SARAH NAJM

ARTISTS RESIDENCE FACILITY

2009-11-25T00:30:00.000-08:00

‘GLENDALE,’ KOSCIOSZKO RD, COOMA/BERRIDALE, NSW

CONCEPTUAL INTENT

unique to this landscape and distinct to the conceptualisation of my architecture, stand large granite tors. in rising faithfully from their underground hiding spots, cracking into shape and harnessing homes in clusters amongst the vast australian bush, they lend themselves to their environment .

benjamin walter states:
“i set myself in the space and the space settles me.”

in seeking to create an architecture of place, i allowed the landscape to guide the evolution of my design, aiming to enhance the experience of the surrounds by capturing and elaborating the existing nuances with particular attention to that of the tors:

form: the tors perceived weight and size document the landscape by offering a gesture of navigation in which the land seems to hang off.

frame: erosion over time has created negative space between the tors. peering through the resulting passages, they create focus and remove context allowing the observer to capture a moment that would otherwise remain unnoticed.

shelter: in clusters the tors act as a refuge, a shelter from the elements, claiming the trees as their own, not only nestling them between their cracks and crevices but on their surface, creating a transient plane between the horizontal ground and their vertical stature where the trees cast their shadows.

hence the resulting architecture aims to offer refuge, aspect and prospect to develop space which contemplates the tors proposed function as well as the need for human scale to be introduced on a site where this can so easily be lost.

SITE - "Glendale" in Berridale, rural NSW

2009-09-28T03:42:00.000-07:00

CHANGE IN LANDSCAPE

Once you have past the urban sprawl of Sydney and into the increasing vastness of outer NSW, the shifting greenery and sun bitten valleys of the Australian bush, see patterns of flora and fauna become evident. Clusters of leafy trees, some strategically placed acting as wind breaks sheltering their surrounds like an oasis in the desert giving a glimpse of life in the thirst stricken landscape. Heading towards Canberra, this landscape becomes more flat and dry, shades of green turn to shades of yellow and then signalling another change is the leafless trees and large Tors which dot the landscape, along with the increase in presence of cattle in larger groupings. The Tors or boulders become the distinctive feature distorting any perception of scale and distance, which proves to be somewhat alienating from a far.

Our architecture will have this as its backdrop. An opportunity for people to engage and experience this out-of-this-world landscape, bringing it up close and personal for it to seem more real; something that would usually be reserved for view behind the glass of a speeding car.

BERRIDALE

Not only will our architecture have to contemplate the landscape but also the community, or potential community of Glendale and Berridale. This small isolated part of NSW is a place always in transition. It hosts people who are not staying for the purpose of enjoying Berridale as such, but rather as a resting place on the fringe away from the ski slopes or farm life. The motels, winery, connivance stores, and pubs, mark this isolated community halfway between the larger town of Cooma and the Snowy Mountains. The few permanent residence enjoy the ever changing landscape of people arriving by the bus and car load for several days then disappearing just as quickly as they came. The quietness is broken only temporarily with the uneven waves of people, where the local hospitality seem ill fit to equip.

In consequence this then places the question of how our architecture will impact on this social landscape. How will it fit in? Will it become a monument like the Big Ram of Canberra that people will want to stop at and visit? Or should it rather fit seamlessly reclusive in the shadows of its isolated rocks and trees?

TORS

On site the rocks confront you with their reality of size, quantity and form. Instead of alienating as they did from a distance, up close they rather animate the landscape. Taking on multiple roles of the documenter, sculpture, and protector. The tors document the site, faithfully rising from their underground hiding spot determined to monument the vast now dry landscape. As sculptural elements, together in clusters, the rock formations huddle in families following the rise and fall of the naturally occurring gradients bringing the hill tops to life and breaking the flatness of the valley bellow. As Protector they can be seen as a refuge, a shelter from the elements, claiming the trees as their own, Not only nestling them between their cracks and crevices but on their surface, creating a transient plane between the horizontal ground and their vertical stature where the trees cast their shadows. So even if the tree tops are unseen through a potential opening, these projected shadows which are seen deny the trees absence.

