PARALLEL PROJECTION DEVELOPED in 3D using UED3

meeting space between the two clients

note: the rods are used to symbolise both security and unknowing and therefore add to this idea of a shared space, holding meaning and relevance to each client

PARALLEL PROJECTIONS of combined prisms

(sorry two-point perspectives)

re-attempt of first combination as parallel projection

AXONOMETRICS DEVELOPED in 3D using UED3

chosen axonometric client 1: Jane Goodall

chosen axnometric client 2: Stephen Hawking

AXONOMETRIC DRAWINGS (3 prisms)

client 1: Jane Goodall
ideas of something existing and being secure and prominent inside of something else, interconnected as Jane Goodall is with the natural world

client 2: Stephen Hawking
ideas of complexity, something that escapes understanding, holds mysticism in being not completely understood. This idea relates to Stephen Hawking's speculation on the universe, as being something that would lose the mysticicm and power it holds if we were to figure out eveything about it.

client 2, client 1

client 1, client 2
client 2, client 1

client 1, client 1

client 2, client 2

client 2, client 1

client 2, client 2

client 1, client 2
client 1, client 1

QUOTES

Jane Goodall

"People say to me so often, 'Jane how can you be so peaceful when everywhere around you people want books signed, people are asking these questions and yet you seem peaceful,' and I always answer that it is the peace of the forest that I carry inside."

http://www.uksociety.org/jane_goodall.htm

Stephen Hawking

"The usual approach of science of constructing a mathematical model cannot answer the questions of why there should be a universe for the model to describe. Why does the universe go to all the bother of existing?"

http://www.quotedb.com/authors/stephen-hawking

Florence Nightingale

"For what is Mysticism? Is it not the attempt to draw near to God, not by rites or ceremonies, but by inward disposition? Is it not merely a hard word for 'The Kingdom of Heaven is within'? Heaven is neither a place nor a time. [1873]"

http://womenshistory.about.com/cs/quotes/a/qu_nightingale.htm

ARCH 1101 EXP. 1 THE DATUM

and finally... UPLOADED SKETCHUP MODEL for exp. 1 DATUM

http://sketchup.google.com/3dwarehouse/details?mid=50c652dec9c9aece6ffa8c47b3129a32

<-- link to download model

ANIMATION 1

ANIMATION 2

ANIMATION 3

just a note - before I posted the videos up I viewed them on windows media player and they ran for exactly 10seconds I think the extra second added through putting them on youtube is to link back to the youtube page with related videos. thanks

STORYBOARDS for ANIMATIONS

IMAGES of DEVELOPED SKETCHUP MODEL

ARTISTS work

In the Model

Materials and Production Methods

Sidney Nolan:
Painting created by using oil paints on canvas. Therefore materials used would include paintbrushes, oil paints and a blank canvas as well as a surface for mixing paints to experiment with colours. Nolan would have started painting initially with the background of the dusty outback and then moved his way to the fore of the painting, of Kelly and the horse. The background and foreground in this painting appear as two distinct layers, and the most salient point is that of Kelly, the black colour making him seem as a shadow. There is evidence of blending colours through brushstrokes on the canvas to achieve the mix/variety of colours that are evident in the outback soil and blue/grey sky. Overall the effect is very natural, and effectively iconic as seen through the representation of Ned Kelly in the foreground. I thus used ‘icon’ as the word for my above ground studio space for Sidney Nolan. I also aimed to incorporate nature as much as I could into the space mainly through using the material of glass and numerous open spaces to let the studio expand into the natural world.

Patricia Piccinini:
The above anthropomorphic sculpture by Piccinini is made to look very natural and organic, like a real creature through the use of artificial skin and fur and features that can be related to creatures we know. Materials include silicon, acrylic, fiberglass, leather, plywood and hair. To be honest I’m not sure how she created it, but I would assume that she started with the basic plywood and silicon structure and on this applied the leather (paws and head, possibly all the skin) and hair (body). Fiberglass would have been used for details such as the eyes and teeth to make them appear realistic. To reflect this kind of sculpture I used the word ‘mutation’ in a very natural sense. Piccinini’s space is like a cave for creatures like the ones she creates. It is very naked with the walls left with their original rock textures like the sculpture itself.

Brief on the TEXTURES USED

'exploded' used in gallery
'warped' used in 'icon'
'powdered' used in 'icon'
'porous' used in 'mutation'
'fossilised' used in 'mutation'

'flaky' used in 'mutation'

For the selected textures used in my model porous was edited using Photoshop to change its appearance and make them more effective in the model. Also I changed the colour of exploded using google sketchup.

SELECTED SKETCHUP MODEL to develop to a HIGH LEVEL OF RESOLUTION a combination of ‘ICON’ from first selected section and ‘HORIZONTAL’ now as ‘MUTATION’ from second selected section.

Note: ‘ICON’ above ground studio space is designed for client Sidney Nolan
And ‘HORIZONTAL’ now ‘MUTATION’ below ground studio space is deigned for Patricia Piccinini

Model includes own CUSTOM TEXTURES
in 'ICON'

in 'MUTATION'

in 'GALLERY'