Studio 44: Art Exposé

MANNIK SINGH - 877805

ART LIFE & OTHER THINGS

STUDIO 44

SELF-REFLECTION

CONTENT

1.0 FINAL PROJECT

2.0 MID-SEMESTER

3.1 THE SITE VISIT

3.2 SITE DRAWINGS

4.0 WEEKLY TASKS 4.1 CONSERVATION & RENEWAL

4.0 WEEKLY TASKS

4.0 WEEKLY TASKS

4.0 WEEKLY TASKS

5.0 WEEKLY PROGRESS

5.0 WEEKLY PROGRESS

4.2 MANUFACTURING & COMMODITY

4.3 STORAGE & DISSEMINATION

4.4 THE ACADEMY & THE STUDIO

5.1 THE MID-SEMESTER PREPARTION

5.1 THE FINAL DRAWING

1.

Final Drawing

Art Exposé With Xianke Qi & Evey New

Art Expose is a public art forum. It aims to raise awareness and slowly mend inequities within the local art scene alongside a productive fibre arts community. By allowing the public to occupy the central spine, the discursive architecture seeks to mediate a happy medium between financially successful art dealers and financially struggling artists and producers. The scheme arms the public with some strategic tools for a measured amount of active and passive surveillance of art production, storage and sales.

Art dealers have become synonymous with scandal, theft and fraud.

While their secrets have been leaked to the press front pages, the dealer remains the essential tin can telephone between artists and buyers, if we were to remove them, the string would be cut, and the connection lost.

The underbelly of the Art world continues to hum. Hundreds of feathered stewards hustle in the subterranean networks to feed the insatiable demand for smuggled art. The Machiavellian millionaire patrons get away with their white-collar crimes promising the cooing servants better living conditions for the pigeon race.

Art Expose is a Fabric Arts forum that aims at bringing back the lost industry of Textile Craft back to the gentrified area of Clifton Hill & Collingwood.

With this facility, we aim to create an architecture that critiques, comments and reflects on the apparent problems of the art industry. The relationship between the artist and the dealer is one commonly fraught with exploitation and unfair trades. Here, the public mediates the dysfunctional relationship by partaking in active observation and commentary within a discursive architecture that fosters public engagement with the local art scene.

The facility as its first move splits the share of artistsdealers to 60-30-10 by felling the tower to separate the site into two unequal portions. On the east, the academy conservation labs and factory, storage spaces and in-house retail spaces occupy the pivotal space. On the Western edge, the dealers, commercial gallery and commercial residential tower flank the public plaza.

The public occupies the central North-South Axis where multiple pavilions and interventions ensure full visual transparency, offer spaces for protests and aid in active and passive reflection while creative spaces spill to create spaces for creation. The public realm, primarily the landscaped axis of the unrolled tower is charged with sequenced moments for reflection, observation and activism. Periscopes, reflective pools, skylights into the storage below, observatory gantries and views into the dealer’s fraction on the west and artists quarters on the east. They are then equipped with oversized megaphones and protest leader stages and spaces to comfortably occupy.

A0 TRIPTYCH

We have taken an approach to reconfiguring the urban infrastructure to weave above and below to create a continuous public park as an improved interface to the site frontage. The community and industry axis will be used in site programming as well as connecting the site through a North-South green axis between southern pocket parks and social housing up through our site to Darling gardens

Planted with vegetation that produces natural dyes, the southern front of the building above ground is a ‘sea of flowers’ .The hairpin onramp to the expressway is submerged here to detour past our site storage facility. Using the infrastructure to slow visitors past an important part of the facility that exhibits the work otherwise unseen.

On the upper levels of the academy, facilities for dyeing, washing and drying are located on the south.

Kicthen Facilities where dyes are prepared spill out onto the dyeing terraces. Carrying colours - natural and synthetic, the drums are full of hues of the landscape. The pipes carry the wastewater above the entrance aqueduct and wash the water into the septic tank, in the position once occupied by the symbol of capitalistic glory.

The outside is also fitted with a rail that hovers over the public space and ties everything together. Rails are used by the artists to dry the unfinished fabrics and Yarn, allowing the public to witness the art-making process.

With public engagement, it is understood that the profits of dealers and artists will plummet. While the architecture hopes to solve the issues, it does offer affordances of blind spots, and no audio transparency which allows inherent illicit trade deals to occur.

Pigeons that once occupied the site have been rehomed into new pigeon towers and now act in cahoots with the dealers and money launderers as their feathered stewards smuggling art in and out of the storage through ducts and pipes. Unbeknownst to the public, these pigeons have formed a very intricate network. Aiding Machiavellian millionaire patrons with their White collar crimes in exchange for better living conditions for the pigeon race.

The public’s awareness is raised to a level where they can champion for gradual change but not enough to completely dismantle the existing systems that keep the industry ticking.

The blind spots keep the public out of sync with the entire process. The Public is conveniently left out of sync with these illicit deals and goes about their business imagining art life is being well taken care of.

PLAN

SECTION

PERSPECTIVAL SOUTH ELEVATION

ELEVATIONS

NORTH ELEVATION

PERSPECTIVAL EAST ELEVATION

INTERNAL WEST ELEVATION

ISOMETRIC AND TALL TOWER SECTION

SOUTH-WEST ISOMETRIC

TALL TOWER SECTION >

PERSPECTIVE VIGNETTES

PERSPECTIVE VIGNETTES

DIAGRAMS

PIGEONERY

SPINNING AND DYEING STUDIO PUBLIC LIBRARY

ADMIN OFFICE

PUBLIC THEATRE

LOADING SORTING ADMIN CONSERVATION LAB DOCK SORTING OFFICE QUARANTINE LAB

WEAVING STUDIO KNITTING STUDIO ADMIN + OFFICES

COMMUNITY WORKSHOPS

ARTISTS IN RESIDENCE ARTISTS IN RESIDENCE

ARTISTS IN RESIDENCE ARTISTS IN RESIDENCE ARTIST STUDIOS

CAFE

ARTIST STUDIOS

OBJECTS IN DRAWING

2.

Mid-Semester

Art Exposé With Xianke Qi & Evey New

When presented the brief to design an arts precinct in inner Melbourne, in the gentrified area context of Clifton Hill. We wanted to focus on obious problems that we realised and learnt over weeks of research from the weekly tasks leading up to the Mid- Semester Presentation.

The arts sector is rotten at the core and right in front of our faces!

The artists have been on the periphery of the capitralist market undervalued and exploited in their own industry. Locally, art dealers and collectors have exploited artist by underpaying them, selling archived art that was not for sale and taking up to 50% share of the profits. Dealers get rich while the artist’s slice of pie is reduced.

The problems in the industry are deeply embedded and cant be solved overnight. We hope to present the current condition of the art industry and activate passion awareness among the public to stimulate gradual change in the art industry. Art Expose frames itself as a healing infrastructure for the Arts and Local Community.

Locally we have seen in the media examples of indigenous exploitation by art dealers and collectors for example dealer and gallery manager brett evans not paying artists including sally gabori their commissions and selling archived art that was not for sale.

