Madeleine Rowe

the 'idea' and precedence.

2008-11-05T21:51:00.000-08:00

model.

2008-11-05T21:39:00.000-08:00

Final Drawings.

2008-11-05T20:50:00.000-08:00

PLANS [4]
Elevations.Sections.1:20 Cross sectional perspective.
Featuring [left to right] staff offices, temporary coffee stand (shipping container), toilets/changerooms, open air gallery space, seating.Perspective sketches.

Plans. [extra

esquisse.

2008-10-17T00:38:00.000-07:00

#2.

2008-10-17T00:32:00.000-07:00

art. insertion. Rosemary Laing.

2008-09-05T21:57:00.001-07:00

Coogee.

2008-09-05T20:57:00.001-07:00

[highlighted with box] Coogee region. Grid coordinates of the road map and corresponding mapping of the coastline.

Double exposure. Reciprocity- built environment [seating at oval] superimposed over the natural [sky and tree featured].

Christo & Jeanne-Claude Wrapped Coast, One Million Feet, Little Bay, 1968-69.
Property boundries mapped underneath a photograph of the oval [and its associated infrastructure].

2008-06-16T01:36:00.000-07:00

My gallery, 161-163 King Street, is owned by a young guy in his 30s who wants to provide a community oriented space which people can enjoy and experience. Artists therefore are from the area, and, as the brief states, are young artists creating contemporary work dissimilar to that of the mainstream. The artists featured below are from a range of people and may not, in the case of Banksy for example, be a featured artists but follow a similar trend. The front facade at street level is defines by a large glass window allowing someone passing by to connect and become intrigued with the space inside. The main entrance is set back from the street and the surrounding walls within the semi cave like space are spaces with which artists. on a rotational basis, can create an artwork. This therefore would be semi permanent as the proceeding artists would simply paint over the pre-existing work. The owner feels that this kind of work could become an increasingly popular means through which artists could be commissioned for public art spaces or for private collectors to have a 'feature' wall created by one of the artists exhibited. The gallery exhibits a wide range of works from performance art which could take place in the central area/courtyard, installation such as that of Emily Floyd, video installations, graffiti art and smaller scale artworks such a photography, drawing or prints which can be displayed in the enclosed art hall at the rear end of the site. The artists private spaces have a connection to the gallery through the balconies which look out to the courtyard and the owners private quarters are hung over the entrance courtyard. It is a crafted and detailed project reflecting the art it seeks to house.

Drawings.

2008-06-16T01:24:00.000-07:00

Model.

2008-06-16T01:01:00.001-07:00

Artists.

2008-05-21T00:28:00.000-07:00

A few artists who perhaps woudl not be displayed but embody the kind of art the gallery would house.
Shahzia Sikander.

Angela Rossitti.Antony Gormley.
Rachel Whiteread.
CUPCO!

Emily Floyd [details in rendered image of the room-2 level gallery with split level boardwalk]

Banksy.

Site.

2008-05-19T23:03:00.000-07:00

Site: 161+163 King Street, Newtown. Rear access on Victoria St via Stephen or O'Connell St.

Google Earth.
King Street, General area of site, Site block, Zoom in of site and adjoining buildings.

View from Victoria St.

Rear entrance on Victoria St. Taken from Rose St.

Junction of Victoria St and Stephen St.
Graffiti along Stephen st.
Stephen St

Images from King St.

Project 3: Art Gallery, Shop/House.

2008-05-19T23:01:00.000-07:00

Model.

2008-05-12T06:00:00.002-07:00

Drawings. Poche and Axonometric.

2008-05-12T06:00:00.001-07:00

My drawings- 1 axonometric, 2 plans, 1 front elevation, 1 section. These drawings help explain, through simple rendering and linework the interconnection between my three function spaces and the front facade.

Some Influences...

2008-05-12T05:35:00.000-07:00

Venturi. Mother's House. Facade Vs Internal environment...

Louis Khan. Sulk Institute. Widows, human interaction.

Louis Khan. Indian Institute of Management. Materiality, bricks, openings/voids.

Frank Gehry. Gehry House. Materials, Junction, Composition.

New York. Industrial. Crime Fiction.

Sentence.

2008-04-26T20:55:00.000-07:00

An enclosure for a single barman working long late hours with a passion for crime fiction novels.

Edward Hopper. Nighthawks.

2008-04-26T20:48:00.000-07:00

Nighthawks, 1942
Edward Hopper

From Tate Modern exhibition, 2004:

'Maybe I am not very human. What I wanted to do was paint sunlight on the side of a house,' Hopper once said. Light does much more than illuminate a Hopper scene; it is a metaphor, an emotion. The abstract fall of light in these later paintings takes on geometric forms, rectangular shafts that penetrate dark interiors, bathing their subjects in a celestial glow.