TREES

The trees, in naturally occurring between the rocks, break the horizontality which seems to dominate the landscape, further rationalising the land as a nurturer of life, and allowing a comprehension of scale. The junction where tree and rock meet sees a reciprocation of mutual accommodation. The rocks crack into layers surrounding the trees and the trees bulge and lean on them.

This could have implication on the structure of the building where it seems to call for a discrete structure which works in harmony with all the building components, yet every now and then reveals itself; a column, an arch a grid beam system, like the odd stand alone, bare trees. They are time conscious blowing in the wind they go from vertical structures to lay low on their rock surroundings only to be persuaded to go back the other way as the wind revives them. They slowly sway in silent chorus both in tune with sun and wind their life cycle is clearly seen.

GROUND COVER AND FAUNA

The ground cover seems to be composed of layers that don’t belong. Amongst the patches of red berry, thorn riddled weeds, cattle manure, rotting carcases, and bones and dehydrated grass and soil, some life resumes existing. Without noticeable insects or birdlife for this time of year, the cattle manage to continue to graze. They rotate around the field like the shadows of the trees, creating and keeping track of time.

In this way our architecture too should behave differently with the passage of time throughout the day and year. For example the shading devices could move with the shifting sun or more obviously each faced dealt with differently, so that the North West winds of winter are minimised. Just as the rocks freeze and crack when heated, the architecture should respond by minding this differentiation.

NUANCES

Time has created erosion and creation of negative space. Peering through the resulting passages they create focus and remove context allowing the observer to capture a moment that would otherwise go unnoticed. These naturally occurring spaces project a safe, intimate setting, which opposes the free immenseness of its surrounding reality.

This further has implications on the solid void relationships of our architecture, where views and space should either be denied, allowed or suggested through simple architectural devices such as half walls, vegetation walls, column systems, layers of openings.

HUMAN INFLUENCE

The evidence of our human activity on the site is finally the most relevant to us, as our architecture is going to be the definitive gesture of this artificial intrusion or inclusion upon this landscape. No matter how untouched it seems to appear there are traces which are easily overlooked.

2009-09-28T03:40:00.001-07:00

Third Year Session 2 2009 (above)
Third Year Session 1 2009 (below)

COOGEE APARTMENTS

2009-09-25T20:28:00.001-07:00

BRIEF
Multi-residential and Commercial building:

- Underground(Beach Street access) : Jazz Cellar
- Ground(Beach Street access): Cafe
- Ground(Arcadia Street access): Parking
- Ground(Arcadia Street access): 2 x 2 bedroom apartment, 1 x 2 storey 2 bedroom apartment
- Level 1: 1 x 2 storey 2 bedroom apartment, 2 x Studio apartment (including 1 with disabled access)
- Level 2: 1 x Studio apartment both connected and separately accessible to the 2 storey 2 bedroom apartment below.

PRECEDENT STUDIES

CONCEPTUAL INTENT
Concepts of public and private, outdoor and indoor realms come to the forefront of this mixed use building . The parking acts as a buffer separating the public access to the site via Beach Street and the residential access on Arcadia Street.

The Residential apartments deal with aspects of intimacy gradients and a tapestry of flexible living catering for a variety of prospect residents and promotes outdoor to indoor variation and control. The commercial spaces focus on the experience. The Cafe is a fish and chip take-away by day and a vivid upper market dining by night, while the Jazz cellar as a wine bar allows an immersion into a complete sensory experience.

The form of the building picks up a commonality of the surrounding architecture which is an elaboration of openings through framing. Here the horizontal slabs sandwich the vertical planes and erode into the site following the slope in which it sits. The sandstone mirrors its use in the surrounding corner blocks continuing to meandering around the building. It also acknowledges the heritage nature of the site as it is time conscious.

Context becomes the opportunity for a layering of architectural language that aims to provide a lifestyle coherent to the present, past and future life of Coogee.

