Further Development: Above Ground

Texture Development

Above image: Gascoigne - Monotonous, using the sketched attribute of "natural" applied to the walls.

Below image: Hall - Vigorous, using the sketched attribute of "jagged" applied to the retainer walls. 

Short Youtube - Fragmented Stairs

36 Material Attributes

Above: Opaque, smooth, reflective, fragile, porous, transparent, flammable, natural, soft, thermal, raw, brittle, shattered.

In-Between: Fluid, magnetic, metallic, weave, matte, durable, tough, rusty, malleable, flexible.

Below: Jaggered, scorched, crystalline, artifical, heavy, translucent, rough, grainy, microscopic, compressed, abrasive, ductile, elastic.

Stair SketchUp Exploration Two

Gascoigne - Monotonous

Materials: Reinforced wire cable + moulded plywood shells + translucent polycarbonate

Cable running length of stair elevation acting as a support for the structure. 

Separating the run with an open riser gives a fragmented impression in conjunction to the aesthetic layout of Gascoigne's work.

Using simple forms to emphasise singular structure.

Stair SketchUp Exploration One

Gascoigne - Monotonous

Materials: Timber panels + tubular steel

Open structure, allow to see through, fragmented. Passageway intentionally lengthen as a means to emphasise the Australian outback landscape. Tubular steel unfinished, course and rough, to relate to the discarded materials Gascoigne used in her work.

Stair Exploration

Concept 1 and 4 were used for above and below ground studio spaces.

Materials + Production Methods

Fiona Hall's Understore 1999-2004, is a collection of intricate sculptures that explore the notion between life and death, highlighting man's one-sided conquest of urbanisation and political colonisation. To illustrate the symbolism and juxtaposition, the larger than life, beautiful sculptures are enclosed into a transparent display cabinet, a somewhat suffocating space to address death, or a morgue-like dimension. Hall's creations would use beaded glass as the main material, and wire to thread and interweave the beads and give a sense of structure to mould he particular forms. To gain complete creative control, Hall would have manufactured her own glass drawn beads, rather than off the shelf by-products, to dictate the explorative colour contrasts.

Rosalie Gascoigne, All Summer Long 1998, gives an insight on her discovery of personal freedom, finding explorative escape through the means of the Australian landscape in which she had a personal affinity. The intrinsic value of her materials and processes are found in her recognition of those respective materials, and the true value in which she captivates her embodied work. An interesting fact of Gascoigne was the change discovery of wooden Schweppes soft drink crates during the late 70's, which became the necessary materials for a number of her works. Gascoigne would articulate her narrative landscape piece by assembling sawn off yellow-pained wooden crates, by tonal range and weathered painted surfaces to attain the sensation of a distant horizon, and the constant cycle of the sun rising and setting in the Australian outback. 

References:

Queensland Art Gallery Media Kit 2005

Film Australia: National Biography Rosalie Gascoigne Study Guide

Roslyn Oxley9 Gallery: Online access

National Gallery of Victoria: Rosalie Gascoigne Education Resource

Experiment 1: Development of SketchUp Model

These images display the progress of development with the initial concept. The idea was to take a more 3-dimensional aspect of my sketched concepts as my first attempt with SketchUp seemed a little one-dimensional. They illustrate the spatial relationship between structure and its users. The gallery was to be incorporated within the main structure, separated simply by an additional level.

Focusing on the above ground elevation, this concept is modelled on the attributes of "Gascoigne - Monotonous". The premise was to focus on simple, free flowing forms as witnessed by the overall roof silhouette. To allow as much natural light possible, the roof cladding used a transparent material to give a sense of airiness within the internal spatial environment. In much of Gascoigne's work I focused, she looked at the visual depiction of Australian landscape. As such it was important to have a window with a view facing outside for Gascoigne to peer out whilst in her studio seeking inspiration. 

Experiment One: Initial SketchUp Model

Top elevation: Gascoigne - Monotonous

Material: Recycled timer

Bottom elevation: Hall- Receptacle

Material: Glass panels

The initial idea obviously was to get a quick grasp of the program, and to lay out the foundation from sketch to 3 dimensional modelling. My concept was to find a harmonious balance between above and below the datum. 

18 Concept Sketch Sections

Artist: Tracey Moffat, Rosalie Gascoigne

(Left to right)

Page 6: Above datum: Gascoigne - Monotonous, Below datum: Hall - Vigorous

This was the initial idea and recommended by the tutor to follow through the development cycle. The premise was focusing on allowing light to pass through and filter down the structure below. Using a variety of dense materials such as concrete, this was to absorb light/heat, as the purpose was to create a contrast between light and dark, from sunrise to sunset. This primarily focused on Gascoigne's work "All Summer Long" and other various landscape artworks, taking inspiration of the length of day, and constant cycle over a period of time.

In stark contrast to the above datum of Gascoigne's, the below datum using aggressive surfacing and detailing to emphasise the keyword "Vigourous". Hall's artwork "Understorey" highlights the stark reality of life and death by virtue of materials used in her composition. I wanted to enhance this by creating a contrast between above and below. This follows through with the notion of simple harmonious lines above, whilst the below datum differentiates with a more corrupt and angular form.

Page 9: Above datum: Gascoigne - Monotonous, Below datum: Hall - Receptacle

Similar in concept to the previous idea, but the tutor categorised both as either concept to further investigate. Again following suit from the previous concept premise, the inspiration was to keep the lines and overall shape smooth, harmonious and allow the contrast between light and shade. For the below datum, the focus was for multiple levels or hallways from a central shaft (ie. elevator or spiral staircase), and give flexibility with additional storage and studio workspace.   

  

Client Artworks

Fiona Hall - Understorey 1999-2004: Receptacle (noun), Juxtaposed (verb), Vigorous (adjective)


Tracey Moffat - Fourth 2001: Culmination (noun), Isolate (verb), Bleak (adjective)


Rosalie Gascoigne - All Summer Long 1998: Cycle (noun), Manifested (verb), Monotonous (adjective)

Image References:

www.roslynnoxley9.com.au

www.mca.com.au

www.qag.qld.gov.au

Creative streak, architectural brillance, beauty within.

A: Conceptual Jewellery - COFA jewellery design course (creative work) 

Not necessarily the best piece of personal work, but illustrates the notion of designing outside your comfort zone. The idea was to adapt concepts from other facets of design and intertwine with one’s current purpose. The premise was to understand jewellery design conceptual thinking, and use it as part of design research into the fabrication of wearable technology, as part of an industrial design background. The concept was on sustainable/renewable materials, its use, and the holistic approach towards turning mundane materials into intrinsic design.




B: Hotel Puerta America - Madrid Spain (architectural piece) 

Arata Isozaki 

Norman Foster 

Marc Newson 

Ron Arad 

Jean Nouvel 

Zaha Hadid to name a few.. Think of an architectural wet dream; 12 levels in which an architect or product designer transforms the spatial distribution into their own creative masterpiece. The idealism of attuning the structure, space, and furniture by virtue of their signature design.

Image references:

www.hoteles-silken.com

www.flickr.com




C: The process of creativity (of beauty)

A timeline which captures the thought and somewhat desire to come up with an idea. As designers and architects, the cornerstone of personal success, or triumphant to some, is the whimsical journey in discovering an idea. People call it a flash of genius, an idea, the start of something. The beauty is seen within these time delay images as it displays the stroke of luck (excuse the pun), my perseverance and somewhat tired state of mind, and the physical emotion shown on my face for an idea being born.
(Beauty is in the subject matter, not the physical human presence)