Submission: 18 Sketch Axonometric Drawings

My idea is that Keupper aspires to be as influential as Darwin. Thus his space should be at the high end of the structure, hers at the lower, and the meeting space in between. The process to get to the spaces will also reflect their conceptual interaction: Keupper will move UP to be like Darwin, Darwin will move DOWN or ACROSS as he acts like a teacher.

1&2.Large boxes are clients spaces, their roofs are to be used as a deck, one deck is to be the meeting place.

3&4.Downstairs would be Keupper’s space, upstairs is Darwins, meeting place is deck.
Too small

5&6.Interesting

7&8.Could be spaces under decks
Window provides connection between meeting space (middle deck) and Keupper’s space,
Darwin’s space looks into the meeting place

9&10.I like this one – the way walls divide spaces

11&12.Here I have applied the two styles I have been using – thin structural elements, with chunky blocks I think it is effective

13&14.Similar approach to above
Less easy to place clients within these spaces...

15&16.Strong
Overhang provides roof from lower areas, and provides interaction between clients

17&18.Again use both thin and chunky elements – which is successful
Good movements between clients’ spaces and meeting place

Submission: Research into Clients and 3 Quotes

NICOLE KUEPPER

Deborah Smith, “Thinking outside the square finds light in oven”, Sydney Morning Herald, (August 20, 2008) http://www.smh.com.au/news/energy-smart/thinking-outside-the-square-finds-light-in-oven/2008/08/19/1218911717526.html (accessed 18/4/10)
Australian Museum, “Eureka: Nicole Kuepper”, (2008) http://eureka.australianmuseum.net.au/A4D69CF1-9890-B67D-2409EF3BFCD8F038?DISPLAYENTRY=true(accessed 18/4/10)

• Innovator: a new technology, called iJET, where ink-jet-printing, aluminium spray and a pizza oven are used to generate solar cells
• Aim: to bring this scientific development into the developing world, with an added bonus of it being green energy
• Process: started with brainstorming, preliminary research, at lot of experimentation in labs, continuing experimentation as iJET is development into a commercial product and scheme is established

“‘What started off as a brainstorming session has resulted in the iJET cell concept that uses low-cost and low-temperature processes, such as ink-jet printing and pizza ovens, to manufacture solar cells’...which will provide renewable energy to homes in some of the least developed countries”
(Quoted from Kuepper and Smith, “Thinking outside the square finds light in oven”)

I have chosen this quote because it reveals the process Kuepper took, thus telling me what spaces she would require (small yet open office, extensive lab, storage), as well as revealing the purpose and intentions of her work.

CHARLES DARWIN

Peter Landry, “The Scientists: Charles Darwin”, Biographies, http://www.blupete.com/Literature/Biographies/Science/Darwin.htm (accessed 19/4)

• Through extensive research, consideration and compiling evidence Darwin proved his theory of natural selection: that life of earth evolved, the strongest survive

"’is the most powerful and the most comprehensive idea that has ever arisen on earth. It helps us understand our origins ... Darwin's work ... put the world of life into the domain of natural law.’”
(Quoted from Sir Julian Huxley, sourced from Biographies)

This quotes focuses mostly on Darwin’s impact – his theory has become widely accepted within the scientific law, as he intended. The only impact it has in our everyday lives is that it presents a possible answer to ‘Where did we come from?’ It also provides an overview of his theory: that natural law focuses on origins. This reveals his need to extensive research, thus libraries and a large office are rooms Darwin requires.

STEPHEN HAWKING

TED, “Stephen Hawking”, http://www.ted.com/speakers/stephen_hawking.html (accessed 19/4)
Nick Donaldson, “The Stephen Hawking Pages”, http://www.psyclops.com/hawking/ (accessed 19/4)

“He is a man so brilliantly gifted that, despite being unable to use pen and paper, he is able to solve problems by constructing the necessary diagrams and manipulating the complex equations in his head.”
(Quoted from Nick Donaldson)

This quote reveals the process he undertakes to come to conclusions. However, to be honest, i don’t understand this theories and calculations. For this reason I am choosing Keupper and Darwin as my clients.

Progress: First Attempt at Axonometrics

These first axos are simply and bland – perhaps because I only added or subtracted rectangles, instead of combining additive and subtracted spaces. I was also challenged with fitting them into the small space, having to re draw them many times to still find the corners are off the page...