DRAWINGS

Site Analysis 1:200

Jazz Cellar Floor Plan 1:100

Cafe Floor Plan 1:100

Ground Floor Plan 1:100

Level 1 Floor Plan 1:100

Level 2 Floor Plan 1:100

Level 3 Floor PLan 1:100

Roof Plan 1:100

Cross Section 1:100

Longtitudinal Section 1:100

North Elevation 1:100

East Elevation 1:100

Perspectives

2009-09-25T20:24:00.000-07:00

Third Year Session 1 2009 (continued above)

Photography, Society and Enviornment

2009-09-23T04:53:00.000-07:00

"Sydney Take-Away: Cultural Seeing"
Photo Documentary - my inquiry into the cultural plurality within the suburbs of Sydney.

2009-09-23T02:38:00.000-07:00

Third Year Session 1 BENV 2314 2009 (above)
Second Year Session 2 ARCH 1202 2008 (below)

Final Submission - COOGEE COMMUNITY CENTRE

2008-11-04T19:15:00.000-08:00

CONCEPTUAL INTENT
Pathways. Where they lead, how they operate and the potential they provide to unravel. “mapping is less to mirror reality than to engender the re-shaping of the worlds in which people live...uncovering realities previously unseen”(Abrams & Hall). Through the process of mapping, in relation to themes of reciprocity, threshold, and materiality, these pathways became central. Pathways provide a growth of interactions, a web of networks that divide and multiply, reaching all grounds, allowing the relationship between landscape, architecture, and people to merge. Hence pathways attain a reciprocity which is seamless creating a bound and reveal; A threshold which sees a beginning and end or alternatively a continuation; A materiality which evokes.

In response architecture would become shaped by three guiding factors aiming to create a building that would become a gesture to the public:
- Envelopes which encase space and create pockets of light;
- Moulding space so that separate functions link seamlessly to each other;
- A play between Solid and Void, juxtaposing polar opposites of light and dark, open and close, seen and unseen, outside and inside, warm and cold.

DRAWINGS

Site Analysis 1:500

Site Plan 1:500

Ground Floor Plan 1:200

Mezzanine Floor Plan 1:200

Elevations 1:200

Sections 1:200

Perspective Vingettes

Entry
Where inside meets outside is undefined. The main entry, cafe, passageway to the grandsand as well as the main passages from the man hall to outside are all free from permanent enclosure. This choice of thresholds provide intrigue in navigation.

Main Gym Hall
Similar to paths which grow feely, volumes unfold, such as the submerging of the entire mezzanine level into the ground level, where what is seen from the main gym hall - a play of solid, void also creates an intrigue of what is seen and unseen from below and from within. The arts workshop in intersected in to the main gym hall, so that no function is disconnected for each anpther, rather a communication of architectural forms mirror the communication of life occuring within spaces and the external Coogee street scenes.

Arts Workshop
The arts workshop is the only part of the building that is bounded up to the street footpath. Unintrusively the vaiations of set back from the street provide for an interesting facade with the only element touching, a step balcony which allows ease of transition. It provides a constant view of the occurances within, to the outside passersby and vica versa, as well as access to the adjacent grass area.

Small Gym Hall
A framed uniterupted view beyond the oval out to the open ocean

Fitness Studio
Floor windows provide the perfect ambiance of privacy and relaxation whilst still allowing reciprocal glances of the activity occurring within and without of the buidling to the grass area.

MATERILAITY

White Gravel - is a subtle way of communicating access restrictions. The colour choice is an abstract reresentation of the existing white definition lines on the granstand walls.
Concrete Finish - changes colour with the light mirroring the same quality in which the beach attains
Timber features - warm and neutral accents complete the overall aeathetic of the architecture

MODELS
Room to Love - Model 1:100

This outdoor room is the threshold between architecture and landscape, from the main gym hall and arts workshop to the grass area, located north of the site.

