Extras:

My tip:

Shift key manipulation:

Shift can be held when applying textures and double clicking. This auto applies your selected texture. Useful for cutting time.


My reviews.

Although I was at the review session, I misplaced my sheet and couldnt find it. I have however re reviewed my 2 people. The numbers are respective to the crosses and there inherint criteria.


Nisa Betis: D+

Mashup:4.5
Perspectives:3.5
Textures:5
Elevator:4
Captures:4

Textures wonderfully utilized.

F-Perspectives could have been more clinical, although hardly a thing to critique there either.

Leila Hargreaves: CR+ / DN.

Mashup:3
Perspectives:3.5
Textures:4
Elevator:3.5
Captures:4.5

Excellent use of images to evoke a sense of power, texture use helps this.

Mashup pushed to one side. Nowhere near the effort of other assessable (and even non assessable) criteria.

Bree Miller: DN+

Mashup:3.5
Perspectives:4.5
Textures:4
Elevator:5
Captures:4

Amazing (!) elevators and Meshes, although your captures sometimes struggled to capture them (ie 2 were AMAZING, 2 were so-so).

only significant weakness is that the images do not 'sing'.

Peter Kim: HD

Mashup:3.5
Perspectives:5
Textures:5
Elevator:4.5
Captures:5

All drawings are astonishingly clinincal. Overall form spectacular, best meeting space I have seen by a large margin, the use of light is genius. Elevators are also very well constructed and interesting.

Only weakness is that, like so many others the mashup has been swept to one side.

Upload link for UT model.

http://files.filefront.com/Arch1101finalut2/;13920420;/fileinfo.html

The five final images (developed and custom textured.)

Overall form of Madonna's office. Note the use of curved texture and feminine colour. Alslo note the custom shaped floor and guitar 'columns'. I used columns as a main theme as I feel they are representative of timeless power and greatness that has continued from the past.




Here the custom columns are in full view inside the space. I used guitars as I felt music was Madonnas key to power through feminism. The 'rotational' texture I used is both warming and feminine, ideal for Madonnas space.




This is Obamas interior. Note use of blue as representative of Obamas democratic belief. The office was inspired by the Parthenon and Obamas acceptance speech, where he stood behind a columnar facade. Also the elevator is visisble to the left. I used another custom texture here, a very heavy 'momentum' styled one, showing power at the very top is fueled by shifts of momentum and the 'momentum of history'.




Overall form of Obamas office and elevator system. There are 3 eleveators to highlight the heirarchy that exists in todays politics. The stars represent the US, and the bright blue representative of the movement through democratic policy.



Here is the meeting space from POV of Madonnas entrance/lift. Note the domineering presence of Obamas office highlights almost infinite power. Colour is important here also. The blue of Obama clash with the feminine pink of Madonna to create a 'purple explosion' that is the Dining area. The table is toward the end. Also i used a linear custom texture here to create an illusion of space and distance across the bridge.

The 2 draft environments and their images.

Initial draft of Obamas lift system.




Initial draft of Madonna's lift system. Note the developed static mesh and connection via columns to the bridge.



Secondary and final draft of Obama's Space and lift system. Also the meeting space is visible in the far left. (The purple). I scrapped the roof as it seemed to dominate too much over the meeting space.



Final draft of Madonna's Space. I liked this so much I didn't tamper with it much in my final design.

Sketchup drafts and elevators/dining table.

Initial table design. (Note, this I used as my final also, because its simplicity fits nicely with the neo-classical styling).



Custom 'guitar' column for Madonna.



Obama's Lift.




Madonnas custom 'feminine' styled base for office.



Madonna's Lift.



Full Sketch Up draft showing all the systems in unison. Madonnas lift is particularly prevalent in this image.




Full draft of what was to be my final table. After countless conversion errors though, this was scrapped (better in the long run anyway).



Full draft of Obamas 'lift heirarchy' system.



Madonnas lift form, draft.

18 sketch perspectives.

The image i chose For Obama was because of the gaps in the 'face' on the right. This would work well with my heirarchical lift plans.



note: the third image here (bottom left) is a perspective for a different set, seen with an asterix (*) below.

This is what I will use for Madonnas lift and workspace section. In drafts the columns are the 2 pretruding facets while the excenuated F in the background is the workspace.

The asterix for above is here in the top right. I will also use this image to build my connecting meeting space as i feel it has a good linear flow to it and feels generally powerful. In later draughts Obamas almost 'watchtower' design stems from this authorititive perspective.

