Kai M. Wong: 2007

Design themes and ideas

Some overall themes and ideas:

The offices of both Carlos Slim and Zhang Yin are organised so that both of them are comparatively isolated from the main business areas. Their status allows them to have isolated, private relaxation rooms which only they can access, and their work offices are only accessable to the secretary. Clients must first meet the secretary, and if a meeting with the 'boss' is required, they must wait in the 'hub'. Large boardroom style spaces are provided for Slim and Yin to meet their clients.
Slim and Yin can access their secretary's office, the meeting room with clients, and the elevator to have lunch with each other from their working office.
All the spaces are given generous volume, ceiling height, and lighting to give the idea of comfort, wealth, and power.
In both setups, the path from the 'hub' or 'entrance' to the office of Slim and Yin is a relatively complex one, representing the idea that there are obstacles to power, and that the powerful can put obstacles and isolate themselves from the normal person.
Changes in levels between rooms give an indication of where a person belongs in terms of power. For example, the clients need to walk upwards to reach the secretary, and the secretary must travel up to reach Slim or Yin.

Slim's Office

Designed for his aeronautical business, the spaces are given large openings to convey the idea of 'being in the sky'. His office and private space are further elevated to convey the same idea and to show his power.
Motorised doors and elevators are used throughout to emphasise the technological edge of the business.

Yin's Office

Designed for her paper recycling business, the form of the rooms resemble cardboard cartons whilst giving a powerful and authoritative feel. The spaces are relatively enclosed compared to Slim's office, reflecting the idea that cardboard is usually used to enclose something, and also to create a quiet, internally concentrated business environment.
The overall form of the arrangement is such that Yin's office and private space are directly above the 'hub' for the clients, in a way resembling a 'throne', where she is the "Queen of Recycled Paper".

Lunch Space

The lunch space is arranged symmetrically, so that the approach of both Slim and Yin are identical, reflecting the idea that they are both equally powerful.
The path to the main space winds slightly, and has a darker ambience for quiet thought and to convey an idea of the difficult times both have gone through to gain power.
"Meshed walls", made of numerous little openings along the path contrast with the few large openings in the main space. The metaphor is that the little openings are the 'common' people, which Slim and Yin were, at one stage of their journey (~the path), and the large openings represent the powerful elite, which Slim and Yin are a part of now. Their presence in the main lunch area is a testimony that they have worked and become one of the powerful.

The Table

The table, on first appearance is a large, authoritative table, one suited for important people. However, when the seat is touched, the table shrinks into a more intimate lunch table, so that the two powerful people can discuss closely, rather than seem 'out of touch', which is all too common for those with power.

The Elevator

The elevator, with two open sides, show that power can be dangerous, and when used the wrong way can lead to dangerous situations. The protected, sheltered side of the elevator shows how power can be used to protect and be constructive. (See entry for draft elevator for further explanation).

Exp3 UT file

My final Exp3 UT file can be found here.

In Unreal Editor, the Vertex Editing tool (the top-right button on the tool bar to the left, next to the Camera Movement button) is very useful for making changes to the geometry in Unreal Editor, without having to re-type new dimensions everytime you want to make a change.

If you want to select a bunch of stuff close together in Unreal, you can use ctrl + alt + left-click-drag-your-mouse to highlight the area and any block with a bit inside the area will be selected.

The Hide, and Show Actor functions (one of the buttons on the left, scroll down near the bottom) are useful to clear the clutter in the viewports and make things easier to handle.

Draft Dining Table

Draft UT Environment with Elevator

Elevator as seen from Yin's Space. The design of the elevator aims to reflect ideas related to power. Two sides of the elevator are enclosed, whilst the other two sides are exposed to the open. The idea is that power can be used to protect or endanger yourself or others. Interweaving of elements of the elevator shows how complex relationships exist in a struggle for power.

View from inside the elevator looking outside. Zhang Yin's space (lower half), is composed on the idea of shapes reminiscent of paper packaging, the source of her fortune. These are used in repetition to create a pattern ("recycled"). A glimpse of Ratan Tata's space can be seen near the top. His space is open, and composed of "fins" or "aerofoils", relating to one of his business interest in the aerospace industry.

Looking down towards Zhang Yin's space.

Draft Elevator Path in SketchUp

Two Point Perspectives

UT pathways

Perspectives

One of the main ideas of power I want to explore is how power can be used for "good" or "bad" (for example, to protect, or to fight), and how from different points of view, "good" and "bad" can become blurred. An example is an arrangment which may seem to be a shelter from one angle, but from a different angle, the same arrangement would feel intimidating.

News articles of clients for Experiment 3: The Bridge

Ratan Tata:
Engardio, Pete. “The Last Rajah.” BusinessWeek, August 13, 2007, http://www.businessweek.com/magazine/content/07_33/b4046045.htm?chan=search (accessed 11/9/2007).

An article which, among other things, deals with modesty and generosity while in a position of power, obstacles to obtaining power ($$$?), how the powerful still have obstacles, and the dilemma of succession of power. The importance of inidividual skill in becoming 'powerful' is also evident.

Zhang Yin:
Hutton, Will. “Thanks to Mao, Zhang Yin’s a billionare.” The Observer, October 15, 2006, http://observer.guardian.co.uk/comment/story/0,,1922797,00.html (accessed 11/9/2007).

This also touches on how the powerful (rich?) had to overcome obstacles to reach their position. In addition, it also deals with how luck, timing, circumstances, and the skills of the inidividual all contribute to reaching a powerful position. The powerplays between the inidividual and the governing body are discussed as well.