Evans’ client patrick corrigan collected and published the Stolen work. Dealers get rich while the artist’s slice of the pie is reduced. Artists care much about the surrounding world, our society would be better off from engaging with artists core values.

Mirdidingkingathi Juwarnda, Sally Gabori Exhibition at Alcaston Gallery directed by Beverly knight

TIME FOR DIALOGUE

THE ART SECTOR CAN HELP THE COMMUNITY HEAL

COMMUNITY AWARENESS CAN HELP THE ART SECTOR HEAL

ARTISTS & ARTISANS ARE MADE TO WORK IN POOR DEPRAVED STATES

ART IS THE IMPRESSION OF THE SOCIETY & HOW ARTISTS ARE TREATED

DISCONNECT BETWEEN THE MANUFACTURE AND RETAIL SECTORS

PROBLEMS ARE HIDDEN IN PLAIN SIGHT & BENEATH OUR FEET

A LOT OF ART IS HIDDEN OUT OF SIGHT IN BUNKERS

CONCENTRATED WEALTH WITH THE “PRIVILEGED” & “ELITE” ACADEMIC & MONETARY

THE SITE: SYMBOLISM OF THE SHOT TOWER?

BRIDGING THE GAPS

‘DIGGING INTO THE PROBELM’ REFLECTING & ECHOING THE FLAWED SOCIETY

SOFT EDGE, DETOUR GENTLE GESTURE

ELEMENTS OF SITE AND THEIR EFFECTS OF SENSORY STIMULATION

BRINGING ART OUT OF ‘STORAGE’ LIGHT WEIGHT STRUCTURE MOVABLE DEVICE

The elements on site and how they add to the character of the site. Can it be used to create an interesting mode of working for the artisans? Can it add value to the proposal?

Connotations of abandonmnet and occupation vs manecured and desolate

FRON

TAGE

L A T OR

P LAYE

RING

EXC

HAN

GE

BRICK BONDS

HEALING THROUGH SENSORY STIMULATION

“CULTURAL” GALLERIES AROUND MELBOURNE

WHY FABRIC ARTS? Among other industries, the clifton hill precinct was once home to the shoe making and textile industries.

Most of these companies were either shut down or been pushed outside the city through gentrification in the 1900s. It is time to stitch this lost cultural and historical fabric back to the scene.

Having looked at various art forms and media earlier this semester, we wanted to continue the focus on tapestries and other fibre art as our main mode. The craft process has helped us formulate elemental design rules that guides and informs our spatial organisation principles and moves. In doing so it will help us in Weaving a colourful tapestry of community bonding and healing.

AXIAL ARRANGEMENT

INTERLOCKING OF THE GRID

Key material characteristics that can help us inform our design moves include: the perpendicularity of the woven fabric - the warp and the weft; the interlocking of the grid to create a cohesive whole & presence of paths in multiple planes.

We have further explored the folding and unfolding aspect of tapestries - in the way they are stored, transported and utilised as key design moves to inform our architecture proposal.

FOLDING OF THE FABRIC

1936 Trueform Boot Factory

1927 Blackman & Rose shoe factory 1970s Synthetic Dye Works

1923 Halsey and Son Boot

FOLDING OF THE FABRIC

1950s Clifton Shoe Company FOLDING OF THE FABRIC

SPEAKS

Our core objectives and their inherent Properties are exhibited in 3 main categories:

ARCHITECTURE THAT SPEAKS Architecture that speaks is the first move we can make to implement fast change. It is architecture that exhibits the problems we are facing to prompt discourse and also provide spaces to hold debate and conversation.

ARCHITECTURE THAT BONDS Architecture that bonds is a slower process that focuses on creating spaces for the community to knit together with the artists. The places are designed to facilitate the gradual changing of mindsets.

Architecture that heals the full integration of the facility to break down the bigger problems in the industry. It is also the space where the arts community gives back to the public by using art process as therapy.

ARCHITECTURE THAT HEALS

SHEDDING

DISPLAY

SPEAKS

SPEAKS

DJEMAA EL-FNA IN MARRAKESH

9/11 MEMORIAL MICHAEL ARAD

PLAZA DE LA REPUBLICA-MEXICO

DE URBANISTEN

REGISTAN, UZBEKISTAN

PIAZZA, GIORGIO DE CHIRICO, 1913

NOT THIS

THIS

Clifton Primary (Education)

EWAY LAND

HEAVY DOMESTIC C

ONTEXT

tion estrian Connec

FAST TRAFFIC

ONTEXT

LOW-MEDIUM DENSITY HOUSING

?

SCAPE DIVID

ER FAST

SPEAKS

TIIMBER FACTORY

Restricted Ped

UNKEPT FRE

Restricted Pe

LOW-MEDIUM DENSITY HOUSING

destrian Conn ection

LOW-MEDIUM DENSITY HOUSING

HEAVY DOMESTIC C

TRAF

FIC

UNKEPT FREEWA

Y LANDSCAPE DI

VIDER

N SPEAKS

Movement

Industry Movement

W

Community

DARLING GARDENS

OVER

s UNDER

SOCIAL HOUSING UNDER

E

SPEAKS

SPEAKS

BONDS

NO DOOR POLICY

PUNCTURE

ART ART ART ART ART ART COMMUNITY COMMUNITY

ART ART ART ART ART

INDUSTRY INDUSTRY

VESTIBULAR ARCHITECTURE

INDUSTRY INDUSTRY COMMUNITY COMMUNITY EXTENDED THRESHOLDS

With the architecture that heals, we want to acknowledge that architecture alone does not equal healing. The who has recognised the contributions the arts sector plays in social wellbeing. We would like to see if the architecture in an arts precinct can further this effect to also improve mental and physical wellbeing BONDS

Charles jenk’s maggie centres provide environments conducive to healing for cancer patients and even acknowledge that the spaces can additionally have a placebo effect. Maggie centres have formed the critical mass required for an experiment to determine the effect of architecture as a healing device with this portfolio designed by renowned Practices.

UNVEILING ARCHITECTURE

Architecture that Bonds Business Model

ARCHITECTURE THAT HEALS Moving into the architecture that heals category, we want to acknowledge that architecture alone does not equal healing. The who has recognised the contributions the arts sector plays in social wellbeing. We would like to see if the architecture in an arts precinct can further this effect to also improve mental and physical wellbeing

Charles jenk’s maggie centres provide environments conducive to healing for cancer patients and even acknowledge that the spaces can additionally have a placebo effect. Maggie centres have formed the critical mass required for an experiment to determine the effect of architecture as a healing device with this portfolio designed by renowned Practices.

HEALS

HEALS

Healing and weaving process are both slow and collaborative tasks taking place overlooking the social spaces and landscaping.

A comprehensive business plan for our proposal was developed by combining programs of speaking, bonding and healing that feed into a self serving loop.

To create a self-sustaining facility, extra retail elements, as well as, commercial residential blocks were added which could potentially be sold off ot generate funds for the textile facilities.

