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A Structure within a Structure: “Fallen Tree 2024”

By: Natasha Ramos

Dimensions: 10ft x 6ft

Materials: Steels Rods, Steel Scraps, Branches, Flashlight, Video

"The object needs a room, but now the room needs an object." Oscar Tuazon.

The “Fallen Tree 2024” blends industrial and natural elements to capture a moment where nature sits at the edge of life and decay. Outside my condo, a tree once stood strong until it was struck by lightning, rotting from within and finally falling over. I reimagined this fallen tree using steel rods, scraps, and real branches, echoing its form as it lay against the side of the building. Using a flashlight to illuminate the sculpture, shadows stretch across it like a spotlight, creating intricate patterns of light and dark, almost as if bringing the tree back to life for a moment. This piece speaks to the endless cycle of nature breaking down and renewing itself, while also questioning how human-made materials play a part in that cycle. The “Fallen Tree” stands as something beautiful yet broken, with the potential to one day be recycled, carrying forward the cycle of creation and transformation. Also how we can fall apart from being rotten within. https://youtu.be/uHpC6Vj3Reo?si=icjntP0ntVDesEBm

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QCQ: Structural Tension: The Art of Oscar Tuazon:

https://www.artforum.com/features/structural-tension-the-art-of-oscar-tuazon-195533/

Quote:

“Oscar Tuazon’s work grapples with architecture, not by decorating spaces but by forcing us to confront the boundaries and tensions within them. His sculptures often appear as raw, unfinished constructions, pushing back against the notion of polished, perfected spaces.”

Comment:

This quote speaks to the rugged, almost defiant spirit in Tuazon’s work. I find it compelling because it describes art as something that doesn’t just exist within a space but actively engages in a physical dialogue with it. By leaving his sculptures raw and unrefined, Tuazon presents us with an honest confrontation: structures that are unapologetically incomplete, in tension with their environment, and somehow both fragile and resilient. This approach reminds me of the beauty found in unfinished ideas, in spaces where tension is not resolved but left to exist openly. It’s a testament to the vulnerability that exists in all of us—the parts we’re still building, still reshaping, not yet polished.

I can relate to Tuazon’s vision in my own work, where I often explore themes of tension and space. I appreciate how his art invites a reflection on how we navigate boundaries, not just in architecture but in our personal lives. It makes me think of spaces where we feel unfinished, where we might resist the urge to ‘polish’ ourselves and instead embrace the raw edges and open frameworks of who we are. His work feels like a reminder that tension, rather than perfection, can be beautiful, powerful, and deeply expressive.

Question:

How do you think the concept of “unfinished” or “raw” spaces influences our perception of art and ourselves? Does leaving something incomplete or imperfect feel liberating, or do you find it unsettling? What kinds of emotions or thoughts arise when you encounter art or spaces that don’t seek to be fully resolved?

Image:

An image that encapsulates Oscar Tuazon’s exploration of structural tension is his installation “Burn the Formwork (Fire Building)” from 2017. This piece features the raw, unfinished aesthetic and the interplay between the sculpture and its environment exemplify Tuazon’s approach to engaging with space and material. You can view this work here:

This image showcases the sculpture’s rugged form and its integration into the surrounding landscape, highlighting the tension between constructed and natural elements.

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VIDEO / MATERIALS IN THE WORLD:

At C & R Metals, Inc. in Miami, I documented the steel yard’s industrial atmosphere a wonderful expansion to the steel in the studio. I captured the towering stacks and orderly shelves of steel products, highlighting the space’s utilitarian structure. Close up shots focused on textures like rusted edges and metallic finishes, while wider angles revealed the machinery and vehicles essential to this environment. The interplay of light and shadow added a dramatic feel, emphasizing the yard’s raw, functional aesthetic. This exercise conveyed the steel yard as a space defined by material, utility, and transformation. The floor was interesting as well.

