FoD:R (2020)

Foundations of Design: Representation (Portfolio.)

Portfolio documenting the creative journey through Foundations of Design: Representation.

Portfolio documenting the creative journey through Foundations of Design: Representation.

Portfolio documenting the creative journey through Foundations of Design: Representation.

Kevin Chuyue Wang.

Student number: 1217309.

FoDR Semester 2.

2020.

Kevin Chuyue Wang.

Student number: 1217309.

FoDR Semester 2.

2020.

Kevin Chuyue Wang.

Student number: 1217309.

FoDR Semester 2.

2020.

Completed @ The University of Melbourne, under tutor Kevin Huynh, Studio 3.

Completed @ The University of Melbourne, under tutor Kevin Huynh, Studio 3.

Completed @ The University of Melbourne, under tutor Kevin Huynh, Studio 3.

Contents + reflection.

03 /// “How to draw a croissant?”

04. “How to capture a croissant?”

05. “How to draw a croissant?”

06. “How to project a croissant?”

07 /// “Flatness vs. Projection”

08.

09.

10.

11.

“The making of a projected world.”

“Building blocks for creating a world.”

“A study of pictoral space and projection.” 1/2 “A study of pictoral space and projection.” 2/2

As an integral first step into the world of design, Foundations of Design: Representation was an experience which properly familiarised me with the world of creative and spatial design. As an aspiring architecture major, the wealth of conceptual knowledge granted through lectures as well as the technical and cognitive skills garnered through modules served as great starting points for my future ventures in the industry. Here, I will be recording and remarking on my 12-week journey through my first step into the world of architecture.

20 /// “Frame vs. Field”

Much of the learning from FoDR was spearheaded by the immensely engaging lecture content provided by Scott Woods and the other tutors and personnel. Spatial design and thinking are crucial in architecture, where concepts like “flatness vs. projection”, and “surface vs. pattern” are essential in reaching potential in creative explorations – the latter of the aforementioned being the most engaging to me personally.

Learning about the concept of developable surfaces as well as Euclidian geometry (as explored through Module 3) gave me a holistic yet practical overview into the possibilities of spatial design. That is, speaking of the importance of pragmatic yet intuitive design – how is balance achieved through creativity and pragmaticism?

Literal skills were also learned through the FoDR course.

Being familiar with the Adobe suite from previous experiences designing, 3D generation in Rhinoceros 6 as taught by Michael Mack were greatly helpful in understanding a 3 dimensional workspace and CAD programs.

12 /// “Pattern vs. Surface”

13. "The sample"

14. “The making of a new surface.”

15. "Pattern studies"

16. "Hybridisation"

17. "Artefact"

18. "Composite"

19. “The surface: a study of geometry and fabrication.”

21.

22.

23.

24.

25.

“Hidden cities: an analysis of Berenice.”

"The Old Quad and Berenice" "Perspective 1" "Perspective 2" “Space: a study of perspectives and representation.”

Working in tandem with the conceptual teachings of FoDR lectures, the creative modules were enriching in their practical teachings through application. A personal favourite would have been Module 2: Flatness vs. projection; this project allowed me to ultimately realise design as not only what can be but also what cannot be seen, as a negotiation between the artwork and viewer varying in context. While I feel as none of the other modules completed were unsuccessful, certain amends in terms of fine tuning and quality adjustments were made.

2

03 /// “How to draw a croissant?”

04. “How to capture a croissant?”

05. “How to draw a croissant?”

06. “How to project a croissant?”

07 /// “Flatness vs. Projection”

08.

09.

10.

11.

“The making of a projected world.”

“Building blocks for creating a world.”

“A study of pictoral space and projection.” 1/2 “A study of pictoral space and projection.” 2/2

Module 1: How to draw a croissant?

12 /// “Pattern vs. Surface”

13. "The sample"

14. “The making of a new surface.”

15. "Pattern studies"

16. "Hybridisation"

17. "Artefact"

18. "Composite"

19. “The surface: a study of geometry and fabrication.”

20 /// “Frame vs. Field”

21.

22.

23.

24.

25.

“Hidden cities: an analysis of Berenice.”

"The Old Quad and Berenice" "Perspective 1" "Perspective 2" “Space: a study of perspectives and representation.”

3

module 1

“How to capture a croissant?”

As a playful yet fitting start to the semester, module 1: “how to draw a croissant” would first guide us through one of the fundamentals of spatial design - that being dimensions and sections. Paying attention to photostaging and camera angles, capturing the croissant carefully and properly meant understanding technical conventions.

