Thursday, April 30, 2009

Final Unreal Tournament Model;

Below are images of my final Unreal tournament model. The first image is a view of Alfred Nobel's outside space and the meeting place.

The next three images show Alfred Nobel's Laboratory. Within this space I made it light so the shadows made by the sky lights and ramp would be a stark contrast. The textures for "wings" of the building are my custom textures to highlight the alcoves and make them more familiar, allowing them to acts as a cosy place to sit and meditate and ponder, especially the furthest one away from the edge.

The ramps joining the meeting space to Nobel's building are made from grates which allows unique shadows to be casted throughout the day.

The following three images are of the meeting place. Within this space I have used textures of similar appearances for each levels' exterior to tie them together, whilst also making them separately distinguishable. Some inside areas are rather dark and to portray the side of negativity both scientist express within their quotes, whilst other areas are lighter, filled with natural light to express the positive attempts both clients have made to produce a more peaceful and intelligent world.

The last image displays the interior of Cousteau's workspace. Similar to Nobel's laboratory this area also has alcoves designated for meditation. The space is quite large to symbolise the expansive space within the sea, where Cousteau spent a considerable amount of his time.

Throughout the areas there are indents and outcroppings of custom textured material, which would produce different shadows throughout the day, whilst also intriguing the clients to inquire what is making the shadow and use the entire space.

As I previously stated in my "the Black Box" blog i have allowed natural and artificial light to intertwine and produce sculpturally different spaces throughout the day and night. I have endeavoured to allow the shadows to transform over time encouraging the clients to continue to investigate the unknown.

You can find a link to my Unreal Tournament file below;;13704994;/fileinfo.html
36 Custom Textures;
Below are pages from my notebook displaying the 36 custom textures for my Unreal Tournament model.

Electroliquid Aggregation Quote;


"Hope is nature's veil for hiding truth's nakedness."


"Water and air, the two essential fluids on which all life depends, have become global garbage cans."

Electronliquid Aggregation:

"Two essential life truths are hiding in nature's veil; water and air, in which global hope is canned"

Monday, April 27, 2009

9 Mash-Up Meeting Points;

The following pages are from my moleskin and show the 9 interconnecting pairs of axonometrics for my clients, Nobel and Cousteau.

The Black Box;

Book One, Shadow as Threshold is based around the idea that, “The threshold is a space of unknown limitations”. Within the threshold everything is obscure and shadows can create unreal images forcing one to see a different view on reality. “The shadow threshold veils both understanding of self and self’s relationship to temporal and spatial boundaries.” In other words the shadow hides the truth. This is what both of my clients, Alfred Nobel and Jacques-Yves Cousteau face. They work to unveil truths in nature and succeed by breaking boundaries and viewing reality in a different ‘light’. Within my model I have tried to allow natural and artificial light to intertwine and produce sculpturally different spaces throughout the day and night. I have endeavoured to allow the shadows to transform over time encouraging the spawn of different ideas, inspiring the clients to continue to investigate the unknown.

Unreal Tournament Second Draft;

Below are images of my meeting point for the two clients Nobel and Cousteau.

This is the page from my notebook that my meeting place is based on.

Sorry Christian I'm trying to figure out why my sky isn't working, but hopefully it will be working by submission. Just making sure you know that these are images from the game using fraps and I'm not just doing screen shots of unreal editor.

Thursday, April 16, 2009

Unreal Tournament First Draft;

The two axonometrics I have chosen to build upon in "Unreal Tournament" are shown below. The first one is a representation of my Alfred Nobel quote, which was built outside the wall.

Shown below are images of my outside space for Alfred Nobel. This first shot is from the roof looking through the open roof, whilst the second is taken from the first floor. Images three and four are a view from the bottom floor.

The second Axonometric is a portrayal of my Jacques-Yves Cousteau quote, built within the wall.

The below images are from “Unreal Tournament”. The first image is from the first level alcove, while the second image directly below from the ground level alcove looking out through ’the edge’. My last image shown is from the very corner of the bottom floor looking away from the edge.

18 Axonometrics;

The two clients I have chosen for this experiment are Alfred Nobel and Jacques-Yves Cousteau. The first nine axonometrics translate Nobel's quote "Hope is nature's veil for hiding truth's nakedness.", while the later 9 interpret Cousteau's quote, "Water and air, the two essential fluids on which all life depends, have become global garbage cans."

Saturday, April 4, 2009

Alfred Nobel;

"Hope is nature's veil for hiding truth's nakedness."

Jacques-Yves Cousteau;

"Water and air, the two essential fluids on which all life depends, have become global garbage cans."

Keith Campbell;

"I just want to know how everything works."

Resources,, coyright 1999-2006,, copyright 2009

Marine Biological Laboratory Woods Hole Oceanographic Institution (MBLWHOI) Library, Keith Campbell interview, June 22, 2001 at Marine Biological Laboratories, Woods Hole, MA;

Wednesday, April 1, 2009

SketchUp Animations;

Here are my animations of my final SketchUp model:

Final SketchUp Model;

My final SketchUp model was created with respect to the below section, commotion (above)and parasite (below), I did in the first week.

The first floor studio is made for Rosalie Gascoigne and inspired by her artwork “Canary Bird", 1996. The jutting roof mimics the commotion found in her art, and by making some of the roof components glass and others opaque it allows fragmented shadows to appear in the upper studio. I believe again this reflects Gascoigne’s artworks as well as her artist method.

The spiral staircase not only acts as a center piece for the gallery but also allows patrons to, as they are walking up or down have a full 360 degree view of the gallery space and the artworks being shown.

Through the centre of Gascoigne’s studio and the gallery floor there is a cut out. This allows natural light to flood through to Fiona Hall’s studio below ground and as acts as a peep-hole between the studios. The spiral staircase surrounds this cut out as to allow patrons a view of the below ground architecture and what is happening within it.

Fiona Hall’s below ground studio is representative of a parasite feeding off both the earth and the gallery space. It was inspired by her artworks in the series, "Castles in the Air of the Cave-Dwellers", 2008. The area has a scientific feel to it as it reflects the ideas portrayed in this series, as she uses resin moulds of human brains.
The stairs cut into the curved walls which make the staircase narrow as it recedes into the studio, giving a foreboding feel. I think this foreboding feeling plays on the parasitic nature of the studio.

The lack of colour throughout the building is purposeful as it will allow the bright artworks of both Hall and Gascoigne to “pop” off the walls in all three spaces.

Textures that I used in my model;

You can find my model on "RapidShare" here