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MATERIALS IN THE WORLD:

At C & R Metals, Inc. in Miami, I documented the steel yard’s industrial atmosphere a wonderful expansion to the steel in the studio. I captured the towering stacks and orderly shelves of steel products, highlighting the space’s utilitarian structure. Close up shots focused on textures like rusted edges and metallic finishes, while wider angles revealed the machinery and vehicles essential to this environment. The interplay of light and shadow added a dramatic feel, emphasizing the yard’s raw, functional aesthetic. This exercise conveyed the steel yard as a space defined by material, utility, and transformation. The floor was interesting as well.

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Lee Ufan: Marking Infinity (2012)

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SPACES: MIDTERM INDEX

1. A Room: Research

2. A Room: Final

3. Artist Presentation: Research

4. QCQ #1: Dependent Participation

5. A Room Within A Room: Research

6. A Room Within A Room: Final

7. Museum Visit

8. QCQ #2: Anarchitecture

9. Shelter / Dwell: Research 

10. Shelter / Dwell: Final

(2 link above 1. Shelter Dwell / 2. Final)

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Shelter/Dwell: Garden Bed 2024

By Natasha Ramos

Materials: Wood panels, nails, screws, dirt.

Dimensions: 96” x 84”

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Shelter/Dwell: Garden Bed 2024

By Natasha Ramos

Materials: Wood panels, nails, screws, dirt.

Dimensions: 96” x 84”

Shelter in both the physical and symbolic forms, providing protection, rest and growth.

A garden bed made of wood, serving as a shelter for bugs, plants and seeds. A dismantled toy box, the lid repurposed into a backboard and various tools were used to structure the wood into the form of a garden bed. Filled with soil, the bed becomes a space for shelter, safety, growth and personal reflection.

I symbolically placed myself as a seed, covered by the earth’s protective layer.

This piece highlights shelter as a place for both growth and refuge. Living things find safety in the dirt, the wooden bed offers space for rest and renewal. It invites viewers to reflect on how various environments can be a shelter for nurturing, physical protection and emotional transformation.

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Concept Board: 3 Shelter Gazebo

I will be attempting to build a mini gazebo. A gazebo serves as a gathering space that embodies the essence of community and shelter in an outdoor setting. It offers protection from the elements while promoting social interaction, creating an inviting atmosphere where people can come together to celebrate and connect. This structure highlights the importance of shared spaces and facilitates interactions that foster a sense of belonging. The gazebo encourages social cohesion and inclusivity, allowing diverse groups to unite and share experiences. I’m fascinated by structures that create communal environments, as they reflect my belief in the power of connection and collaboration in the design process.

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Concept Board 2: Shelter Cat Box

A cat box is a comforting yet practical shelter designed for cats, offering a secure space where a cat can relax and feel safe. This small structure challenges traditional ideas of shelter by emphasizing that homes should accommodate the needs of all beings, reinforcing the notion that comfort and safety are essential for everyone in the household. The cat box illustrates the bond between humans and animals, highlighting the importance of caring for all members of the animal kingdom. It raises questions about inclusivity in shelter design, encouraging a broader definition of home that considers the needs of animals. I’m interested in exploring how our living environments can cater to both human and animal needs, reflecting my belief in the interconnectedness of all life within shared spaces.

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Concept Board 1 : Shelter Garden Bed

I will be exploring the Garden Bed as a Shelter

The garden bed symbolizes two distinct types of shelter: one for plants and insects and another for human comfort and growth. By transforming it into a physical bed filled with soil, I explore the idea of being a planted seed within this nurturing space. This dual concept highlights how a garden bed provides a safe environment for plants and bugs to thrive while also serving as a metaphorical shelter for humans, inviting introspection and connection with nature. It emphasizes the bond between people and their surroundings, showcasing how we care for the environment and how it nurtures us in return. As a community focal point, the garden bed can spark conversations about sustainability and food security, encouraging collaboration among community members. I’m particularly drawn to community gardening as a means of empowerment and expression, where individuals cultivate not just plants but also meaningful relationships.

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QCQ: Anarchitecture

1. QUOTE
“People care about what is theirs, what they can modify, alter, adapt to changing needs and improve for themselves.”

