3D Design Portfolio- Bahia Amer 900213110

PORTFOLIO ARCH 250/2512-02 Foundations of 3-DimensionalDesign Instructor: Dr. Aya El khouly Spring 2022

Bahia Amer 900213110 1

Syllabus • Catalogue Description:

• TextBook: •Hannah, G. 2002. Elements of Design, Rowena Reed Kostellow and the Structure of Visual Relationships: exercises in three-dimensional design, New York: Princeton Architectural

Prerequisite: none Basic concepts and fundamentals of visualization, thinking, and design of simple forms in three dimensions.

Presentation, communication and basic design skills using simple three dimensional modeling exercises in manual formats. Solutions are explored balancing between aesthetic and functional design criteria. Lectures, slide presentations, guided design studios and designcritiqueswillbeused.Nopreviousdigitalormodelingexperienceisrequired.

Press.

• Course Design Questions:

• Additionalreadings:

What is the essence and aesthetics of Form? How form, space and function interplay three dimensionally? What are the foundations of tectonics and structure of Form using modeling experiments and hands-on experience? How to incorporate concept-framing and simpledesignprocessofdevelopmentstagesinthedesign/build1:1installation projects?

•Mills,C.2005.DesigningwithModels:AStudioGuidetoMakingandUsingArchitecturalDesignModels,2ndedition,JohnWileyandSons.

•Ching,FrancisD.K.,andFrank Ching.2014.Architecture:Form,Space,andOrder.Somerset,UNITEDSTATES: JohnWiley&Sons,Incorporated.

• Course Structure:

• Alexander, Christopher. 2002. The Nature of Order: An Essay on theArt of Building And the Nature of the Universe. Center for Environmental Structure Series, v. 9, 10, 11,12. Berkeley, California: Center for Environmental Structure.

This course is designed around a set of two or three functional application exercises and a final project. These applications can be a chair, standing lamp, display unit, art piece installation, child’s play, musical booth, etc. Each main exercise serves as a training milestone for combining a group of basic concepts and simple forms coming together in a 3-dimensional application. The purpose of these key exercises is to test students’ creativity in the compilation of complex superimposed forms with dynamic aesthetics, as wellastesting theirabilitytofunction inregardstothehumanscale.

•Variousmaterialswillbeselectedfromothersources

• Course Objective: •Todevelopbasicthree-dimensional andspatialthinking,visualizing andproblem-solvingskills

• Target Audience:

• To apply three-dimensional thinking approach to various design fields, such as abstract expression, architectural design,productdesignetc.

This course will provide entry-level visualization, communication and design skills for a wide variety of fields including mechanical engineering, architecture, interior and furnituredesign, graphic design, package design, marketing, and visual arts. It will help produce innovative modelingprojectssuchasexhibit design,simplevehicle design,furnituredesign,packagingdesign,productdesignetc.

•Tounderstandtheconcepts ofform,ratioandproportion

•Tolearn howtoexpressanabstractconceptintoits respectiveformalistic representation

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• GradeDistribution:

Topics: lecture-hrs

•Introductiontobasicconcepts ofthree-dimensional design 20 •Integration ofaesthetic andfunctional designcriteria 12 •Three-dimensionaldesignpresentation techniques 8 •ObjectdesignandmodelinginStudio 20 Total 60

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Grade1.Three-Dimensional ThinkingandProblem-Solving Assignments: 50%(25%C.W +25%H.W) This is a series of exercises aiming at introducing and developing three-dimensional problem-solving skills. These exercises are to be performed individually by students in the studio and as take-home assignments. Basic concepts of three-dimensional design are taken into consideration. Manual techniques of 3D modeling and 2D sketching will be used.Thefocusshouldbeontheprocessof3-dproblemsolvinganddevelopmentofformratherthan theproduct.

• Course Outcomes:

IncludingMidterm(Exam/Exercise) 5%

1.Understand and critically analyze elementary three-dimensional designs using the concepts and principles of three-dimensional design and express this analysis both verbally and in writing. (fulfillment of UIA objectives 3 and 16)

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Grade2.FinalProject: ObjectDesignandModelingAssignment: 25%

Integration of ideas and concepts of the basic exercises demonstrated throughout the course with principles of space analysis. A high level of abstraction and exploration of space with function and human scale agronomics is required. Basic concepts of three-dimensional design are taken into consideration. Manual modeling techniques are tobeused.Experimentationwithdifferentmaterials isencouraged.Thefocusshouldbeontheprocessof3Dproblem solving anddevelopmentofformrather thanjustthefinalpresentation techniqueandproduct.