I will need to do another set of 9 axos.

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EXPT 2 BEGINS

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Referencing

The following are the sources for the artworks:

Blogger, "What's up?!", October 2009, http://whatsup-raffy.blogspot.com/2009_10_21_archive.html (access repeatedly between 9/3/2010 - 11/4/2010)

Richard Goodwin, "Goodwin Gallery - Public Art", Richard Goodwin, http://www.richard-goodwin.com/public_html/gallery/gallery/02_Public%20Art/09_Carapace/index.html (access repeatedly between 9/3/2010 - 11/4/2010)

Submission: Animations

This is to show the audience's perceptions of the building - their relationship with the gallery and the artists' studios.

This is to show Piccinini's access and relationship to gallery.

This is to show Goodwin's access and relationship to gallery.

Submission: Final Model

Protuding, Surprising

The model is submitted into Google 3d Warehouse:

http://sketchup.google.com/3dwarehouse/details?mid=921f6b8f12bd18d4e4b082b7f2a335f1&prevstart=0

Form and structure

This newly shaped model is much more successful and practical than the draft, in size and form. Goodwin’s studio is neat and geometrical. The concertina by-fold doors open out to a spilling staircase, leading to his outdoor work space. The open studio and outdoor area allow him to be in touch with nature, a contributing factor is his practice. Piccinini’s studio is more mysterious and closed, to concentrate her imagination. I often had a cave in mind when constructing her studio, as I feel she would be motivated by this seclusion.

Materials

- The whole complex will be brick rendered in a simple light, neutral colour
- The coloured prisms protruding from Goodwin’s studio will be mesh
- The other coloured decoration will be Perspex
- Goodwin’s outdoor space and Piccinini’s stairs will be raw concrete. This repeated use at either end of the building will create focus on the datum and link the two artists
- Gallery steps: the raiser will be transparent glass, textured with a subtle smudge pattern
- Piccinini’s sculpture studio: exposed brick
- Piccinini’s computer lab: a heavy sheet-like material pinned in place to create a fleshy, wrinkled texture. The colour is to be picked up off the bricks, but the sudden change in material will be a direct contrast
- Interior: simple white painted walls with wooden floorboard, so all attention is on the artworks themselves

Stairs

With the newly formed shapes, the stair configuration fell into place nicely. The stairs can now be in single flights, with no need to worry about platforms. This will made it a lot easier to transport the artworks, plus the new positioning means they can be wide – thus there is no need to worry about a pulley system.

Both artists need to bring their artwork through the main gallery entrance of by-fold doors. These would be open during exhibitions, so Goodwin’s outdoor display will flow onto the inside space. The external access for both artists makes them equals in the space, and makes the process of exhibiting works a considered one.

I like the way the stairs lead to closed doors – the studios become like a mysterious space for the gallery’s audience, making them ponder how the works are made. The large deep steps lead up to Goodwin’s studio, where a window acts as a link between the two spaces. Piccinini’s stairs seem to plunge to the underground, which would be viewed upon arrival.

Piccinini’s stairs are wide to allow her to bring large sculpture objects in and out.















Goodwin’s stairs seem to spill out to meet the outdoors. By making them of steel I hope they will be structurally strong enough to hang freely like this. This way they are an architectural expression, thus revealing Goodwin’s two practices: architecture and sculpture.

Progress: Reshaping for Final Model

As there were many practical problems with Draft 2, I have re-addressed the interpration of the shapes by making one a cylinder:
- there can be an outdoor, undercover area to view Goodwin's outdoor pieces
- it's easier to create a more appropriate size
By making Goodwin's studio more like the shape of a basic house, rather than a pyramid, it is more practical as more space will have an appropriate height. This shape will still create a nice contrast to the balls as it protrudes out of them.

The arches shown in the section, could be translated into colours on the outside.