Carlos Slim:
Smith, Geri. “Carlos Slim’s Fat Fortune.” BusinessWeek, July 4, 2007, http://www.businessweek.com/globalbiz/content/jul2007/gb2007073_887601_page_2.htm (accessed 11/9/2007).

Obstacles to power, the powerplay between a powerful individual and a government, the individual skills and character to obtain power, and the (perceived?) generosity of the powerful are some of the issues evident in the article. Another aspect dealt with is the interaction and perception between those with power and those with little power ($$$?).

Exp 2 Final Model ~ finally...

My final UT Environment for Darwin and Nightingale can be found here.

Some screenshots:

From meeting space looking up to Darwin's space

Darwin's ramp is very simple and plain, and a more "techy" texture has been applied to it to reflect his quote that a scientific man "ought to have no wishes, no affections". His workspace consists of a personal library (left in screenshot), and a large, open platform for him to grow plants and investigate nature (right in screenshot).

Relation to electroliquid aggreggation of quote: The height and isolation of the workspace means that Darwin (scientific heart) must have 'very little wishes' and 'no fear' to work there.

Darwin's space, seen from his "plant platform"

This screenshot shows the lightness of structure of Darwin's space, as well the lack of decoration and ornamentation in the space. This reflects Darwin's original quote, suggesting "no wishes, no affections - a mere heart of stone"

Relation to electroliquid aggreggation of quote: Again, the screenshot shows that a scientific heart should have 'very little wishes' and 'no fear'.

Looking at Nightingale's space from her ramp

Shadows and mysterious spaces combine to make Nightingale's space a 'scary' place, providing the environment for her to come up with her quote: "how very little can be done under the spirit of fear." Straight ahead is her main workspace, with a table, and to the right is her library (bookshelf).

Relation to electroliquid aggreggation of quote: Nightingale's scientific heart must have no fear of the spirits lurking in the shadows.

Nightingales space from her library

A playful texture in the library is supposed to create some relief, so the contrast between a fearful and unburdened mind can be felt by Nightingale. Main workspace is up the mini-ramp, the large ramp is to the left. Platforms with minimal railing creates a precarious situation and reinforces a spirit of fear. (Also relates to electroliquid aggreggation of quote in the same way)

Start of Nightingale's ramp

The entrance is to the right, and continuing down the path to the left will eventually lead to Nightingale's space.

From Darwin's ramp looking at the meeting space

The meeting space brings the laboratories of the two scientists together. The entrance to Nightingale's space is to the left, so the two meets in the bright, central space.

View from inside the meeting spaceThe meeting space aims to provide an inspirational and relaxing enironment for Darwin and Nightingale to discuss their work. The bright tiles aim to provide a calming atmosphere and to enhance the openess of the space. Columns regulate sunlight and also provide a sense of protection and safety while still allowing a sense of being outside, on the edge of a cliff.

Textures

36 textures, light to dark from top left to bottom right.

Electroliquid Aggregation of quotes

A scientific heart ought to have very little wishes, affections, and no fear of spirits.

Original quotes:
"A scientific man ought to have no wishes, no affections - a mere heart of stone." - Darwin
"How very little can be done under the spirit of fear." - Nightingale

Meeting Space v1

The meeting space in the UT environment is a rotated version of the sketch (anti-clockwise).

Combined Axonometrics

UT Environments I

Darwin's space:

For this initial design, the idea is of a cave/rock (heart of stone) being held afloat by a "high-tech" room (science). The space is quite bland, and so tries to capture the notion of "no desires", forcing the scientist to concentrate on "doing science"

Nightingale's space:

The principle behind the space for Nightingale is Fear - of darkness, of heights, and of the unknown. Voids and lighting were arranged to create areas of darkness and mystery. A long, narrow flight of stairs leads one down to the depths of the central core.

Axonometrics for Darwin and Nightingale

Charles Darwin:
"A scientific man ought to have no wishes, no affections - a mere heart of stone."

Florence Nightingale:

"How very little can be done under the spirit of fear."

For Darwin, the axonometrics were mainly designed to be centralised, focused, and singular, so as to give rise to the idea of "no wishes, no affections - a mere heart of stone." Their singularity reflects Darwin's suggestion that a "scientific man" should have a singular aim - scientific knowledge.

Placing these spaces behind the Edge will allow a more literal interpretation of the "heart of stone" idea. However, placement in front of the Edge provides opportunities for less obvious connections with the quote. For example, a floating sensation can be created, leading to feelings of isolation, and eventually no affections and wishes.

For Nightingale, the axonometrics were designed on an idea of movement, hidden spaces, and the precarious arrangment of spaces. This is meant to instill mystery and uncertainty as one moves through the volume, creating an atmosphere of fear and anxiety.

Placement behind the Edge allows fear to be created through the manipulation of light and darkness through the space, whilst placement in front of the Edge allows the precarious arrangements to create fear in combination with height and isolation.

ARCH1102 Experiment 2: The EDGE

INSIGHTFUL quotes~

“Most sets of values will give rise to universes that, although they might be very beautiful, would contain no one able to wonder at that beauty.”
- Stephen Hawking

“A scientific man ought to have no wishes, no affections – a mere heart of stone.”
- Charles Darwin

“How very little can be done under the spirit of fear.”
- Florence Nightingale

Quotes found from www.brainyquote.com.

ARCH1102 Exp1 Google Warehouse upload

My model for ARCH1102 Exp1 can be accessed here.

Note that some layers used exclusively in the animations have been deleted to reduce file size and allow the model to be uploaded to Google Warehouse.