While the circumstances of the SARS-CoV2 pandemic meant the absence of a proper photostage, lighting and camera equipment, it encouraged resourcefulness. The utility of A3 sheets of paper, tape, small desk-shelf and a phone camera allowed me to realise this resourcefulness - creativity and pragmaticism are more often than not unbound by material parameters.

Ensuring camera angles and distances were all consistent, while minimising margins of error were crucial in properly capturing the true elevation and plan views of the croissant.

Yet it is important to consider what could be done in postproduction too (via Adobe Photoshop) to correct easy blemishes in lighting and angling. These steps were taken to not only capture but highlight the innate quality of the croissant.

The layers of pastry which formed patterns and irregularities throughout created an interesting surface which was necessary to be properly captured.

4

module 1

“How to draw a croissant?�

An analogue reinterpretation of the croissant obtained from Woodfrog Bakery, the creation of a set of rendered drawings based off the photographs were a great introduction to technical drawing and modes of rendering. In media to technique, the rendering portions of module 1 served introductory to the fundamentals of technical drawing.

Drawing the croissant involved a plethora of tools ranging in function, spanning digital to analogue. First, reference images were extracted from capturing the croissant, which were then printed and traced using tracing paper and graphite pencils. Both long and short elevations were produced through pencil rendering, being scanned into Photoshop for final touches afterward. As for the plan view of the croissant, a method of crosshatching with fineliner was utilised. Due to a less variable amount of opacity achieved through this method of rendering, techniques of layering and spacing were used to give the illusion of depth. Section cut renders of the croissant were then produced with a combination of the two aforementioned techniques. While fineliner was able to establish impact in the poche cuts of the sections, voids which varied in depth could be captured more accurately with graphite rendering.

5

module 1

“How to project a croissant?�

Projections are essential in understanding an object in its true 3 dimensional manifestation. While previous exercises of module 1 focused on the planar properties of the croissant, it would naturally be important to grapple with the spatial nuances of the croissant too.

The nature of a croissant is indeed multilayered and multifaceted, and in capturing the complexities in an axonometric view was most suitable. More rendering was completed in reference to the grid, utilising fineliner and greyscale graphite.

6

03 /// “How to draw a croissant?”

04. “How to capture a croissant?”

05. “How to draw a croissant?”

06. “How to project a croissant?”

07 /// “Flatness vs. Projection”

08.

09.

10.

11.

“The making of a projected world.”

“Building blocks for creating a world.”

“A study of pictoral space and projection.” 1/2 “A study of pictoral space and projection.” 2/2

Module 2: Flatness vs. Projection.

12 /// “Pattern vs. Surface”

13. "The sample"

14. “The making of a new surface.”

15. "Pattern studies"

16. "Hybridisation"

17. "Artefact"

18. "Composite"

19. “The surface: a study of geometry and fabrication.”

20 /// “Frame vs. Field”

21.

22.

23.

24.

25.

“Hidden cities: an analysis of Berenice.”

"The Old Quad and Berenice" "Perspective 1" "Perspective 2" “Space: a study of perspectives and representation.”

7

module 2

The making of a projected world.

The concepts of the hidden and perspective were observed this semester to be 2 of the most enthralling parts of design for me.

Module 2 saw the introduction of exactly that in form of a projected world.

In sampling 2 20x20 images of level snapshots from Super Mario Bros. 3 (NES), extrapolations of space and notions of "the hidden" were experimented with. IN adapting both scenes into an amalgamated axonometric environment, we are able to see more of the scene itself. In implementation of a line of separation at the centremost point, we are able to capture both scenes.

Conceptually, my interpretation of 5-3 stems from the motifs of mechanisms and dualities. Where the engaged meets the disengaged, consequences alternate; where chaos in disorganisation are ultimately anchored by unifying forces of order. The former of which being expressed by an ON/ OFF mechanism denominated by P-Switches - an illuminated P-Switch (ON) results in an active pipe and vice versa. Further, chaotic placements of sand (expressed as long, narrow bricks) and interconnected pipes work together as a different, yet homogenous system. These elements of the man-made are then juxtaposed to pristine, modest nature in form of mounds - opposing forces are thereby unified.

World 5-3.

Super Mario Bros. 3 (1988, NES).

Isometric interpretation.

8

elevation 1

elevation 2

module 2

Building blocks for creating a world. building blocks

colour palette C:16 M:30 Y:100 K:1

C:4 M:29 Y:80 K:0

C:82 M:44 Y:99 K:48

C:84 M:16 Y:91 K:3

C:69 M:5 Y:7 K:0

9

module 2

A study of pictoral space and projection.

What is pictorial space according to Le Corbusier?