Looking into the prohrams required for a manufacturing & conservation hub for textile materials we managed to formulate a return brief (shown below) Each space is roughly indicative of the size and space it will take on site and its connection with the other spaces

RETAIL

ACADEMY

BUSINESS MODEL

COLLABORATIVE SPACE COLLABORATIVE SPACE WORKSHOP WORKSHOP WORKSHOP WORKSHOP EXHIBITION EXHIBITION

APARTMENT APARTMENT APARTMENT APARTMENT APARTMENT APARTMENT APARTMENT APARTMENT APARTMENT APARTMENT APARTMENT APARTMENT RECOVERY RECOVERY RECOVERY RECOVERY APARTMENT APARTMENT APARTMENT STAFF MEETING ROOM STAFF OFFICE STAFF OFFICE CONSULT ROOM CONSULT ROOM CONSULT ROOM THERAPY ROOM THERAPY ROOM THERAPY ROOM

A FACILITY FOR RECOVERY OF LOST MEMORY RETAIL

STUDIOS STUDIOS STUDIOS STUDIOS STUDIOS STUDIOS STUDIOS STUDIOS STUDIOS

PUBLIC MARKETPLACE OF ART AND COMMODITIES CAFE + ROOFTOP BAR RESEARCH RESEARCH RESEARCH

ADMIN RETAILTHE PUBLIC SPACE RECYCLING FACILITY

MATERIAL LAB

MACHINE ROOM MACHINE ROOM

STORAGE

LOADI

G

RESIDENTAIL

PUBLIC PLAZA REHABILITATION GARDENS AMENITIES

MEMORIAL TO THE LOST MEMORIES

& FINANCE DEPARTMENT STORAGE ADMIN ACCOUNTINGMEETING ROOM

OFFICES OFFICES OFFICES

DOCK SORTING & PACKING

STORAGE BUNKERS

COMMS ROOM

TRANSIT BELTS TRANSIT BELTS TRANSIT BELTS

RETURN BRIEF

DIAGRAMMATIC SECTION

EXPERIMENT LAB

The memorial is the inverted shot tower! An absence clearly felt. Storage is sited around it and much of the manufacturing, recycling labs are shrouded by the ground plane.

STUDIO

ACADEMY

EXHIBITION

RETAIL

CAFE

LOST MEMORIAL

MANUFACTURE

STORAGE DISTRIBUTION

LOADING

SECTION

WORKSHOP COMMONS WORKSHOP

We folded the public space within the education and healing sectors and the gallery and retail spaces are connected in almost equal terms to studios and conservation/manufacturing facility

WORKSHOP

WORKSHOP STUDIOS & WORKSHOP

RECYLING AND CONSERVATION HUB

IN HOUSE RETAIL + GALLERY

STORAGE

Section

REFLECTION & FEEDBACK

After the mid-semester presentation we are left with an intersting outlook to our project. Should we continue on this path or should we select the parts the crits mentioned - Split In the Share of Artists, Illicit Trade Deals, Telephone Booth Dealer’s office.

We are Looking forward to the next steps for our project, these are some questions we are hoping to answer: - Which elements are we keeping/removing from the existing site based on our heritage approach of preserving narrative over form?

- What other moves can we make on the site that pay homage and respect the heritage we are inheriting?

- Who decides what is remembered?

- Design the process of Craft?

- Is there an incentive for the public to participate?

What elements of the site and our project can we take forward into our design proposal?

3.

The Site Clifton Hill is an inner-city suburb in Melbourne, Victoria, Australia, northeast of Melbourne‘s CBD. Fondly referred to as the Toorak of Collingwood in the 1880s, Clifton Hill bordered the industrial sector of Richmond & Collingwood. The suburb has undergone rapid gentrification through the 1900s as the industry has moved out.

The Clifton Hill Shot Tower site occupies a pivotal position at the end of Hoddle Street and consists of a 80m high Shot tower which was built in 1882 with its associated factory the manufacture of lead bullets.

Site Visit The site makes its presence felt despite being a major drive-by adjacent the fast Alexandra Parade.

The Clifton Hill Shot Tower features polychromatic brick detailing - an indicator of opulant branding of its time. The shot tower features 12 Arch windows - 3 one each side. A brick turret peeps atop the shot tower. Earlier used by the factory workers manufacturing lead bullets, the shot tower is now occupied by pigeon and reeks offensive odour of the bird droppings.

The adjacent Warehouse factory features steel frame windows with industrial Glass, expressed exposed trusses. factory. Painted Corrugated iron cladding , asbestos sheets and mesh add further texture to the site.

The Factory is painted pale green in parts, along the Southern frontage. Parts of the factory are exposed bricks and others The southern interface is unkept landscape with concrete loading docks and driveways into the rollerdoor facaded elevation.

THE URBAN CONTEXT Typical scenery on site include old factory brick walls, with layers of posters and graffiti on them.

They are the evidence of the culture and the glue that bonds the People together.

Steel frame windows make appearence on other building in the vicinity. The alexandra parade on the south is a fast highway/freeway.

The yard on the north features overgrown unkept nature that pokes out of the cyclone fence and barbed wires that establish a harsh site boundary.

The site sits in a residential context and is flanked by two bluestone cobbelstone laneways. With the great number of solid Victorian terraces nearby the shot tower, the red brick industrial conversions indicate the suburb’s manufacturing past.

There is a brick & concrete material overload in the context. Timber electricity poles punctuate the street concrete footpath.

80.1

CLASS SITE DRAWING PANELS 80 80 80 80 80 80 80 80 80 80 80 80 80 80 80 80 80 80 80 80 80 80 80 80 80 80 80 80 80 80 80 80 80 80 80 80 80 80 80 80 80 80 80 80 80 80 80 80 80 80 80 80 80 80 80 80 80 80 80 80 80 80 80 80 80 80 80 80 80 80 80 80 80 80 80 80 80 80 80 80 80 80 80 80 80 80 80 80 80 80 80 80 80 80 80 80 80 80 80 80 80 80 80 80 80 80 80 80 80 80 80 80 80 80 80 80 80 80 80 80 80 80 80 80 80 80 80 80 80 80 80 80 80 80 80 80 80 80 80 80 80 80 80 80 80 80 80 80 80 80 80 80 80 80 80 80 80 80 80 80 80 80 80 80 80 80 80 80 80 80 80 80 80 80 80 80 80 80 80 80 80 80 80 80 80 80 80 80 80 80 80 80 80 80 80

NEW

ART

UM

FOR

G!

NIN

OPE

&

OTHER THINGS.

BIRTH HEAVEN, HELL, SPIRITUAL, LIGHT

DEATH There is a dichotomous relationship between whiteley’s eclectic motifs.

