WEEK TWO

The computer froze when I was finishing up and I lost half my work and only managed to take the ONE picture




I was thinking, I'm not really a fan of the anomometrics, or I am just I wasn't quite sure how to make a coherent concept out of them. I know the three intersecting shapes are an expression of the quotes but, typical me, I need some over zealous poetics working across the whole thing. So, basically inside the wall (Hawking's lab) there is an explosion, the big bang, this is indicated by the LIGHTS. zomg there are so many!! lollol and shrapnel is flying everywhere and slowly morphs across the horizontal into a solid mass. From Goodall's laboratory (the Planet conservationist) one can get a perspective of the evolution from destruction to cohesion and furthermore reflect on what may be our fate if we don't CARE for OUR PLANET. yaya

anomometrics street

wouldn't it be nice if the suburbs looked like such

this intersecting collection was inspiration for alot of the forms

LINK

hope you weren't trying to mark earlier tonight and went looking for this. only just remembered. on the ball :)

Unreal Tournament

Liquid Aggregation:
(How is it that such a clever creature can actually be sitting back and watching the destruction of our horizons)(it's as if a true event horizon never forms, just an apparent one.)




It took me a long time to figure out what on earth was going on but i think I've got it now, which is hugely exciting for me. I'm looking forward to developing these more, textures are mank.

Axonometrics

Stephen Hawking:






Jane Goodall:

Final Exp.1. SketchUp images. Ta Ra!

This perspective might be a little disorientating. It's from the bottom of the building and I've hid the floors between the levels. I've included this to emphazise the 'string' element of my architecture and that it is continual through the whole space.



Nolan's studio. I wonder if I was to literal with the tree. I would have been curious to develop its boundaries, perhaps have branches protruding into the exterior. Again the space itself is very simple. In both studios I have ended up with sculptural string-like features, to allow synthesis across the whole architecture and hopefully be a source of inspiration for the artists.


Swallow's studio. I don't think the stair would be safe but it's purely a conceptual design :). In my experience studios are not convoluted spaces, generally all you need is a sink. I like texture of the web and walls together, for some reason I feel compelled to say it would be a gritty space, but I mean that favourably. My only concern is with its depth. Again I ran out of time to resolve proportions.



I quite enjoy the stair. I love the symmetry. Unfortunately I didn't resolve its proportions in time, so it would remain a challenge to climb. I stand by my decision to combine the gallery and stair as one, I think it harmonises the space, simultaneously allowing artists to access their workspaces and display their works. It ties them together, like string no less.


Exterior. On sketchup it looks a little barren. I think the reflecting pool would look more effective had I landscaped it better. In regards to the architecture itself, having the reflecting pool on approach forces people to walk either side of it, it seemingly prolongs their entry, which I think forces anticipation of the space and also greater assessment of what kind of space they are about to enter. In other words it increases respect for the space, which is a revered one, considering that it's focused on creativity, which for many is a spiritual endeavour.

Jane Goodall Interview

You can't live through a day without making an impact on the earth.
We humans are not the only beings on the planet with personalities, minds and feelings.
How is it that such a very clever creature can actually be sitting back and watching the destruction of our home, we've only got Planet Earth.

EXPERIMENT 2, WEEK ONE

FLORENCE NIGHTINGALE
She describes the boredom and triviality the bright women of her day had to endure, and likened her to "the Archangel Michael as he stands upon Saint Angelo in Rome. She has an immense provision of wings, which seems as if they would bear her over Earth and Heaven; but when she tried to use them, she is petrified into stone, her feet are grown into the Earth, chained to the bronze pedestal.

Barritt, E.R. 1981, 'Review: [untitled]', The American Journal of Nursing, Vol 81, No. 5, May 1981, accessed April 15 2008,
.

STEPHEN HAWKING
The way the information gets out [of a black hole] seems to be that a true event horizon never forms," said Hawking, "just an apparent horizon.

