This is the final product. It is a short animation on the process of observation and sketching. The viewer first notices the shape of the object, in this case the Red Centre, and then as the time continues the viewer can focus on the detailing and minor features which add to the overall recognisable image of the Red Centre. Then, a changing of perspective takes place, as the viewer begins to appreciate the bigger picture and context of the object, and so the process of shape to detail continues.
THE ANIMATION
This is the final product. It is a short animation on the process of observation and sketching. The viewer first notices the shape of the object, in this case the Red Centre, and then as the time continues the viewer can focus on the detailing and minor features which add to the overall recognisable image of the Red Centre. Then, a changing of perspective takes place, as the viewer begins to appreciate the bigger picture and context of the object, and so the process of shape to detail continues.
PROCESS
Due to the nature of the storyline, a building up of detail, it made sense to try and use the same drawing continually captured to create the majority of the animation. To do this, I drew an outline of the finished sketch, and then through tracing I would add a line, photocopy the page, add another line, photocopy the page, etc. This way I had hard copy versions of the sketch as I drew it. For the shifting perspectives I could not use this method, but I found it none the less enjoyably challenging. Before scanning and adding the drawings into iMovie, I had a total of 80 slides. The actual sequencing of the slides into a movie was the simplest part of the project.
STORYBOARD
My process of creating the storyboard for my animation was to first decide on a begining, middle and end slide. Then, I would continually divide the slides into five, ten, twenty and eventually forty thumbnail sketches of what I roughly plan on drawing. To allow the animation to flow smoothly I will need more than forty, but these are just basics to get me to plan what I will draw.
Currently, the storyline is that an observer who will be sketching the outside of the Red Centre, first thinking of its shape and gradually adding detail. I would like to play with the idea of losing the gained detail, perhaps through loss of light or shifting of perspective and/or distance.
SHAPE TO DETAIL
Brief: There is a process of observation when sketching an object, be it animate or inanimate. First, note the overall shape and obvious features of the object, and then, as time permits, focus on individual detail. The build up of detail is what in the end allows the sketch to be recognisable. An experimentaion of this process will be the aim of the animation.
FINAL MODEL
Final design.
The structured pathway through the design is a simple circuit. To neutralise the meeting space I have designed the elevators to work such that Prada must go up to meet Obama in his office, so that they can both enter the meeting space together. Once lunch is over, Obama must accompany Prada back to her work space, before continuing back up to his office. This creates a connection between the two clients that extends beyond simply having lunch together.
Obama's entrance hall. Intimidating initially, until the columns react to the client's presence and sink creating openings to the outside.
See: ftp://emustore.fbe.unsw.edu.au/resources/samples/Arch/ARCH1101%20-%20Lowe/Lecture_Nine_Action_Interaction_Reaction/prison.mpg
Elevator up to Obama's office; the building responds to the client, enhancing a feeling of power.
Obama's office, classically simple yet warm; different to the intimidating entrance hall before.
The meeting space and dining table for Obama and Prada to share their lunch in a neutral environment.
The meeting space. The dining table and chairs rise back up as Prada and Obama leave.
Mover transporting Prada and Obama from the meeting space to Prada's work space.
See: ftp://emustore.fbe.unsw.edu.au/resources/samples/Arch/ARCH1101%20-%20Lowe/Lecture_Nine_Action_Interaction_Reaction/AI%20box%20craft.mpg
Prada's building is constantly pumping, working hard to maintain the status and power of the "Prada" label.
Prada's production gallery.
Elevator from Prada's space back up to Obama's space.
Elevator animation
SKETCHUP MODEL
This model is a compilation of all my movers: elevators, dining table, meeting space, and Obama and Prada’s buildings.
THIRTY-SIX CUSTOM TEXTURES
Below are my custom textures for ‘movement’. The words I used for inspiration are: Linear, Rotational, Scalar, Extend, Flow and Absorb.
I have used my linear texture in my model to denote the movement of my elevators.
I have used my linear texture in my model to denote the movement of my elevators.
FINAL DRAFT
This is my basic model. I feel I have created spaces and movers which reflect my concept of power as best I can. More work needs to be done to polish off the entire scheme.
The overall scheme of the building.
Obama above, Prada below and a meeting space which hangs onto the bridge and only exists when the two clients meet to have lunch.