Building Model 1:200

Overall buidling as see from the oval

Ground Floor, without the roof

Mezzanine, without the roof

The old grandstand is acknowlegded whilst still transformed into the new aesthetic. The footprint and two main feature walls remain, one within the building and one on the street front. The existing white definition lines on these walls guesture the framing of the sourounding buildngs which is a recurring motif that is also provided design inspiration.

Landscape is the grounding feature of Coogee, just as structure becomes the groudning of a buildng. Here structre has been celebrated and become defining moments in creating space.

Construction Model 1:30

Main construction required is load bearing concrete blockwork to support the weight of the mezzanine

...A desire to explore

Submission 3 - ESQUISSE

2008-10-14T23:20:00.000-07:00

Mapping: Site Analysis 1:500

Floor Plans 1:200

Sections 1:200

Elevations 1:200

Massing Model 1:500

Submission 2 - CONCEPT

2008-09-08T03:52:00.000-07:00

PATHWAYS: UNRAVEL

Mappings reworked:
-Reveal/Hidden
-Staggered/Continuous

PRECEDENTS: capture moments

Envelopes:
-encasing spaces
-pockets of light

Mould:
-link
-seemless

Solid/Void:
-outside/inside
-light/dark;
-open/closed
-see/unseen
-warm/cold

Proposal 1: Sectional Perspectives

East Section 1:200

South Cross Section 1:200

North Cross Section 1:50

Plan Options

Submission 1 - MAPPING

2008-08-22T03:08:00.000-07:00

Reciprocity - Engage

Materiality - Sensory

Threshold - Ease

Site PLan 1:800

Site Plan 1:2000

Site Model

Concept

Second Year Session 2 ARCH1201 2008(above)

2008-08-19T07:18:00.000-07:00

WEEK 5: Final Submission

2008-06-13T20:07:00.000-07:00

Model:

Drawings:

Concepts Behind Design:

Architecture which enhances the experience of the artworks

Sculpture Gallery:
- Meander through entrance into a large space. Space is scaled so that the artwork and the room is the same as a person in a room, where the viewer is immediately at unease. This largeness is emphasised by the repetition of the facade motif internally as the stair handrails.
- Mezzanine as a viewing platform, also contains smaller scale art that appear to be gallery visitors viewing the art below hence visitors are not yet relived of this unease.

Hallway:
- Offers choice with different visual cues

Audio-Visual Room:
- Consealed
- Glimses of light
- On entering, the viewer becomes a part of the work with the light art relfecting on them, yet they can also withdraw and act solely as an observer

Photography Room:
- Leads to the office creating an open relationship between the staff and guests
- Walls positioned so that openings frame photos on walls behind

Courtyard:
- Drop off area
- Glass sculpture gallery with benchs for poeple to sit and view

Stockroom:
- Underground
- Glass reflections from art above, light this space
- Has double entry: outside - so that artworks can be directly dropped off down to space; inside - so that the exclusive buyer can finalise dealings in the office, but also a wet weather entry point.

Workroom:
- On mezzanine level
- Private zone which contains entrance to apartment

Apartment:
- Functions enclosed so that from below the spaces appear mysterious and not interrupted by furniture.
- Bedroom at the back with view onto courtyard, away from bustling King St

WEEK 4: Finalising Design

2008-06-13T18:57:00.000-07:00

Computerised Sketch Model:
Front Perspective

Back Perspective

Without Roof Perspctive

Ground Plan

South Elevation

West Elevation

Practice Drawings:
Site Plan

Poche Apartment - section and plan

Vingette - photgraphy room

Vingette - sculpture room

Vingette - audio visual room

WEEK 3: Room Configuratons

2008-06-12T21:20:00.000-07:00

Ideas:

Sketch Model:

WEEK 2: Initial Stages

2008-06-12T20:07:00.000-07:00

WEEK 1: Choosing Site

2008-06-12T20:01:00.000-07:00

164 King St, Newtown

PROJECT 3: Gallery in Newtown

2008-05-17T04:13:00.000-07:00

Museums of Inspiration

Álvaro Siza, Museu de Serralves

Harry Seidler, Niterói Contemporary Art Museum

Louis Khan, Kimble Museum

WEEK 4: Final Submission

2008-05-13T02:30:00.001-07:00

A city enclosure for a reclusive man with an obsession for stacking books

Model

Poche

Concepts Behind Design:

Narrative line:
- Painting is called “women reading a letter” however no body is actually reading, so my character stacks books but never reads them.
- “Recluse” – lonesome at sea; all figures in the painting seem unaware of each other’s existence
- “City enclosure” – in the city you can be surrounded by people but still be lonely; so close yet so far

Hence it is all about the exhaustive nature of stacking books and the length the man will go to continuously stack his books.

Overwiew of how the spaces function:
- The openings on the side are where the books are dropped off, they are big enough for books yet too small for humans
- The large room is were the man keeps most of his books. It has verticle shevling as a guide to where the books can be stacked, not limiting size or height, so he can create his own city of books witin such a large space. The opening in the roof implies the stacking is infinite. It is also where the man can dispose of unwanted books, contributing to the life of the city. He is suddenly exposed to the city yet still distant from it.
- The underground shafts are where his most prized and secret stash are kept. The haphazard nature of the steps are irregular and are run-down from overuse
- The metal tunnels are the transitional spaces that are angled to such a degree that the man is forced to bend over when he passes through them, limiting the amount of books he can carry at any one time. The metal also creates a contrast to the dark concrete spaces. The brightness of the light reflected can be seen as a form of enlightment.

WEEK 3: Refining

2008-05-13T02:29:00.000-07:00

Planning Poche Drawings

Sketch Model 2

WEEK 1 and 2: Progress

2008-05-13T02:27:00.000-07:00

Rewind: Analysing the painting in depth

Ideas development
Narritive to a sentance:

Space that facilitates the activity:

Sketch Model 1

PROJECT 2: Dutch Painting

2008-05-13T02:12:00.000-07:00

"Woman Reading a Letter" GABRIEL METSU

Narrative: A lady is awaiting for a letter from her husband at sea. the focus of the painting is rather what is happening in the painting that is being exposed from behind the curtain. Theme - HOPE

Room sequences that first came to mind

WEEK 4 - Final Submission

2008-05-13T02:11:00.001-07:00

Drawings
Parti:

Poche:

WEEK 3 - In Progress

2008-05-13T02:09:00.000-07:00

Light Study
top: light comes in from at least two sources in every room
bottom: elevation abstraction of where the light penetrates

Parti and Poche

Model

WEEK 2 - Initial Stages

2008-03-28T02:16:00.001-07:00

Parti and Poche

Sketch model

WEEK 1 - PARTI and POCHE

2008-03-28T02:03:00.000-07:00

Trying to understand the difference:
PARTI - diagramatic; simple; functions of the building; conceptual; idea
- organisation of activities affects behaviour
POCHE - specifics; perception; rendered; richness
- what does it feel like to walk through the building

PROJECT 1: Utzon's 'Can Feliz'

2008-03-26T04:53:00.000-07:00

What is Can Feliz???

"Machine for viewing"

"Off centre colums to articulate zones of transition and rest"

"Can Feliz is almost as much a built landscape as a building"

"house and terrace"
"garden and nature"
"structure and light"

Utzon and Can Feliz

This is where, with the deepest respect, I face nature, and with the greatest passion, contemplate the sun and the land in front of me."

References:
-Martin Keiding and Kim Dirckinck-Holmfeld. 2004. Utzon library : Utzon’s own houses. Copenhagen : Danish architectural press, c2004.
-Weston, Richard. 2002. Utzon : inspiration, vision, architecture. Hellerup, Denmark : Edition Bløndal, 2002.
- Møller, Henrik Sten. 2004. Jørn Utzon houses. Copenhagen : Living Architecture, 2004.

