The opening titles and a tutorial I did can be found in this video, and although I've only started using the program in the past couple of days, it seems very intuitive.
Friday, August 28, 2009
After Effects
I've been quite inspired by the works of various graphic designers, and I'm keen to incorporate animated vectors into my videos through the use of Adobe After Effects. The power of this program to enhance typography and animation, as well as raw film itself is unmatched in my opinion, and to outline its potential uses, I've created a short video of some After Effects examples I found particularly brilliant.
Wednesday, August 12, 2009
First Draft - Revised
In receiving the opportunity to revise the submission for the First Draft, I chose to practically start from scratch. The architectural ideas are still consistant, with the "greenhouse" atrium being developed, as well as the general organisation of spaces remaining intact, however I decided to redo the submission from the ground up due to the fact that my building was horrendously out of scale with the site that Ryan produced. Rather than working on something that was incorrect, I used my original submission as the basis for this one.
I made a number of changes to the original design based on what I thought was weak, as well as the feedback from my tutor and peers.
1. The "Greenhouse"
I feel quite strongly about keeping the atrium, as it serves many purposes, both symbolically, practically and architecturally. However, seemed too block out more than it allowed in, so I opened it out, with each floor moving out approx 600mm so it appears that the ramps form a "V" shape when viewed from the north or south (as opposed to the original scheme which was more of an "11").
2. Reducing the mass of the building
Comments made about the building seeming "heavy" and "serious" lead me to explore opening the building up. Larger and full wall windows have been placed in numerous places around the building to give it a porous quality. I hope to take this notion of stripping down and carving out my building as I move forward from here.
3. Experimenting with windows
Windows in the first scheme were an afterthought. Basic window sizes were punched into my walls, with little consideration of what lies behind them. In this scheme, I designed a few windows very specifically in how they frame views. I am also experimenting with an irregular window that is based around the idea of "peering through trees", however, in this current scheme it is still very sketchy and something I would like to work on more closely.
4. Simplifying Bedrooms
The dangers of an irregular shaped site became apparent in my first submission, with my attempts at working with the angles only caused awkward spaces. In this scheme I experimented in going against my original manifesto, which included making every room and every window unique, it order to get a quick example of what orthogonal, modular rooms would feel like.
5. Romoving the southern spine
This narrow alley of only about 6m wide has made it very difficult to design around. I am constantly reminded about the pitfalls of designing in plan as these spaces are practically unusable for anything but circulation. I cut off the spine and have used it only as a viewing point and as an entrance to the carpark (which is also new to this scheme)
6. Alternate Entrance
Last week it occured to me that an alternate route through Hutchinson Lane may be appropriate given the intensity of the traffic on the street front. I still find it important to have a public face at that entrance, so that has not been changed, but the ground floor (which was previously all bedrooms, a small staff outpost and a reading area) has been cut in two, to provide a carpark, and a large entrance from that carpark which is greeted by a recpetion.
7. Exterior Detailing
The only exterior detailing I did in the first submission was my terraced gardens above the theatre. While that remains (in an experimental smaller form), I tried to break up the monotity of my facade by introducing elements to act as a symbolic reference to the role of the building. I have been trying to repeat themes of things "interlocking", in an effort to portray a sense of piecing things together.
8. The "Wandering" ideal and Vantage Points
As I refer back to my picture grid from last session, one concept that thought worked in conjuction with paths was nodes- places of stillness of quiet, in my interpretation. I felt that my original scheme promoted too much movement. Although this was the ideal, it neglected the importance of stillness, so I have stripped some back, and allowed for quieter spaces to flourish.
This scheme has a number of issues with it as well, which were only apparent due to Crysis testing. Some rooms are far to small to be practical, and some open spaces so large they are daunting. I seem to be battling with ceiling heights as I design this structure, so that will be something to proritise as this scheme develops. I would also like to increase my knowledge base of Crysis a lot more, and a lot of time is spent battling with the program. Unfortunetly for this submission, I couldn't get AI to work (unless you count the birds!) and I would prefer far more furniture in my building, however, I sacrficed these elements in order to progress my design.
