FINAL MODEL

This is the link to my final model: http://files.filefront.com/13706267

Below are images of my model:

Ground level of the meeting area, the outside lab looks like it is going to 'dock' in a landing bay much like one of Cousteau's ships or submarines.





The lighting effects are used to highlight the contrasting separate blocks, reminiscent of a 'ying-yang'.

 

Ramp leading to Cousteau's lab. The ramp is the connecting feature, like a ribbon it runs through each block in a loop allowing access to all the levels. Lighting effects are used here to indicate which block the ramp leads to when it spilts.

 

Inside the red block on the middle level. The middle level is where the green and red blocks 'interlock' as seen to the right of the shot. To the left is the ramp leading down to the bottom floor.

Each ramp has a different texture assigned to it to allow easy differentiation between them. They start off light at the top level of the green block, and become gradually darker as the transition is made into the bottom of the red block.

The key ramp which connects the red and green block. The lighting effects on the right of the shot spill from the interlocking rooms on the middle floor. I chose the rustic texture for this space as it effectively reflects and absorbs the coloured lighting.

Inside one of the interlocking rooms. Cousteau's scientists could conduct independent work whilst still in contact with others in the other block, thus encouraging cooperation and a feeling of connection.

On the top level of the green block, this is the lightest custom texture for this top ramp. The door way in the corner leads back out to the main ramp and back to the meeting space.

Main ramp leading back to the meeting space.

The 'spectator box' or meeting room.

Meeting room.

'Spectating' on the outside. The space is designed to 'frame' the view.

Ramp leading down to Nobel's lab. I used the lighting to make the viewer feel like they are descending deep into the earth. However, I did not want to frighten the viewer at all so I chose a warm hue for the lighting.




Outside Nobel's lab. I have attempted to create a cave like experience, as if Nobel has carved out a space for himself with his own invention: dynamite! It is meant to be reminiscent of the cave homes in Turkey and Greece, the effect is that of a primitive ancient temple, reminding the viewer that the practice of science has been going on for centuries.




Inside Nobel's upper lab. It was important to keep all the textures the same to encourage the notion that Nobel carved it all out of the one rock, like sculpture.




The archway leads back out to meeting space again, reinforcing the notion of 'spectating' and provides a connection between the two scientists and their labs.




View from Nobel's lab.

RESEARCH

I am interested in the analogy of the cave, the way it starts off as a dark space and light needs to be added, rather than outside where shadows are created. I think this way it allows for the most amount of manipulation, evident in the pictures on the slide; shadows were cast by blocking the light to create forms of animals. I have not yet created my internal space and this provides good inspiration for that.

The idea of Nobel ‘habitating’ a space lead to investigating cave homes. The most interesting examples of cave homes I found were ones in Turkey, where the primitive caves look almost inviting! I will manipulate the light inside the lab in a similar way to that explained in the slide and cave homes of Turkey.

Cave homes in Turkey

I will use this axonmetric sketch to create Nobel's cave lab:

FORTY-TWO CUSTOM TEXTURES

These are my custom textures showing the transition of light to dark. I achieved this transition effect by increasing the density of the lines in relation to each other. I made a conscience effort not to become too pictorial in my attempt of sketching light to dark. For my ut2004 model I wanted to keep the texture I would use fairly simple, however I also experimented with other more complicated alternatives.

MODEL V.2.

“What is a scientist after all? It is a curious man looking through a keyhole, the keyhole of nature, trying to know what's going on.”

This is a quote from Cousteau commenting on the role of a scientist. I thought that this frames nicely the ideas behind both Cousteau and Nobel and science in general. Both scientists, no matter where they are, or what they are studying are both passive spectators, and only once enough ‘watching’ has occurred can they begin to test and manipulate.

Taking this idea my aggregated quote is that science is, in essence, a framework to understanding the world and the scientist is a spectator to its inner workings.

This is what inspired my meeting space, which is based around setting up the area to allow passive and active watching. The ‘spectator box’ is similar to that in performance arenas and focuses the attention on the huge ‘keyhole’ to the outside. I have deliberately left much of the ground level unlit also to focus the attention on the light and space outside. I intended the scientists, whilst in their meetings, to look out and see the overall form of Cousteau’s space and be reminded of the importance and relevance of working together in a cooperative fashion.

The following images are of my draft meeting space based on the electroliquid aggregation.

PROCESS

Unreal Editor is quite a different experience to using SketchUp. In the last project I would experiment with my designs in the programme, however with Unreal it is much harder to do so due to the fact it is harder to 'snap' to the grid and other objects. Thus I found to create my first draft and subsequent designs, I needed to plan my designs first. I used grid paper (larger than my moleskine) to 'rough-out' a few of my ideas and gage an idea of the dimensions I would need to use. Using different scales (i.e. one grid was relative to 128 units in the programme) I could draw up my ideas to an appropriate scale and simply 'plug in' my dimensions. I found this decreased both time and effort wasted on otherwise fiddling with the sizes of my designs.

Plan and section for Cousteau's space in version 1.

Plans of the middle and lower levels in version 1.

Plans for Nobel's lab later in version 2.

