Above View and Five Significant Shots Of My Final Unreal Environment.

Above view of Environment

The meeting place contains an atmosphere a lot different to that of the laboratories. The meeting place contains a significantly larger amount of mental and physical ‘clutter' representing two sets of thoughts coming together. The rectangular columns symbolise the physical and mental differences between both clients.The dark and mysterious atmosphere resembles the uncertain and unpredictable ideas and inventions both client’s could possibly create whilst together in this one location.

The Laboratory I have designed for Alfred Nobel directly relates to my client and his quote, “Home is where I work and I work everywhere.” Once you enter the laboratory, you are faced with a simple workspace which has a few features resembling a home environment and several structures directly relating to Nobel’s previous occupation as an iron and steel mill. These features allow Nobel to feel ‘at home’ when working within his laboratory.

Alfred Nobel’s ramp consists of both indoor and outdoor sections. Once the ramp cuts through the wall and enters the exterior, the ramp is no longer surrounded by walls, but instead by steel panel frames which represent Alfred Nobel’s past as a steel and metal mill. Alfred Nobel has undertaken intense studies of Dynamite and other explosive materials (represented in my environment through the use of 'explosive' colours) and to symbolise this considerable academic achievement and authority over others, I designed the ramp so that it slopes vertically and places Nobel’s laboratory quite high in the sky. To Further represent Nobel's personality and intensive study of explosive materials within the ramp, I used angled panels on either side of the ramp (as seen in the image above) with an intention to make the ramp look as though it has exploded from the wall and been patched up since with these panels.

My intention was to create a dynamic work space similar to Cousteau’s study of the diverse life of the underwater world. The transparent wall symbolises the obstacle and rewards of overcoming change which Cousteau explores in his quote. The Thin windows allow a lot of natural light to enter the laboratory and subsequently, an economical workspace which would appeal to Cousteau and support his strong view of earth as a fragile and limited space that needs to be preserved, is created. The upstairs space will allow Cousteau to continue his work freely and provide him with inspiration and comfort as the natural surroundings are visible.

I designed this ramp with an intention to address not only my client’s requirements in a practical and functional manner, but also my client’s quote. Jacques-Yves Cousteau is an elderly man and therefore requires a ramp which is easily accessible and easy to utilize. The style and physical features of the ramp such as the consecutive poles, were influenced by Cousteau’s exciting and diverse lifestyle and his main interests including film making and the underwater world. Cousteau The ramp will allow the movement and transporting of his film making equipment to be practical and efficient.

Images of My Draft Unreal Environment.

Three Textures To Be Used Within My Environment.

Light to Dark Textures.

Each of my 36 textures explores shadows and shades transitioning from light to dark. Each of the textures are sets of individual lines and/or shapes which are connected and work together in a way to form a successful and effective ‘texture.’ This notion of unity and collaboration directly relates to both clients’ quotes where each examines themes of connection, unity and cooperation.

Interconnected Parrallel Projections.

Reflection on The Black Box.

Whilst looking through The Black Box slides I was surprised once I noticed the large resemblance the following image had to my design for my client's meeting place. The Rectangular prisms seen in this image are similar to the numerous rectangular columns I have present within my design. The dark, blue lighting evident in the image also resembles the lighting I have used in my environment.

The lighting in both the image below and in my environment creates a mysterious and uncertain atmosphere which links to my initial impressions of my clients. At first I found my two clients and their professions very interesting but mysterious. The atmosphere created in my meeting place symbolises these views of my clients and their work.

The Clients, Their Quotes and Electroliquid Aggregation.

Alfred Nobel:

Alfred Nobel was Born in Stockholm on the 21st October 1833. When Alfred was 18, he went to the United States to study chemistry for four years. Alfred, returned to Sweden with his father after the bankruptcy of their family business and then committed himself to the study of explosives. This study was based especially on the safe manufacture and use of nitroglycerin.