I also did not get the chance to revise my posters. Having said that, despite the fact that these posters are simply screens from the first proposal, I am fairly satisfied what them. They are designed to respond to the brief by relating the concepts of Sun et al's research to my design in that the movement of people and openings is of great concern to my design specifically. The quotes themselves were, of course, a relation back to the first posters I did at the beginning of the year, that had very dark quotes about Alzheimer's disease, while these quotes attempted to propose a lighter side.
I made a number of changes to the original design based on what I thought was weak, as well as the feedback from my tutor and peers.
1. The "Greenhouse"
I feel quite strongly about keeping the atrium, as it serves many purposes, both symbolically, practically and architecturally. However, seemed too block out more than it allowed in, so I opened it out, with each floor moving out approx 600mm so it appears that the ramps form a "V" shape when viewed from the north or south (as opposed to the original scheme which was more of an "11").
2. Reducing the mass of the building
Comments made about the building seeming "heavy" and "serious" lead me to explore opening the building up. Larger and full wall windows have been placed in numerous places around the building to give it a porous quality. I hope to take this notion of stripping down and carving out my building as I move forward from here.
3. Experimenting with windows
Windows in the first scheme were an afterthought. Basic window sizes were punched into my walls, with little consideration of what lies behind them. In this scheme, I designed a few windows very specifically in how they frame views. I am also experimenting with an irregular window that is based around the idea of "peering through trees", however, in this current scheme it is still very sketchy and something I would like to work on more closely.
4. Simplifying Bedrooms
The dangers of an irregular shaped site became apparent in my first submission, with my attempts at working with the angles only caused awkward spaces. In this scheme I experimented in going against my original manifesto, which included making every room and every window unique, it order to get a quick example of what orthogonal, modular rooms would feel like.
5. Romoving the southern spine
This narrow alley of only about 6m wide has made it very difficult to design around. I am constantly reminded about the pitfalls of designing in plan as these spaces are practically unusable for anything but circulation. I cut off the spine and have used it only as a viewing point and as an entrance to the carpark (which is also new to this scheme)
6. Alternate Entrance
Last week it occured to me that an alternate route through Hutchinson Lane may be appropriate given the intensity of the traffic on the street front. I still find it important to have a public face at that entrance, so that has not been changed, but the ground floor (which was previously all bedrooms, a small staff outpost and a reading area) has been cut in two, to provide a carpark, and a large entrance from that carpark which is greeted by a recpetion.
7. Exterior Detailing
The only exterior detailing I did in the first submission was my terraced gardens above the theatre. While that remains (in an experimental smaller form), I tried to break up the monotity of my facade by introducing elements to act as a symbolic reference to the role of the building. I have been trying to repeat themes of things "interlocking", in an effort to portray a sense of piecing things together.
8. The "Wandering" ideal and Vantage Points
As I refer back to my picture grid from last session, one concept that thought worked in conjuction with paths was nodes- places of stillness of quiet, in my interpretation. I felt that my original scheme promoted too much movement. Although this was the ideal, it neglected the importance of stillness, so I have stripped some back, and allowed for quieter spaces to flourish.
This scheme has a number of issues with it as well, which were only apparent due to Crysis testing. Some rooms are far to small to be practical, and some open spaces so large they are daunting. I seem to be battling with ceiling heights as I design this structure, so that will be something to proritise as this scheme develops. I would also like to increase my knowledge base of Crysis a lot more, and a lot of time is spent battling with the program. Unfortunetly for this submission, I couldn't get AI to work (unless you count the birds!) and I would prefer far more furniture in my building, however, I sacrficed these elements in order to progress my design.
I also did not get the chance to revise my posters. Having said that, despite the fact that these posters are simply screens from the first proposal, I am fairly satisfied what them. They are designed to respond to the brief by relating the concepts of Sun et al's research to my design in that the movement of people and openings is of great concern to my design specifically. The quotes themselves were, of course, a relation back to the first posters I did at the beginning of the year, that had very dark quotes about Alzheimer's disease, while these quotes attempted to propose a lighter side.
Friday, August 7, 2009
First Draft - Submission 1
In "Measuring Human Behavior Using a Head-Cave", Sun et al analyse the potential of virtual spaces in examining how people navigate through a space. Through placing participants in a "head cave" and presenting them with a "Doom" like software for them to navigate around in, they found that some previous assumptions of how people interact with the space could be challenged. It is this principle of the potential of "first person" navigation through a virtual space that guides the First Draft for the Graduation Project.