2. Ability to use simple 3-dimensional modeling principles to design and present three-dimensional objects. (fulfillment of UIA objectives 1 and 3) 3. Understand formal ordering systems (proportioning, dynamics, rhythm, visual relationships etc.) as well as apply them to simple architectural objects. (fulfillment of UIA objectives 3 and 16)

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Grade3.Portfolio andDevelopment 20%

4. Ability to apply fundamental 3-dimensional design skills to a given object and to integrate aesthetic and functional aspects in simple designs. (fulfillment of UIA objectives 1, 3 and 16)

• Grading Policy: All assignments and projects will be discussed in studio and the students will be graded according to their attendance, participation, and generation of new ideas. The majority of the project grade will be placed on the student’s ability to develop his ideas from concept to finished product, integrating information and critiques at each stage. Students are expected to refer to relevant issues from their discussions, readings and lectures during critiques and throughout assignments.

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Syllabus • Grading Policy: All assignments and projects will be discussed in studio and the students will be graded according to their attendance, participation, and generation of new ideas. The majority of the project grade will be placed on the student’s ability to develop his ideas fromconcept to finished product, integrating information and critiques at each stage. Students are expected to refer to relevant issues fromtheir discussions, readings and lectures during critiques and throughout assignments.

Thegradeswillbeassignedaccordingtothefollowing criteria.

• Grade A: For an excellent and superior performance displaying highest level of command of all aspects of the relevant material, with no or only a few minor weaknesses. Student exceeded expectations of the course and applied many of the design issues raised from discussions, readings etc., to their course work and showed outstanding creative abilities and novelty in handling the design aspects. Students who are within the grade A category are expected to be innovative, highly technical and add to the studio and class environment andenrich thelearning spectrumwithinnovative ideas.

• Grade A- : For an excellent performance displaying a high level ofcommand ofallaspects oftherelevant material, with only minor weaknesses, justshortofsuperioroutstandingperformance.

• Grade B+: For a very good performance displaying a high level of command of most aspects of the relevant material, with only minorweaknesses • Grade B: For a very good performance displaying a proficient level of command of most aspects of the relevant material, with some weaknesses. Student completed the work for the course at a high quality (as opposed to superior) and expressed very good depthofunderstanding,designcapabilities andmasterednewskills.

• Grade B-: For a very good performance displaying an appropriate level of command ofmost aspects of the relevant material, with someweaknesses •GradeC+: Forasatisfactory performancedisplayinggoodcommandoftherelevant material, butalsoweaknesses • Grade C: For a fair performance displaying fair command of the relevant material, but also considerable weaknesses. Student musthavecompletedtheworkforthe course.

• Grade C-: For a below fair performancedisplaying below fair command oftherelevant material, but also considerableweaknesses.

Studentmusthavecompletedtheworkforthecourse.

• GradeD: Foradeficient performancedisplayingsomecommandoftherelevant material, butalso majorweaknesses •

Grade D-: For a seriously deficient performance displaying minor command of the relevant material, but also major weaknesses, meetingonlytheminimumrequirementsofacceptance • Grade F: For a performance which is not acceptable in all or major respects or does not meet the minimum requirements of acceptance

• N.B.

1.Failingtosubmitanyexerciseor assignmentin itsduedatewithoutanauthorizedandlegitimateexcusewillnotmeetthe minimumthreshold topassingthecourse.(seeendofdocumentforthethreshold rubric) 2.Therearenolatesubmissions.Thereis noredoforanyassignmentorexercise inthis course.

• GradingRubricforExercises:(whenapplicable)

•Applying3DrulesofdesignintermsofproportionsandAesthetics.

•CreativityandDesign Approach.

•Functionaltranslation andexpression fromconcepttoobject(expression skill).

•Developmentoftheideaanditspresentation ontheconceptboard(processwork,formanalysis andpresentation skills).

•Workmanship(craftsmanshipskill).

