'Unreal or not,' says dolly 'I want Electroliquid Aggregation!...and a black box too'

Reflections from the Black Box

This is the slide from the black box that most reflects the component below from my unreal design. Jacques-Yves Cousteau's lab epitomises his idea of 'protect what you love' and design-wise, it looks very similar to the artist's dwelling in her building fully occupied by conventional (or with schizophrenic, unconventional) monsters. Her concept drawings for her dwelling show a wall of jagged pillars thrusting out as if to defend herself from the other occupants of her building. And in the end her final design shows a structure that curls in on itself as if to protect its occupant from the outside world.


At the same time there is a large opening facing the sun at sunrise (from her perspective) from her notion of camera obscura. My design has glass walls to open what is protected to the outside world so that the world can share in its beauty.

the axiometric design which acted as inpiration

the outside view

the view from the second floor

Electroliquid Aggregation

1st quote: Nobel wrote that "all science is built on observations of similarities and differences."

2nd quote: "One protects what one likes.", Cousteau repeated, "and one likes what enchanted us."

Electroliquid Aggregation: One protects all sciences which enchanted us building on the observation of similarities and differences.

and dolly says to the dynamite 'so, ever seen 18 axiometric drawings in a row?' 'well I have now' says the dynamite. 'And its Unreal!'

The axiometric drawings are uploaded in backwards choronological order so you can see how my earlier ones were noticeably crappier than my later ones.

Heres my Jacques lab based on this axionmetric:

a view from fly mode:

standing in the lab:

where a sheep named Dolly, a stick of dynamite and a french film about fish walked into arch

Alfred Nobel:

Nobel wrote that all science is built on observations of similarities and differences. He continued:

"A chemical analysis is of course nothing other than this, and even mathematics has no other foundation. History is a picture of past similarities and differences; geography shows the differences in the earth's surface; geology, similarities and differences in the earth's formation, from which we deduce the course of its transformations. Astronomy is the study of similarities and differences between celestial bodies; physics, a study of similarities and differences that arise from the attraction and motive functions of matter. The only exception to this rule is religious doctrine, but even this rests on the similar gullibility of most people. Even metaphysics - if it is not too insane - must find support for its hypotheses in some kind of analogy. One can state, without exaggeration, that the observation of and the search for similarities and differences are the basis of all human knowledge."

source: http://nobelprize.org/alfred_nobel/biographical/articles/frangsmyr/index.html 6/4/09

Jacques-Yves Cousteau

"One protects what one likes.", Cousteau repeated, "and one likes what enchanted us."

source: http://www.cousteau.org/about-us/justice and http://en.wikipedia.org/wiki/Jacques-Yves_Cousteau 6/4/09

Keith Campbell

I just want to know how everything works

source: http://www.mblwhoilibrary.org/services/lecture_series/campbell/about.html

what happens in arch...is here for display

And everything has come to an end.



First the textures used:





This I used on the the below ground studio because the word for the underground portion was 'desperate' and so the underground part tries to convey this sense of urgency in getting out of the ground and blooming - very organic. As the word this texture is supposed to convey is organic, this is especially appropriate.



This is the texture in used on the stairs connecting the gallery level to the studio above. The word is 'rigid' and to my point of view, stairs have to be rigid or else its not functional. Also, the word for the above ground studio is 'artifice' and rigidity does come to mind with it, hence the appropriate-ness.





Finally, the third texture. The word here is 'jagged' which is strangely appropriate when you consider that its used for the railing around the connecting staircase on the aboveground studio. In that studio half the ceiling is glass as is most of the shelves and railings in the studio. This texture conveys this sense of moving up and through which is one of the side effects of artifice.



Russell had surprised everyone quite horribly when he told us that we had to have balustrades on our stairs - especially so given what he said in the first lecture. But as my tutor told me, I got 'creative' and constructed balustrades. Here are the sketches:




I'd only constructed balustrades for stairs that do need them. I have six flights of stairs (which does sound somewhat excessive) but only two sets of balustrades for a very good reason. The rest has built in balustrades from the surrounding structure anyway. When you watch my 'round and up' video you can tell that not only does having balustrades would kill the flow of my below ground studio, the stairs there are also too low and wide for anyone to require balustrades.

Same for the above ground studio set of stairs that don't have balustrades. Its carved into the wall so the surround structure acts as balustrades! (this also can be witness in my videos 'up, up and away!' would be the best example)

Sketch basis for my model:

the words are 'artifice' above and 'desperate' below.



Photos of my model:


An overview from the front entrace.

Fiona Hall's studio - the very modern almost pop decor is following the word 'artifice' and that a lot of her work is taking the image of something natural and making it artificial.

Tracy Moffat's studio - from her interview and her other works she wants her paintings to have a sensual quality and what is more sensual that organically rising up from below ground desperately reaching for light?

The animations:

This one is an overview of my model if someone were to walk through it from the below ground studio all the way up following the stairs and out onto the balcony on the above ground studio.

I've emphasised in the previous weeks and above that my below ground studio is very organic so in the video above I've demonstrated the flow of the building from when you go up the first flight of stairs to the large concentric circular stairs and then leave for the gallery via the cantilever stairs going up.

Every week my tutor asks me 'what is the connection between your above ground and your below ground?' Well, here is it. The video is fairly self explanatory but its basically what you see what you come up from the gallery level and continue on to the balcony in the above ground studio and then looking up from the below ground studio.

NOTE: I accidentally switched the paintings of the artists when I was installing them in their studios. The below grounds studio is Moffat's and the above ground is Hall's.