I spent a large portion of last session exploring the effects of Alzheimer's disease and demonstrating the weaknesses of conventional health care facilities in catering for the needs of these individuals. I felt it was important for me to both understand and to be able to convey this understanding in my presentations in order for me to design a facility to aid its guests.
My starting point this session was to examine the reasons why health care, at its core, fails to meet the needs of patients with dementia. I hypothesised (and for the sake of argument, simplified) that the majority of health care facilities exist to help the maximum number of people possible. My aim with this draft was to challenge this notion by providing a facility that looks after a small number of people to the greatest degree of care.
My design began by treating the guests of the institute not as patients, but as people. There was a need to place importance in socialising, entertainment and an opportunity to host day-guests as well as having private areas. Once this was established, instead of hiding the traits of an Alzheimer's patient, I chose to promote them, by designing the circulation of the building to be suited to wandering and exploration. The key area of the atrium (or "Greenhouse") acts as both a landmark, circulatory space and light source.
In preparing for a revision of this scheme for next week, I will attempt to explore the possibility of adding a water motif that weaves throughout the space, to help clarify paths of circulation, as well as extending the ideas of plant life (acting as a hobby for the guests, symbolism of life and growth in contrast to the stack and a natural element to break up the geometric forms of the building), redesigning the awkward positioning of rooms (by designing in section rather than plan), re-evaluating the entrance and "backyard" overhangs (as they appear foreboding rather than welcoming), introducing colour as a strong element, and generally moving away from a conventional building to an expressive, yet carefully controlled space.
The 3 posters can be found at my Flickr Site as well as in the posts below.
Friday, June 19, 2009
Ephemeral Memory
For this submission we were required to analyse existing rooms of a hospital and relate them to both intelligent mechanics and the site of our chosen health care facility. In exploring the links between these rooms, intelligent mechanics and my own scheme of an institute for early onset Alzheimer’s I chose to utilise the game modding software of the Crysis Sandbox Editor to evocatively examine the constraints of clinical environments in caring for patients with dementia.
My chosen room to materialise into the software was an intensive care unit- a room that places practicality above all else by means of necessity. The urgency and highly clinical nature of an ICU places it in stark contrast to my institute, far more so than that of the ward or operating theatre that were explored by Harry and Ryan, therefore fitting into my aim highlighting the limitations of such a clinical environment in my own context.
My machinima is highly metaphorical, using the symbolism of a storm, water and light to portray the debilitating illness of Alzheimer’s disease. The animation explores the coldness of an intensive care unit as well as the ward and operating theatre that Harry and Ryan have produced. It also explores the daunting significance of the exhaust stack that exists in the middle of our site, and the concern of dealing with such a structure in the context of a health care facility. My aim with this video and my future design is to move away from a clinical architecture to a space of peace, comfort and safety. I am not attempting to cure dementia, but to explore the potential and limitations of architecture in helping these individuals.
Here is the finished animation for Experiment 2, "Ephemeral Memory". Due to the low quality, it seems a bit dark. Will try uploading a higher quality version when possible.
The 3 posters and picture grid can be found at my Flickr Site as well as in the posts below.
My chosen room to materialise into the software was an intensive care unit- a room that places practicality above all else by means of necessity. The urgency and highly clinical nature of an ICU places it in stark contrast to my institute, far more so than that of the ward or operating theatre that were explored by Harry and Ryan, therefore fitting into my aim highlighting the limitations of such a clinical environment in my own context.
My machinima is highly metaphorical, using the symbolism of a storm, water and light to portray the debilitating illness of Alzheimer’s disease. The animation explores the coldness of an intensive care unit as well as the ward and operating theatre that Harry and Ryan have produced. It also explores the daunting significance of the exhaust stack that exists in the middle of our site, and the concern of dealing with such a structure in the context of a health care facility. My aim with this video and my future design is to move away from a clinical architecture to a space of peace, comfort and safety. I am not attempting to cure dementia, but to explore the potential and limitations of architecture in helping these individuals.
Here is the finished animation for Experiment 2, "Ephemeral Memory". Due to the low quality, it seems a bit dark. Will try uploading a higher quality version when possible.