Nobel later on united nitroglycerin with another explosive, gun-cotton, and created a transparent, jelly-like substance. This 'Gelignite', or blasting gelatin substance was a more powerful explosive than dynamite.

The creation of ‘gelignite’ and the qualities of this jelly- like substance significantly relate to Alfred Nobel’s quote I selected to use; “Home is where I work and I work everywhere." This quote communicates ideas of freedom, adaptability and flexibility, similar to the Gelignite and its features and traits. This quote expresses Nobel’s system of thinking in regards to his work and suggests that his lifestyle and work style are similar to his creations; boundless, malleable and uncontrolled.

Jacques-Yves Cousteau:

Jacques-Yves Cousteau, born the 11th June 1910 was a a French naval officer, explorer, ecologist, filmmaker, innovator, scientist, photographer, author and researcher who studied the sea and all forms of life in water. Cousteau liked to call himself an "oceanographic technician" and was a significant admirer of nature. His work allowed many people to finally explore the forms of life present within the ocean.

Cousteau's love for the ocean and it's marine life is present in his quote; "It takes generosity to discover the whole through others. If you realize you are only a violin, you can open yourself up to the world by playing your role in the concert." Cousteau had a passion for nature and the systems within nature which are linked to other systems such as living organisms.

This quote explores numerous ideas, including equality, relationship, the affect one has on another, collaboration, cooperation and the role individuals play in a larger group.

Electroliquid Aggregation:

"It takes generosity to discover the whole home through others. If you work, you are only a violin, you can work yourself up to the world by playing your role everywhere in the concert."

Unreal Tournament 2004 Practice.

Nine Axonometrics: Jacques-Yves Cousteau.

The following nine axonometrics explore the relationship between three rectangular prisms and are based on the quote by Jacques-Yves Cousteau; "It takes generosity to discover the whole through others. If you realize you are only a violin, you can open yourself up to the world by playing your role in the concert."

The main ideas I derived from this quote were: equality, relationship, the affect one has on another, collaboration, cooperation and the role individuals play in a larger group.

When drawing these nine axonometrics, my aim was to explore and demonstrate most of the ideas I had gained from the quote within the positioning of each rectangular prism in relation to each other.

The following nine axonometric drawings are all indicative and representative of the ideas and themes I obtained from the quote; equality, relationship, the affect one has on another, collaboration, cooperation and the role individuals play in a larger group.

Nine Axonometrics: Alfred Nobel.

The following nine axonometrics explore the relationship between three rectangular prisms and are based on the quote by Alfred Nobel; "Home is where I work and I work everywhere."

The main ideas I derived from this quote were: an idea of time, contemplation, flexibility, adjust ability, adaptability, connections and links between different spaces and large structures and spaces.

When drawing these nine axonometrics, my objective was to analyze and explore most of the ideas I had gained from the quote within the positioning of each rectangular prism in relation to each other.

The following nine axonometric drawings are all indicative and representative of the ideas and themes I obtained from the quote; an idea of time, contemplation, flexibility, adjust ability, adaptability, connections and links between different spaces and large structures and spaces.

Inspirational Images.

The shapes, angles, spaces and void spaces created in the following images through the use of rectangular prisms have influenced and inspired my 18 axonometric designs in numerous ways:

Alfred Nobel Quote.

"Home is where I work and I work everywhere."

source: UBR. Inc (2007) Retrieved April 6th, 2009, from http://www.people.ubr.com/education/by-first-name/a/alfred-nobel.htm

Keith Campbell Quote.

"Cloning may be good and it may be bad. Probably it's a bit of both. The question must not be greeted with reflex hysteria but decided quietly, soberly and on it's own merits. We need less emotion and more thought."

source: Richard Dawkin, Quotesea (2007) Retrieved April 6th, 2009, from
http://www.quotesea.com/Quotes.aspx?with=cloning

Jacques-Yves Cousteau Quote.