Rogers, P 2004, Hawking loses black hole bet, physicsworld.com, accessed April 15 2008,
.

movie 3

Movie one

Movie 2

Nolan + Swallow work and process

Leda and Swan
15 July 1961
Crayon and fabric dye on paper
30.5 x 25.5 cm

During the day he painted on the floor, first placing areas of quick colour on prepared board, next sweeping on polyvinyl acetate until the whole 4 x 5 feet area was thick with paint, then seizing another short-handled squeegee and slashing and wiping, cornering and circling like a skater, until another painting was completed…Now over and over again, he was painting Leda and the Swan. Sometimes the woman was bloody, the sawn very savage. Often the figure was ambiguous, incidental, unidentified, the sawn was not. At night he would usually continue on the large boards, or work on paper, for he was having a run.

Cynthia Nolan, Open Negative – An American Memoir, Macmillian, London, 1967, p. 224.
Refers to the internationally successful series of paintings and works on paper based on the Greek myth Leda and the Swan.


A Sad but Very Discreet Recollection of Beloved Things and Beloved Beings

2005, 10 parts
Watercolour on Paper
35 x 25 cm

Swallow has used watercolour in a traditional way; it is the treatment of colour and subject matter, which distinguishes this as a contemporary work. He anchors the birds upside down, as if they were falling and places them on a lucid red backdrop, which alludes to blood and furthermore death – these cues are reinforced by the title of the work. This piece is typical of Swallow who reflects on his artistic process as ‘taking things out of time, transforming objects/narrative into a study or enquiry about itself’. He representation of objects is meticulous and forces an audience to consider their gravity and place within concepts of time.

The Design undertaken by a team that included Eliel Saarinen and Robert Swanson as well as other Cranbrook people as Charles Eames, was essentially dominated by Eero. He pursured a fairly pure modernist strategy, rationally exploring each element within the program and resolving functional relationships, rather than following a predetermined formal image. The functional areas in the project were closely arranged but clearly seperatly articulated, and certain components were left open to future expansion, in a refinement of principles first evidenced in earlier projects. The long horizontal expanses of glass; the precise thin-walled volumes; and the open, flexible spaces organized along a consistent module - all suggested affinites with the International Style. However, the balanced volumetric composition, the applied decoration, and the inclusion of a reflecting pool work in a way characteristic of the Saarinen collaboration, modifying what might otherwise be severe.

Excerpt from "Coming of Age: Eero Saarinen and Modern American Architecture"
Peter Papademetriou
Perspecta, Vol. 21, (1984), p. 123


I've been doing some research for History and coming across this article I was interested in the elements used to harmonise what was a design for the contemporary art museum in Washington D.C. 1939.
My fear is that from the exterior my architecture resembles something like a wheat silo. I am considering placing a pool of water at the entrance, which is the same dimesions as the dome that sits ontop of the structure. The sketches I've posted are a bunch of doodles trying to figure something out, it's really been bothering me. I knowingly chose my first model to develop because I prefered its continuity but I suppose it lacks in an initial wow factor.

video killed the radio star

WEEK FOUR

36 textures:






Textures used:

silky, located below ground. Swallow's studio


organic, located ground one. Nolan's studio

I only used two, any more and I think the architecture ends up looking like dog-chewed comic book.

WEEK THREE

Model one

Ground one: anchor. Below ground: Burgenoning

Stairs:



I very much wanted to have the stair and gallery space as one. It seems a neat way to tie it all together. In one space the artists can access their creative spaces and an audience can view their output. I suppose it's an economic way of using space, as well as putting greater emphasis on the importance of the stair, which in itself has artistic value.


Model 2

Level one: whimsy. Below ground: falling.
I'm uneasy about it. It's supposed to be an angel's wing and cracked egg. I'm quite sure at the back of my mind such things as these:


were floating/lurking.

Model 2, Ground one stair

These are some wonky stairs. They need alot work. There should be three to access the four levels, the two topmost will be Swallow's studio and the lower levels his gallery.


These stairs would be a pretty big influence in the design.

Model 2, lower ground stairs


This is where got cranky and had to give up. The steps are supposed to be pieces of eggshell from the cracked egg.