Submission: 36 Textures

Above - Goodwin's studio
1. weaved
2. mesh
3. edged
4. pulsating
5. gridlock
6. hacked
7. explode
8. dazzling
9. cracked
10. electric
11. faceted
12. rusted

In Between - Gallery
13. fluid
14. transparent
15. earthy
16. choppy
17. splintered
18. woolly
19. mending
20. torn
21. grainy
22. mirrored
23. layered
24. crumpled

Below - Piccini's studio
25. bending
26. bulbous
27. bumpy
28. foam
29. hollow
30. fleshy
31. trembling
32. flimspy
33. tangled
34. vieny
35. wilted
36. melted

Submission: Draft Models

Submitted into 3D Warehouse:

http://sketchup.google.com/3dwarehouse/details?mid=b9c54e53a5d70376e4b082b7f2a335f1&ct=mdsa&prevstart=0

Manouvre, Double-take

I'm quiet pleased with the form of this model. The sizing of the rooms is easier as they are rectangular. However, the materials need consideration. I'm not sure that the simple rendering and glass combination would be best for the exterior. Inside should be kept simple and plain white, as to show off the artworks.

Submitted into 3D Warehouse:

http://sketchup.google.com/3dwarehouse/details?mid=c48f011773ec3c19e4b082b7f2a335f1&ct=mdsa&prevstart=0

Protruding, Surprising

I think this has good potential! The forms are interesting and are begining to work as rooms. However, the sizing is all wrong - its huge! It seemed an obvious choice to put Goodwin upstairs, while Piccinini was below ground. He is linked to nature and the outdoors, while she is mysterious and intruging.

The ideas behind Goodwin's studio:

- glass lets him link with the outdoors. To me this practice seems to be strongly linked to outdoors, as he is an architect and often exhibts into insullations outside.

- the deck will let him work outside which will engage him with nature even more.

- however all glass in the long run might not be practical as he will have no privacy. It also makes his creation very public while Piccinini's is very hidden.

- how is the deck being supported?

The ideas behind Piccinini's studio:

- accomodate for sculpture practices with big area, and for computer design with the small computer lab. This is the orange ball

Remaining considerations:

- what materials should the balls be made of?

- how do I create the floor planes so they fit with the curved walls?

Stairs:

Manouvre, Double-take

There is no way this would work to transport the artworks! So two options:
1. Re do the stairs to be wider, so Goodwin can carry the artwork down the stairs into the gallery.

2. Make the floor of the deck on a pulley system, so it can be lowered to the ground when the artwork needs to be exhibted. The artwork could be carried into the studio via the main gallery enterance.

Protruding, Surprising

The same is the case with these stairs, Piccinini's artworks are too big for the stairs. Here the more practical solution would be to make the stairs wider. A pulley system would be hard as it would need to go straight into the gallery (instead of lowering to the ground).

I like the stairs in the gallery: how they lead up to meet Goodwin's studio, how the glass will let light into Piccinini's studio, and how the glass will create a connnection to the underground studio. I like the idea of having a gallery split over wide steps - they could be used to categorise artworks by theme, also there seems to be more interaction with the audience and space, and artworks and space this way (rather than just a flat space).

Progress: Stair Sections

Draft 1

Draft 2

These are the sections my stairs in my draft models are based off. The models are in the above "submission" blog.

I am thinking of continuing Draft 2 to be the final model. However, its difficult to image how these stairs would actually work. (Not to mention Draft 1's stairs! they are so impractical: steep, hard how to know how high the tunnel should be, and hard to create in the model.) The model shows there flaws.

Also both sets of these stairs would not be bigger enough to transport the models... I'm thinking of perhaps having a lift, working on a pulley system, to transport the models. This seems diffuclt in the scene of making the model, and in actual reality. But if I could pull in off, it would be rather fun.

Progress: Practice Draft

As you can see I wasn't successful in making the sections I first wanted. Skectchup is HARD!!! I ended up doing this one, where the layering of the shapes was easier.

This building is based on “boys” and “protruding”. I imagined the roof to be stainless steel, while the walls were corrugated iron. The underground could be bricked, in a sandy colour.

I hope to improve my skills. I dont think this was very successful!

Progress: Preparing for Modelling

These are the sections I'm hoping to create in sketchup. I did re-did the sections to help with the understanding how the shapes would be made into rooms. I am nervous about sketchup so want to figure it out before hand.

(The sections on the stairs I drew later...its just that it was on the same piece of paper so I could see the stairs interaction with the video. These draft stair sections are what my final sections were based on.)

Submission: 18 Sections