The 3 posters and picture grid can be found at my Flickr Site as well as in the posts below.
Picture Grid
Here is my finished picture grid.
This picture grid as well as the individual strips and a larger version of each of the images individually can be found at my Flickr site.
From left to right/top to bottom respectively, the following are references for each image in the picture grid. Under each heading I have stated what the two polarities are for each strip from left to right.
Juxtaposition
Literal > Abstract
1.Melhuish, Clare. "Modern House 2" Phaidon Press. London, England. 2000. pp 195
2.Asensio, Nacho. "Great Architects" Atrium Group. Mexico. 2002, pp 116
3.El Croquis. "Practicas Arquitectonicas" pp 23
4.Art And Australia. "Dorota Jurczak" Vol. 45, No. 2. Summer, 2007. pp 278
5.Botton, Alain De. "The Architecture of Happiness" Hamish Hamilton. London, England. 2006. pp 142
6.Costantino, Maria. "The Life and Works of Frank Lloyn Wright" PRC Publishing. London. 1998. pp 143
7.Arup Journal. pp 28
8.My own blank image
9.Asensio, Nacho. "Great Architects" Atrium Group. Mexico. 2002, pp 323
10.Art And Australia. "Louisa Dawson" Vol. 44, No. 3. Autumn, 2007. pp 482
Light
Single Source > Ambiance
1.Betsky, Aaron. "Landscrapers" Thames and Hudson. United Kingdom. 2002. pp 147
2.Betsky, Aaron. "Landscrapers" Thames and Hudson. United Kingdom. 2002. pp 56
3.Art And Australia. "Ken Orchard" Vol. 40, No. 3. Autumn, 2003. pp 441
4.Art And Australia. "Oladur Eliasson" Vol. 44, No. 3. Autumn, 2007. pp 426
5.Domus. "Donato Di Belio" No 905. pp 118
6.Asensio, Nacho. "Great Architects" Atrium Group. Mexico. 2002, pp 175
7.Domus. "Pietro Savorelli" No. 909.
8.Architectural Review Australia. "Adrian Lahoud" No 106. 2008. pp 50
9.My own blank image
10.Mostaedi, Arian. "Lofts" Carles Broto & Josep Ma Minguet. Barcelona, Spain. 2004. pp 280
Memory
Static > Abstract
1.Art And Australia. "Buthayna Ali" Vol. 45, No. 2. Summer, 2007. pp 199
2.Melhuish, Clare. "Modern House 2" Phaidon Press. London, England. 2000. pp 121
3.My own blank image
4.Lestrovoy[username] "Memory" (http://lestrovoy.deviantart.com/art/Memory-31332044) Accessed 18/6/09.
5.El Croquis "Steven Holl" No 108. pp 132
6.Art And Australia. "Buthayna Ali" Vol. 45, No. 2. Summer, 2007. pp 181
7.Art And Australia. Vol. 45, No. 2. Summer, 2007. pp 132
8.Melhuish, Clare. "Modern House 2" Phaidon Press. London, England. 2000. pp 137
9.Leland, Nita. "The Creative Artist" North Light Books. China. 1990. pp 78
10.Art And Australia. "Dani Marti" Vol. 40, No. 3. Autumn, 2003. pp 415
Nodes
Paths Intersecting > Stillness
1.Conatgian[username] "Black Node" (http://conatgion.deviantart.com/art/Black-node-85079850) Accessed 18/6/09.
2.Melhuish, Clare. "Modern House 2" Phaidon Press. London, England. 2000. pp 139
3.Seidler, Harry. "The Grand Tour" Taschen. Hohenzollernring, Koln. 2004.
