Stephen Hawking-
“If we ever do find a complete theory of the universe it would be a great triumph of the human race but it would not leave much for us at all. We need an intellectual challenge. "
Charlie Rose video interview taken from http://www.youtube.com/watch?v=Dr5MCbIPPsA
(accessed 19.4.10)
Charles Darwin-
"Man with all his noble qualities, with sympathy which feels for the most debased, with benevolence which extends not only to other men but to the humblest living creature, with his god-like intellect which has penetrated into the movements and constitution of the solar system- with all these exalted powers- Man still bears in his bodily frame the indelible stamp of his lowly origin."
Perry, Marvin, Western Civilization: Ideas, Politics and Society, Volume 2. US: Cengage Learning, 2009, 594.
Nicole Kuepper-
“one-third of the world’s population does not have access to reliable electricity…There is therefore an urgent need to address this inequality throughout the world and photovoltaic technology is well positioned to be a fundamental part of the solution!"
Interview from http://stelr.org.au/nicole-kuepper/
(accessed 19.4.10)
7 Images
Draft 1:
Draft 2:
Resolved Images:
Materials
Concrete:
Stair structure from above to below ground
Main structure underground(with applied texture, light gloss to give a 'futuristic- endless possibilities' feel)
Main Structure above ground(matt finish )
Heavy duty thick glass:
Underground floor
shell around the stairs
Stainless steel:
Banisters (both the poles and connecting steel wires)
Draft 2:
Resolved Images: 
Materials
Concrete:
Stair structure from above to below ground
Main structure underground(with applied texture, light gloss to give a 'futuristic- endless possibilities' feel)
Main Structure above ground(matt finish )
Heavy duty thick glass:
Underground floor
shell around the stairs
Stainless steel:
Banisters (both the poles and connecting steel wires)
Overview of Structure
Whole Structure:
Stairs- Above Ground
Entrance to
Stairs- Above GroundEntrance to Studio:
Stairs- Below Ground
Exhibition Space:
Stairs- Below Ground
Exhibition Space:
Inside of Studio:
Showing Internal Stairs:
The Artist's Work (and raw materials)
YouTube Video
This video encapsulates the potential that material choice has to transform a building from ordinary to unique. The facade changes the audience's experience of engaging with the building from both the inside and the outside. It highlights that the materiality can be dynamic and interact with its surroundings, and one should not be afraid to break conventions.
This is the Pittsburgh Children's Museum. The facade is composed of thousands of white plastic squares which move in the wind. The intention was to seem as though a digitised white cloud was engulfing the building.
Inspiration for Above Ground Roof.
When creating my sketchup model, I did not want to simply extrude my moleskin section, and so looked for inspiration converting my roof into three dimensions. 
taken from: www.trendir.com/house-design/butterfly-houses-1
taken from: www.trendir.com/house-design/butterfly-houses-1
The Clients- Swallow
in.trin.sic
adj. 1. Of or relating to the essential nature of a thing; inherent
2. Anatomy situated within or belonging soley to the organ or body part on which it acts.
www.thefreedictionary.com
The building is designed so as that all the energy and focus is in its core, and on the work itself. The artist can interact with the outside world and be inspired by it, but the hero of the space is the essence of the individual and the work.
Ricky Swallow creates sculptures with extraordinary craftsmanship, often of things that already exist and returns to motifs of the skull and skeleton and momentos of a vanished childhood.
He began creating as a child in his grandfather's studio, and is inspired by that today. Swallow makes everything himself.
The studio needs to be intimate and personal, and only needs to house one person, and therefore can be relatively small. The structure needs to be empowering giving Swallow courage to follow his instincts. It should be sheltered from distractions with a focus on the current work.
Materials:
Tusk: patinated bronze, brass
Dimensions:
50.0 x 105 x 6.0 cm
The work being in bronze may be heavy and therefore the stairs should not be too steep or difficult to carry down such a work.
References:
www.ngv.vic.gav.au/rickyswallow
Marsh,M. Watts, M. Malyon,C. A.R.T. 2 Practice. Australia: Oxford University Press, 2005.
adj. 1. Of or relating to the essential nature of a thing; inherent
2. Anatomy situated within or belonging soley to the organ or body part on which it acts.
www.thefreedictionary.com
The building is designed so as that all the energy and focus is in its core, and on the work itself. The artist can interact with the outside world and be inspired by it, but the hero of the space is the essence of the individual and the work.
Ricky Swallow creates sculptures with extraordinary craftsmanship, often of things that already exist and returns to motifs of the skull and skeleton and momentos of a vanished childhood.
He began creating as a child in his grandfather's studio, and is inspired by that today. Swallow makes everything himself.
