Combined Axonometric

Axonometrics

Electroliquid Aggregation

Alfred Nobel

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

- Hiding truth's veil for the hope is nature's nakedness

Jacques Yves Cousteau

"People protect what they Love"

- They love what people protect

The Black Box, The Concealed Room

This image was taken from page 17 of The Black Box, The Concealed Room by Erica Kruger.

I usually have the idea of a lab being small, dark and plain boring. So by choosing this picture, I think it embodies a great recemblance for what I am trying to evoke within my own lab design. Just like the idea from this photo, I am experimenting with the idea of having different levels and elevations and a lot of staircases everywhere, to add some movements in the design itself. By doing this I am also trying to create interesting shapes, rather than leaving a simple squared room. Im also trying to work with the idea of having outer and inner spaces meet as well. I really like how Erica Kruger has managed to make the elevations meet in such an elegant way, and when adding the magnificent lightening to it, it makes the result seem remarkable and it leaves you in total astonishment.

the Model

"Recycling" and "Exploding" are the words that I embodied by building this gallery. The words were taken from the works of Tracey Moffatt and Fiona Hall.
The above ground part is developed from the word "exploding", and I tried to make the roof in different levels from each other so that it would look like they were moving, or at least not as still as "normal" roofs usually look like.
The below ground part is from the inspirational word "Recycling", and I was picturing some kind of machine that would turn waste into reusable items, and therefor the below ground shape looks like it does, in a way machine-like.

The walls are built really thin in this building because of the effort to try and make people experience the space together even if they are not in the same room. Because of the two minor elevations, it cuts up the three different floors even more, and by doing the walls thin you will still hear people and feeling their presence even though the wall might look like solid stone.

This is the roof of the model, and the only source of light comes through here. I made it like this because i wanted all the walls inside to be free to hang up paintings or other sculptures on. The walls in the building are mostly covered in stone, my own textures and also a yellow colour, giving the gallery a soft and warm appeal.

The back of the building.

Side view.

Side view of the building.

A view of the gallery from the outside.

This is the first floor and one minor elevation half way up to the second floor. This is the floor where you enter the building. Visible in this picture, you are able to see the entrance door together with two of the stairs going up to the second floor. Even the stairs to the bottom floor are visible.

This is Fiona Hall's studio at the bottom floor with her piece out for exhibition in a display case. There are a few benches put out for people to take a seat during their visit.


This is the upper floor where Tracey Moffatts piece Doomed is hanging in a frame at the end of the exhibition room. There is a small elevation from the second stair that's leading up to this room.

the Section Drawings of the Stairs

Stair 1.

These stairs are made simple, in plain wood because the focus should be on the art works of the gallery. There is already different elevations and different wallpattern, so I decided to keep this set of stairs simple.

These stairs do occur on three different places in the model, but all in the same direction to get to the upper floor. They are not intersecting with each other, but that doesn't mean that they don't work together. They are fitted easily to the floor at the elevation it leads up to, with bolts.

Stair 2.

These stairs are made very narrow and with high steps because it is designed to be more like nature, not always designed for the comfort of people. Fiona Hall's piece is on the bottom floor, at the end of these stairs. Her work with the can that has flowers growing out of it made me think about how inconvinience sometimes occurs in nature because of people, but nature sometimes seem to be able to overcome the obsticles. So that got me into making a stair made out of marble(since the surroundings was already covered in stone-like tiles, I thought that marble might lighten up a bit and make a bit of a contrast to the rest of the area) that wouldn't be too easy to climb but still doable with the same effort that the flowers in the empty sardine can went through to get out on the other side. The stairs are also slightly steep, to make it seem to the eye that it isn't too long to go down there.

These stairs are not very complicated when it comes to constructing them into the gallery walls, they are just fitted to the wall with bolts since the stairs are solid marble.

the Animations

my textures put into the model

Absorbant - Below

This is my texture "absorbant", which covers most of the wall area below ground. I used this one to try and make the person, walking down all those stairs to get to the studio downstairs, interested to keep walking down because of the absorbing pattern.

Soft - Above

I choose this piece because I related it to Tracey Moffatts work Doomed. It is a piece about terror, violence and war, which are all caused by human beings. Therefor I made a pair of lips to try and symbolize people and how words coming from there can have such devistating consequenses.

Fibrous - Between

I chose to have the fibrous texture in the "between" section in an attempt to try and bind the two other textures; "soft" and "absorbant", together in a somewhat logical way I think. I love how it stretches up towards both directions to kind of pull the other two together with it.