Note: 'paused' (above) derived from Patricia Piccinini's artwork, thus designed for Piccinini

'horizontal' (below) derived from Sidney Nolan's artwork, thus designed for Sidney Nolan

Description of material selection:

I chose to have corrugated glass as the main element in 'paused' , the above ground studio space is surrounded by glass walls and a glass ceiling with a concrete floor suspended off the ground. I chose corrugated glass as opposed to normal glass to give a feeling of roughness and a ribbed texture that is not quite real just like Piccinini's artworks. The stairs are made of concrete blocks painted black, which extend over and form the gallery and are therefore a common space. the exhibition space at the ground level is curved and covered by the stairs and ceiling of the above ground space. Off the edge of the ground are stairs that lead off to the underground studio space. The stairs are arranged randomly, and each step component is made up of a 'j' shaped concrete block. The underground space would be made of a rock/granite material. The underground space like Sidney Nolan's artworks is made to feel very natural and is strongly based on horizontal components. The cave-like feel as opposed to something artificial would i think work well for Nolan.

STAIR SKETCH SECTIONS FOR 2. paused/horizontal

'paused' above ground studio down to exhibition space

'horizontal' below ground studio up to exhibition space

SELECTED SKETCH SECTION 2 to produce 3 dimensionally



PAUSED
HORIZONTAL

STAIR SKETCH SECTIONS FOR 1. icon/mutation

'icon' above ground studio down to exhibition space

'mutation' below ground studio up to exhibition space

SELECTED SKETCH SECTION to produce 3 dimensionally

ICON
MUTATION

SKETCHUP MODEL IMAGES of selected sketch section (Icon, Mutation)

Note: 'icon' (above) derived from Sidney Nolan's artwork, thus designed for Sidney Nolan
'mutation' (below) derived from Patricia Piccinini's artwork, thus designed for Patricia Piccinini

Description of Material Selection:

After drawing up a 3d concept of what my selected cross-section would look like I decided to change it significantly. For 'icon' i decided to change it from residing inside a cube to existing within an abstract geometrical space consisting mainly of triangles. For material selection for 'icon' I thought of using mainly glass for the inside 'icon' structure in particular a glass floor that allows the viewing of a pyramid from the bottom up, glass would also be used as a skylight feature. I think such a glass structure would allow the client Sidney Nolan to observe and exist within the natural environment on which many of his paintings are based.The shape within which the small 'icon' resides would consist of mainly thin metal and also cement with supporting structures. For mutation, i decided to section the shape to add different levels and spaces, the material for 'mutation' would be rock/granite to add to the cold and uncomfortable feeling of the space.

18 SKETCH SECTIONS

A WORK OF ART FROM EACH OF THE CLIENTS

Sidney Nolan

Noun: Icon
Verb: Speculate
Adjective: Horizontal





Ricky Swallow

Noun: Distinction
Verb: Observe
Adjective: Salient



Patricia Piccinini


Noun: Mutation
Verb: Paused
Adjective: Inchoate

C: AN ORIGINAL PHOTOGRAPH OF SOMETHING BEAUTIFUL

This photo was taken by my friend on her visit to India last year; I absolutely fell in love with it so she gave it to me. It’s of the ‘Amber Fort’ though I can’t remember the exact location. The beauty of the photograph exists in the rich cultural feel you can get from it. The intricacy in the columns and in particular the curves in the arches are lovely and resonate with the extravagant culture and architecture of ancient India. I think one of the most interesting and real thing about the photograph is the tourists; who through their raised heads you can imagine are in awe of the magnificence and beauty of the building.

B: AN IMAGE OF THE BUILDING THAT INSPIRED YOU TO BECOME AN ARCHITECT

Probably the first time that I was ever awed by architecture was at the age of 10 when my family and I first returned to Malaysia. It was the Kuala Lumpur Airport, which like most other airports was designed to reflect a deep sense of the nation’s culture and embodied a welcoming magnificence. I fell in love with the airports interior; the beams created to look like stemming branches were distinctly manmade structures adapted from nature. The hundreds of ceiling lights as a kid reminded me of stars in their eclectic arrangement. Though the most beautiful, and unique aspect of the airport was a giant strangled fig tree which escaped into the building. This idea of gaining inspiration from nature and working with the natural world to design and create buildings greatly appealed to me and although I wasn’t dead set on becoming an architect just yet, this was the time as I recall when the idea first entered my head.

A: YOUR BEST PIECE OF CREATIVE WORK AT HIGH SCHOOL

I sketched this picture from a book detailing 20th century fashion, and I think the woman reflects the glamour and elegance of the 1920s-30s. To me the eyes have a sense of reality to them, like you can read something from them, I don’t really know. It was a quick sketch and when I finished I was amazed at both how similar and dissimilar it looked from the original. It lacked the confidence, which I think is replaced by a kind of insecurity but the beauty’s still there. I don’t know if it’s the best I’ve done but I really like it because if feel it evokes a sense of thought and emotion.