PROJECT #2

2008-04-26T20:47:00.000-07:00

MODEL

2008-04-22T01:36:00.000-07:00

POCHE

2008-04-22T00:55:00.000-07:00

Poche.

"This building recognizes complexities and contradictions: it is both complex and simple, open and closed, big and little; some of its elements are good on one level and bad on another; its order accommodates the generic elements of the house in general, and the circumstantial elements of a house in particular. It achieves the difficult unity of a medium number of diverse parts rather than the easy unity of few or many motival parts."

Robert Venturi. Complexity and Contradiction in Architecture. 1966.

Through my exploration of Mother's House and the making of the model, Venturi's comment above, summed up my response to the building. In my poche drawings I tried to depict the contradictory nature of this house. Through direct, precise and bold line work I mapped out the plans, then flattened the elevations onto the plans, displaying the openings and using black pencil. The section was much the same, yet I casted the light source from the openings to be parallel with the 27 degree slope of the roof. My ideas for these two layers was in response to my feelings about the space...that it was very solid and confined, yet the internal was rather light and open. I found the building, as a whole, illogical and logical. I chose to do this second overlaying in black pencil with precision and slight abstraction due to my understanding that the house was one of great refinement and years of planning, yet one of absurdity.

PARTI

2008-04-21T23:46:00.001-07:00

Parti.

Circulation.

Enclosure.

Structure.

Program.

Geometry.

2008-04-21T23:19:00.000-07:00

PROJECT 1: ARTIFICE

Mother's House.
Robert Venturi.
1959-1964.

http://www.vsba.com/projects/fla_archive/10.html

2008

2008-04-21T23:09:00.000-07:00

ARCH1201
ARCHITECTURAL DESIGN STUDIO 3

SESSION 1
2008

cultivated eye
architectonics
shell of thought
craft

filefront.com

2007-10-22T21:39:00.002-07:00

Final:
DM-ARCH1102_EXP3_madeleine.ut2

Draft 2:
DM-ARCH1102_EXP3_draft2_me.ut2

Draft 1:
DM-ARCH1102_EXP3_madeleine.ut2

final

2007-10-22T21:39:00.001-07:00

These images work in groups to reiterate the concepts behind the shot:

The inside, relatively hidden space belongs to Carlos Slim. Possessing 8% of Mexico's GDP, Slim's numerous holdings including the huge Telmex and America Movil has recently propelled him to be the world's richest man. In Slim's space, I wanted to reflect the somewhat "almighty" power he retains within Mexico and even throughout Latin America, a relatively developing area of the world.

The contrasting black and gold stairs which lead from the mover into the space signifies this strong hold and the intersecting, rather disorientating top space which does not take full advantage of the view is a reflection on the Mexican governments monopolistic practices. On exterior facade the outcrops of the space is unobtrusive, yet signifies a deeper, internal process.

These 3 images depict the meeting place- consisting of the meeting/dinning tables for each client only. The strong red light signifies that this is the core of the area; it is central for development and progression through communication. The space, for me, is a necessity-hence it simplicity and direct nature. The space is only utilised however when the two clients meet- progress is not possible without communication and a degree of co-operation. The movers simply consist of over sized chairs which the clients communicate from. Zhang Yin's chair is the catalyst for Slim's chairs to move, yet Slim retains his own power by having to ability to come from either side of his space (two movers); this can also me seen as a commentary on gender roles in power, yet one cannot exist without the other. Yin is trapped within her circular desk signifying the meetings direct and purely professional nature.
desks

3 movers; 2 people; dialogue.

on the move

Zhang Yin's space. Taken from above, the nest like structure, strong yet open. Taken looking up and down from the same spot highlighting the transition taken whilst on the mover through lighting.

Standing on Yin's mover and the effects through dynamic lighting as it rises- one direct but meaningful destination and one 'sanctuary'.

Intrigued by her background, being born in a military family yet being raised in the years that followed the "rise to power of Mao Tse-tung", Yin appears to be a very strongly driven and fierce competitor, retaining the position as wealthiest self-made woman in the world. This wealth is attributed to her control over her business 'Nine Dragons Paper', unlike Slim who currently has a multitude of holdings. Her space therefore is simple, direct yet individual. Lighting, texture and dramatic form portray these intentions.

the bridge

2007-10-22T21:38:00.002-07:00

PERSPECTIVE

THE BRIDGE

physical, conceptual

sketchup

2007-10-22T21:38:00.001-07:00

Overview- Lift

Zhang Yin

Carlos Slim

Draft 2

2007-10-22T21:37:00.003-07:00

This draft shows development of the two spaces for my selected clients Zhang Yin [hanging], Carlos Slim [inside] and also presents the meeting space which purely consists of the tables for the two clients. The final model makes sense of this through the movers/elevators which are the seats by which each client approaches the meeting space upon and were communication takes place.

elevators and tables.

