Oct 102014
 

The following text was intended to accompany the drawings that were published in the CLOG: SCI-FI issue from 2012. The drawings obviously spoke for themselves…

 

The 100 Year Starship.

What started out as an exercise in the fiscal stability needed to support such a venture, strangely enough materialised. Nobody, not even those that instigated the project could have imagined that it would actually be built. Even the dreamers.

And so, over the course of a hundred years (give or take) a starship was constructed in a high earth orbit, keeping it beyond the ever expanding belt of debris, but also as was widely acknowledged at the time, beyond threat.

First world nations, supported by their largest multi-national corporations, mined the Moon successfully creating 3d printed silicate structures and panels. This technology combined with the use of abandoned space stations to form a skeletal structure, ensured the slow but steady construction of what resembled a city, taking shape in space.  Gigantic, extruded, square profiled sectors grew from a central mega-truss, the birth just within eyeshot on a cold, clear night.

The starship was sent out from its orbit to slingshot through the gravities of other moons as it made its way to uncover possible second homes. It mined as it circled these celestial bodies, supplying a new religion of architected construction that provided some form of occupation for those generations forging an existence aboard. 3d printing machines became churches, to a background of air-conditioning hum, unpredictable mechanical clanging, and revolutions…

The heliosheaths of many suns and stars have been passed through by the one hundred year starship. The solar sail that once caught solar winds from within the Milky Way has been tossed and turned so that it now resembles swaddling, wrapped over the platonic form.

It appears motionless in a distant galaxy. A traveller from an antique land. A colossal wreck, boundless and bare. Intact for the most part, there are moments when life once struggled to escape it’s greebled carcass. No passengers are left now. They are all long since departed. The last one died thousands of years ago. The last of his species.

A reliquary of progress, it has outlasted its creators. Technology has triumphed over man. It has left him for dead. It is now utopia incarnate. At least for another five hundred thousand years or so. Its course will be interupted by the supernova of an aging star. The starship will travel directly towards the gravitational collapse and be intercepted by the star’s expelled material at a combined velocity of sixty thousand kilometres per second.

A product of the Enlightenment, it will end in a burst of radiation that will outshine stars.

starship construction

internal fit-out

starship death

 October 10, 2014
May 102013
 

Augmented Luminous Starship Model

This image shows the starship that I designed for the Luminous exhibition as a triggered augmented reality (AR) 3D model. The model appears to hover above the Reid Library on the grounds of The University of Western Australia, triggered by the view of the library.

The Luminous application, created by felix laboratories, can be downloaded for Apple and Android smart-devices. The entire exhibition of augmented reality (AR) artworks, including animation and audio components,  is accessible through the catalogue, available at the University of Western Australia. It is recommended that you take a stroll through the university grounds and experience the AR for yourself.

Augmented Luminous Starship b

luminous catalogue photo

Above is the Luminous catalogue with cover drawing by the talented Beth George.

 

 May 10, 2013
May 102013
 

Luminous Starship Model

This image is a 3D Studio Max render of a starship I designed for the recently held Luminous exhibition on the grounds of the University of Western Australia. The exhibition, which is currently running, consists of augmented reality artworks triggered within the university grounds.

 May 10, 2013
Jan 022013
 

1st year, 2nd semester, design studio

This is a selection of our 1st year design studio final submissions. The introduction to the studio brief is as follows;

“The earth is simply too small and fragile a basket for the human race to keep all its eggs in.”

Arthur C Clarke.

The year is 2100.

Earth-based natural resources have been depleted to a level that is finally having a direct impact on society. The exploitation of raw materials from asteroids and minor planets is now viable and underway across the solar system.

The once Earth-bound, capitalist mining corporations that have stripped our home planet bare have extended their reach in order to quench humanity’s insatiable appetite for consumption of whatever is placed before it.

An asteroid based mining colony has been proposed on the asteroid that you have researched in component 1 of this assignment. This facility will be largely concerned with the production of platinum and cobalt for
Earth-base industrial purposes using shaft mining techniques to reduce the environmental impact. It will also harvest water from ice buried within your asteroid which will be stored for use as propellant.

While largely automated, this facility will contain a human presence, due to the harsh environment. This human component will be made up of technicians, geologists, and scientists. The inhabitants will serve one year cycles within the facility. The facility must cater for, and be conducive to extended stay inhabitation.

a

b

c

d

 

 January 2, 2013
Nov 052012
 

This is one of my other favourites. Part of what I was trying to accomplish through this series was the expression of the sublime. I was trying to demonstrate the ultimate magnitude of Kant’s sublime. In this drawing  I am attempting to describe that this characteristic is found both internally (within the starship, akin to Piranesi’s Carceri series) and externally (beyond the mathematical expression of sublime; the supposed infinite).

 November 5, 2012
Nov 052012
 

This is the first excerpt from my final design submission that I will be posting on this website. Over the next few weeks I will be posting a selection of postcards from my 100YSS book, and will on occasion provide some additional information that may or may not be either relevant or enlightening.

This drawing was the only ‘real’ architectural drawing in my final submission. A plan, section, elevation drawing that hints at an unknown trajectory. To be honest I am not sure if I had scale in mind. Any scale would be irrelevant anyway. I felt as though I had to include it in case I was accused of pure illustration. As it turns out it is one of my favourite drawings from this project. It is the essence of my entire project. Some sort of autonomous ambiguity.

 November 5, 2012
Nov 052012
 

This animation was submitted as part of my final design folio. It was hastily put together on the morning of submission using a combination of hand drawings and After Effects with a smidgen of help from Photoshop. You will have to use your ears to try and guess from where the sound was borrowed.

The animation was produced with its display in mind. During the presentation of the project it was projected over a wall, with the intention that it would compliment the other components of the exhibition.

 November 5, 2012
Oct 312012
 

Earlier this year I had the good fortune of being invited to exhibit a selection of my drawings on the walls of the newly refurbished UWA Architecture, Landscape, and Visual Arts library. I look at this opportunity as fair consolation for the loss of my beloved Nissan Pulsar to the same storm that wreaked havoc on this very library,  initiating its repair and restoration.

Much thanks goes to Honey Hiranandani of Ferguson Architects for her patience and impetus, and also to Gina Sjepcevich for her assistance throughout this project.

 October 31, 2012