2008-03-26T03:03:00.000-07:00

Second Year Session 1 ARCH1201 2008 (above)
First Year Session 2 ARCH1102 2007 (below)

Final Images

2007-10-23T17:45:00.000-07:00

My idea of power is dealing with it on the basis of how it can be used for both good or bad/selfish purposes. My spaces deal with polar opposites of light and dark, closed and open, privacy and company. I wanted the office spaces to focus and convey a sense of growth and multiplicity as it is this which has propelled the clients to power.

Yin's walkway to/from her office inside the bridge
Yin's entry way has a certain warmth to it that takes you immediately away from the openess of the meeting place and prepares you for something much more personal, dealing with power as self made. The openings give slight glimpes of the office below.

Yin's Office: Exterior View

Exterior view of Bridge

Yin's office and bridge reflect her business venture which has made her one of the world's most powerful women. The bridge looks like it is being eaten away paralleling the paper being consumed. Her office is made up of those 'throw aways', reused to make something new and commanding. In this way it relfects the idea of power being be used for something beneficial that is strong and solid, conveyed by the spaces striking angles.

Meeting Place: view from bridge
The meeting place combines contrasts of open and closed. It is open for inspiration with a view of the world directly in front of the clients as they meet, yet is enclosed for privacy with no view of the other spaces, minimising distractions as the clients collaborate and undergo significant decision making.

Slim's walkway to/from his office inside the bridge

Slim's elevator

Slim's walkway has a certain coldness and mystique to it that is masculine and authoritative. The elevator also has a delicate charisma which takes the client into a dark shaft then flying into mid air, playing on the jauxtapositions of light and dark both literally and symbolically with it implications to power used for both good and bad purposes.

Slim's Office
The entrance to slim's office convey's his business venture in telecommunications with the sense of speed and flow. His office is spacious, circular and bursts open expressing his power as on top of the world and thriving.

More Images

2007-10-23T16:58:00.000-07:00

EXP 3 UT2004

2007-10-23T06:11:00.000-07:00

exp3finalp.ut2

Feedback from other students again

2007-10-17T04:29:00.000-07:00

Developing the Spaces

2007-10-16T05:42:00.000-07:00

meeting place

top space

bottom space

Feedback from other students

2007-10-13T18:12:00.000-07:00

2nd draft environment

2007-10-09T06:25:00.000-07:00

overall environment

meeting space

elevation of top office

elevator

bottom office:

Tip/Trick/Technique

2007-10-09T01:52:00.000-07:00

tilting cubes in unreal ed: there are two ways of rotating objects in unrel ed along different axis in the objects.
1. right click, ctrl
2. switch of the two ogbjects in the bottom right hand corner so that they are grey, select the rotate tool, crtl, right click and move mouse up or down

viewing in unreal ed: right click and move mouse up or down to alter the 'horizon line' perspective

saving in unreal ed: make a habit of saving under save as every time you save as this tracks progress and allows you to alter the entire model at differnet stages if the final save as isn't desired any more

Dining Table

2007-10-09T00:08:00.000-07:00

The dining table will appear from a distance once the clients have entered the meeting place and will then return to its 'resting' position once they exit.
I wanted it to appear to be zooming directly and quickly towards the clients then smoothly curve up and decline to its position as if responding to the call of the clients.

Conceptual Ideas

2007-10-08T04:23:00.001-07:00

Instructions:static meshes and movers

2007-10-08T04:14:00.000-07:00

Textures

2007-10-05T18:28:00.000-07:00

Given Words:

Linear

Scalar Transitional

Rotational

My Words:
i wanted words that conveyed opposing feelings of heavy, airy ad sharp, so i came up with...

