Daniel Eaton

Abstract : A threshold of transformation. Slipping between sensuous curves, the body is set at ease.  This interventions fluidity is inspired by water, the rivers and contour lines that run beneath its bones. The curves continue the motif seen in the gallery. Snake-like, this Mobius inspired structure weaves between puncturing columns. Symbolising strength, its presence is insidious as it enters the building.  Light is reflected through the dividing screen to a shimmering, distorted effect – similar to that of snakeskin. Constructed from frosted glass, its ambiguity and shadow play is key. Having shed its skin – this symbolises the transformative state between sleeping and waking.  Snake connotations could perhaps evoke a mistrust – a blind leader. Or perhaps the snake, a creature of mythology, is a watchful protector, slipping into our dreams and occupying the gallery space. Instead of impeding on the life of the university students, its soft form provides a dynamic intervention into the space.

• A1 Site Map – An asymmetrical exploded view of St Paul Street Gallery and its surrounding environment is featured in my site map.  Hand Drawn elements further this extrusion, as well as the projection lines that stem from the site.  This dissection is representative of the highway cutting across the divide.   A scale of light to dark is seen on the right, of the building itself in relation to the city block it sits. This leads to an aerial view of the building, with the space in between – something equally important – cut out and highlighted through the use of positive/negative interplay.  As if torn from the ground, or unearthed by an unknown presence, the block of buildings emerges as the focal point.  This later connects to the snake-like presence seen in the following works. 

• Final proposed Floor plan/section – My floor plan has taken visual inspiration from Richard Serra’s contour, Lumicors Glacier Ribbon,  as well as Perry Kulper and Yanik Scott’s atmospheric drawings.  Dramatic shadows play a crucial roll in establishing the drama to the piece.  A monochromatic palette allows the intense dichotomy between light and dark to truly shine through in the piece.  The partition is allowed to be the focal point, a bold crisp white against the swirling, ebbing current of greys and black. The shading has been done in this motion to allude to water, an ebbing current of emotion and memory – dreams.  Repetition has been used outside the frame of the building, an abstract representation of both contour lines, and the rivers that run beneath. The pavement has been included to give surrounding context, as well as the deciduous oak trees at Albert Park.  Perhaps all these entities are attempting to enter the building.  However, only one manages to seek shelter in its grasp.  Simple footprints give the impression of life and movement, giving context to the piece as a university building.  Similarly in the section plan, ghost-like figures haunt the frame and linger in the shadows.  An artistic impression has been used, allowing the charcoal and the materiality to be highlighted as expressions of light and dark. 

• Scale Model – The model has been completed in a heavyweight white cotton paper,  giving a ghost-like appearance, simple and elegant.  The space of St Paul street has been captured its simplest form, allowing for easy reading of my threshold design. The partition has been completed in a transparent, foggy paper.  The design sits nicely amongst the muted tones of the model. However, the curves of its form and more sensuous design in comparison to the original building, offer an interesting and dynamic contrast. A tension is evoked in the model by this juxtaposition of form. The foggy paper intended to be glass, an extension of the initial response to the space that the dividing wall was a fogged glass.  Instead, the space was just dark and gave this impression.  Passing figures are refracted through this dream partition. Perhaps another world lies beyond the sensuous curves. Slipping between the two meeting forms, a moment of transition happens.  This is where the threshold moment lies, at the intersection of the dream world and reality. Or in fact, the formality of the original building and the ethereal, organic cures of my threshold intervention.  I decided that in attempts to highlight the materiality of the threshold, the lighting had to be included. Glowing through the transitional space, a warm light resonates through the glass-like surface. This glow solidifying the sense of the transitional moment, illuminating the curved path one must take to slip into the gallery. Removing the front entrance allows a new diologue for the space. Private becomes public, and the outside is invited in. This is a threshold that urges the typical rhythm of university life to halt, and asks of us to give way to it and become sensually involved with the rhythm of its space. Time slows. A moment of reprieve amongst the bustling halls of the university. 

Feedback: Visually, the site map could connect more directly to the plans. Perhaps the plans need to be made simpler, taking away some of the surroundings contour lines, or by simply filling in the white space to achieve a more blocked out surrounding. It was suggested that the snake-like appearance could perhaps be in conversation with ideas on Maori Taniwha, creatures from places of water. Ambiguity is a key concept in this project, and these mythical creatures and connection to water , in fact, prove influential. This would help solidify the dream language I am trying to achieve.

Sun shines through the dividing partition that now marks the boundry for public and private space. Eliminating the front entrance into the foyer has left this to be the new bridge between indoor and outdoor space.

My final model design will be presented surround in bed linen, as though it is an entity in itself, caught in a moment of slumber.