Destruction + Fold

In this project I was attempting to combine aspects of destruction with the concept of the fold. My model was inspired by an origami folded star given to me by a friend, which was accidentally crushed when some architecture books fell on it.

The balsa wood triangles mimic the triangular shapes of the origami star. The front of each triangle is broken, with fragments attached to the inside and back of the model as though a bullet had passed through the middle. The bullet represents destruction and was extrapolated from my poster.

The poster is based on a Sin-City/comic type theme, featuring a business man in a hat committing suicide. The paper around the top of his hat is cut and folded back, relating back to the idea of the fold. The jagged edges and hole in the paper are as though the paper itself has been subject to a destructive force.

On the other side of the paper, the folds of the paper can be seen, as well as scraps of balsa wood, newspaper, and black and red splatters of paint. This is the end product of destruction, and the fragments of something that used to be whole.

City Site

The site I chose for this project was the shallow pool and bridge above Cook and Philip Pool in the city. I was attempting to show the horizontality of the area, the clean cut lines and rectangular shapes, and the length of the bridge.

One thing that struck me while I was at the site, was how the site seemed visually very calm, almost zen-like. However the site itself was situated on a busy street corner, with cars and trucks only several metres away, and the noise from the traffic seemed to overwhelm the tranquil visual qualities of the pool. To show this noise and confusion, I used colourful scraps of newspaper and chaotic ribbons of plastic to surround the bridge to contrast with the neat edges and shapes of the cardboard and foam core.

The playdough was used to show the texture of the bridge and the many planks of wood that ran its width.

Word association sketches

Above: Dream. Here I was trying to capture the surreal aspects of dreaming, and the formation of images and objects in dreams.

Above: Desire. This was a comical take on the word desire, where Mario from Super Mario Brothers is desiring to reach an upper level.

Above: Confinement. Here I was trying to use the large white space to contrast with the small black box that the figure is trapped in. I feel the use of white space emphasises the feeling of confinement.

Above: Memory. This Dali-esque sketch shows how a persons face can be made up of memories, how you can associate a memory or event with the image of a person.

Atlas of Colour

ARCH1162 - Architect of Reality

Textures

I had many problems with trying to apply textures to static meshes. I scaled the textures correctly in Sketchup, but when importing them into Unreal Editor and applying them again, some would be scaled minutely and others at the correct size. This meant that some textures have been applied to structures and cannot be seen easily. I have explained where they have been applied below.

To the carpet in the bridge, and the
interior of Madonnas building:

The platforms of Obamas building:

To the dining table glass:

To the table of the dining table and the walls of the meeting place.
Edited in Photoshop:

To movers within Madonnas building, and the mover from Madonnas building to the bridge:

To the cushions on the dining table seats:

To the movers from the bridge to
Obamas building, and from the base
of the building to the top of the building:

Movers

Obama movers

The square mover from the bridge to the base of Obamas building as below, and the mover up the elevator shaft in the second and third images, represent the smooth charisma Obama portrays. The outward radiating texture of the movers resembles the ripples in society that an action that Obama makes can create.

View from the elevator:


Up the elevator shaft:
Another mover was used that takes the player from the top of Obamas building, and deposits them on the first mover of Madonnas building. I did not take a picture of this in situ as I had issues with figuring out the lighting on all the static meshes. It is coloured and shaped to look like the podium with microphones that Obama would make speak from at press conferences.

Madonna Movers

Madonnas movers are curved in form, reflecting the same sexual aspects as the curved shapes of the her building.

The mover below takes the player from the platform on Madonnas building up to the bridge. It is cocoon shaped, almost like a bath, where the player feels enveloped. As it reaches the top, the player is tipped into the bridge.

A texture, used to represent the word 'sensual' has been used on the mover, but cannot be seen. I had problems trying to apply textures to static meshes, and not all came out at a visible size.