MODEL V.1.

I used the last two axonometric sketches and amalgamated them in Unreal Editor to form my first lab space. This will be Cousteau’s as it represents the connection needed between humans and each other and the environment. The two blocks are like a ‘ying-yang’ however they do not ever touch other; it is the internal ramp which runs like a ribbon connecting the two blocks. To reinforce the idea of ‘connection’ on the middle floor the two blocks ‘interlock’ with each other, allowing an interactive connection between the two spaces. Cousteau’s scientists, whilst working inside separate labs, will still have the opportunity to hear and see other, thus providing opportunity to work cooperatively.

I used these two axonometric sketches to create my draft space for Cousteau, which can be seen below.

I used this perspective to show the overall form of the building. I intend for it to be seen from the other side but I have not yet built into the wall. I also will need to add in lights.

This is inside the lab on the middle floor. The ramp leads down to the bottom floor and then back up into the other lab which you can see on the right of this shot.

TWENTY AXONOMETRICS

These are my axonometric sketches. I chose Nobel and Cousteau’s quotes and attempted to draw “Habitation” and “Connection”. When sketching my axonometrics I tried to visualise my ideas both in terms of the outward appearance of the form of the blocks, as well as what the experience would be within the blocks. I find it interesting comparing the initial sketches to my later ones, which are far more complex and thoughtful.

THREE QUOTES

Alfred Nobel:

http://nobelprize.org/alfred_nobel/french-lit/alfred-lab.gif

“Home is where I work and I work everywhere.”– Alfred Nobel

Industrial activities. 2009. Nobelprize.org: the official website of the Nobel Foundation. http://nobelprize.org/alfred_nobel/industrial/ (accessed April 6, 2009).

Jacques-Yves Cousteau:

http://www.nndb.com/people/250/000085992/cousteau-5-sized.jpg

“The sea, the great unifier, is man's only hope. Now, as never before, the old phrase has a literal meaning: we are all in the same boat.  ”
– Jacques-Yves Cousteau

After conducting some background research of Cousteau, I noticed how much he stressed the importance of the relationships between man and the marine environment. Cousteau was a proactive environmentalist, and his films in particular are designed to highlight the effect humans have on the environment.

“We forget that the water cycle and the life cycle are one.”

Following from this, he also stressed how important it was for political nations adopt a solidarity approach to the protection of the environment, again highlighting the connectedness of the relationship.

“However fragmented the world, however intense the national rivalries, it is an inexorable fact that we become more interdependent every day.”

Poet of the depths. 1960. TIME magazine: U.S.. http://www.time.com/time/magazine/article/0,9171,826158-1,00.html (accessed April 6, 2009).

Keith Campbell:

http://www.daylife.com/photo/03xp7L3bdXbfr?q=Ian+Wilmut

“Combining this work with that of other scientists working on stem cell differentiation, there is hope that the promise of regenerative medicine could soon be met.” – Sir Ian Wilmut

Stem cell breakthrough: safe and ethical. 2009. BioEdge: bioethics news from around the world. http://www.bioedge.org/index.php/bioethics/bioethics_article/8495/ (accessed April 6, 2009).

This is a quote from Sir Ian Wilmut, a stem cell scientist who is a colleague of Keith Campbell and was part of the team who cloned “Dolly” in 1997. The reason I selected this quote was because it highlights the importance of cooperation in scientific pursuits. This I feel this reflects the notion of the meeting space in the project. 

This quote I believe can be interpreted on two levels; the first being a reference to the amount of travel Nobel did during his career, and the second relating to the research Nobel was conducting was superfluous his location. There is a particularly primal habitation element to this quote which could be interesting to explore.

FINISHED MODEL

 
Overall view

 
View of the upper studio. "Collection".


 

Section of the lower studio. "Voyeuristic".

 

2D section sketch of the developed model.

The materials used for the walls in the gallery, lower studio and upper studio stairs would be cement, to achieve a smooth and flat texture, both the ceiling and floors of the upper studio would be wood, to try to minimise the weight of the structure as much as possible. The stairs down to the lower studio would be made from as mentioned previously an extremely strong material, such as carbon fibre. majority of the walls on the upper floor are glass, and the light shafts are also glass

These are the three animations:

Section of the model

Gallery, stairs and upper studio

Section plan of the lower studio

TEXTURES

These are my 36 custom textures. When thinking of the words I used, I tried to explore unconventional ways of describing materials. I did find it difficult trying to express such complex ideas and feelings into a 2D drawing.

 

 I used "pattern" in my model on the lower stairs. The reason I chose this texture, is because I imagined the material I would need to use for those stairs would have to be strong. The stairs cantilever out from a side support which is either hanging from the ceiling or held up from the ground. The balustrade is also only supported at the lower end. Thus it is important the material I choose to use does not bend or break when placed under the forces. I would need to use a strong material, such as carbon fibre, which could support its own weight and that of the users. This custom texture I feel represents the strong binding within the material.

This is a screen shot of the texture used on the lower stairs. The detailing of the pattern in the texture attempts to represent the strength and reliability of the material used for the stairs.