• Attendance Policy:

20pts.

20pts.

20pts.

20pts.

20pts

Students in all courses at the Department of Architecture are required to abide by the University approved Attendance Policy. The following specifics pertain to the course: - Students shall attend and participate in all classes except for a pre-authorized excuse from theinstructor. - Students who have a pre-authorized excusefrom theinstructor shall coordinatewith the instructor the time andplaceofsubmittinganymissingassignmentortakinganin-classmissedquiz,testand/orexam.Itisthesoleresponsibilityofthe student to follow-up with the instructor in this regard. - Students who miss more than the maximum three-week equivalent of absences without an authorized approval of the instructor or not in compliance with the University Attendance Policy shall receive anFin thecourse.

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• Academic Integrity Policy: For full definition of standards of academic integrity please refer to the University’s Code of Academic Ethics: http://in.aucegypt.edu/auc-academics/academic-integrity/code-academic-integrity http://schools.aucegypt.edu/academics/rhet/FAQ/Pages/Academic_Integrity.aspx It should be noted that given the creative nature of design studios particular attention should be given to plagiarism in any form-i.e. presenting others work (professional or nonprofessional), whether in whole or in part, as your own, even with alterations. Failure to adhere to the university’s Code of Academic ethics in any form will result in severe penalties and failure of the course. For a broader understanding of principles of plagiarism and copyright protection in international architectural standards refer to http://www.archdaily.com/772313/want-to-workinternationallyheres-what-you-need-to-know-about-copyright

• Disclaimer: While conducting your course work, assignments, and final project, you are required to respect the code of conduct of the campus’s larger community, people and its buildings. Any damage, paint, or destruction to the campus’s material, be it walls, floors, chairs, and property caused by your work can result in failing your assignments and losing grades leading to failing the whole class. Preserve and maintain the good condition of studios, buildings and open spaces. Take all precautions while working on campus and in the department; use cutting mats, plastic bags while working on your 1:1 models, do not paint over walls, seats, tables, and so on. Take all necessary measures for the safety and cleanliness of your working space

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Syllabus • Course Outcome Alignment to UNESCO-UIA Fundamental Objectives:

H: high, M: Medium, L: Low

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• Alignment of Course Learning Outcomes to Program Learning Outcomes • Alignment of Grades Learning Outcomes to Course Learning Outcomes

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Table O f Contents Week 1

Introduction P.10 HW 1

Week 2

Week 3 Week 4 WEEK 5

WEEK 6

Rectilinear Volumes P.14 CW 1 HW 2 CW 2 HW 3

CW 3 HW 4 CW 4 HW 5 CW 5 HW 6

Curvilinear Volumes P.20 Recticurvi Volumes P.26 Fragments/ Revision P.30 Planner surface P. 36 8

Lines in Space P.40

Week 7 Week 8

CW 6 HW 7

P.46

CW7 Midterm

Week 9 Week 10 WEEK 11 WEEK 12

Mid-term Follow up Spring Break Final project Follow up

RE DO Final Project 9

“The goal was to supply students not with disjointed bits of information but rather with an organized approach to the mechanics of design and the necessary inner discipline to carry out assigned problems”

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Week 1 : Introduction HW 1: Using materials and scraps available at home, create 4 artistic models

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Homework 1

Rhythm Waves Repetition

Triangular base Planes with curved edges Cardboard spray painted black

Attempt to make a rectilinear composition using match boxes Matches arranged like a camp fire Burnt matches of different heights

Dynamic arrangement of matches

Match boxes stacked and spray painted white

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This model was inspired by light reflection and disco balls. The materials are all shiny, metallic, holographic and curvy. The random arrangement of the CD fragments makes it dynamic

Sticking Fragments to light bulb CD Fragments

Sprayed the CD to hide writing and make it shiny from both sides

cardboard cut and sprayed to create the base

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Shiny cardboard

Holographic side up as it creates nice effect when exposed to light

This model was based mostly on trail and error of trying to make composition using the available material

“Like a piano teacher, she made you do the exercises over and over so many times that you lost all your tricks.” — Tucker Viemeister

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Week 2: Rectilinear Forms •

CW 1: Using the rules of Rectilinear compositions discussed create 3 Rectilinear compositions P. 16-17

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HW 2: Pick a painting by Piet Mondrian and use it as an inspiration for 4 Rectilinear models,

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P. 18-19

Classwork 1

Inspiration Key words: Dominance Composition Unique

Concept: Make a Rectilinear composition using plasticine that contributes all the elements of design discussed in class. Model must show unity,

Using xyz axis

Cuboids are of different characters

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Composition changes from different views

Reflection and feedback:

Composition is not symmetrical

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Overall, this assignment helped me better understand the process of making a composition and the difference between, dominant, subdominant and subordinate.

