36 custom textures

Draft Sketch-Up Model no.2

A view of the stairs that lead from the exhibition space to the upper studio. Notice Fiona Hall's Leaf Litter greeting you as you ascend the first flight of stairs.

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In the exhibition space, you can see Rosalie Gascoigne's piece, Top of the Morning, on a wooden frame, suspended on wire from the timber trusses.

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(Marker, N.B- This is the model which I have chosen to further develop for my final submission.)

Draft SketchUp Model no.1

iNDEPENDENT STUDY TASK 1

The Upper Studios, encased by a glass roof, allows the artist to experience and enjoy natures beauty at its most serene and most severe conditions. Light wooden staircases accentuate the sense of nature set up by the roof, and encourage swift movement between floors. Aluminium sheeting over concrete walls means the studio is structurally sound, with the aluminium differentiating the building from residentia. The Lower Studio Consists of many concrete platforms, with large steps dividing the studio areas. Wooden trusses create an exhibition space at the centre of the buildings.

--Rugged . Powerful--

18 Sketch Sections

ARCH1101 2009 - EXP1 - SAND AND SOUND

Stair Sections

Exhibiton Space to Lower Studio

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Exhibition Space to Upper Studio (2/2)

Exhibition Space to Upper Studio (1/2)
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Fiona Hall Discussion

"Leaf Litter"

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In the Leaf Litter collection, Fiona Hall pairs a certain country's bank note with a leaf of a plant native to that same country, in an attempt to highlight the importance of the environment on the economy, and more importantly, how the environment is decaying, giving way to capitalism. Here, Hall uses gouache, a paint that consists of a pigment held suspended in water, and whose particles are larger. Importantly, an oil-based additive to the gouache makes the paint heavier and more opaque, lending it a better reflectivity. This is especially noticable in the delicate, X-ray-like quality of image of the leaf. A dark, possibly black gouache is used in contrast to the bright white, skeletal internal structure of the leaf. The bank notes are simply hardened and then painted over.

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Rosalie Gascoigne Discussion

"Top of the Morning"
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Rosalie Gascoigne is known for her distinctive assemblage
s of reflective roadsigns. She takes a more subdued approach in her 1994 piece Top of the Morning, as she tries to capture the unique colours and renewed optimism oft found at the start of the day. Retro-reflective roadsigns, in a cracked and worn florescent yellow, are cut up to make the texture for the earth. Foamboard and Masonite, readily shapeable materials, are painted with dull brown and fractured yellow oil-based paints. These landscape evoking shapes are then stuck to a craftboard base for stability.

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The Stair - Wk2

Rugged. Powerful.

Individual, Brilliant and Inspiring Art

This beachhouse, designed by Douglas Gauthier and Jeremy Edmiston, is far more complex than it first appears to be. Named BURST*008, the house was assembled from individually cut plyboard sheets and insulation panels. Every piece of the house is working to reduce the house's reliance upon electricity and gas for amenities such as lighting, air-conditioning and heating. The house is orientated in such a way so as tomaximise light absorbed from the sun and to catch the prevailing cross-breeze, whilst insulation reduces heat losses in winter. The structure of the house was actually modelled by a computer program which was specially designed to take into account variables such preferable orientation to the sun and wind. BURST*008 was so popular, an identical pre-fab beach house was created for New York's Museum of Modern Art.

Photo 1: http://i247.photobucket.com/albums/gg151/keinton/burst1.jpg?t=1236679802, accessed 10/3/2009.

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The Sydney Opera House, one of the most recognisable buildings on the planet, leaves the individual in awe of it's soaring arcs and distinct power curves. In this graphite drawing, I have tried to encapsulate the majesty and sheer brillance of these curves by extending them into the space where the substructure of the building would begin. The more abstract nature of the pattern below ground hints at the creativity and art performed within the building. Another globally iconic structure, the Sydney Harbour Bridge, forms a suitable backdrop for the drawing.

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Although not my photo, I spent 3 weeks in the Philippines in 2006 on an immersion program, trying to understand what life is like for the poorest of the poor. Through our travels between villages, orphanages and jails, we passed through the rice paddies in the north of the country. It was absolutely breathtaking, seeing the dedication and patience these farmers have with what is and what isn't under their control. This photo shows a wide open field, almost ready for harvest, with an ominous sky overhead, and just a chink of hope of clear sky on the horizon.

Photo 2: http://farm4.static.flickr.com/3266/2882390336_6d54a57b37.jpg, accessed 10/3/2009.

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Rosalie Gascoigne - Top of the Morning

Terrain (n.)


Escape (v.)


Rugged (adj.)

Top of the Morning, 1994 formboard, masonite, retro-reflective roadsign on craftboard
4 panels: 53 x 130cm (overall size)

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Fiona Hall - Leaf Litter

Powerful (adj.)


Skeleton (n.)


Trickle (v.)

Leaf Litter, 2000 - 2002 gouache on bank notes
dimensions variable
(Detail)

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Tracey Moffat - Rock Star

Dreamer (n.)


Realise (v.)


Hopeful (adj.)

Rock Star 1974, 1998 Backyard Series
Off set print on Natural Snow Gum paper using light fast ink. 44 × 35.5cm. Edition of 60