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| Materials : Tensioned, printed PVC outer skin. Steel construction and cable suspension. |
Saturday, 24 March 2012
Stelarc's Studio
Artists' shared, paved, outdoor exhibition space
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| Materials : Custom paving - Tile design derived from a microscopic view of human skin ref: (Stelarc) and textiles ref: (Bourgeois). |
Louise Bourgeois' Studio
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| Materials : Concrete, masonry, steel screen & apple tree (Symbolic of temptation and betrayal) |
Tuesday, 20 March 2012
Stelarc's Studio
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| References: Stretch (Skin under tension). Texture : Wrinkled skin (mapped on translucent PVC membrane) |
Louise Bourgeois's studio
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| Reference : Abandonment. Textures : Carving(into ones history / visual reference, Islamic screens carved from stone) - Mapped on outer room of the installation and used as a lighting devise on the northern wall. |
Textures
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| References: Rock carving(into ones history), Weaving and Textiles, Skin (macro & micro sections), Geometric light screens. |
Monday, 12 March 2012
Wednesday, 7 March 2012
Tuesday, 6 March 2012
Artists
CLIENTS : Louise Bourgeois and Stelarc,
In creating studio spaces for each artist it is necessary to understand their work and the key influences that underpin each artist's message.
In the case of Louise Bourgeois, her parents had a profound lasting effect on the artist. An impact that remained throughout her artistic career.
Her father maintained a romantic relationship with her nanny in her early childhood.
From that, a sense of betrayal and anxiety developed, which Bourgeois heavily references. Consequently her work is dark and introverted, known as confessional art.
My concept sketches buy into her fascination with her childhood unease, drawing influence from the human response of loneliness, anxiety and duplicity.
Stelarc’s life long concern with the human body is his primary interest. He analyses it’s limitations and the body's dependence on technology. He is quoted saying, ‘To be human is to be augmented’.
My concept sketches for Stelarc’s studio space are cognisant of his experimentation of the human body.
I reference Stelarc's key motivations, that is, extending the body. I suggest architecture that can stretch, manipulate and change using technology.
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| Louise Bourgeois 'Child' & Stelarc 'Street suspension’ |
Monday, 5 March 2012
Experimental (above) & Void (below)
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| Supplementary influences : Manipulation (above) & Crevasse (below) |
Experimental (above) & Anxiety (below)
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| Supplementary influences : Amplification (above) & Disquiet (below) |
Experimental (above) & Abandoned (below)
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| Supplementary influences : Dissection (above) & Shadow - Individual (below) |
Abandoned (above) & Experimental (below)
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| Supplementary influences : Vacant (above) & Surveillance (below) |
Anxiety (above) & Body (below)
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| Supplementary influences : Introverted - Cocoon (above) & Extroverted – Butterfly wing (below) |
Anxiety (above) & Experimental (below)
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| Supplementary influences : Aggression (above) & Cycle (below) |
Abandoned (above) & Experimental (below)
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| Supplementary influences : Hill (above) & Microscope (below) |
Sunday, 4 March 2012
Friday, 2 March 2012
Tribeca Film Festival - Middle Eastern Chapter
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Before commencing Architectural Studies I enjoyed an international career as a creative director and digital strategist. I co-founded one of Australia's most established digital agencies in 1996, called The Dubs. In 2000 I opened our London office and worked across a number of large media clients, which included the BBC & ITV for close to 10 years. The accompanying image is a from a multi-platform project I lead in design and strategy for Tribeca Enterprises NY and the Qatari government.
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