2007-10-22T21:37:00.001-07:00

Elevator/Mover:

In response to my clients position of power, my elevators purpose was to take to client from the space which was away from public viewing into the meeting place that was an exposed area. The journey therefore allowed panoramic views and an oportunity to reach to the outside world. The paths however, were to be direct and simple. Both clients elevators are oversized chairs (direct relation to power) that rise/fall to each clients appropriate desk. Yin's elevator triggers the movement of Slim's elevator, yet Slim has two elevators to choose from, thereby controlling the direction Yin sits on her chair. Communication is direct, professional. Once the meeting has taken place the elevators take the client back to their own personal space.

Zhang Yin

Carlos Slim

National Cinema Museum (Turin) Elevator

Dining Table:

I took the opportunity to make the dining table a source of meeting and communication. As explained above, the meeting space was to be simple and direct. Power and centrality is signified by red light. Yin's desk is circular, confining her to her personal space below and the inner circle of the dining table. Slim has the option to sit at either side of his desk, which boarders Yin's, but due to the impermanence of the space, Slim is confined by that fact that he can only reach the table via the elevator and that is only triggered by Yin's actions. This signifies their interdependence and power play.

Elevators and Tables = Meeting Space

Zhang Yin [hanging]; Carlos Slim [inside]- Draft 1

2007-10-16T20:25:00.000-07:00

Draft 1 depicts my initial intentions for the forms of the space in respect to my response to the articles and the clients position of power in their repective countries. I took a national overview of each individual and responded to the rise to wealth and power through form, the notion on perspective-both graphically and literally, and through facades and external appearances. These responses are more clearly defined in my final submission where each lighting effect, form, and movements are played out.

textures

2007-10-16T18:21:00.001-07:00

Linear

Rotational

Scalar

Meandering

Sluggish

Irregular

inspiration

2007-10-16T18:11:00.001-07:00

Gordon Matta Clark

Yves Klein: Air Architecture

Perspective

2007-10-16T17:58:00.001-07:00

Combination of 1 & 2 point perpectives with hatching on one set of surfaces that exist in parallel planes. This series shows my progression and the different vantage points taken.

Superstudio

2007-10-16T17:41:00.001-07:00

Landscape as Motherboard: Still from Superstudio's film Ceremony (1973), from the series Fundamental Acts

Life on the Surface: Still from Superstudio's film Life: Supersurface (1973), from the series Fundamental Acts

http://www.x-traonline.org/vol7_1/rubinyi.htm

youtube. sketchup animation.

2007-10-02T01:33:00.000-07:00

the 3 l's

2007-09-18T18:18:00.000-07:00

EXP 3. clients.

2007-09-11T21:56:00.000-07:00

Sections I chose from each article that gave me a bit of insight into the individual, a different way of thinking about their position of power in relation to their background and their current national status [links provided]:

Ratan Tata
"Today, the smooth, suave, and introvert Ratan is being seen as an aggressive and ambitious businessman, whose strategic vision has shifted from local to global."
http://news.bbc.co.uk/2/hi/south_asia/6071090.stm

Zhang Yin
"The oldest of eight children, Zhang was born into a military family in the north eastern province of Heilongjiang in 1957, and still has a heavy regional accent. Being in the military carried some perks, but life was still tough in the grinding years that followed the rise to power of Mao Tse-tung. “In those days, we only had meat to eat on holidays,” Zhang revealed in a rare interview. “But the lack of material things made me appreciate the value of possessions. My parents always encouraged us to face life and solve our problems independently.” "
http://www.moneyweek.com/file/20593/zhang-yin-the-worlds-richest-self-made-woman.html

Carlos Slim
Slim, the son of Lebanese Christian immigrants, started his financial ascent by forming his own brokerage firm when he was in his early 20s. He branched out shrewdly and prodigiously, buying up a dizzying array of businesses that he stuffed into his Grupo Carso holding company. The door to superwealth was opened in 1990 when Telmex, then the government telephone monopoly, was privatized: a Slim-led international investor group bought it for $1.7 billion, and today it's worth almost $40 billion. America Movil is worth almost three times as much. But Garcia charges, Slim's inordinate dominance has meant that, according to the Paris-based Organization of Economic Cooperation & Development (OECD), Mexico's telecom customers pay some of the highest rates in the world. "If not for those rates," Garcia insists, "Mexican businesses would have generated better profits and could have paid their workers better. Mexico would have been a more efficient economy."
http://www.time.com/time/business/article/0,8599,1642286,00.html

link.