Textures.

18 custom textures according to themes of movement.

Mashup Article.

Obama-Blue
Prada- Yellow
Madonna- Red

Madonna, don't preach. Arlen Specter’s defection to the Democratic party and the retirement of David Souter from the Supreme Court tilt the balance of power in Washington further in Barack Obama’s favour

Defending her controversial new video "Justify My Love" on "Nightline" last week, Madonna stumbled, rambled and ended up seeming far less intelligent than she really is. Desperation and luxury are mortal enemies. Fear and power do not peacefully coexist.

Madonna, 'fess up. It follows, then, that she who wishes to reach the most rarefied and potent ranks of fashion, whether in dealmaking or designing, must have a certain serenity.

The video is pornographic.Mr Specter has put Democrats within one vote of a filibuster-proof supermajority in the Senate, and they are likely to get that vote when Minnesota’s wrangling over last November’s election finally comes to an end. It's decadent. And it's fabulous. MTV was right to ban it, a corporate resolve long overdue. Parents cannot possibly control television, with its titanic omnipresence.

Prodded by correspondent Forrest Sawyer for evidence of her responsibility as an artist, Madonna hotly proclaimed her love of children, her social activism and her condom endorsements. Mr Souter, meanwhile, has given the president the first of what may be several chances to define, for years to come, the character of the country’s hugely influential constitutional court. Wrong answer. As Baudelaire and Oscar Wilde knew, neither art nor the artist has a moral responsibility to liberal social causes.

"Justify My Love" is truly avant-garde, at a time when that word has lost its meaning in the flabby art world.Neither event is instantly earth-shattering. It represents a sophisticated European sexuality of a kind we have not seen since the great foreign films of the 1950's and 1960's. But it does not belong on a mainstream music channel watched around the clock by children.

A certain above-the-fray quality. And a flat-out disregard for what you think. Which brings us to Miuccia Prada.

On "Nightline," Madonna bizarrely called the video a "celebration of sex."Mr Specter was an erratic Republican and is already an unreliable Democrat. She imagined happy educational scenes where curious children would ask their parents about the video.The rise of Mrs. Prada, as she is known to her Italian staff members, is a well-known tale—your basic story of a onetime communist and mime student from Milan who takes over her family's dusty luggage company and, with the help of her go-getting husband, turns it into a luxury conglomerate that in 2002 had revenues of about $1.9 billion. Oh, sure! Picture it: "Mommy, please tell me about the tired, tied-up man in the leather harness and the mean, bare-chested lady in the Nazi cap." O.K., dear, right after the milk and cookies.Almost his first act after crossing the aisle was to vote against his new party on the budget. He complained about so-called reconciliation instructions that would let the Senate pass healthcare reform on a simple majority vote, which the administration could more easily win.

Mr. Sawyer asked for Madonna's reaction to feminist charges that, in the neck manacle and floor-crawling of an earlier video, "Express Yourself," she condoned the "degradation" and "humiliation" of women. Her power, first manifested in the minimal black nylon backpack draped over every influential arm in the '90s, also became incarnate in such celebrities as Uma Thurman, twirling down the red carpet in ethereal Prada-designed Oscar gowns. Madonna waffled: "But I chained myself! I'm in charge." Well, no. Mr Souter’s departure is also less than momentous. Appointed by a Republican president and expected to be a conservative, he turned out to be a liberal. Madonna the producer may have chosen the chain, but Madonna the sexual persona in the video is alternately a cross-dressing dominatrix and a slave of male desire.

But who cares what the feminists say anyhow?Assuming that Mr Obama aims to replace him with another liberal – bearing in mind the president’s statement that he regards “empathy” as a qualification for the job – the balance on the court would be unchanged. But having created some definitive design benchmarks, while a sure sign of her eye, is not what has really given Prada her juice. What sets her apart is her disregard—in some cases, her open contempt—for the dictates of fashion. They have been outrageously negative about Madonna from the start. In 1985, Ms. magazine pointedly feted quirky, cuddly singer Cyndi Lauper as its woman of the year. Great judgment: gimmicky Lauper went nowhere, while Madonna grew, flourished, metamorphosed and became an international star of staggering dimensions. She is also a shrewd business tycoon, a modern woman of all-around talent.