4.Leland, Nita. "The Creative Artist" North Light Books. China. 1990. pp 31
5.Costantino, Maria. "The Life and Works of Frank Lloyn Wright" PRC Publishing. London. 1998. pp 25
6.Kostof, Spiro. "A History of Architecture" Oxford University Press. New York. 1995. pp 412
7.Stipe, Margo. "Frank Lloyd Wright - The Interactive Portfolio" Running Press. Philadelphia. 2004. pp 15
8.My own blank image
9.Stipe, Margo. "Frank Lloyd Wright - The Interactive Portfolio" Running Press. Philadelphia. 2004. pp 17
10.Art And Australia. "Adam Jasper" Vol. 45, No. 2. Summer, 2007. pp 200
Paths
Literal > Abstract
1.Noal, Sarah. "Cool Architecture: Designing for Cold Climates" The Images Publishing Group. Australia. 2003. pp 54
2.Betsky, Aaron. "Landscrapers" Thames and Hudson. United Kingdom. 2002. pp 84
3.Fox, Kohn Pedersen. "American Architects" Rockport Publishers. USA. 2003. pp 30
4.Asensio, Nacho. "Great Architects" Atrium Group. Mexico. 2002, pp 125
5.Fox, Kohn Pedersen. "American Architects" Rockport Publishers. USA. 2003. pp 47
6.Harbison, Robert. "The Built, the Unbuilt, and the Unbuildable" Thames and Hudson. England. 1991. pp 16
7.Costantino, Maria. "The Life and Works of Frank Lloyn Wright" PRC Publishing. London. 1998. pp 23
8.My own blank image
9.Architectural Review Australia. "Durbach Block Architects" No 106. 2008. pp 99
10.El Croquis "Alvaro Siza" pp 92
Scale
Literal > Abstract
1.Fox, Kohn Pedersen. "American Architects" Rockport Publishers. USA. 2003. pp 61
2.Wagner, Geraldine. "Thirteen Months to Go" New Burlington Books. London. 2002. pp 63
3.Kostof, Spiro. "A History of Architecture" Oxford University Press. New York. 1995. pp 750
4.Kostof, Spiro. "A History of Architecture" Oxford University Press. New York. 1995. pp Cover
5.My own blank image
6.Art And Australia. "Ron Muek" Vol. 45, No. 2. Summer, 2007. pp 247
7.Kostof, Spiro. "A History of Architecture" Oxford University Press. New York. 1995. pp 737
8.Kruger, Barbara. "Plenty Ought to be Enough" Australian Centre for Contemporary Art. Autralia. 2006.
9.Art And Australia. "Gene Sherman" Vol. 45, No. 1. Spring, 2007. pp 40
10.2o-negative[username] "Scale" (http://2o-negative.deviantart.com/art/Scale-39175484) Accessed 18/6/09.
Shadow
Public > Private
1.Wagner, Geraldine. "Thirteen Months to Go" New Burlington Books. London. 2002. pp 142
2.Melhuish, Clare. "Modern House 2" Phaidon Press. London, England. 2000. pp 86
3.Asensio, Nacho. "Great Architects" Atrium Group. Mexico. 2002, pp 533
4.Melhuish, Clare. "Modern House 2" Phaidon Press. London, England. 2000. pp 192
5.Melhuish, Clare. "Modern House 2" Phaidon Press. London, England. 2000. pp 81
6.Melhuish, Clare. "Modern House 2" Phaidon Press. London, England. 2000. pp 80
7.Seidler, Harry. "The Grand Tour" Taschen. Hohenzollernring, Koln. 2004.
8.HuseyinKaRa[username] "Shadow" (http://huseyinkara.deviantart.com/art/SHADOW-76714419) Accessed 18/6/09.
9.don-paolo[username] "Shadow" (http://don-paolo.deviantart.com/art/shadow-10129966) Accessed 18/6/09.
10.My own blank image
Techtonics
Literal > Abstract
1.Stipe, Margo. "Frank Lloyd Wright - The Interactive Portfolio" Running Press. Philadelphia. 2004. pp 45
2.Asensio, Nacho. "Great Architects" Atrium Group. Mexico. 2002, pp 68
3.Asensio, Nacho. "Great Architects" Atrium Group. Mexico. 2002, pp 76
4.Seidler, Harry. "The Grand Tour" Taschen. Hohenzollernring, Koln. 2004.
5.Seidler, Harry. "The Grand Tour" Taschen. Hohenzollernring, Koln. 2004.
6.My own blank image
7.Harbison, Robert. "The Built, the Unbuilt, and the Unbuildable" Thames and Hudson. England. 1991. pp 105
8.Stipe, Margo. "Frank Lloyd Wright - The Interactive Portfolio" Running Press. Philadelphia. 2004. pp 28
9.Leland, Nita. "The Creative Artist" North Light Books. China. 1990. pp 109
10.Halloweenskinned[username] "Joining you Finally" (http://halloweenskinned.deviantart.com/art/Joining-You-Finally-105242525) Accessed 18/6/09.