"It takes generosity to discover the whole through others. If you realize you are only a violin, you can open yourself up to the world by playing your role in the concert."

source: Brainy Quote (2009) Retrieved April 6th, 2009, from http://www.brainyquote.com/quotes/authors/j/jacques_yves_cousteau.html

EXP. TWO:

Animation Problems.

I spoke to you the other day about my crappy laptop and how I'm purchasing a newer one within the next week. Whilst exporting my animations my laptop wasn't able to handle my initial animations and the estimated time for exporting a ten second animation was three hours! Therefor, i had to reduce the slide transition time to zero and cut out many scenes. So from these animations, if you aren't able to understand my design or layout etc please refer to other images i have posted of the final sketchup design.

Thanks.

Google Warehouse Link.

My computer is constantly refusing to let me transfer my sketchup file to Google Warehouse! I will try doing this on another computer asoon as i have access to one.

Final Sketchup Model Animation 3.

Final Sketchup Model Animation 2.

Final Sketchup Model Animation 1.

Final Sketchup Design; Animal and Dangerous.

Each of these images display how i have used my two chosen artists as well as the two initial words 'animal' and 'dangerous' as key influences when designing these three spaces.

Four Textures Used In Final Sketchup Design.

Fired, Bling, Crusty, Flexible.

Stair Sections.

Final Sketchup: Exhibition Space.

The Exhibition Space i have designed is very effective and functional in regards to Tracey Moffat and Rosalie Gascoigne's artwork types. This exhibition space is large and open which allows for both artist's structures, paintings, photographs, drawings and films to be displayed in their best manner. The glass panel which lies behind some of the work's hanging up allows natural light to enter the exhibition space and display the artworks in great lighting. This large Gallery also creates a place where students, critics, visitors and other groups can sit and listen to an instructor or view the works as a large audience.

Final Sketchup: Stairs from Rosalie Gascoigne's Studio up to Exhibition Space.

These Stairs significantly relate to Gascoigne's art practice and materiality. These stairs have been constructed through a process of repetition and patterning. The recycled wood that these stairs have been constructed from also links to Gascoigne's use of recycled materials in her work conveying a concern for the environment and a practice of the green movement. These Stairs can be viewed as a "collection" similar to Gascoigne's constant collection of wood, iron, wire, feathers, yellow retro road signs and other industrial debris. These stairs provide the artist with an interesting way to transport her work up to the exhibition space whilst holding symbolic meaning.

Final Sketchup: Stairs from Exhibition Space up to Moffat's Studio.

These stairs provide a significant approach for Moffat when bringing her artwork from her studio into the Gallery space. These stairs branch into two separate sets of stairs from one initial set of stairs. This split in the stairs is symbolic and represents the idea Moffat constantly explores throughout her work; the racial split between 'black' and 'white' races and the search for one's identity. These wide stairs allow for her large and vibrant pieces to be transported to and from the exhibition space.

Final Sketchup: Rosalie Gascoigne's Studio.

Rosalie Gascoigne's Studio has been created using a strictly structured arrangement of fundamental shapes such as squares and rectangles, similar to Gascoigne's method of art practice. She is mostly found using materials such as wood, iron, wire, feathers and yellow retro road signs, which flash and glow in the light. This use of materials has dramatically influenced the materiality and colour choice of this studio. Through the use of these industrial debris, Gascoigne achieves rhythm and and movement through repetition and patterning. This idea of repetition and patterning has been utilised throughout the design and layout of her studio.

Final Sketchup: Tracey Moffat's Studio.

Tracey Moffat's studio has been placed above the exhibition space to allow for natural light to be present. This natural light source will become very useful within Moffat's art work practice as Moffat uses highly choreographed lighting, sound, composition and colour which forms a complex and multi- layered narrative. The large open, glass spaces within this studio allow for Moffat to continue her usual art practice and blur the boundary between photography and film, with characters acting out stories in painted backdrops of the Australian outback. This Studio is very functional and effectively caters Tracey Moffat's art practice and materiality: containing painted backdrops, costumes and models including herself to create a soap opera like drama of doctors, nurses and pilots in a tropical setting.