They shift from sexual obsessions through explosions of political and philosophical anxieties to finally reach the heavenly hues of peace

“

ANIMALISTIC, DESIRES, DARK, MIDNIGHT

FOR ME, SPONTANEITY IS IMMEDIATE EXPERIENCE, CONSCIOUSNESS OF A LIVED IMMEDIACY THREATENED ON ALL SIDES YET NOT YET ALIENATED, NOT YET RELEGATED TO INAUTHENTICITY. - Raoul Vaneigem

“

For our first task, we had to develop a 12 panel connected artwork as a site drawing for the studio. We analysed Brett Whiteley’s ‘Alchemy’ as a source drawing and refined our panels from Week 1 till Week 6, by layering our re-search and understanding, and developing a cohesive drawing style.

This meant the class had to continuously interact with each other and learn from everyone’s technological skills and reading of the site.

This exercise demanded from us to look beyond the OBVIOUS. We had to explore the multiple stories, plot lines and secrets that ran through the site in order to build a rich foundation for our designs.

80.1

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NG!

NEW

ART

FORUM

OPENI

&

OTHER THINGS.

FIRST ATTEMPT AT THE SITE CLASS PANELS

BACKGROUND STROKES DECIDED FOR THE PAINTING

COLOUR PALETTE EXTRACTED FROM THE SITE Following an early morning site visit, we each chose a theme for our panel based on our observations, and extracted a colour palette from our site photos.

My panel focused on the Materiality and general forms of the site and its surrrounding context.

It is a masterpiece brick construction with finely decorated polychromatic patterned brick bands at regular intervals and Arch Windows. The colours of the site and the form of the drive by is what I have tried to encapsulate into my panel. I have also taken into consideration the history of the Clifton Brick - Paying Homage to the clifton Hill Quarry nearby (now Quarry Park).

Forms and colours of the existing factory are also showcased in the background

v2

COLOUR PALETTE EXTRACTED FROM THE PAINTING

Feedback - Overall colour palette did not co-respond to the whitley’s painting - Not enough large gestures - Needs more weirdness and cultural Depth - Needs to be more dynamic - Too collage-y and needs to be more seamless and well integrated with others Changing of colours Revised colour palette from ‘alchemy’ - Added in more references to the social history of the site and surrounding area

v3

FEEDBACK AND PROGRESS SKETCHES

v4

v5

4.

Weekly Tasks

4.1 Week 2

Conservation & Renewal With Evey New

For the first weekly task, we had to establish a conservation facility. Sited in Clifton Hill, the old factory shell was covered with translucent fabric to create the Conservation Facility for the fabric arts.

The resulting shroud was a dynamic take on the concept of shrouding and involved the second skin of the building to be movable. It reflected, echoed and subverted the form of the existing roof underneath to create a form that sat in harmony with the one below.

Drawing Style: Sectional Isometric drawing in the style of Doug John Miller, at dusk.

UNDERSTANDING THE DOUG JOHN MILLER ISOMETRICS

PRECEDENT STUDY: DE WIT, BELGIUM

Doug John Miller’s illustrations are extremely atmospheric. The dusk scenes are moody. The warmth of the evening light juxtaposes against the cold background colours. Everything has a unique texture - further emphasised with broken lines for seams.

Precedent: Grimwade center for conservation

The ground plane in section reveals the layers of earth build up and is composed to different colours and elements with different texture.

The scale of the entourage is very playful and forms elements that help the scene flow.

Grimwade textile conservation services • condition reporting and documentation • cleaning and stain reduction • stabilisation and repairs of tears • flattening of creases and distortions • lining weak or damaged areas • design of custom mounting supports and storage solutions.

Precedent: Grimwade center for Conservation Required facilities for the conservation of textile: > Humidity controlled environments Yarn treatment: brushing, cleaning, spinning,dying Maintenance Hanging & drying space Storage Cleaning: lazer + aerosol suction cleaning

PROCESS MAPPING & CONCEPTUALISATION

ARCHITECTURAL PRECEDENTS

THE SHED, NEW YORK DILLER SCOFIDIO + RENFRO

LE FRESNOY BERNARD TSCHUMI ARCHITECTS

ASSET COLLECTION - HUMANS

ASSETS COLLECTION

TEN COMMANDMENTS OF STUDIO 44 1. Less refinement more ideas 2. Design is an open process, never closed to ideas 3. Composition (is important) not an idea 4. Celebrate diversity & plurality. Multi over mono always 5. Create ethical architecture thats identifiable to lots of people.

Create public generosity 6. Kriol not woolsheds. Never lazy vernacular 7. Embrace ambiguity + irony 8. Find joy in the non-beautiful - ugly, crude, raw 9. Touch the ground in a multitude of ways. Never lightly or politely 10. Never design alone. Design through discourse

WHAT TO LOOK FOR WHEN YOU ARE STUDYING ART & PAINTINGS? 1. COLOUR

2. TEXTURE

COLOUR PALETTE, SATURATION, HARMONY. PRIMARY COLOURS VS SECONDARY AND TERTIARY COLOURS. MATERIAL - AGE/NEWNESS/DILPADATION SCALE & DETAIL DRAWING STYLE

3. DRAWING PROJECTION AXONOMETRIC, ISOMETRIC, SECTION, SECTIONAL PERSPECTIVE, ONE POINT PERSPECTIVE/TWO POINT PERSPECTIVE/ THREE POINT PERSPECTIVE, ORTHOGRAPHIC 4. COMPOSITION HIERARCHY OF ELEMENTS, POSITIONING, SCALE OF OBJECTS 5. STYLE & TECHNICAL STYLE WHAT IS IT DRAWN WITH? PEN AND PAPER, DIGITAL PENCIL/EXTRACTED MODEL LINEWORK WHAT STYLE IS IT? SURREAL/IMPRESSIONIST/CUBIST/DE-STIJL/ILLUSTRATIVE/MANGA/COMIC/ ETC 6. ATMOSPHERE HIDDEN EPHERMERAL QUALITIES, WHAT FEELINGS DOES THE DRAWING EVOKE 7. ENTOURAGE WHAT SORT OF ENTOURAGE IS AROUND THE COMPOSITION/ SCALE OF IT/ DRAWING STYLE 8. TYPOGRAPHICAL ADDITIONS ANY USE OF WRITING/ HOW IS IT WRITTEN - IS IT DRAWN/IS IT TYPED?

4.2 Week 3

Manufacturing & Commodity With Evey New

A manufacturing facility for fabric materials and their raw products.

Sited in Clifton Hill, our take on the shot tower involved echoing and reflecting on the divide between the manufacturing sector and the retail/commercial sector.

The resulting esquisse is a political satire on the capitalistic society that treats its factory workers poorly, while the manufactured commodities are showcased in glitzy glamorous sparkly showrooms. Analysing tapestries, and using motifs of Unicorns and Flowers the resulting new tower is a juxtaposed echo of the existing shot tower of Clifton Hill.

Drawing Style: 2-Point Perspective, Scene within a Scene in the style of Doug John Miller, at dusk.

Doug john miller’s illustrations are extremely enticing.

The moodiness of the atmosphere is really brought forth by juxtaposing scales, colour contrasts and the texture on each individual elements - further emphasised with broken lines for seams.