The rectilinear forms were neat however the compositions were not very dynamic.

Homework 2 dominant

Subdominant

Subordinate

Using lines to create depth to the composition

Subordinate

Every cube is on a different level to add dimension

Subdominant

dominant

wedging

piercing

Main cubes on in the painting were twisted and connected different to create a more dynamic 3D form

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Removed colors for more abstract effect

Piercing of the cubes to each other creating strong connections

Inspired by NYC

Connections are very week

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“These exercises are running the scales. You have to be able to strike the notes before you can play the music.” — James Fulton

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Week 3: Curvilinear Forms • CW 2: Make 4 curvilinear forms following the rules stated in the book “ Elements of design” • HW 3: Use 4 pictures to create abstract curvilinear forms using 3 different shapes

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Classwork 2 Concept: Using the curvilinear volumes, I created forms portraying tension and precariousness where the shapes are tilted and moving with different axis in different directions creating 3D forms that are alive and exciting Key Words:

Inspiration:

• Precarious • Tension • Dominance

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Precarious

Weak tangent connections

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Homework 3

Dominant

Inspiration picture

Subordinate

Subdominant

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Sketch and inspiration picture

Dominant

Subdominant

Subordinate

Dominant

changed to cone

Struggled to keep the model stale

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Subordinate Subdominant

“The beauty of this process is that you may not apply these principles directly when you’re doing a project like a car interior or a lamp. But you bring to that process a sensitivity to composition that helps you make the right choices.” — Gerald Gulotta

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Week 4: Recti curvy Volumes HW 4: analyze 4 different good real life examples from industry and create recti-curvy volumes

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Homework 4 Many tangent relations

dominant wedging piercing subdominant

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“She would put things on the floor and look down—and that was a revelation. Most of us worked from a fixed position. Rowena taught us to get five to twenty feet away and see our work in its entirety, look at it from all sides and from the top down, to see it in a different way from the way we worked on it. That was a very important lesson.” — Len Bacich

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Week 5: Fragments • CW 3: choose 2 Geometric shapes , break them into 3 to 5 pieces then rearrange them to create a good composition • HW 5: Make 4 models (1 rectilinear, 1 curvilinear, 1 recti-curvy, 1 fragments) using all the rules and principles we learned in class

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Classwork 3 Concept: Through trial and error on sketches, I picked a cone and a cuboid and tried different ways to break them down to give pieces that are suitable to create a composition with no leftovers

Grading criteria

inspiration

Sketches

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Shapes arranged at different axis Very dynamic Dominant shape seen

Good relation between parts

Feedback and Reflection: I was very happy with the results and was able to meet all the asked criteria for the cone.

For the cuboid however I needed

to fix the axis 33

Homework 5 Subdominant Subordinate

Using Rectilinear forms, this model represents the dynamics of a trio friend group. While 2 may appear to be closer and dependent not on each other, the this friend is still as important and the friendshipwouldn't becompletewithoutthem

Dominant

In this curvilinear model, unity is presented where the components are piercing each other to become whole.

The shapes are drastically different bit are supported nonetheless.

Subdominant

Dominant

Subordinate

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Shapes are organized with inclinations to look like slides and playground games. As I looked at the different shapes they resembled for me what a kid would use to play with. The model has tension, different connections and looks different from every direction all to convey the concept of excitement

This model represents growth as small pieces of the form are broken down representing the pain we face. They are then rearranged creating a unique form 35

“She reminded me of a scientist. She was talking about abstract relationships almost the way a scientist would talk about electrons and protons, strong forces and weak forces.” — William Katavolos

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Week 6: Planar Construction • CW 4 (incomplete) • HW 6 : Using planes, design a Ramadan Lantern for a fashion brand trying to capture their style

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Homework 6 This Ramadan Lantern is inspired by Christian Dior’s Revolutionary collection New Lookin1947.