Le Corbusier asserts pictorial space to be granted through perspective, as an experience which shapes the view of objects from a distance. Thus, pictorial space is illusionary; while observers experience what they perceive to be perspectival depth in imagery such as a painting, reality confines such views to frontality.

The flatness of Le Corbusier’s paintings is attributable to 2 properties. What are they and what are they pitted against?

Described as “mariage de contour”, the flatness of Le Corbusier’s paintings is a unity of shape, form and texture along with the notion of edges. While shape, form and texture ultimately dictate the contouring of a shape as well as its inherit, perspectival qualities, they are contrasted with and aided by the existence of tangential edges which create fluidity between objects.

World 5-3.

Super Mario Bros. 3 (1988, NES).

Handdrawn draft, graphite on paper.

10

module 2

A study of pictoral space and projection (cont.d).

Explain the difference between pictorial (in this case perspectival) space and projection?

In short, the relationship between pictorial space and projection is a comparison of subjective and objective natures. The concepts of pictorial space and projection and their degrees of separation were best explored by El Lissitzky, who describes it as “finite” and “limited”. Therefore, pictorial (or perspectival) space is indeed a recording of what is seen; through vanishing points and perspectives, it creates a finite, limited viewpoint of an object that is therefore subjective. These qualities are juxtaposed to projection drawings, which, while not personally and subjectively possible, are objective representations of a 3-dimensional object represented holistically.

Where did Axonometric projection first arise and why?

While axonometric projections have several places and times of origin, its most commonly accepted one is that of a military. Offering an accurate, objective and thorough representation of a 3-dimensional plane it thereby enabled accuracy in application of artillery and infantry. These objective views were used in favour of more subjective views such as perspectival spaces due to their lack of distortion and generally justified nature.

This nature of accuracy would later make its way into technical drawings (such as in architecture) as a means to accurately represent measurements without distortions on a 2-dimensional plane such as a page.

11

03 /// “How to draw a croissant?”

04. “How to capture a croissant?”

05. “How to draw a croissant?”

06. “How to project a croissant?”

07 /// “Flatness vs. Projection”

08.

09.

10.

11.

“The making of a projected world.”

“Building blocks for creating a world.”

“A study of pictoral space and projection.” 1/2 “A study of pictoral space and projection.” 2/2

12 /// “Pattern vs. Surface”

13. "The sample"

14. “The making of a new surface.”

15. "Pattern studies"

16. "Hybridisation"

17. "Artefact"

18. "Composite"

19. “The surface: a study of geometry and fabrication.”

Module 3: Pattern vs. Surface.

20 /// “Frame vs. Field”

21.

22.

23.

24.

25.

“Hidden cities: an analysis of Berenice.”

"The Old Quad and Berenice" "Perspective 1" "Perspective 2" “Space: a study of perspectives and representation.”

The sample.

Sandro Botticelli Madonna with Child and Singing Angel 1477 ca Berlin, Gemäldegalerie

Fabric sample:

Landscape sample:

As humans, our minds are often hardwired to recognise and find patterns, thus surface and pattern are 2 of the most important and elements of generative design. As explored in module 3, the textural qualities of 2 samples were examined and amalgamated into a central design.

In application of CAD assisted design in Rhinoceros, both samples derived from the Botticelli painting from above as well as the Tasmanian landscape seen to the left were combined into 1 central design. Studies of grids, modules and patterns were conducted in great lengths which served to influence the design process, where successful iterations were put through examination and filtering, ultimately curating the perfect components for a tertiary artefact design.

module 3

“The making of a new surface.�

Therefore, much of the experimentation and production to be seen following this has much to do with the consideration of such a landscape.

The landscape sample given of the Tasmanian terraform compliments greatly what was discussed earlier. In terms of directionality, a central valley running diagonal lengthwise of the square landscape sample not only compliments the directionality of the fabric sample, but also the directional curve of the landscape itself as downward sloping.

Module 3's heavy use of CAD software was largely helpful in adapting design and ideation processes into a 3D generative environment.

Analysis of the painting sample led me to immediately notice the valleys of fabric created by 2 large streaks through it.

An external affector in form of the hand serves as another mediator, determining directionality and form, ultimately causing the convergence of both valleys into a central pivot-point.

14

module 3

Pattern studies.

Module generation: As mentioned previously, the study of patterns would prove pivotal in the direction of this project. With modelling tools on Rhinoceros, modifications in form, heights and pivot points were able to be made from tinkering with variables.