The meeting space 'creating' itself.
The space could not exist without the floor from Prada's building or the columns from Obama's holding it in place. It is a collaborated effort encouraging the notion of interdependance and a neautralized place to enjoy lunch.
REVIEW
This is a feedback sheet for Barnaby Hartford-Davis and John Caldwell, neither have finished Experiment 3 so the marking is not very accurate. It is interesting seeing the different approaches. Barnaby has extensivly used SketchUp to create free-form shapes and John has used a story-line as the inspiration for his designs.
DRAFT
This draft is very basic, as I am still changing my design constantly. I have clear concepts; however my attempt at executing them is still not to my satisfaction. Modeling up my current idea has been helpful in thinking critically about what ideas will and will not work. I still have much more work to do.
Entrance to Obama's Office
Below is Prada's building and next to it is where the meeting space will be.
CONCEPT
Both Obama and Prada possess a power over society, however the source, motivation and ultimate utilization of their power is different.
Prada: Economic power. Industrial. Her power is the company “Prada”. She had to ‘capture’ the attraction of society to gain her power. She could lose her power at any time, thus she must constantly work hard and exert her power to keep it. The building is the power. Prada is moved by the building. The building must constantly ‘work’ to sustain its power.
Meeting space: Neutral. This is a shared space for two powerful individuals. It is where they will have lunch, and not do business. Thus, their ‘power’ should be neutralized to create and fair and relaxing space. Avoid egotistical symptoms: create interdependence. The two separate work spaces should collaborate to create the meeting space; so that one could not enjoy lunch without the other.
This neutralization of the client’s power could be taken further, by forcing them to arrive and leave the meeting space together.
EIGHTEEN PERSPECTIVES
Below are selections of my best 3D perspective sketches. They are a mixture of one and two point perspectives of ‘F’ and ‘H’ shapes mashed together to create pathways.
At first my notion of pathways was quite limited, and I created shapes that you would walk around in, rather than on. As I had more practice, my designs became more complex and potential realistic spaces. These will serve as inspiration for my meeting space.
MASHUP
She has consistently pursued a very particular and unusual aesthetic. Obama already is assured a legacy at the top of all three branches of government - executive, legislative and judicial. “I rely heavily on the people that I collaborate with to inspire me.”
"The only way to do something in depth is to work hard.” “I'm at my most creative when the pressure's on.” Having firm control over the White House and Congress, Obama has the ability to push through ambitious plans.
Prada is entirely in charge of the companies creative decisions, basing her decisions on intuition. The federal government's bailout of banks and auto companies has given Obama the power to force an overhaul in those industries. Nothing holds back Madonna. Not love, not pop expectations, not tastefulness, not religion, not the laws of physics.
She is reported to be overly fussy about each detail of her design. Each product has to be changed over and over in order to come closest to Prada's initial idea. Madonna can do what she wants. “Art is about learning and about living with people. It's alive.” His job approval ratings are well over 60 percent, giving him political capital to undertake big challenges. Madonna called criticism of her adoption "shocking"
Prada is said to be the most prominent example of a new form of inward-directed luxury. "Anything she can do to get out the word that these kids need help is appreciated." "I cannot in my memory remember a time when a president of the
1. Alastair Sooke, “Miuccia Prada Interview: Fondazione Prada,”
2. Jost Krebs, “Miuccia Prada biography,” Fashion Infomat, 18/1/2007 http://www.infomat.com/whoswho/miucciaprada.html (accessed May 12, 2009).
3. AFP News, “Obama plays comedian-in-chief,” Sydney
4. Steve Holland, “Obama revelling in US power unseen in decades,” Reuters, (May, 2009) http://uk.reuters.com/article/motoringAutoNews/idUKTRE5406CF20090501?pageNumber=1&virtualBrandChannel=0 (accessed May 12, 2009).
5. Miranda Sawyer. “Madonna,” The Face (August, 2000), http://www.madonnacatalog.com/music/theface.htm (accessed May 12, 2009).
6. Karen Thomas, “Madonna Speaks out over Furore”, USA Today, (October, 2006),
http://www.usatoday.com/life/people/2006-10-23-madonna-oprah_x.htm (accessed May 12, 2009).
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.
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