should I say as one piece. So I then looked at the idea of how I could project light and almost, as I said, increase the size of my sculpture. I tried out the table and then I realised that in actual fact I could probably use a wall and really kind of the further away I was putting my sculpture from the walls, as you can see here, you'll notice how intense the kind of the shadows are. And how it kind of creates almost a secondary sculpture. And as an artist, I'd like to think not just the sculpts that you make, but also, how you can then use that and capture its kind of scale. And I know it's kind of quite hard to sort of picture that, but it does make us consider our artwork a step further on what we can do with it to really extend our work. I would like you now please, to experiment and explore how you can and take your sculpture and then not just kind of photograph it, but almost how much you, how you can extend its scale further. Okay, I'm gonna pause my video now and I would like you to do the same. And then once you've explored that, you can, of course, if you can take some photographs, if not, it's just a great experiment to sort of see how you can extend your thinking further. Please now, could I ask that you try that and once you've tried that we're gonna go and look at how we review our own work. Please press pause now and look at please the use of lighting and how you can extend your work. Okay, so welcome back. So I'm just going to close my video and go back to our presentation. Now, this is what we, as far as we kind of have got. So, looking at, What went well and even better it. And I've just photographed my work. Then again, I just painted mine just because I wanted to have a finish to it for the purposes of photography but that's not a consideration of anything to worry about. So what went well, things that I was pleased about. I was pleased that I always I'd used variety of materials and the fact that he was inspired by the artist. Not that I'd copied David Adjaye's work, but rather I'd taken the idea of looking at something from my travels and youth as David Adjaye had done. And created a, I mean, really interesting sculptural form. Again, it doesn't look like a mushroom or a truffle. David Adjaye's work didn't look like a Sowei mask from Sierra Leon, but it was the idea of being inspired by Heritage. The range of colours used. Now as a point of what went well, I like the fact that that range of colour or that limited kind of colour palette. And again, that cardboard could have been left unpainted. I just chose to paint it for the purposes of finishing it as a presentation piece. So I'm really pleased with that mark grey which I guess we could link to David Adjaye's work but also again, kind of a grey mushroom like colour. And the way in which the different elements are composed. So I'm really pleased with that. Very, what was just packaging from a box. And we've just geometric shapes. I'm really pleased that I explored how they fitted together and created a 3D form. Even better ifs for me. So even better ifs. I think I could have maybe looked at in hindsight, I think I painted the pieces before I constructed it and maybe looked at then maybe adding some textual qualities to each piece of cardboard. So that it was more finished and maybe using a a wider range of materials. So I use cardboard because that was the easiest resource to use, but I think maybe I could extend it further now and in try maybe incorporating maybe some collected some sticks quite frankly from the garden off and walks, paper, maybe looking at what other materials could be recycled. And I think I would like if I could to be more experimental. And I think that I kept it quite small because of the nature of kind of almost videoing it, for the demonstration. But I think I'd like to be a bit braver now. And I think if I make it another version of this I would try and go really big, you know? And I would perhaps maybe have some of those panels that were kind of, you know A4 size almost? Not sort of square, but geometric steel but I'd maybe try and make a piece that was, you know, yeah that was almost kind of like a football size or no bigger than that. Maybe like I was sort of a, I guess almost like a sort of beach ball or maybe if I could be even braver, I'd maybe try and get a light source in the middle of it. So as it sort of sat in the space you would have this kind of central light and all of those geometric pieces around it. And imagine the light emitting from that, would be a really, really kind of quite epic kind of, sort of sculptural form. Now I would like you to pause the video now and I would like to review your work. And, when you can on your paper, write down please, two of what went well for yourself and two EBIs. Once you've done that, please then press play. But I would like you now to self review your work. Okay. So welcome back. So that's it for today. I'd just like to say thank you for learning with Oak National Academy. And I look forward to seeing you next time. Thanks again, goodbye.

Creating a sculpture inspired by David Adjaye

Creating a sculpture inspired by David Adjaye

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UnitArt and design / 3D sculpture: developing fine motor skills

Art and design