The scale of the “object’ is paramount, highglighting its importance. The central object in a way, forms a part of a bigger scene, within a scene

UNDERSTANDING THE TAPESTIRES

DOUG JOHN MILLER & THE COLOURS

One of the oldest forms of textile based art is tapestry weaving. In europe, the period saw the production of large wall tapestries that were typically owned by royals and the elite. Kings, queens, and aristocrats often used them to decorate both indoor and public spaces in order to display their wealth.

The colours used for the background were often rich and dark -juxtaposing against areas of interests which were often woven in lighter yarn .

Often surrounded with floral motifs from the garden, the tapestries focused on painting symbols of royalty and aristocracy. Unicorns are often a central feature of tapestries of the era. They are often tamed to suit human ambition and reflect a sense of control of the humans - particularly the rich,over everything.,

THE UNICORN IN CAPTIVITY

HUNT OF THE UNICORN BY MEISTER DER APOKALYPSENROSE DER SAINTE CHAPELLE

THE LADY AND THE UNICORN BY MEISTER DER APOKALYPSENROSE DER SAINTE CHAPELLE

ARCHITECTURAL PRECEDENTS

CONCEPTUAL PRECEDENTS When conceptualising our design we sat ourselves on the stool of a weaver about to markout a scene on the warp threads.

Having been recently inspired by medieval tapestries from the conservation task looking at the hunt of the unicorn recreations, we wanted to explore the reccuring themes of unicorns and botanical arrangements. We imagined transposed off a tapestry into 3D space it might look like a Jeff Koons ‘Puppy’.

Concepts: 1. Medieval unicorn symbology 2. Capitalism 3. New structure integrating with old.

4. Hard labour in old /manufacturing juxtiposed with the final product and glossy sales facility.

We wanted to use this opportunity to make a satirical statement of the treatment of works in the textile industry with parallels to the workers that would have worked in the poisonous conditions in the shot tower.

Its horn is also convenienty shaped like the cone-like shot tower.

We have taken a more post modern interpretation of that medieval imagery of the unicorn loaded with symbology of purity, chivalry, union, royalty and grace. Often depicted in pursuits, hunts and captures.

In the form of a tower its horn reaches to the sky, representing the capitalisti pursuit of luxury and riches and endevour to glory with no limit. We arent pretending everyone involved in the process is in the same boat. The traders, collectors and intitutions are a far cry away from those in production.

Concepts: 1. Medieval unicorn symbology 2. Capitalism 3. New structure integrating with old.

4. Hard labour in old /manufacturing juxtiposed with the final product and glossy sales facility.

PROCESS SHOTS

EARLY SKETCHES

NARRATIVE The new space is fresh and bright, untaited by the grit of the workers. In the new sales facility, connected only by the tubes to the production faculity, the attendants heels clicking as they walk on the glossy white floors.

Framework with complex glazing extends into the sky.

Finished tapestries pop out of the pneumatic tubes ready for displey.

The rapid wishing and popping of pneumatic tubes The windows pour the light onto the wall of dyed yarn. releasing deliveries from the factory.

Spools of colour in every shade imaginable to man.

The front room is full of women with their spinning wheels, spooling their dyed yarn on and on. With their whishing cycling sound. Their foot peddles hitting the timber worn out boards.

Lift dings at each level, before coming down for Echube, he takes the lift and notices that each level is dedicated to repair of the tapestries - old and new; burnt and charred, some wet and others dry. Some being fumigated to get rid of the bugs. The humming continues despite the sound of looms and sewing machines. Despite the cackling sound of women talking amongst each other about their days and their fights with their husbands.

The conveyor belt lifts the prized tapestries and takes them to the level where they are supposed to be.

Whooosh! The sound it makes, ‘the crackling pulley system probably needs to be oiled.’

In the centre rises a prized tapestry made with custom dyedyarns, the hunt of the unicorn remade into our new sales facility. Its blueprint in threads.

Workers in uniform haul heavy roles of textiles. Boots rattling the timber floor boards.

Echube reached the level he was supposed to be working on. He works in packing. His sole job, to roll the tapestries to be roughed and prepared for transport The tapestries are then pushed onto the pneumatic tubes to the new tower.

JARROD MELBOURNE LECTURE

Echube leaves behind the bustling traffic noises as he enters the brick tower. All fitted with pristine blue steel and only timber and brick to contrast the coldness.

The sounds of boiling water echo from atop the tower.

And laughter of his colleagues bounce off the walls.

The smell of the dye is evident but the mechanical pipes are pushing the pungent vapour out as the walls humm along to the sound of the fans.

What are the things that we inherit and find value in what’s existing?

What are problematic things and what can be turned around?

Quick exercises in photoshop help to test Ideas Early on.

Putting words to Ideas Simple motifs that carry throughout the design What idea are you challenging?

Charge your design with political ideologies that break status quo

4.3

To ooked at democratisation and equalisation of the formality of the entrances for both the people and the exhibits that are inside.

Week 4

Dissemination & With Xianke Qi

Taking inspiration from the sculptor who uses 3 main movements/processes to carve out a sculpture our architecture language focuses on 3 major movement

storage

As evident in our narrative, we feel that the art, especially sculptures have an essence of soul as they mimic the life outside it Drawing Style: 2-Point Perspective, Scene within a Scene in the style of Doug John Miller

Doug john miller’s illustrations are extremely enticing.

The moodiness of the atmosphere is really brought forth by juxtaposing scales, colour contrasts and the texture on each individual elements - further emphasised with broken lines for seams.

The scale of the “object’ is paramount, highglighting its importance. The central object in a way, forms a part of a bigger scene, within a scene

ARCHITECTURE PRECEDENTS

DOUG JOHN MILLER & THE COLOURS

By looking at Guggenheim museum in New York we analysed the role that circulation played in guiding the space. We also wanted to critique the void in the middle of the space, that while keeping the space connected could have been better utilised. The subtracted element removed from the facade has been added as an element under which the facility sits. We wanted the store to be in this position, where the circulation of Guggenheim is inverted and sandwiched between the storage and the exhibit.

The walls tilt outwards and inwards to allow people in

CONCEPT Taking inspiration from the sculptor who uses 3 main movements/processes to carve out a sculpture our architecture language focuses on 3 major movement on top of other architectural moves that we have undertaken.

The first of which is cracking.

We wanted to create a strong expressionist statement that broke the preconceived existing gatekeeps that separated the utility from front of the house. To do so we created an impactful subtraction from the facade, akin to that of a sculptor’s first move. We further looked at RW house as a precedent which uses a cast to create an imprint of the facade, we have done so by inverting the glass and brick render wall that existed on the main warehouse building. Thereby inverting the traditional facade.

Our second move was that of shaping the building into a rough silhouette of the final result. When we think about circulation, we didn’t just separate in into vertical and horizontal ones. We aimed to create a radical one, that blend the two modes. It has intertwined circulation paths, for the trailers and trucks, people and the exhibited sculptures together, given them chance to interact, to weave them into a sophisticated and elaborate system. These circulations paths are extension to the cracks, it’s like the echoing impression formed after a big impact.