The movement of the planer surfaces is inspired by the poufy dresses with the slim waist.. Silver has been used by Dior for many of their iconic pieces in the collectionswhichiswhyIchoseit

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“All of a sudden, you dance with the line, and you know just what to do.” — Gina Caspi

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Week 7: Lines in Space • CW 5: Listen to the symphonies twice and draw curves twice, once with eyes open and once with them closed. Compared the 2 drawings and create a line form out of them • HW 7: Create 3 pendants out of wires inspired by duos from books or, movies or TV shows you like.

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Classwork 5 Concept: Curves and lines have characters and feelings, we can use the to express our own emotions. While listening to 2 different symphonies, each with different feelings, draw lines then represent those lines in 3D wires

Eyes open

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Key Words: Calmness Flowy meditation

Key Words: Excitement Boldness peak

Reflection: at first I felt lost and confused but then as I observed the lines I’ve drawn and analyzed them I was able to extract suitable curves

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Homework 7 Reflection: I was practically excited for this assignment as I wanted to see how far can go when it comes to representing characters from stories I love using only wires . I also love jewelry so this assignment was very enjoyable

Books and Characters : • Court of Thorns and Roses ( Feyra & Rhysand) • Shadow hunter Chronicles (Simon & Clary) • Shatter Me (Warner &Juliette)

The pointed curve is inspired by the pointed ears of faeries

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Anxious ad scared

Stable and mindful

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“All of a sudden, you dance with the line, and you know just what to do.” — Gina Caspi

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Week 8: MIDTERM 1 • CW 6: Give 3 words that you think describe you and create a composition using any materials within 10*10*10 volume • Midterm: Within 50*50*50 volume create a prototype for a product of your choice with your own unique design

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Classwork 6 Key Words: • Caring • Curious • enthusiastic

Concept: Using 3 words describing my character create a design that follows the principles of good design.

Inspiration:

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Triangles moving upwards “ exploring”

Curve covering the triangles as “ protective”

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Reflection and feedback: This was a very successful model that represented me as a person accurately and was extremely fun to create even though we were given very limited time to finish

Midterm Concept: In a 50*50*50 volume, we were asked to create a functional object integrating all the aspects of design that we learned. I decided to make a table were it’s base is an artistic composition

Inspiration:

Key words: Functional Dynamic unique

Rhino 7 model to get accurate dimensions for materials Bent aluminum sheet by hand

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Subdominant

Foam base for stability should be made out of wood for it to be functional Dominant

Silver wires are the subordinate component

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Reflection: This was one of the most dynamic and challenging assignments form. Finding suitable materials and managing to balance the table using curves and tringles took a few trials.

“A design not only has to be structural, it has to appear to be structural. You have to get to recognize structure like you recognize a hot stove.”

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RE DO • Pick a 3D volume and repeat it with difference in size to create a composition following the principles of design

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Re-do Key words: Repetition Cones Theater

Concept: We were asked to create a composition out of 5 or more repetitions of a geometric volume. The first word that came to mind was theater so I looked that up and was inspired by the cone shapes created by the spotlights.

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Shiny material represents “ star” of the show

Different materials for cones

Spiral wires with cone silhouette

Big cone using sticks creating contrast between solid and void

Dynamic arrangement of cones

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“A design not only has to be structural, it has to appear to be structural. You have to get to recognize structure like you recognize a hot stove.”

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Final Project • Create a sustainable Urban interactive Toy

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Adventure land by Bahii, JJ, and Lujo Key words: Recycle interactive

Concept: We wanted to integrate many activity in one connected composition using arcs and bright colors that are attractive to children. We wanted to create an adventure course were the children move from one activity to the next Transparent polycarbonate sheets painted and connected together

Bending metal pipes

Painted final metal

Assembling the wire frame

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Steps are connected to springs to make them bouncy

Curves are piercing each other with dominant, subdominant and subordinate creating a good composition

Ropes detachable to be used as a climbing wall

Ball used as a punching bag

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Recycled water bottles and caps used to make sound

Whiteboard where children can express themselves