First axo in Crysis

18 axonometrics

Electroliquid aggregation

If we do discover a complete variation throughout the world, even the slightest; then we ordinary people, silently and insensibly working, wherever and whenever opportunity offers, would know the mind of God in relation to the organic and inorganic conditions of life.

Charles Darwin/Stephen Hawkings

Three quotes

Nicole Kuepper:
"Nicole's iJET solar cell will potentially bring affordable electricity to the poorest people in the world. But, more than this, it will be clean and renewable energy," Australian Museum Director, Frank Howarth.
http://eureka.australianmuseum.net.au/A4D69CF1-9890-B67D-2409EF3BFCD8F038?DISPLAYENTRY=true


Charles Darwin:
"It may be said that natural selection is daily and hourly scrutinizing, throughout the world, every variation, even the slightest; rejecting that which is bad, preserving and adding up all that is good; silently and insensibly working, wherever and whenever opportunity offers, at the improvement of each organic being in relation to its organic and inorganic conditions of life."
—On the Origin of Species by Means of Natural Selection, 1859
http://www.alternativereel.com/includes/top-ten/display_review.php?id=00072

Stephen Hawking:
If we do discover a complete theory, it should in time be understandable in broad principle by everyone, not just a few scientists. Then we shall all, philosophers, scientists, and just ordinary people, be able to take part in the discussion of the question of why it is that we and the universe exist. If we find the answer to that, it would be the ultimate triumph of human reason — for then we would know the mind of God.

Black Holes and Baby Universes and Other Essays (1993)

http://en.wikipedia.org/wiki/Stephen_Hawking

7 images: 2 draft and 1 developed

From latest to oldest:

Completed model:

Final model in development stages:

Second draft:

First draft:

3 animations

Below: exploring Goodwin's underground studio. Underground is made of stone, mud and other similar dry, organic materials.




Below: exploring Piccinini's above ground studio. The outer structure is made of glass. The inner one of something synthetic, similar to plasterboard or plastic- something smooth, matte and not cold, although practically, it would be hard to create the shape with those materials.




Below: sectional animation, highlighting the abstract and non-conventional shape of this architecture.

3 applied textures

Below: silky. I applied this to the internal 'heart', Piccinini's studio. The lines emphasise the smoothness of the curved shape. I changed the colour to orange/yellow because the word 'love' suggests something alive and living, not grey and black.




Below: dry. This texture suits the sharp shape of the stairs and word 'parched'. This and the texture below were both kept black and white because the contrast reflected the word 'parched' more.

Below: dusty. Used for the floor of the central creative space/main studio.

The stairs

Below: stairs up to Piccinini's studio. The stairs are smooth and fluid, matching the shape of the studio, Piccinini's artwork 'Undivided' and the word love. It is made of white, matte, plastic based material.
I imagined the artwork 'Undivided' to be carried down to the gallery slowly and gently, as if carrying down a sleeping child. The designated spot for the artwork allows it also be gently positioned there with ease.

Below: stairs down to Goodwin's studio. The stairs represent the word 'parched', through the shape of the treads and the custom texture I applied. The design of these stairs has changed from the previous one posted, which I thought were too conventional. I wanted something quite bare but skeletal-like, hence the sharp pointed shapes and the floating-in-the-air treads.

In relation to the approach to bring the artwork to the gallery, it would be as if the artist and artwork are rising out of the ground step by step. Since the artwork has a kind of mellow quality, it would then be placed in the hollow in the centre. Attention is drawn to the artwork here because it is partially concealed so audiences would be intrigued to see what is nested at the centre of the hole.

Artists works in studios and exhibition space

Each artists 'studio' consists of two spaces. One larger studio space is connected to the datum via the stairs. There is also a smaller, more intimate studio space the artist can use. Below are the smaller but main studio spaces.


Piccinini:



Goodwin:




I wanted a small, enclosed exhibition space that centred around the two artworks. The yellow 'walls' enclose this area and also create long interestingly shaped shadows.
I wanted to create an exciting atmosphere through the shadows from the shapes in the walls as well as the close proximity of the two artworks.