Sinking

Dodging

Gliding

Elevator in action

2007-09-27T16:23:00.000-07:00

Elevator

2007-09-27T16:15:00.000-07:00

Elevator in Unreal

2 point perspective number four

Sketchup Animation - elevator pathway

2007-09-24T18:01:00.000-07:00

2 Point Perspectives

2007-09-21T03:22:00.000-07:00

1.
-----radiate ----- dominate ----- effect -----
2.
----- transform ----- skill ----- stream -----
3.
----- function ----- exclusion ----- risk ------
4.
----- unity ----- maze ----- rigour -----
5.
----- competent ----- sway ----- potential -----
6.
----- forward ----- peer ----- out of reach -----

resubmission exp2 without the death cone

2007-09-20T02:25:00.000-07:00

resubmission exp2

2007-09-19T18:40:00.001-07:00

comment on someone else's

2007-09-18T21:57:00.000-07:00

you can find my comment on someone's eles unreal ed exp 2 at sophiefaehrmann.blogspot.com

Pathways

2007-09-18T20:36:00.001-07:00

(based on one point perspective number six)

1 Point Perspectives

2007-09-15T21:28:00.001-07:00

1.
untiy
function
stream
2.
radiate
peer
transform
3.
competent
exclusion
effect
4.
out of reach
forward
dominent
5.
risk
skill
maze
6.
potential
rigour
sway

Client News Articles

2007-09-11T00:06:00.000-07:00

Ratan Tata
"We honour Ratan Tata for his manifold achievements in the fields of entrepreneurship, industrial leadership, building up the knowledge economy in India and, in the larger international context, his work for charity and his humanity."

Zhang Yin

"Five years of shipping waste paper to China made Hong Kong-based Zhang Yin the world's richest self-made businesswoman. Starting with US$3,500 in capital, she accumulated a $7 billion fortune, making her a role model for those seeking to turn rubbish into wealth. "
Carlos Slim Helo

"Like Mr Gates, he has developed a strong profile on the philanthropic front.
Earlier this month he allied himself with the foundation of former US president Bill Clinton and with Canadian mining magnate Frank Giustra to launch an anti-poverty campaign in Latin America."

UT2004 Map on FileFront

2007-09-09T02:53:00.000-07:00

final22.ut2">

UT2004 Environment 5 images

2007-09-08T23:48:00.001-07:00

The meeting place is the only part of my environment that is in front of the wall. I wanted it to be the mid point as well as the only visable part of the environment acessible to both scientists so that each have privacy in 'creating'. This also reflects my quote as the worst of our world is usually created behind closed doors, undetected until its too late. The sense of fear and danger is also relfected in the shape of this meeting place that has a feel of suspension in mid air that is edgy and dangerous.

Standing in the middle of the meeting point looking at the ramp leading to both entrances to the laboratories. Stephan Hawking's lab on the left and Florence Nightingale's lab on the right.

This is the entrance to the central room in Florence Nightingale's laboratory. I wanted it to have an crisp brightness to it that is overwhelming and stimulating grasping the essence of the quote

This is the back passage way leading to the central room in Steven Hawking's laboratory. I wanted to create a sense of unease, danger of the unknown, a neverending tunnel which is discrete. It is a parallel relfection off the main passage way that offers another element of fear. The length and downward gradient of both tunnels are to convey a sense of speed mirroring the nature of destruction and can be easily navigated by Stephan Hawking.

Looking up at cieling in Stephan Hawking's main lab room.

UT2004 Environment - extra images

2007-09-08T23:22:00.000-07:00

Textures - light to dark

2007-09-06T18:05:00.000-07:00

Chosen combination

2007-09-04T03:09:00.000-07:00

The concept behind this combination is the have a feel of movement, of objects that are randomly tumbling out into space. They have no reason behind them and are uneven, intrusive and foreboding. This relfects the conepts behind my quotes, particualrly Stephan Hawkings quote of the nature of comupter viruses.