As a player is deposited onto Madonnas first mover, the mover rotates to drop the player slowly onto the next mover below. Each mover does the same action to give a cascading effect, slowing down the players fall as they drop from each consecutive mover.

The movers are shaped to resemble a cushion, so that the effect as one falls would be that one is dropping from cushion to cushion; being enveloped and then released to a soft landing at the base of the building. I wanted this effect to highlight the softer side of Madonnas sexuality as opposed to the dominatrix-like power that was mentioned in the mashup article. A texture has been applied that resembles almost liquid, curving forms that envelop each other.

Madonna Final

I wanted Madonnas building to be highly sexual, in reference to the mashup article I used.
The impression I get of Madonnas sexuality is one that is almost violent, but still highly sensual. It is highly charged, and used as a form of empowerment.

My aim was to make the overall shape of the building, the colour, and the movers reflect her sexuality.

The sleek black shape of the building I modeled on a female body, where the curves resemble the curves of a female body arching. This contrasts with the more solid, sharp shapes of Obamas building and enhances the difference between their two types of power; Obamas as charasmatic and bureaucratic, and Madonnas as sexual and expressive.

The black, which I like to think resembles PVC or a shiny leather, in juxtasposition with the softer pink interior, works to contrast Madonnas hard, dominating and overt sexuality with a softer and more sensual side.


The above image shows the dynamic between the two buildings, and how they relate to each other. The bridge acts as a foundation that Obamas building is built on, but also penetrates through Madonnas building. This can be read as either sexual, or as a sort of object trying to hold Madonnas building down. The latter is reflective of how it is difficult to catagorise or put Madonna in a box, as she is always changing her 'look' and outward appearance and personality throughout her career. Madonna does not conform to society, or to the expectations of the public, and is this attempt to escape from controlling factors and maintain freedom and power that the 'penetration', or meeting between the bridge and Madonnas building portrays, as the building can be seen to be arching and reaching away from the bridge.


The bridge reflects aspects of both Madonna and Obamas power. An example of this is the use of a shiny, chrome surface, which enhances the hard, professional aspects both clients embody. In contrast, the texture of the carpet represents the more intimate nature of the relationship of power I am suggesting between the clients.

Final Obama

My design for Obama's building is designed to reflect aspects of power that Obama embodies. The multiple layers of the platforms reflects the different layers both of his persona, and aspects of society he affects, and how they create a whole system.

The texture applied is to enhance the feeling of movement, of moving forward, which I think is an important aspects of the power that Obama embodies; always changing and always moving forward.



The outward reaching platforms enhance this same feeling movement.

The purpose of the shape of the building is to make the person feel intimidated, to feel powerless in the face of such an influential and all encompassing power such as that which Obama weilds. The overreach of the platforms, and the leaning of the glass blocks creates this effect. I wanted the building to be tall to enhance the feeling of power and awe, in the same way that the sails of the Opera House do, as we studied in BENV1080.


The shape of the building also reflects the patriotism of Obamas power by resembling the American flag, where the elevator shafts acts as the flagpole, and the platforms as the stripes on the American flag.


The use of materials, of reflective chrome, of the solid platforms, and the glass structure work to portray the different transparencies and layers of Obama power. Combined with the shape of the building, these work to create the feeling of dynamism and the thrust of the type of power Obama has.

Final Dining table

The dining table represents the different types of power that Obama and Madonna embody, and how, if they might act if they were to combine, The table and seating set show aspects of both Madonnas sexual power, and Obamas charismatic, political power through the use of pink cushions and dark grey table as can be seen the above posts.

The table is shaped like a swirl or a cyclone, with the seating placement in the middle. This is reflecting of the power and influence that surround the two client, and how they affect those around them.

The use of the single seat suggests the intimate power relationship that might occur if the two clients were to meet. Both clients are able to sit together in close contact on the center cushion, and recline along the longer cushion next to the glass. The glass would give them a sense of privacy, and is textured with a linear texture to reflect their movement and dynamism.