Miuccia Prada's offices follow the form of fabric and how it may drape over a surface. Power to Prada is inspiration and her ability to harness emerging trends. She states materiality as her inspiration and power to mature designs, and this is evident in the overall forms of the structure.
Wednesday, June 24, 2009
Obama + Prada Concepts
Miuccia Prada's offices follow the form of fabric and how it may drape over a surface. Power to Prada is inspiration and her ability to harness emerging trends. She states materiality as her inspiration and power to mature designs, and this is evident in the overall forms of the structure.
Meeting Space
Tuesday, June 9, 2009
Dining Tale + Elevator Concepts
Friday, May 15, 2009
Monday, May 11, 2009
Mash Up of Three Articles
We all know Obama won the election because he looked like change, sounded like change and never stopped campaigning for change. Presenting herself not only as an object of desire but as a material girl with her eye on the profits was one of the many smart moves she made from the beginning.
Fear and power do not peacefully coexist. It follows, then, that she who wishes to reach the most rarefied and potent ranks of fashion, whether in dealmaking or designing, must have a certain serenity. Obama puts it this way: "I serve as a blank screen on which people of vastly different political stripes project their own views." But those metaphors all suggest that he is some sort of passive instrument, when in fact his elusive quality is an active part of his personality.
"I like to mix it up and make things in the opposite way than they were meant for," What sets her apart is her disregard--in some cases, her open contempt--for the dictates of fashion. Whereas common sense says a designer should design what she likes, Prada will choose a color (sic) that she despises, because of the rush it gives her when she can make something beautiful with it. By flaunting her control and her triumphs, Madonna gave fans a stake in her long-term prospects, something that loyalists should be able to appreciate as her sex appeal inevitably fades.
For ushering the country across a momentous symbolic line, for infusing our democracy with a new intensity of participation, for showing the world and ourselves that our most cherished myth — the one about boundless opportunity — has plenty of juice left in it.
References:
Barack Obama
David V. Drehle, “Why History Can’t Wait”
http://www.time.com/time/specials/2008/personoftheyear/article/0,31682,1861543_1865068_1867013,00.html (Accessed: 11/05/2009)
Michael Grunwald, “How Obama Is Using the Science Of Change”
http://www.time.com/time/magazine/article/0,9171,1889153,00.html (Accessed: 11/05/2009)
Madonna
Jon Pareles, “Material Woman, Restoring Her Brand” http://www.nytimes.com/2008/04/27/arts/music/27pare.html?_r=I (Accessed: 11/05/2009)
Miuccia Prada
Belinda Luscombe, “Miucci Prada” http://www.time.com/time/magazine/article/0,9171,993332,00.html (Accessed: 11/05/2009)
Kate Betts, “Miuccia’s Material World” http://www.time.com/time/magazine/article/0,9171,1594161,00.html (Accessed 11/05/2009)
Saturday, May 9, 2009
Sketch Play: Before the dawn of the ruler..
Monday, May 4, 2009
Perspective Views
Meeting Space and Ramp Access
Jaques-Yves Cousteau's Laboratory
Keith Campbell's Laboratory
Friday, May 1, 2009
Monday, April 27, 2009
Electroliquid Aggregation
Friday, April 24, 2009
Intersection Concept
Thursday, April 23, 2009
Wednesday, April 22, 2009
Initial Concepts - Cousteau + Campbell
(Click on image for larger version)
Monday, April 20, 2009
18 Sketch Axonometrics
Monday, April 6, 2009
Experiment Two: Client Quotes
Alfred Nobel
"I intend to leave after my death a large fund for the promotion of the peace idea, but I am skeptical as to its results."
"If I have a thousand ideas and only one turns out to be good, I am satisfied."
Jaques-Yves Cousteau
"From birth, man carries the weight of gravity on his shoulders. He is bolted to the earth. But when man has only to sink beneath the surface and he is free. Buoyed by -water, he can fly in any direction - up, down, sideways- by merely flipping his hand. Underwater, man becomes an archangel."
Keith Campbell
"What I want to try to explain to people this evening is a little bit of the history and a little bit of the science behind cloning. But more importantly, what I would hope they go away with, is some of the positive uses of this technology. We are not all mad scientists. We are not all looking to clone ourselves. The positive benefits that this may have for human therapeutic medicine and improving the quality of life for people with certain genetic disorders.
References:
www.brainyquote.com/quotes/quotes/a/alfrednobe142899.html
www.people.ubr.com/education/by-first-name/a/alfred-nobel/alfred-nobel-quotes/i-intend-to-leave.aspx
"Poet of the Depths" Time, March 28, 1960, http://www.time.com/time/magazine/article/0,9171,826158-1,00.html
Campbell, Keith. Interview by the Marine Biological Laboratory, 22 June, 2001.
Thursday, April 2, 2009
Final Concept: Exterior
Final Concept: Above Studio
Final Concept: Gallery
Final Concept: Below Ground
Animations: Section, Exterior, Above/Below Datum
Wednesday, April 1, 2009
Monday, March 30, 2009
Texture Development
Sunday, March 29, 2009
36 Material Attributes
Friday, March 27, 2009
Stair SketchUp Exploration Two
Gascoigne - Monotonous
Stair SketchUp Exploration One
Tuesday, March 24, 2009
Monday, March 23, 2009
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
Sunday, March 22, 2009
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.