Thresholds
Literal > Abstract
1.MustafaDedeogLu[username] "Threshold" (http://mustafadedeoglu.deviantart.com/art/threshold-123411194) Accessed 18/6/09.
2.Melhuish, Clare. "Modern House 2" Phaidon Press. London, England. 2000. pp 49
3.Kostof, Spiro. "A History of Architecture" Oxford University Press. New York. 1995. pp 720
4.Mostaedi, Arian. "Lofts" Carles Broto & Josep Ma Minguet. Barcelona, Spain. 2004. pp 232
5.Asensio, Nacho. "Great Architects" Atrium Group. Mexico. 2002, pp 149
6.Fox, Kohn Pedersen. "American Architects" Rockport Publishers. USA. 2003. pp9
7.Seidler, Harry. "The Grand Tour" Taschen. Hohenzollernring, Koln. 2004.
8.Asensio, Nacho. "Great Architects" Atrium Group. Mexico. 2002, pp 57
9.My own blank image
10.El Croquis "Steven Holl" No 108. pp 44
Weight
Heavy > Light
1.Art And Australia. "Callum Morton" Vol. 44, No. 3. Autumn, 2007. pp 361
2.Mostaedi, Arian. "Lofts" Carles Broto & Josep Ma Minguet. Barcelona, Spain. 2004. pp 80-81
3.El Croquis. "Practicas Arquitectonicas" pp 70
4.El Croquis. "Alvaro Siza" pp 74
5.Costantino, Maria. "The Life and Works of Frank Lloyn Wright" PRC Publishing. London. 1998. pp 122
6.El Croquis. "Alvaro Siza" pp 75
7.El Croquis. "Alvaro Siza" pp 186
8.My own blank image
9.Melhuish, Clare. "Modern House 2" Phaidon Press. London, England. 2000. pp 22
10.Melhuish, Clare. "Modern House 2" Phaidon Press. London, England. 2000. pp 186-187
This picture grid as well as the individual strips and a larger version of each of the images individually can be found at my Flickr site.
From left to right/top to bottom respectively, the following are references for each image in the picture grid. Under each heading I have stated what the two polarities are for each strip from left to right.
Juxtaposition
Literal > Abstract
1.Melhuish, Clare. "Modern House 2" Phaidon Press. London, England. 2000. pp 195
2.Asensio, Nacho. "Great Architects" Atrium Group. Mexico. 2002, pp 116
3.El Croquis. "Practicas Arquitectonicas" pp 23
4.Art And Australia. "Dorota Jurczak" Vol. 45, No. 2. Summer, 2007. pp 278
5.Botton, Alain De. "The Architecture of Happiness" Hamish Hamilton. London, England. 2006. pp 142
6.Costantino, Maria. "The Life and Works of Frank Lloyn Wright" PRC Publishing. London. 1998. pp 143
7.Arup Journal. pp 28
8.My own blank image
9.Asensio, Nacho. "Great Architects" Atrium Group. Mexico. 2002, pp 323
10.Art And Australia. "Louisa Dawson" Vol. 44, No. 3. Autumn, 2007. pp 482
Light
Single Source > Ambiance
1.Betsky, Aaron. "Landscrapers" Thames and Hudson. United Kingdom. 2002. pp 147
2.Betsky, Aaron. "Landscrapers" Thames and Hudson. United Kingdom. 2002. pp 56
3.Art And Australia. "Ken Orchard" Vol. 40, No. 3. Autumn, 2003. pp 441
4.Art And Australia. "Oladur Eliasson" Vol. 44, No. 3. Autumn, 2007. pp 426
5.Domus. "Donato Di Belio" No 905. pp 118
6.Asensio, Nacho. "Great Architects" Atrium Group. Mexico. 2002, pp 175
7.Domus. "Pietro Savorelli" No. 909.