Our third major move was that of smoothening. Using a sliding hand gesture we created the trajectory of ramps and conveyor belts. Smoothening is presented more on the detailed features. We made the ramps in smooth and circular form to softened the edges made them delicate, as smooth as the statues’ skin. Our conveyor belts, made the distribution process function smoothly and continuously, ties the whole space together. Our hand rails, made of concrete is also fashioned in a smooth silky ribbon, akin to that of a smooth arm of Venus.

ASSETS COLLECTION

NARRATIVE [Mannik] I only woke up at the front gate when the vehicle I was in came to a jolting stop. The journey to Clifton statue museum had tired me. The whizzing motor of the tilt door at the museum entrance and crowds of people buying ticket at the counter was alivening.

[Elena] All the visitors standing on different paths, up and down. Adjacent and not, applauded!

They value me! I was then transferred onto the conveyor belt. They got to see everything of me, without the black blanket, without the glass wall. A kid came near the belt from the pedestrian bridge right beside, said wow! before I disappeared into the unknown for him, [Elena] From the little window, I could see the glitzy for myself! sparkling glass reflect the light right into my eyes Quite refreshing against the concrete which it seemed to [Mannik] I saw kids, and I saw elders! I smelt perfumes puncture. of one and all. The belts around me kept me safe, turning and twisting! I was out of the dusty storage in As soon as the boom gates lifted, we moved inside the basement and in the light for everyone to see.

- whizzing past the crowds. The truck moved onto a ramp I suppose, I shifted slightly to the end of the truck. The man said” please drive slowly, they are really fragile.” We took another turn, round and round we went. I felt the force pushing me to one side but we soon came to a stop. I was taken out of the car onto a platform, the air was chilly but dry. The gloves workers wrapped a belt around my waist and I was gently lifted off my seat. The light from the dome up above made the whole space angelic, reminded me of where I was lifted from initially. It had been a while!

[Mannik] The warm toned lightings softened my edge and reflected what was left of my youthful beauty. The quiet murmur of my peers peered from within the glass doors “he is here! Ah, he is going to be well taken care of!”

[Elena] The piano music that was echoing the museum blended with The whizzing that continued to reverb through the space and into the glass room that I was in. cackling researcher and stone carvers, sculptors gradually inspected me. Slightly tapping me with chisel and mallet, to inspect that if any part of my body pained, if the soft smooth skin would cave in to their gentle force. It wouldn’t. I had survived centuries.

[Mannik] I was dusted off, moved from one level to the other, in a glass lift. It was just me and this beautiful lady with a finger on her ring finger. “Hmm, married, interesting” “Ting”, The lift made the sound as it came to a stop. I was inspected, put on display.

CORBETT LYON’S LECTURE - MSD DIRECTOR SERIES Alfred Barr developed idea of The White Cube in 1930 - erasing connections outside, time suspended, “tomb where all great art goes to die”.

O’Doherty - the white cube is anything but neutral.

Viewer one on one, autonomous experience.

Public vs private, overlayed

Art and architecture, The collection and the act of collecting Classification systems: Layout of traditional museums Different taxonomies A new Typology, examples of “housemuseums”: John soan museum Heide museum Correlated functions - merged Synonymous plan and section to create the spatial knot Interfaces and the inbetween spaces become very interesting and important T Architectural space as a framing device of art

SITE VISIT - COLLINGWOOD YARDS Collingwood Yards is a not-for-profit arts organization and arts precinct located in Collingwood offering a range of studio spaces, retail spaces and a leafy courtyard ot emerging artists and NGOs for affordable prices.

The precinct is home to a broad group of creatives including the West Space Gallery, Uro Bookshop and a pottery studio, along with cafes and meeting areas, both indoors and out.

The original buildings, along with Keith Haring’s mural, remain intact but there’s now a more seamless connection between buildings and trajectories of pathways. .

The steel staircases, with their tree-like structural columns create their own graphic architectural expression against the pale bricks.

SITE VISIT - THE STABLES Kerstin Thompson Architect’s adaptive re-use of the existing Stables building shell demonstrates how the combination of radical interventions and careful conservation can yield new life from past forms. To make the existing building work as a series of studio, exhibition and performance spaces for VCA Art KTA have inserted a cellular organisation of stalls between repired structural grid. Its bones formed an ideal fit with the university’s need for studios and a performing arts space.

The original horse stalls have been converted into artists’ studios and staff offices. Wall panels on continuous sliding tracks can be used to divide the studio spaces into two.

4.3 Week 4

The Academy & The Studio With Xianke Qi

Looking at the aspect of uncovering and covering as a contradicting duality that exists in the world, we set to create an academy of uncovering the lost art of rock painting. We undertook the heavy challenge of revealing the layers of earth of which the paintings often pays homage to.

By looking at Local Mining typology of Australian economy to create a form. We have created an underground bunker like system to create a network of studios that facilitate both manufacturing of the resources required for painting and also the art of rock painting itself.

Drawing Style: Sectional Perspective in the style of Doug John Miller

Sectional Perspective in the style of Doug John Miller

Sectional Perspective in the style of Doug John Miller - Linwork

DOUG JOHN MILLER & THE COLOURS Doug John Miller’s illustrations are extremely enticing. The moodiness of the atmosphere is really brought forth by juxtaposing scales, colour contrasts and the texture on each individual elements - further emphasised with broken lines for seams.

The ground plane in section reveals the layers of earth build up and is composed to different colours and elements with different texture.

Arakawa & Gins - Site of Reversible Destiny.

The scale of the entourage is very playful on DJM’s illustration and often makes the subject look like an object on display.

ARCHITECTURE PRECEDENTS

Arata Isozaki - Tsukuba Centre

Gordon Matta-Clarke - Days End

TYPICAL SECTION OF A MINE

SITE VISIT - ARTISTS’ STUDIO - VERA MÖELLER AND PHILIP HUNTER Vera was extremely kind to welcome studio 44 into her studio in Moorabbin for a friday afternoon to share the her insights about the inner workings of an art studio and art industry She shared her practice, art, and personal experience with us.

She talked about the difference between each individual and the way of working and how it changes from day to day.

She established modes of the studio: experiments / show / working / thinking space.

The importance of separation of the living and working zones, even if by a partition wall.

She mentioned that space can influences what you create but more often than not it is an internal process (which may or may not be affected by external stimuli) She established Sub-zones within the studio (storage, mess, wet, desk, living, supplies, sitting, pin-up space, gallery wall) Versatility of the space making each space and surface dynamic and movable Talking about the business side of the industry, she showed great concern about the Business costs and Uncertain income which is not new to the Art Industry. With overheads and loans, sporadic income is always a worry.

