Darren doing some filming whilst I fold together the stairs for the temporary installation #2000northwestwind @darrenknightgallery Sydney in 2000.
20 years ago neither Pepakura nor Grasshopper existed (and, yes, checked T-shirts tucked into jeans were fashionable, lol). Having written my own unfold software it was easy to add an algorithm that generated the tabs and slots automatically. The boolean intersection of the 'sandgrains' with the stairs was done procedurally at the design stage in HoudiniFX.

5 years after my first large scale installation at Darren Knight Gallery (see previous post) @misho_and_associates invited me to up the scale a notch for #2001bambu and I designed and built the wall/ceiling sculpture with overall dimensions of 30 x 10 x 7.5 meters. The restaurant opened as 'bambu' but changed to 'Opium' a few years later- here are two lunch-time snapshots from around 2003.

Similar look to my previous post, but the #1996dkginstallation was designed a few years before I learnt about parametric design. This was the view from the back of the gallery into the fullscale cardboard installation. Special attention was given to channeling the light from the ceiling into the various spaces.
Photo: Kenneth Pleban. Cardboard and plotter sponsorship: Visy Board Australia. Venue: Darren Knight Gallery 1996.

Transport and installation of #2001bambu only took 2 days. The elements weren't heavy (max 20kg), but as mentioned in my previous post they all had to be threaded through the entrance door. (... and wearing my T-shirt back to front had nothing to do with me being stressed or anything like that ...)

Competition entry video for #2001bambu which got @misho_and_associates and myself the job in 2000. Sorry about the quality, but this was generated when VHS was still the video standard :-) Obviously the final design looked quite different - especially once we learnt that all the elements had to be threaded through a 2.1x2.1 meter door.

Building #2001bambu. Using just one faceted layer as input my software generated not only the cutting and creasing patterns for shallow reinforcement boxes in the center of each element but also the patterns for a 'tension layer' on either side, reinforcement patches near the suspension anchors and an easy to assemble jig to work on. Because everything was at weird angles sandbags proved to be the most efficient way of applying pressure while the glue set. It was 16 hour days for a few months in late 2001 - with my wife visiting on the weekends ... Photographs: @alanschacher

#2001bambu is the largest cardboard project I have completed so far with the overall dimensions of 30 x 10 x 7.5 meters. @misho_and_associates contacted me in 1999 about a wall/ceiling sculpture for the conversion of the bus terminal of the Overseas Passenger Terminal, Circular Quay, Sydney into 4 restaurants. The tenancy agreement specified that the interior needs to be re-designed every 5 years which gave Misho the idea of using one of my recyclable cardboard sculptures.
Photograph: Misho+Associates

'Incision and Drainage of a Gallery Corner' - 20 years after the original #1998afterthemasters installation at the Ivan Dougherty Gallery, Sydney I rebuilt it as a scale model using the original data files. This time I was able to do the 2 colour version in white and red which I didn't manage to do with the big corrugated cardboard sheets back in 1998.

'Incision and Drainage of a Gallery Corner'. The incision from ceiling to floor of the original #1998afterthemasters cardboard installation (3.6 x 2.5 x 3.7 meters) at the Ivan Dougherty Gallery, Sydney.
Video footage: Chris Willing

'Incision and Drainage of a Gallery Corner' - I recently came across sketches and documentation material of this little project which I remember fondly, but don't have a single photo of. Built from corrugated cardboard it was exhibited at the Ivan Dougherty Gallery in Sydney from 16 April to 16 May 1998 (#1998afterthemasters ). As with all my cardboard projects it ended up as a pile on the side of the road waiting for the recycling truck. Though rumour has it that Paula Dawson (of holographic fame) 'rescued' some of the elements and decorated her office at COFA with them. Decided to spend a day or two to re-build it as a 1:20 scale model ... love sculpture in the digital age.

View from within the 'oval room' back to the entrance of the fullscale #1996dkginstallation. Light funnels extended to the halogen downlights of the @darrenknightgallery ceiling. They are the ones that look like chimneys in the photo of the model in my previous post. The cardboard didn't come together as precicely as imagined, but, hey, this was the first time, zero budget and a few years before Gehry's Bilbao Guggenheim :-) Photo: Kenneth Pleban. Cardboard and plotter sponsorship: Visy Board Australia.

Floor plan and elevation of the #1996dkginstallation as ink pen plots. These were done in 1997 well after the fullscale cardboard installation @darrenknightgallery simply because, in the lead-up to the exhibition I was too busy with the logistics of building something on an architectural scale for the first time (sponsorship, computer controlled cardboard cutting, rental vans, where to stay etc.).

Virtual Reality Interlude - 1997 - The first 'body' I ever designed was for a VRML animation I did whilst at the CSIRO - CMIS, Canberra during a 1 year Australia Council for the Arts residency. I basically tested their Immersive Workbench combined with a Phantom input device whilst modelling the skater triangle by triangle in virtual reality. My unfold algorithm was already working at the time and, having cut the cardboard on Visy Board plotters I could fold together the shirt in a couple of minutes. I did all the VRML scripting for the animation in a simple text editor. Thanks to the InstantReality viewer developed by Fraunhofer IGD the animation is still running beautifully today. Basically, whenever the start button is clicked, a bench is spawned and the skate border does a nose slide whilst the viewer can move freely around the scene.

Image credit: Press image Immersive Workbench showing a colleague of mine: CSIRO

. Detail of my architectural installation 'Northwestwind - Mild Turbulence' at @darrenknightgallery, Sydney in 2000 (#2000northwestwind). The installation utilises oversized sand grains to visualise wind trajectories through a stylised architectural environment. Frozen into the positions where they made contact with the building, they serve as reminders of architecture's embeddedness within nature. Excerpts from the particle systems based video soon ... Photo: Paul Green

Whilst all the elements for the #1999hostperformance were different, each element had a 'partner' element to form a closed box with enough room inside for one or two performers. Photo: #heidrunlohr

. The low weight of the corrugated cardboard elements (less than 20kg) allowed choreographic moves otherwise not recommended. (#1999hostperformance)

. A snapshot taken during rehearsals for HOST (#1999hostperformance) and one mending an element after a small incident.  With the size of the elements being 4 x 2.5 x 1 meters on average it was hard for the performers to see where they were pushing them ... (see my previous post)

Initially the large scale cardboard elements formed a maze trapping the audience which had been guided into the hall through the bowels of the theatre in low light. A flash of light - and the cardboard environment starts performing around the audience, who move amongst the changing scenes as the monolithic elements are manipulated into walls, passageways, caverns and city-like agglomerations. (#1999hostperformance) - Gravity Feed Performance Ensemble - Rik Rue

Found an original poster for the 1999 HOST performance in Sydney at my parents the other day. (#1999hostperformance). Bringing back good memories ...

. @alanschacher and myself in a Marrickville studio in 1998 after producing the second prototype for the 1999 HOST performance in Sydney. (#1999hostperformance)

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