8.Architectural Review Australia. "Adrian Lahoud" No 106. 2008. pp 50
9.My own blank image
10.Mostaedi, Arian. "Lofts" Carles Broto & Josep Ma Minguet. Barcelona, Spain. 2004. pp 280
Memory
Static > Abstract
1.Art And Australia. "Buthayna Ali" Vol. 45, No. 2. Summer, 2007. pp 199
2.Melhuish, Clare. "Modern House 2" Phaidon Press. London, England. 2000. pp 121
3.My own blank image
4.Lestrovoy[username] "Memory" (http://lestrovoy.deviantart.com/art/Memory-31332044) Accessed 18/6/09.
5.El Croquis "Steven Holl" No 108. pp 132
6.Art And Australia. "Buthayna Ali" Vol. 45, No. 2. Summer, 2007. pp 181
7.Art And Australia. Vol. 45, No. 2. Summer, 2007. pp 132
8.Melhuish, Clare. "Modern House 2" Phaidon Press. London, England. 2000. pp 137
9.Leland, Nita. "The Creative Artist" North Light Books. China. 1990. pp 78
10.Art And Australia. "Dani Marti" Vol. 40, No. 3. Autumn, 2003. pp 415
Nodes
Paths Intersecting > Stillness
1.Conatgian[username] "Black Node" (http://conatgion.deviantart.com/art/Black-node-85079850) Accessed 18/6/09.
2.Melhuish, Clare. "Modern House 2" Phaidon Press. London, England. 2000. pp 139
3.Seidler, Harry. "The Grand Tour" Taschen. Hohenzollernring, Koln. 2004.
4.Leland, Nita. "The Creative Artist" North Light Books. China. 1990. pp 31
5.Costantino, Maria. "The Life and Works of Frank Lloyn Wright" PRC Publishing. London. 1998. pp 25
6.Kostof, Spiro. "A History of Architecture" Oxford University Press. New York. 1995. pp 412
7.Stipe, Margo. "Frank Lloyd Wright - The Interactive Portfolio" Running Press. Philadelphia. 2004. pp 15
8.My own blank image
9.Stipe, Margo. "Frank Lloyd Wright - The Interactive Portfolio" Running Press. Philadelphia. 2004. pp 17
10.Art And Australia. "Adam Jasper" Vol. 45, No. 2. Summer, 2007. pp 200
Paths
Literal > Abstract
1.Noal, Sarah. "Cool Architecture: Designing for Cold Climates" The Images Publishing Group. Australia. 2003. pp 54
2.Betsky, Aaron. "Landscrapers" Thames and Hudson. United Kingdom. 2002. pp 84
3.Fox, Kohn Pedersen. "American Architects" Rockport Publishers. USA. 2003. pp 30
4.Asensio, Nacho. "Great Architects" Atrium Group. Mexico. 2002, pp 125
5.Fox, Kohn Pedersen. "American Architects" Rockport Publishers. USA. 2003. pp 47
6.Harbison, Robert. "The Built, the Unbuilt, and the Unbuildable" Thames and Hudson. England. 1991. pp 16
7.Costantino, Maria. "The Life and Works of Frank Lloyn Wright" PRC Publishing. London. 1998. pp 23
8.My own blank image
9.Architectural Review Australia. "Durbach Block Architects" No 106. 2008. pp 99
10.El Croquis "Alvaro Siza" pp 92
Scale
Literal > Abstract
1.Fox, Kohn Pedersen. "American Architects" Rockport Publishers. USA. 2003. pp 61
2.Wagner, Geraldine. "Thirteen Months to Go" New Burlington Books. London. 2002. pp 63
3.Kostof, Spiro. "A History of Architecture" Oxford University Press. New York. 1995. pp 750
4.Kostof, Spiro. "A History of Architecture" Oxford University Press. New York. 1995. pp Cover
5.My own blank image
6.Art And Australia. "Ron Muek" Vol. 45, No. 2. Summer, 2007. pp 247
7.Kostof, Spiro. "A History of Architecture" Oxford University Press. New York. 1995. pp 737
8.Kruger, Barbara. "Plenty Ought to be Enough" Australian Centre for Contemporary Art. Autralia. 2006.
9.Art And Australia. "Gene Sherman" Vol. 45, No. 1. Spring, 2007. pp 40
10.2o-negative[username] "Scale" (http://2o-negative.deviantart.com/art/Scale-39175484) Accessed 18/6/09.