Aside from the fiscal worries, the personal commitment to work can cause relationships to suffer. She mentioned that there is a deep dedication required to make it as an artist

5.1 Week 5-7 Mid-Semester Preparation

BRAINSTORMING IDEAS FOR CONCEPT/ RETURN BRIEF

UNDERSTANDING THE JEFFREY SMART DRAWING STYLE Jeffery Smart Drawings look to the environment of urban and industrial modernity. The pseudo-realistic surreal paintings transforms these urban landscape through his imaginative sense of theatre and intimate to portray aburdities of contemporary life He encompass lonely urban vistas that seem both disturbing and threatening in his paintings.

Isolated individuals usually seem to be lost in exansive wastelands and concrete street-scapes. where silence and stillness create a deathly ambience His camera angle is always low and looks up at the humans from a rat eye perspective and bring out their horror struck faces.

Freeways, street signs, trucks, oil drums, containers, buildings and concrete dividers ever-present subjects of his work.

His paintings uses bold colours and perfect symmetry

5.2 Week 8-13

WEEK 8 REVIEW

ARTISTS

ARTISTS

ARTISTS

ARTISTS

ARTISTS

ARTISTS PUBLIC

WORKSHOPS UNSOLICITED ACTIONS

PUBLIC

STORAGE

STORAGE

UNSOLICITED ACTIONS

DEALER

DIAGRAMMING THE SPLIT OF FUNCTIONS ON THE SITE

PUBLIC MEDIATOR

WORK-IN- PROGRESS SHOTS

ARTISTS

WORK-IN- PROGRESS SHOTS

PRECEDENTS - LANDSCAPE + ARCHITECTURE

BANCO SAFRA HEADQUARTERS , BURLE MARX ARATA ISOZAKI, KAMIOKA TOWN HALL

ARATA ISOZAKI, NEW TOKYO CITY HALL COMPETITION ENTRY

BURLE MARX

ARATA ISOZAKI, MUSEUM OF CONTEMPORARY ART IN LA

ARATA ISOZAKI, TSUKUBA CENTER BUILDING, 1985

PRECEDENTS - LANDSCAPE + ARCHITECTURE

DIAMOND HOUSE, JOHN HEJDUK

ENO WORKSHOP IDARCHITEK.INNEN + AETAL

CLANCY MOORE

MOROCCON DYE TERRACES

CLANCY MOORE

WEEK 9 REVIEW RESI DYE GARDEN

ACADEMY

FACTORY

CAFE

cONSERVATION

RESI ACADEMY TREATMENT PLANT

cONSERVATION

STORAGE

THE TOWER

WEEK 9 REVIEW - WORK IN PROGRESS + MARKUP

PRECEDENTS - LANDSCAPE + ARCHITECTURE

JAMES STIRLING LEISCTER ENGINEERING BUILDING

KATZ ARCHITECTURE MYPLACE YOUTH CENTRE

LYONS ARCHITECTURE LIMS

WILL ALSOP TORONTO DESIGN INSTITUTE - THE SHARP CENTRE

PRECEDENTS - LANDSCAPE + ARCHITECTURE

KATZ ARCHITECTURE MYPLACE YOUTH CENTRE

ARATA ISAZAKI DESERT FOLLIES

BIG SUPERKILEN PARK

ARM OLYMPIC VILLAGE, GOLDCOAST

SALVADOR DALI PAINTING SLEEP

ARM OLYMPIC VILLAGE, GOLDCOAST

UNDERSTANDING THE VILIUS VIZGAUDIS DRAWING STYLE Vilius Vizgaudis drawings, designs and illustrations are an exploration of narratives drawn extensively from architecture where the surreal and impossible is mixed with detailed reality.

His drawings are a mixture of computer rendered graphics and hand-drawn graphics collaged into a seamless imagery to portray narratives.

His drawings blends perspectives and connects plannimetric drawings with pseudo sectional/ elevational perspectives that continue the scene beyond the canvas.

Using pastel colours that contrast the bright greens, oranges and reds, he highlights solidity and transparency that is a big focus in his drawings.

The bottom border is often always composed of foliage and/or people in action.

Vizgaudis Entourage and Object Library Study: Vizgaudis Drawings play with Transparency and is often done by including layered colours and patterns in water and/or in the sky. With Textures and Patterns making a subtle appearance.

The water usually features Water-Lilies, paddle boats and waves of water ripples.

Lamps are another thing that Vizgaudis uses to build up the atmosphere of the scene, tying these vertical elements as decoration as well as objects around which the scene revolves.

Most Entourage of Vilius features long slendered body individuals - carrying either a flower, stick or some other object and are often in action .

Confetti and filigree also play a part in highlighting the emotions of the said scenes.

WEEK 10 MARKUP AND COMMENTS

OPTION 1 - INTERNAL ROOFTOP COURTYARDS AND DOUBLE TERRACES DRAWN BY EVELYNNE NEW

FROM WEEK 10, WE GOT INTO A REGULAR FLOW OF MODELLING BASED ON FEEDBACK, PREPARING DRAWINGS FOR THE FINALS AND PRINTING FOR CLASS TWICE A WEEK, DISCUSSING, TAKING ON BOARD FEEDBACK, WRITING EXTENSIVE LISTS OF MODEL UPDATES/FIXES AND DESIGN & DRAWINGS ELEMENTS THAT NEEDED TO BE RESOLVED, OPTION 2 - OCTOGONAL AND SPLIT LEVEL DUAL FORM DRAWN BY EVELYNNE NEW

OPTION 3 - SPLIT LEVEL DUAL FORM DRAWN BY EVELYNNE NEW

WEEK 10.2 MARKUP AND COMMENTS

“THIS MOMENT IS REALLY GOOD”

“THIS IS GREAT! HOLY SHIT! HOW GOOD! I LOVE THESE TOWERS AT THE NORTH... IT IS REALLY GOOD, YOU GUYS”

PUT DIAGRAMS IN

CONNECT THE SECTION WITH THE PLAN AND THEN WITH THE NORTH ELEVATION GET THE TERRAIN AND THE SURROUNDING CONTEXT IN

“STRETCH IT , TOTAL FUDGE THE TOWER TO MAKE IT SLENDER... THAT’S THE WAY HOME”

THE PIGEONERIES COULD BE BETTER EXPRESSED CHANGE THE CAMERA LENS LENGTH...

TO MAKE THE PERSPECTIVAL SECTIONAL DEEPER.

FILL THE DRAWINGS WITH SECONDARY COLLATERAL ADD THE NARRATIVE TEXT IN THE LANDSCAPE

“ PILLAGE

AND MODIFY

“

“THIS IS LOOKING GOOD GUYS, THIS WILL BE GREAT! YOU THREE HAVE DONE SO MUCH WORK”

WEEK 11.1 MARKUP AND COMMENTS

CONNECT THE SECTION WITH THE PLAN AND THEN WITH THE NORTH ELEVATION BIG MEGAPHONE POINTED AT THE DEALER’S

SHRINK THE PLAN CUTTING THE PLAN AT DIFFERENT POINTS THE BUILDING DOESNT HAVE TO MAKE SENSE BUT SHOULD REFLECT ART AND ART PROCESS AT EVERY POINT

“MANNIK, YOU JUST NEED TO CRANK IT”

SITE THE EAST ELEVATION ON THE BACK OF THE TRUCK GOING INTO THE LOADING DOCK

FUDGE THE LANDSCAPE CONTEXT IN THE FRONT TO SITE THE DRAWING ON SOMETHING

GO TO TOWN ON THE FLOWER POWER...