Yet altered loyalties will nudge Mr Specter’s independence in a new direction. So far as the court is concerned, Mr Obama can hope to appoint a more effective spokesman for the liberal viewpoint than Mr Souter ever managed to be.Whereas fashion expects an image to be constantly updated, Prada reportedly sank upwards of $100 million into projects that are supposed to be permanent, if not immutable: her architecturally pioneering stores in New York City (by Dutch brainiac Rem Koolhaas) and Tokyo (by the precise Swiss duo Herzog & De Meuron). The moves may not amount to a revolution, but they matter.

Madonna is the true feminist. She exposes the puritanism and suffocating ideology of American feminism, which is stuck in an adolescent whining mode.Whereas common sense says a designer should design what she likes, Prada will choose a color (such as turquoise) that she despises, because of the rush it gives her when she can make something beautiful with it. Madonna has taught young women to be fully female and sexual while still exercising total control over their lives. She shows girls how to be attractive, sensual, energetic, ambitious, aggressive and funny -- all at the same time.

American feminism has a man problem. The beaming Betty Crockers, hangdog dowdies and parochial prudes who call themselves feminists want men to be like women. They fear and despise the masculine. Prada has few celebrity friends. She lives in the apartment she grew up in. And, of course, season after season, she sends intelligent, beautiful and, inasmuch as anything in fashion can be, sui generis collections down the Milan runways. The academic feminists think their nerdy bookworm husbands are the ideal model of human manhood.

But Madonna loves real men. She sees the beauty of masculinity, in all its rough vigor and sweaty athletic perfection. She also admires the men who are actually like women: transsexuals and flamboyant drag queens, the heroes of the 1969 Stonewall rebellion, which started the gay liberation movement.

"Justify My Love" is an eerie, sultry tableau of jaded androgynous creatures, trapped in a decadent sexual underground. If you want to know what a season is about, you don't miss the Prada show," says Julie Gilhart, fashion director for Barneys. "She never follows anyone else's lead, just her own original energy. Her collections are completely an expression of herself." Its hypnotic images are drawn from such sado-masochistic films as Lililana Cazani's"The Night Porter" and Luchino Visconti's "The Damned." It's the perverse and knowing world of the photographers Helmut Newton and Robert Mapplethorpe.

Contemporary American feminism, which began by rejecting Freud because of his alleged sexism, has shut itself off from his ideas of ambiguity, contradiction, conflict, ambivalence. Its simplistic psychology is illustrated by the new cliche of the date-rape furor:" 'No' always means 'no'. " Will we ever graduate from the Girl Scouts?As he contemplates his stronger position in the Senate and the opening on the Supreme Court, Mr Obama needs to weigh his promise to lean against Washington’s polarised political instincts and retain the support of the middle of the US electorate. This, he ought to realise, is not a matter of self-denial but of self-interest. "No" has always been, and always will be, part of the dangerous, alluring courtship ritual of sex and seduction, observable even in the animal kingdom.

Madonna has a far profounder vision of sex than do the feminists.Mr Obama’s reforms are more likely to stick if they are grounded in broad electoral support. They are also more likely to be well-executed if moderate Republicans are given a say in their design and can bring themselves to play a more positive role. And herself is curious, independent and thoughtful. Prada once showed a raincoat that was transparent until it got wet and became opaque. This season she charmed the front row with a collection inspired by 1950s souvenir scarves and the quirky tchotchkes (beaded bags, raffish straw hats and embroidered suede moccasins) that a stylish housewife might have picked up on a honeymoon in Venice. Bipartisan outreach can help check the more extreme tendencies within Mr Obama’s own party. Health reform is a prime example. She sees both the animality and the artifice. Changing her costume style and hair color virtually every month, Madonna embodies the eternal values of beauty and pleasure. Feminism says, "No more masks." Madonna says we are nothing but masks.An already powerful president has just become a little more powerful. He must use this strength with restraint, or his own legacy will be the greatest loser.

Prada the company has not been immune to the economic downturn and has some challenges ahead, including a heavy load of debt that it has been working to pay off. But one thing Prada the woman is unafraid of is a good fight. And more often than not, she wins.

Through her enormous impact on young women around the world, Madonna is the future of feminism.

Sources:

Obama: http://www.ft.com/cms/s/0/4d1fa3ae-399b-11de-b82d-00144feabdc0.html?nclick_check=1

Prada: http://www.ft.com/cms/s/0/4d1fa3ae-399b-11de-b82d-00144feabdc0.html?nclick_check=1

Madonna: http://www.nytimes.com/1990/12/14/opinion/madonna-finally-a-real-feminist.html

Of these three I have chosen Madonna and Obama.

(extra) a few examples of parallel projections.