Shadow
Public > Private
1.Wagner, Geraldine. "Thirteen Months to Go" New Burlington Books. London. 2002. pp 142
2.Melhuish, Clare. "Modern House 2" Phaidon Press. London, England. 2000. pp 86
3.Asensio, Nacho. "Great Architects" Atrium Group. Mexico. 2002, pp 533
4.Melhuish, Clare. "Modern House 2" Phaidon Press. London, England. 2000. pp 192
5.Melhuish, Clare. "Modern House 2" Phaidon Press. London, England. 2000. pp 81
6.Melhuish, Clare. "Modern House 2" Phaidon Press. London, England. 2000. pp 80
7.Seidler, Harry. "The Grand Tour" Taschen. Hohenzollernring, Koln. 2004.
8.HuseyinKaRa[username] "Shadow" (http://huseyinkara.deviantart.com/art/SHADOW-76714419) Accessed 18/6/09.
9.don-paolo[username] "Shadow" (http://don-paolo.deviantart.com/art/shadow-10129966) Accessed 18/6/09.
10.My own blank image
Techtonics
Literal > Abstract
1.Stipe, Margo. "Frank Lloyd Wright - The Interactive Portfolio" Running Press. Philadelphia. 2004. pp 45
2.Asensio, Nacho. "Great Architects" Atrium Group. Mexico. 2002, pp 68
3.Asensio, Nacho. "Great Architects" Atrium Group. Mexico. 2002, pp 76
4.Seidler, Harry. "The Grand Tour" Taschen. Hohenzollernring, Koln. 2004.
5.Seidler, Harry. "The Grand Tour" Taschen. Hohenzollernring, Koln. 2004.
6.My own blank image
7.Harbison, Robert. "The Built, the Unbuilt, and the Unbuildable" Thames and Hudson. England. 1991. pp 105
8.Stipe, Margo. "Frank Lloyd Wright - The Interactive Portfolio" Running Press. Philadelphia. 2004. pp 28
9.Leland, Nita. "The Creative Artist" North Light Books. China. 1990. pp 109
10.Halloweenskinned[username] "Joining you Finally" (http://halloweenskinned.deviantart.com/art/Joining-You-Finally-105242525) Accessed 18/6/09.
Thresholds
Literal > Abstract
1.MustafaDedeogLu[username] "Threshold" (http://mustafadedeoglu.deviantart.com/art/threshold-123411194) Accessed 18/6/09.
2.Melhuish, Clare. "Modern House 2" Phaidon Press. London, England. 2000. pp 49
3.Kostof, Spiro. "A History of Architecture" Oxford University Press. New York. 1995. pp 720
4.Mostaedi, Arian. "Lofts" Carles Broto & Josep Ma Minguet. Barcelona, Spain. 2004. pp 232
5.Asensio, Nacho. "Great Architects" Atrium Group. Mexico. 2002, pp 149
6.Fox, Kohn Pedersen. "American Architects" Rockport Publishers. USA. 2003. pp9
7.Seidler, Harry. "The Grand Tour" Taschen. Hohenzollernring, Koln. 2004.
8.Asensio, Nacho. "Great Architects" Atrium Group. Mexico. 2002, pp 57
9.My own blank image
10.El Croquis "Steven Holl" No 108. pp 44
Weight
Heavy > Light
1.Art And Australia. "Callum Morton" Vol. 44, No. 3. Autumn, 2007. pp 361
2.Mostaedi, Arian. "Lofts" Carles Broto & Josep Ma Minguet. Barcelona, Spain. 2004. pp 80-81
3.El Croquis. "Practicas Arquitectonicas" pp 70
4.El Croquis. "Alvaro Siza" pp 74
5.Costantino, Maria. "The Life and Works of Frank Lloyn Wright" PRC Publishing. London. 1998. pp 122
6.El Croquis. "Alvaro Siza" pp 75
7.El Croquis. "Alvaro Siza" pp 186
8.My own blank image
9.Melhuish, Clare. "Modern House 2" Phaidon Press. London, England. 2000. pp 22
10.Melhuish, Clare. "Modern House 2" Phaidon Press. London, England. 2000. pp 186-187
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