"when you are making things you are in your own personal zone"- Swallow
"your desktop is your universe and you are the master of that universe"- Swallow.
The studio needs to be intimate and personal, and only needs to house one person, and therefore can be relatively small. The structure needs to be empowering giving Swallow courage to follow his instincts. It should be sheltered from distractions with a focus on the current work.
Materials:
Tusk: patinated bronze, brass
Dimensions:
50.0 x 105 x 6.0 cm
The work being in bronze may be heavy and therefore the stairs should not be too steep or difficult to carry down such a work.
References:
www.ngv.vic.gav.au/rickyswallow
Marsh,M. Watts, M. Malyon,C. A.R.T. 2 Practice. Australia: Oxford University Press, 2005.
The Clients- Puccinini
em.pa.thize
v. To feel or experience empathy
em.pa.thy
n. 1. identification with and understanding of another's situation, feelings, and motives
2. the attribution of one's own feelings to an object.
www.thefreedictionary.com
There are two underground cavities which physically bend and turn in relation to each other as if they are feeling what the other is and responding themselves. they are interlinked in their acknowledgment of the other. As with the second definition, I want them to capture as an object Puccinini's concerns about genetics, consumerism, and technology.
Patricia Puccinini works with digital stills and video as well as sculpture with found materials. She designs her artwork and then has them made by tradespeople. - therefore her studio must be large enough for numerous people to be working at once. She should be able to design without being disturbed but also easily oversee the production of her work.
"Puccinini uses technology as the springboard for her imagination" as her studio is supposed to have inspired her work, it too must have a technological feel, and convey technology as a catalyst for change in social interaction. Puccinini graphically demonstrates the precarious situation of the human species and the intervention of technology with its natural evolutionary state. - as the studio will represent the technological I want the people entering the space to feel in awe of the space and slightly humbled and inadequate, so as to question their role in the world and evolution.
Materials
The Stags: ABS plastic, automotive paint, plastic, stainless steel, leather rubber tyres,
Dimensions:
196 x 224 x 167 cm.
The studio must be able to accomodate such work, and will therefore have to be quite big with open spaces, and place to put the raw materials. The stairs in particular must facilitate easy transporation of the works- broad, low incline stairs. However a lot of her other work is digital and therefore will need much less space.
References:
http:// qag.qld.gov.au/collection/contemporary_australian_art/patricia_piccinini
Marsh, M., Watts, M., Malyon, C. A.R.T.2 Practice. Australia: Oxford Univerisity Press, 2005.
v. To feel or experience empathy
em.pa.thy
n. 1. identification with and understanding of another's situation, feelings, and motives
2. the attribution of one's own feelings to an object.
www.thefreedictionary.com
There are two underground cavities which physically bend and turn in relation to each other as if they are feeling what the other is and responding themselves. they are interlinked in their acknowledgment of the other. As with the second definition, I want them to capture as an object Puccinini's concerns about genetics, consumerism, and technology.
Patricia Puccinini works with digital stills and video as well as sculpture with found materials. She designs her artwork and then has them made by tradespeople. - therefore her studio must be large enough for numerous people to be working at once. She should be able to design without being disturbed but also easily oversee the production of her work.
"Puccinini uses technology as the springboard for her imagination" as her studio is supposed to have inspired her work, it too must have a technological feel, and convey technology as a catalyst for change in social interaction. Puccinini graphically demonstrates the precarious situation of the human species and the intervention of technology with its natural evolutionary state. - as the studio will represent the technological I want the people entering the space to feel in awe of the space and slightly humbled and inadequate, so as to question their role in the world and evolution.
Materials
The Stags: ABS plastic, automotive paint, plastic, stainless steel, leather rubber tyres,
Dimensions:
196 x 224 x 167 cm.
The studio must be able to accomodate such work, and will therefore have to be quite big with open spaces, and place to put the raw materials. The stairs in particular must facilitate easy transporation of the works- broad, low incline stairs. However a lot of her other work is digital and therefore will need much less space.
References:
http:// qag.qld.gov.au/collection/contemporary_australian_art/patricia_piccinini
Marsh, M., Watts, M., Malyon, C. A.R.T.2 Practice. Australia: Oxford Univerisity Press, 2005.
First Draft- Sketchup Model Two
Second Section translated into Sketchup
Above: Inrinsic
Below: Empathise
.png)
Above: Inrinsic
Below: Empathise
.png)
.jpg)
First Attempt at Sketchup
First Section Translated into Sketchup.
Above: kinship
Below: intrinsic
Above: kinship
Below: intrinsic
Possible Stair Idea: cantilevered spiral stair about the pole.
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