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.