Research On The Practice Of Wind Sculpture Creation

Nature is a great artist,and the wind is an unusual external force of nature.This external force of nature,when combined with the artisan’s human design,can produce impressive works of art.These works of art will naturally integrate with the modern public environment,they can bring new visual pleasure to the viewer and add new vitality to the modern public environment that has become so commonplace and even a little boring.This is wind sculpture-a new visual feast that breaks the static impression of traditional sculpture.This paper draws its theoretical core from case studies and practical feedback on wind sculpture.But first,the paper will start with its development history,summarize its related concepts at the theoretical level,and define the scope of wind sculpture discussed in this paper.Then it divides wind sculptures into two major types in terms of movement-the "morphological wind motion" type and the "texture wind motion" type.Based on these two types of wind sculptures,each of them will be analyzed and explored.For the type of "morphological wind motion",the analysis will focus on the movement mode,force structure,and morphological feasibility.In this section,Anthony Howe’s OCTO,Ralfonso Gschwend’s Dancing in the wind,Lin Emory’s Flower Tree,and Theo Jansen’s Strandbeests are selected as examples for analysis.Each of these four artists’ works has its characteristics,and their sculptures have different characteristics in terms of the way they move and create the forms of wind sculptures,in addition to the commonality of wind movement.Therefore,we will see in their works more possibilities of such wind sculptures,and try to organize and regularize these possibilities.For the type of " texture wind motion",we will focus on the analysis of the design of the wind motion unit pieces from the form of attachment,and the analysis of the wind motion single piece material.Therefore,this part firstly gives an example to analyze the "CCTV animation pavilion in Beijing World Park",because this case can be regarded as a transition from the construction industry "wind-driven curtain wall" to the sculpture industry "texture wind motion".This case can be regarded as a transition from a "wind-driven curtain wall" in the architecture industry to a "wind-driven texture" in the sculpture industry.Then,from Luo Xiaoping’s "Rain and Dew" to Wang Zhong’s "Landscape Intention",the wind-driven unit shapes exist independently in each unit frame on the surface of the form,but the form becomes more figurative,and the figurative form is a difficult point for the wind-driven type of texture,which will involve a distribution problem on the surface of the concave and convex form.Finally,through the case study and the summary of the author’s participation in the relevant project practice,the purpose of preliminary sorting out the methodology of wind sculpture creation is achieved.Based on this research,following the aesthetic judgment,the artistic creation of wind sculpture,further practical exploration from the direction analyzed in the text,this is the practical research of wind sculpture creation.