Electroliquid Aggregation

2007-09-04T03:08:00.000-07:00

"we've taken the worst of our world, reflected it in our creation of new life. this is something to fear and it is fear which holds us back"

Pairing Axonemtetrics

2007-08-30T01:49:00.000-07:00

Experimenting with Unrealed

2007-08-28T06:31:00.000-07:00

Subtracting:

Adding:

18 Axonemetrics

2007-08-27T05:22:00.000-07:00

Stephan Hawking's quote as inspiration:
word associations - relfection, messy, angular, violent, strong, deceipt, hidden multiply, energy, fast, intrusive, coded

Florence Nightingale's quote as inspiration:
word associations - darkness, closterphobia, sureal, heavy, hard, unpleasent, awkard, common, edgy

Qutoes by the Clients

2007-08-21T02:10:00.000-07:00

CHARLES DARWIN – the theory of evolution

“It is not the strongest of the species that survives, nor the most intelligent that survives. It is the one that is the most adaptable to change.”
ThinkExist.com Quotations., 2007 Charles Darwin quotes. [Online]. Available from: http://einstein/quotes/charles_darwin/ (accessed on 20/8/2007).

FLORENCE NIGHTINGALE - Florence Nightingale's achievements as a nurse and activist in sanitation were a major turning point in the history of health care

"How very little can be done under the spirit of fear"All the Best Quotes., Florence Nightingale Quotes [online]. Available from http://chatna.com/author/nightingaleflorence.htm. (accessed on 20/8/2007).

STEPHEN HAWKING – Stephen Hawking's bestseller A Brief History of Time is the most popular book about cosmology ever written.

"I think computer viruses should count as life. I think it says something about human nature that the only form of life we have created so far is purely destructive. We've created life in our own image."
Quoteworld.org., 2007. Stephen Hawking [online]. Available from http://www.quoteworld.org/authors/stephen-hawking. Accessed on 20/8/2007.

Animation 3

2007-08-19T01:25:00.000-07:00

Animation 2

2007-08-19T01:10:00.000-07:00

Animation 1

2007-08-19T01:07:00.001-07:00

Story Board's

2007-08-19T00:53:00.000-07:00

2007-08-19T00:08:00.000-07:00

My complete sketchup model for ARCH1102

my comment on another's work can be found on...

2007-08-17T17:23:00.000-07:00

http://www.nicolecusack.blogspot.com/

stairs...friend or foe?

2007-08-17T17:22:00.001-07:00

All three levels

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underground: down

2007-08-14T03:18:00.001-07:00

ground level building

2007-08-14T03:17:00.000-07:00

above ground: Hairy

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textures 8

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Transparent

Wet

Yielding

textures 7

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Synthetic

Tensile

Translucent

textures 6

2007-08-13T23:40:00.000-07:00

Skeletal

Slippery

Spikey

Stratafy

textures 5

2007-08-13T23:37:00.000-07:00

Prickley

Reflective

Rough

Sharp

Shiney

textures 4

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Luminous

Lumpy

Moist

Organic

Pointy

textures 3

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Flimsey

Flimsey

Glossy

Furry

Light

textures 2

2007-08-13T23:33:00.000-07:00

Dense

Dry

Ductile

Grainy

Dull

textures 1

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Active

Brittle

Coarse

Curvatious

Damp

Week 2

2007-08-07T20:08:00.000-07:00

Section- 'effortless' stairs

2007-08-07T04:24:00.000-07:00

Effortless stairs

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Effortless - stairs close up

2007-08-07T04:22:00.000-07:00

Section - 2nd 'Hairy' stairs

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2nd 'Hairy' stairs in elevation

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2nd 'Hairy' stairs

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Down - sections

2007-08-06T05:18:00.000-07:00

Down - in perspective

2007-08-06T05:16:00.000-07:00

Down - building and stairs

2007-08-06T05:15:00.000-07:00

Down - stairs

2007-08-06T05:13:00.000-07:00

Hairy - sections

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Hairy - close-up elevation view of external linking stairs

2007-08-06T05:05:00.000-07:00

Hairy - rooms and stairs

2007-08-06T05:03:00.000-07:00

both rooms 2

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hairy 2

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effortless 2

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top: hairy; bottom: effortless

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hairy

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Effortless

2007-07-28T17:52:00.000-07:00

18 sections - A

2007-07-27T02:31:00.000-07:00