PLAY IT UP!

WEEK 11.2 MARKUP AND COMMENTS DONT NEED THE NORTH EAST ISOMETRIC

GET THE LANDSCAPE FLOWING OUT OF THE SKY AS WELL

“ITS ONE OF THOSE THINGS, WHERE YOU HAVE SOOOOO MUCH GOING ON IN YOUR PROJECT. YOUR LANDSCAPE NEEDS A CHASM, IT HAS TO BE INVITING. PROTESTS CAN HAPPEN EVERYWHERE”

“THIS IS TREMENDOUS”

PUT DIAGRAMS IN THE DRAWING

AMPLIFY THE FUCK OUT OF THE PIGEONARY. FILL IT!

MORE ART IN ALL THESE DRAWINGS

ACCESS HATCHES, CCTV, STAIRS, LADDERS, POOP, FILL IT UP WITH DUCTS AND PIPES

“WE WILL HAVE THE BEST ENTOURAGE” - EVEY “WOWEWOWEWOWE WOW, YOU HAVE DONE A GOOD AMOUNT OF HEAVY LIFTING IN THE INTERIOR NOW”

LANDSCAPE EXPLORATION

SEPTIC TANK EXPLORATION - FORM, MATERIAL, REPRESENTATION & IDEAS

AN INTERESTING INDUSTRAIL FORM IN THE ADJACENT CONTEXT

EARLY SKETCHES > TANKS AS OBJECTS IN THE LANDSCAPE

WEEK 12.1 MARKUP AND COMMENTS “SKY IS HORRENDOUS” BACKGROUND IS TOO FLAT CHANGE IT TO A GRADIENT... ADD A BIT OF BLUE AND GET RID OF THE PINK CLOUDS

MORE STREET LAMPS MORE STREET FURNITURE MORE HUMANOIDS

“THIS MOMENT IS REALLY GOOD”

“JUST KEEP ON ROTATING THE SUN TILL THE DRAWINGS ARE POPPING”

ADD STRUCTURE AND EXPORE A STRUCTURAL GRID

“& THIS MOMENT IS REALLY GOOD” CHANGE BLUE RAIL TO PINK

BEEF UP THE POCHÉ GAME BEEF UP THE POCHÉ GAME BRING FORWARD THE YUCKINESS OF THE DYEING PROCESS

“ SHARPER SHADOW INTENSITY

“COMPOSITIONALLY IS REALLY GOOD. ITS WORKING WELL... AND THE COLOUR PALETTE BY ENLARGE IS REALLY GOOD... BUT THE OVERALL IMAGE NEEDS DEPTH

SHARPER SHADOW INTENSITY SHARPER SHADOW INTENSITY “ BREAK THE TANK

...TITLE REQUIRED

WEEK 12.2 MARKUP AND COMMENTS AMP UP THE VISCERAL NATURE OF THE DYEING PROCESS SPILLAGE DRIPPAGE Hundreds of feathered ste wards hustle

POOLAGE

in

s the

BACKGROUND IS TOO LIGHT CHANGE IT TO A DARKER GRADIENT WITH MAUVES TO MIDNIGHT BLUES

e

able sati e in o feed th rranean network t

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“I REALLY LIKE THIS PERSPECTIVE VIEW... MAYBE ENLARGEN IT TO CROWN THE PANEL”

m a ch ine that is the great ar t forg ery ring of

elbourne.

T

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“ SHARPER SHADOW INTENSITY

he co-co oing fo rgers p ec k the

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DO NOT FRAME THE MACHINES ON THE CONTEXT HOUSES

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MORE HUMANOIDS

ork w

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MORE STREET FURNITURE

he ir

MORE STREET LAMPS

ar t

“THAT’S A VERY INTERESTING PROJECT” TESS “GREAT GO AT YOUR FIRST PRESENTATION DRAFT” COLOUR THE DIAGRAMS ANNOTATE THE DIAGRAMS

“I KNOW I LED YOU GUYS DOWN THIS PATH, BUT I AM NOT SURE IF THE TANK IS DOING MUCH FOR YOUR DRAWING” MOVE THE SOUTH WEST ISOMETRIC TO BE BROUGHT DOWN TO THE BOTTOM LEFT

TALK ABOUT THE DIAGRAMS

“UP YOUR FLOWER GAME, YOU THREE”

BACKGROUND GRADIENT OPTION

OPTION 1 BLUE TO MAUVE

OPTION 2 BLUE TO BABY PINK (ORIGINAL)

OPTION 3 BLUE TO MIDNIGHT SKY

“ART & ARTISTRY UPFRONT IN THE DRAWINGS”

KEY CHARACTERS DRAWN BY EVELYNNE NEW

Mannik Singh

Evelynne New

Xianke Qi

Samuel Hunter

Inder The Artist

James The Protestor

Patrick The Art Dealer

ANIMALS & HUMANS OF CLIFTON HILL DRAWN BY EVELYNNE NEW

Swiftie

Hank Hunter

ATMOSPHERIC ENTOURAGE DRAWN BY EVELYNNE NEW

WOOL FLUFF EXPOSES

FOLIAGE INSPIRED STREET LAMPS

CLOUDS

STEAM & WAFT

FEATHERS

BIRD POO

FOLIAGE - THE DYE GARDENS DRAWN BY EVELYNNE NEW

MARIGOLDS TAGETES SP.

INDIGOFERA AUSTRALIS

HOVEA LINEARIS

KANGAROO GRASS

LILYPAD

INDIGOFERA AUSTRALIS

BANKSIA MARGINATA FLOWER

BANKSIA MARGINATA BUSH

EUCALYPTUS VIMINILS FLOWERS

BANKSIA SPINULOSA FLOWER

TREES

DRAWN BY EVELYNNE NEW

EUCALYPTUS VIMINILS

VINES

DRAWN BY EVELYNNE NEW

WEEK 13 - LAST CRACK (MARKUP)

ER + NN NA A RR WEIRD TEXTURE, PUT B AT IVE

STRUCTURE TOO THIN - NEEDS THICKENING + COLUMNS SUPPORT TO PROP THE FLOOR SLABS

EONS!” G I P E “100 MOR “SPRINKLE MORE

YELLOW”

VARY THE COLOUR OF TAPESTRIES

“WOW, YOU THREE!” THE VEIL NEEDS CROSS BRACING AND SUPPORTS

- SAM HUNTER

NORTH ELEVATION - SCREEN TESTS

OPTION 1 - VERTICAL LINES CONTINUATION

OPTION 2 - CROSS BRACING

BANNER OPTION 3 - MIX OF THE TWO

COLOUR BALANCE OPTIONS

OPTION 1

OPTION 2

OPTION 3

OPTION 4