The following figures follow the transformation of module, grid and displacement maps through experimentation in aims of generating the most fitting landscape. panel distribution curve attractor: towards magnitude: 10 modules: 4

panel distribution curve attractor: towards magnitude: 10 modules: 3

panel distribution curve attractor: towards magnitude: 10 modules: 3

/offset points curve attractor: towards magnitude: 8 modules: 4

/offset points curve attractor: towards magnitude: 9 modules: 4

Hybrid generation:

/offset points curve attractor: towards magnitude: 10 modules: 4

15

module 3

Hybridisation.

A combination of the most successful panel and grid studies, the hybridisation study is the fundamental groundwork required for the final artefact. A representation and call to the elements of both the fabric and landscape studies, this iteration accentuates directionality, tone and pivot points.

16

module 3

Artefact.

The continuation of the aforementioned hybridisation, this artefact is made on the basis of such with modifications to both module size, dimension and directional pull. Through tinkering with points and NURB surfaces, exaggerations and pivot points are able to be made, with a design more akin to a theoretical amalgamation of both fabric and landscape.

17

module 3

Composite.

As the name suggests, the composite is the final outcome as the definitive conjoined manifest of both Botticelli painting and Tasmanian landscape. Equal parts fabric and topography, the final composite is made with extrapolations to the original fabric sample, overlayed with the new interpretation.

18

What are the three elementary types of developable surfaces?

Developability of a surface stems from the feasibility of it. While surfaces theoretically could be any 3-dimensional object, differences between developable and non-developable surfaces lie in the possibility of it being translated into a real environment. The three elementary types of developable surfaces are cylinders, cones, and tangents.

While cylinders are formed through the connection of 2 planar circles through a central union, cones possess one of these flat surfaces, where all extensions meet at a central point of convergence.

Tangential surfaces differ from the former in their relative complexity, where curves and surfaces are unified through tangential lines.

Why is the understanding of developable surface critical in the understanding of architectural geometry?

Architectural geometry and its developability is essential to understand as it provides insight into the parameters of possibility. While the theoretical study of architecture or CAD generated models can in-fact have shapes and forms ignoring the rules of physics, gravity, and geometrical formations this is not the case in reality.

It could therefore be said that, as a creative practice, architecture and its practices are nonetheless bound by its physical and pragmatic realms.

Furthermore, efficiency is often greatly enhanced through conception of modular or easily developable surfaces as they require lower rates and quality of production, therefore resulting in ease of construction, application and ultimately cost in the interest of both clients and architects.

What is digital fabrication and how does it change the understanding of twodimensional representation?

Digital fabrication is defined as the use of computer aided design (commonly known as CAD) to create technical drawings, often used for architecture. While more traditional methods of drawing by analogue means are essential in studying the fundamentals of technical drawing, digital means are more accurate and provide the tools necessary for a better technical drawing. High detail figures and models are able to be translated to highest precision with CAD programs, and the representation of such allows technical drawings to go beyond the 2-dimensional plane with 3-dimensional modelling.

module 3

The Surface: a study of geometry and fabrication.

Therefore, one is able to recognise more clearly with CAD aided models that, multidimensional entities such as architectural and industrial designs are which that transcend a 2-dimensional plane as restricted by paper in the past. CAD aided design thereby asserts 3D fabrication as non-planar.

Suggest two reasons why folding is used extensively in the formal expression of building design.

The act and process of folding adds a plethora of uses to architectural design in both its versatility and efficiency.

In theoretical means, the folding of an object will transform its 2-dimensional properties to adapt to a 3-dimensional environment, thus granting it form to be used in building design. As further explored by Iwamoto, folds often allow higher levels of rigidity and robustness, aiding in the quality and practical structural integrity of a building. In generative means, folding any surface has the vast possibility of becoming a myriad of 3-dimensional structures, all varying in shape and form. Coupled with the popularity of CAD as well as artificial intelligence aided design in terms of auto and random generation, an immense pool of designs may be generated through folding. Finally, the act of folding allows efficiency in reproduction. As a process and generative measure, machinery can often recreate folds on a material relatively quickly, thereby reducing human 19 labour and costs.

03 /// “How to draw a croissant?”

04. “How to capture a croissant?”

05. “How to draw a croissant?”

06. “How to project a croissant?”

07 /// “Flatness vs. Projection”

08.

09.

10.

11.

“The making of a projected world.”

“Building blocks for creating a world.”

“A study of pictoral space and projection.” 1/2 “A study of pictoral space and projection.” 2/2

12 /// “Pattern vs. Surface”

13. "The sample"

14. “The making of a new surface.”

15. "Pattern studies"

16. "Hybridisation"

17. "Artefact"

18. "Composite"

19. “The surface: a study of geometry and fabrication.”

Module 4: Frame vs Field.

20 /// “Frame vs. Field”

21.

22.

23.