2. COMMENT
I chose this quote because it highlights the importance of ownership and personal investment in one’s living space. Matta-Clark's assertion emphasizes that when people feel a connection to their environment, they are more likely to take care of it and make it their own. This idea resonates with me, as I’ve seen how personal involvement in a space can foster a sense of community and belonging. For example, when neighborhoods come together to clean or organize a public space or create community gardens, it not only transforms the area but also strengthens relationships among residents.

This quote also reminds us that architecture and urban planning should focus on the needs and wants of the people who use these spaces. When artists and architects work with communities, they can create spaces that reflect local identities and stories. This teamwork not only improves the physical environment but also encourages pride and connection among residents. By listening to the community, we can build vibrant spaces that everyone feels a part of.

3. QUESTION
In what ways can communities take ownership of their public spaces to create environments that reflect their identities and needs? How can we ensure that these efforts are inclusive and empower all voices in the community? What type of shelters are needed in these spaces.

I chose this quote because it highlights the importance of ownership and personal investment in one’s living space. Matta-Clark's assertion emphasizes that when people feel a connection to their environment, they are more likely to take care of it and make it their own. This idea resonates with me, as I’ve experienced how personal involvement in a space can foster a sense of community and belonging. For instance, when neighborhoods come together to beautify public spaces or create community gardens, it not only transforms the area but also strengthens relationships among residents.

This quote reminds us that architecture and urban planning should prioritize the needs and desires of the people who inhabit these spaces. It prompts us to consider how inclusive practices can lead to more vibrant and resilient communities, where everyone feels empowered to shape their surroundings.

4. Images

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Anya Gallaccio Presentation:

The Temporary Beauty of Art

Exploring Art through Anya’s natural and modern processes

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MOCA North MIAMI Visit: Comparing Sculptures

Most liked / Least liked

1. Nicole Salcedo, Earth Gate (2024)

Materials: 16'x10.5' waterjet cut aluminum pieces on plywood base

2. Dennis Oppenheim, Gut Birthdays (1992)

Materials: Steel, electrical cord, clamps, wood, wet suit, lightbulbs, neon, weights

1. Nicole Salcedo's “Earth Gate” was a joy to experience with its vibrant colors and the natural lush design. The moment I saw this sculpture, I felt drawn in. It is made of waterjet-cut aluminum pieces on a plywood base, the face is meant to represent the spirit of nature. I feel invited to connect with the artwork. The symmetrical elements calm me and the colors remind me of my cultural roots using Caribbean and Central American motifs. Standing before Earth Gate, I feel a sense of joy and comfort, it celebrates the beauty of nature and culture. I notice it makes me deeply reflect on my relationship with the world around me and where I come from. I just felt happy being in front of it, I felt a spiritual connection walking through the “portal.”

2. In contrast, Dennis Oppenheim's “Gut Birthdays” left me feeling uneasy. This sculture features wetsuits hanging and torn open at the gut, with lightbulbs showing like candles, creating an intense difference from the warmth of “Earth Gate.” The industrial materials like steel, electrical cords, and neon lights have a sharp contrast with the organic nature of Salcedo’s sculture. While I can appreciate the meaning behind Oppenheim's work, the coldness and dark theme felt unsettling. I don’t connect with the materials and I felt alienated. I felt so much distance from it. I then realize it highlights the heavy realities of aging rather than celebrating life and it makes sense why I feel like I do. It feels like a reminder of life’s isolation and final end, it wasn’t something I particularly enjoyed participating with.

These two sculptures bring out different feelings within me. Earth Gate feels like a celebration of life, joy, and spiritual connection, resonating deeply with me. The warmth of Salcedo's aluminum and plywood contrasts with the harshness of Oppenheim's steel and electrical materials. Gut Birthdays made me reflect on loneliness and the inevitability of aging, it was harder for me to process in such a gloomy way. I prefer warmth when reflecting, Oppenheim's piece left me feeling cold and distant verses Earth Gate feeling connected, warm and renewed.