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a semester’s work compiled
a semester’s work compiled
turning graphics into design
This project was all about exploring how 2D graphics can be more than just flat compositions—they can actually drive spatial design. By playing with hierarchy, patterns, and layering, I experimented with ways to translate graphic elements into three-dimensional form.
I worked through a series of digital and physical studies, testing different line weights, fills, and arrangements to create depth and visual interest. It was a mix of structure and intuition, pushing compositions until they felt both balanced and dynamic.
The result was a refined graphic composition that not only stands on its own but also serves as a foundation for generating form and space.
graphic forms
three-part exploration of form through different visual techniques. (1) Capturing the cowboy aesthetic through a structured composition, emphasizing rhythm and contrast. (2) Abstracting observed forms into geometric relationships, focusing on precision and proportion. (3) Layering transparencies, linotypes, and colors to create depth and spatial complexity.
playing with mass and form
This project was all about massing, taking simple geometric shapes and pushing them into something more complex. Instead of just stacking or arranging forms, I used Boolean operations to merge, cut, and reshape them in ways that
I started with basic primitives and gradually transformed them through digital modeling and physical prototyping. The goal was to find that sweet spot where the form still hints at its origins but has evolved into something new.
Final Outcome: A sculptural model that plays with mass, void, and material weight—challenging how we usually perceive solid forms.
isometric & unrolled the massing is split in half to reveal the internal form, followed by top, bottom, and side views. the unrolled form is shown with connections noted for easy assembly
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Exploration of the potential of surface as a volume-defining element, focusing on how minimal materials can create maximum formal, structural, and spatial impact. Drawing inspiration from the principles of material and spatial efficiency, I created a composite of intersecting surfaces, which were then broken down into uni-directed strings. This approach allowed me to manipulate a thin layer to accomplish multiple design goals, such as optimizing surface area within a confined volume and achieving both structural integrity and visual complexity.
The form developed through this process was then encapsulated within an acrylic box, which sustains air and creates a dynamic interaction between the string-constituted surfaces and the surrounding space. This final assembly not only exemplifies material efficiency, but it also addresses aesthetic and spatial considerations, as the form is defined by the tension between thin surfaces and their ability to support and contain the suspended air. The project challenges traditional notions of mass and thickness, focusing on the potential of thin materials to offer innovative solutions to formal and experiential design challenges.
Ultimately, this project serves as an investigation into how surfaces can transcend their role as passive elements, functioning as dynamic components that offer both structural and experiential depth. By integrating structural efficiency with a sense of aesthetic intrigue, the design invites exploration into the ways surfaces can both define and enhance space
iso & views.
(1) exploded isometric view highlights the individual components and assembly process of the form. (2) drawings presents detailed views of the model’s faces, showcasing the spatial relationships and structural organization from different perspectives
physical model & composition
views of the physical model capture the spatial dynamics and structural interplay of the surface form. the composite image illustrates the application and use of the surface form within a defined space, emphasizing its spatial and formal potential.
University of Houston fmfragos@cougarnet.uh.edu
(956) 324 07 93 fall 2021