2007-09-09T10:31:00.001-07:00

http://hosted.filefront.com/madirowe/

unreal tournament. final.

2007-09-09T09:08:00.001-07:00

outside.

hawking infront.

nightingale behind.

hawking. ramp viewed from meeting place.

main ramp.
also ramp to room below.

Hawking's room below main ramp.

meeting place.

Nightingale.

internal atrium.

corridor/room 1.

corridor/room 2.

ElectroLiquid Aggregation.

2007-09-09T08:22:00.000-07:00

Stephen Hawking.
"We are just an advanced breed of monkeys on a minor planet of an average star. But we can understand the universe. That makes us something very special."

Florence Nightingale.
" Were there none who were discontented with what they have, the world would never reach anything better."

ElectroLiquid Aggregation.
"While just an advanced breed of monkey on a minor planet of an average star, it is our discontent that propels us forward. It is our ability to reach these new heights that makes us special."

The blurred boundaries of external and internal; behind and infront, through the porous meeting place. What lies beyond and what is not exposed at first sight.

The black monolith which is suspended in the sky, the ramp taking the defining form as it protrudes from the meeting place. The differentiation of light, dark and shadows; chiaroscuro.

The main ramp in the external space (Hawking) intersected by the dark tunnel with a small speck of light at the end emphasising the word "special". Attainable, yet requires understanding and perserverence.

One wall of the inernal atrium. Alludes to Nightingale's desire to go beyond and to continue to strive. Also influenced by Rem Koolhaas', Delirious New York.

The corridor to one of the internal rooms. The sloping ramp is lit by the room at the end of the passage, the only sign of the room on the other side is the small patch of white light on the ground. A reflection on Nightingale herself, it also captures the the notion "it is our discontent that drives us forward".

textures.

2007-09-09T07:59:00.000-07:00

Close up of some textures used in model.

Light.

Medium.

Dark.

axonometrics.

2007-09-09T07:28:00.000-07:00

Joins.

Parallel Projections.

before textures.

2007-09-09T06:28:00.000-07:00

Hawking. Nightingale.

2007-09-04T18:51:00.000-07:00

Stephen Hawking
“We are just an advanced breed of monkeys on a minor planet of a very average star. But we can understand the Universe. That makes us something very special.”

Florence Nightingale
“Were there none who were discontented with what they have, the world would never reach anything better.”

unreal.

2007-08-28T20:37:00.000-07:00

EXP2. quotes.

2007-08-21T19:13:00.000-07:00

"Were there none who were discontented with what they have, the world would never reach anything better."

Florence Nightingale

"We are just an advanced breed of monkeys on a minor planet of a very average star. But we can understand the Universe. That makes us something very special."
Stephen Hawking

"I love fools’ experiments. I am always making them."

Charles Darwin

Sketchup. Final Model.

2007-08-19T07:15:00.000-07:00

http://sketchup.google.com/3dwarehouse/details?mid=29e11380b10e159c73f07353315875ae

"art occurs at the juncture of the artist’s intentions and the observers’ response."
'Duchampian'

Animations.

2007-08-19T05:51:00.000-07:00

First Animation: Texture. Facade. Reality. Layered. Preconception.

Piccinini: Exploration. Practicality. Genetics. Foundations. Deception.

Duchump: Audacious. Satirical. Dada. Artmaking Practice. Readymade. hence..necessity of studio space?

Storyboards. Concepts.

textures.

2007-08-14T19:22:00.001-07:00

exothermic.

endothermic.

kinetic.

natural.

dark.

youtube.com

2007-08-14T18:42:00.000-07:00

Stairs.

2007-08-07T03:05:00.000-07:00

Piccinini. Above ground.

Duchamp. Underground.

Duchamp. Piccinini. Section.

2007-07-31T04:12:00.000-07:00

Top: Piccinini, synthetic

Bottom: Duchamp, audacious

Da Vinci. Duchamp. Piccinini. Rowe

2007-07-24T20:25:00.000-07:00

Leonardo da Vinci

The Adoration of the Magi

1481-1482

Yellow ochre and brown ink on panel246 x 243 cm

Uffizi, Florence

(n) Religion

(v) Commemorating

(adj) Raw

Marcel Duchamp

Fountain

1917

(n) Readymade

(v) Challenging

(adj) Audacious

Patricia Piccinini

Protein Lattice, Red Portrait

1997

(n) Genetic Engineering

(v) Manipulating

(adj) Synthetic

(n) light

(v) directing

(adj) interactive