Monday, March 30, 2009


extra work:sections

extra work : stairs

Stairs: studio week 2

the first sections from studio week 1

Application of my textures on my model

Textures slected to be developed and applied in SketchUp

new model

In the past week I went through radical changes with my work firstly I decided I didn’t like either of the model therefore I changed it. The first step I did was select the parts I liked and then integrate them together in a whole new model. Therefore currently I am working with Fiona Hall and Rosalie Gascoigne, here images of my work currently.I spent the entire week developing and working on this model.

Monday, March 23, 2009

The material being considered for the buildings

Currently the material that I am considering for either of the two building range’s from: insulated wall panel’s., roof tiles, glass curtain wall, roof singles, metal, aggregate, natural stone and brick.

first model with stairs and 2d people from Google 3d Warehouse

Words of model's

The model that was uploaded this week corresponds with the words: geometric and organically shaped.

The most recent model corresponds to the words: sharp and innovating

Sections of the stairs for the model below.

One of the sections created in the first studio session with two sets of stairs for that scheme.

Sunday, March 22, 2009

Section of Stairs

Section of the new model

Experimenting with stairs

New Model Without stairs

Rosalie Gascoigne’s Art Practice

Rosalie Gascoigne’s Metropolis (1999) is one of her signature artworks. Similar to most of her other work, Gascoigne has compromised her work to include an array of ready-mades and re-cycled materials, in this particular one she has used: retro reflective road signs on wood. Like most contemporary artists Gascoigne does not conform to any official methodology or process. However it is apparent that she has a very selective technique assemblage system. From her work we can also conclude that she circulates her work with a grid like method and relies on right angles. Prior to creating her work she goes out into her surrounding environment and rummages out objects as potential art material. Inevitably one can conclude that Gascoigne art making is unique, personal and intimate.

Fiona Hall’s Art Practice

By captivating issues close to her heart Fiona Hall’s, Cell Culture (2002) resembles her personal view point of social history, economics, botany and the environment. She executes these ideas by using glass, metal, P.V.C, Tupperware and beads in vitrine. Halls materials are often selected based on symbolism, in this particular work beads are elected to display cultural exchange on a molecular level. She applies her selective materials by following this particular process. Her first step is to explore her ideas to assemble a unique juxapositioning form with immense conceptual strength Then she wire threads her beads and graft her Tupperware. Then she connects the various Tupperware forms to the glass beads. She uses this particular process to portray that it inevitable to have nature that isn’t impact by humanity. Her final step of Cell Culture also enforces this fact as she houses her work in a glass vitrine.

The section behind the sketch up model (below)

Repeat of last week's sketch up model

After talking about my work with my tutor last week I felt that I should redo my work, I re did a completely new model on Sketch Up by using a new section. The images below are inspired by the words geometrical and organically shaped.

Sunday, March 15, 2009

Week_01: Studio : Sketch book section

(Above)My sketchbook version of the section that I based my work on

Two images from my SketchUp model

Figure 1: Front view of my model

Figure 2: Side view of my model

Change of word for Rosalie Gascoigne

I made a gramatical error in one of the artists work ,for Rosalie Gascoigne the verb for her work is meant to be constrain.

Sunday, March 8, 2009

Architectural Studies Session 1: Week 1 cont

Figure 2 : Tracey Moffatt “ Something more 1” from the series Something more

Figure 3: Rosalie Gascoigne’s: Metropolis (1999)

Figure 4: Fiona Hall: Cell Culture (2001-2002)

Figure 2 : Reference:“ Something more 1” ,Tracey Moffatt, photo print , The Roslyn Oxley 9 accessed on 9 March 2009 ,

Noun: isolation
Adjective: solitary
Verb: escape

Figure 3: Reference: Metropolis, Rosalie Gascoigne, photo print , The Roslyn Oxley 9 accessed on 9 March 2009,<>
Noun: sharp
Adjective: geometrical
Verb: constrained
Figure 4: Reference: Fiona Hall: Force Field Education Kit, photo print, The Museum of Contemporary Art accessed on 9 March 2009,
Noun: organically – shaped
Adjective: atypical
Verb: innovating

Arch 1101 for Session 1, Week 1


This is a still from a film that I produced for my HSC body of work titled “Progress - The Garden of Eden.” The motion picture compromised of Sydney’s major built landmarks ‘under attack’. The still above portrays Sydney's Centre point Tower getting burnt, thus displaying that pollution will distort Sydney. Another tourist attraction within the film was the Sydney Opera House made in ice, in process of the film it was melting, consequently commenting on global warming. The core purpose of this image was to depict a planet where the environment has been degraded and violated by human activity in order to achieve state of despair within the audience.

Figure 1: Kenzo Tagne, Olympic Sport Complex in Tokyo

Reference: Moffett, A; Fazio, M and Wodehouse, L , in Kenzo Tange, (2nd edition) A World History of Architecture, Laurence King, London, pp538

Personally I have always regarded Kenzo Tange as one the best architects in the world; the image of the Olympic Sport Complex (above) in particular demonstrates his greatness. The building defines his innovative and admirable style of conforming to societies expectations of modern architecture while retaining a strong sense of ethnic and cultural strength within a singular work. The work also encapsulates his persistent level of excellence and originality.


This shot visibly highlights the immense magnificence of the outback. Despite being enveloped in a drought, the shot exemplifies the regular gorgeous scenery of the countryside. It truly miraculous how a simple photo of the sunset like this can evoke subjective characteristics like: admiration, enchantment and even secrecy.