24.

25.

“Hidden cities: an analysis of Berenice.”

"The Old Quad and Berenice" "Perspective 1" "Perspective 2" “Space: a study of perspectives and representation.”

"I should not tell you of Berenice, the unjust city, which crowns with triglyphs, abaci, metopes the gears of its meatgrinding machines (the men assigned to polishing, when they raise their chins over the balustrades and contemplate the atria, stairways, porticos, feel even more imprisoned and short of stature).

Instead, I should tell you of the hidden Berenice,the city of just, handling makeshift materials in the shadowy rooms behind the shops and beneath the stairs, linking a network of wires and pipes and pulleys and pistons and counterweights that infiltrates like a climbing plant among the great cogged wheels."

Module 4 oversaw the literal generation of a scene, tying together the knowledge learned from previous modules in a complete reinterpretation of the Old Quad from the University of Melbourne. Through examination of the city of Berenice (Hidden Cities 5), the essence of a scene was understood, where the generation of a new scene was conducted.

- extract from Hidden Cities 5, Berenice.

While some may perceive this as a contradiction, the notion of 2 forces struggling for dominance, I saw this as a stasis. In contradiction and opposed absolutes there is harmony, and in ideological rift there is coexistence.

module 4

Hidden Cities: an analysis of Berenice.

"The real Berenice" is described as a "temporal succession of different cities, alternatively just and unjust", that is, a city in constant transient, where 2 diametrically opposed absolutes of just and unjust are in constant cycle.

21

Hidden Cities 5: BereniCe Kevin Wang, 1217309

module 4

The Old Quad and Berenice:just and unjust in unified stasis.

As discussed, Berenice is a city in constant cycle - a cyclic evolution and revolution of the just and unjust. Yet, seemingly diametrically opposed absolutes in cases of Berenice are proven to not be in competition, the just and unjust are thereby unified in stasis. Chaos thrives where harmony eminates, harmony exists where chaos resides. Ideologies explored in Berenice communicate not a struggle, but a natural progression of time in a cyclic nature, where through no intervention exists the eternal rotation of just and unjust.

Through unconstruction and reconstruction of the Old Quad form, the idea above is communicated. Chaos - the unjust - in deconstruction of the Old Quad is most evident in the beginning of the cycle, while a period of stasis is achieved through the middle platforms. Yet, the purgatory of suffering in Berenice's "meat grinding machine" returns by the end of the cycle.

22 0

1m

2.5m

5m

Perspective 1: the unjust.

module 4

The Unjust Berenice is one made of chains, where the bricks of it flay around in directional chaos, its inhabitants lost yet faithless, in their unwilling participation in the endless cycle that is Berenice aided in the cynical colour wash.

23

Perspective 2: the just.

module 4

The just Berenice is one of glamour, faith runs central where the two main arbiters of this scene look toward the parting clouds in the sky, revealing God-rays of hope. These beams illuminate the architecture of Berenice to reveal a marble crossway, pristine and untouched.

24

What are Durer’s rules for perspectival projection?

What is the difference between autographic and allographic practice?

Durer interprets perspectival projection as the extension of all objects as seen from the eye of the beholder. That is, while an environment is by no means objective when looked at by an observer, all objects and entities in the observer’s field of view are fabricated through parallel, theoretical straight lines all terminating at the eye, and thus dictating perspective.

Autographic and allographic nature in practices and arts lie in their mode of consumption, while certain pieces and mediums are consumed in their complete manifestation as a pre-made entity, others are consumed as an experience.

Autographic practices ultimately result in a consumable product which an observer or consumer interacts with, whereas an allographic practice results in a product and experience requiring re-enactment in order for consumption.

Describe homogenous space.

Defined as a mathematical concept, the idea of homogenous space allocates entities within a perspective relative distance, where objects are suspended in voids which give each other depth in their relative position. In this preordained perspective, the subset of all objects within a frame are interdependent, where the removal of any would cause of invalidation of the perspective and thereby the removal of the homogenous space.

module 4

Space: a study of perspectives and representation.

Why do architects need new representational techniques?

It is important for architects to recognise, consider and apply new representational techniques in reflection of society and progress. As such, architects design and produce for a population that is constantly in evolution, where technological and sociopolitical changes have much to do with how products and buildings are interacted with. Thus, Allen emphasises the need of this through architects in their work – problems need to be solving new issues, where recognition and utilisation of new techniques are crucial in representation, adaptation and thereby synthesis of modern living spaces.

25

Thank you.

https://kevinkevnkvn.wixsite.com/fodr twitter: @chuyuechuyue instagram: @hichuyue Škevinchuyuewang 2020