These were meant to give an idea of how our 2 axiometric drawings would intergrate into a UT model. Here are a few examples with a different viewpoint. The differing views were to help us come to grips with the spatial awareness that was required to effectively use the UT editor programme. These were free hand and no sketch up/ pencil lines were used to assist in this coming to grips.

Custom Texture Intergration

This is the main floor of the meeting place/ pit entry. It is important beacuse it is the focus of the entire project.


This is the bottom of the pit. The dark texture here is used to furthen the feeling of wastefulness.



This is where the medium texture is used. It is used to portray the feeling of ' longing' for knowledge that the two plateaus attempt to create. A great view of the outside can also be seen here.

The filefront download link to my model:

http://files.filefront.com/architecture+finalut2/;13706570;/fileinfo.html

Electroagregation quotes:

If I have a thousand ideas and only one turns out to be good, I am satisfied. - Nobel

Water and air, the two essential fluids on which all life depends, have become global garbage cans.- Cousteau.



If I have a thousand ideas and only Water and air, the two essential fluids on which all life depends, turn out to be good I am satisfied.

Final submission images (without textures) and there explanations.

This is The ramp system leading to Nobels 2 main workshops. It conveys my elec. quotation in that the striving for the ideas is ultimately meaningless, shown by the isolation of the workshops.



Note the intricate ramp system here leading to the pit , Cousteaus workshop can be seen after the ramp, it is the top right 'negative' in the wall. This relates to Cousteaus quote in 'the wastefulness', the transition from an unworried green to a deeply troubled red is reminiscint of the finality and impact of pollution. The pit being deep also symbolises how it is meaningless; a relation to my electro agregation quote. Also i made Cousteaus workshop quite tricky to get to (the entry is not obvious) to highlight his frustration at mans wasteful nature.



This is Nobels 'underground' workshop; it tries to convey the mass amounts of thought going through ones head before the idea finally rises, hence its location at the bottom. It is also somewhat larger than his other workshops to indicate the 'mass' of thinking. The windows represent an exit of ideas, the large one being the 'big' idea. Its relation to the electroaggregation quote is that it is structurally level with the pit; this whole process is a farce, non more so that at the industrious and difficult brainstorm beginning.




This is the pit in full flow, all the ramps leading down to it are shown, its depth highlighted by the transition of colour ( which are explained earlier). The use of shadow and non light is also in effect here, giving more depth again to the pit. The greens illusion of safety combined with the real danger of the red give this whole structure meaning.






This is the whole view of Nobels area, topped by the meeting place with its two private rooms and large space in the cliff surrounded by a natural green light, giving it electrofluid meaning.
The two floating workshops and the bottom one can be seen interacting. The use of multiple workshops alludes to the idea of the many ideas that are the theme to Nobels quote. The use of blue light also highlights wisdom and calm; essential to intelligence. The metallic rustic surfaces also represent wisdom combined with clinical thinking.

36 custom textures

In these 3 the lightest is in the top right, darkest bottom right.

In these 2, lightest is top left, darkest bottom right.

UT 2K4 drafts 1+2

This was my first draft in Unreal, it is simple; but it gets the ideas of sprawling ideas (1) to suit Nobel and a wasteful pit of nothingness (2) for Cousteau. Also note the use of ramps to further the theme and the establishment of a central meeting place at the top of image 1.



This is my second and much more developed draft in UT 2k4. In image 1 there are workshops; and if you look closely, more techniques to convey the infinte use of ideas (the one big window being the 1 in a thousand against the lesser ideas, the smaller windows.) Also the meeting place is more developed, the use of ramps furthened to connect the workshops in image 1 to the meeting place. Also more heavy and creative use of ramps in image 2 further increase the feeling of depth and wastefulness.

EXP 2: the quotes plus the 18 axiometric drawings.

These first 9 are based upon Nobels Quote, not the prevailing theme of heavy negatives, implying a 'sprawling of ideas'.

These last 9 are meant to give a feeling of wastefulness and harshness. Thus the prevailing theme is pits and interjoining rectangles.

THE QUOTES:

If I have a thousand ideas and only one turns out to be good, I am satisfied. - Alfred Nobel

Found on: www.firstscience.com/home/poems-and-quotes/quotes/alfred-nobel-quote_2251.html accessed 28/03/09

Water and air, the two essential fluids on which all life depends, have become global garbage cans. - Jaqcues Cousteau

Found on: www.firstyearbook.umd.edu/theravagingtide/impact_foodwater.html - accessed 28/03/09