Foundations of Design: Representation Portfolio

FOUNDATIONS OF DESIGN: REPRESENTATION

PORTFOLIO Student Name Student Number Studio 00 Tutor Name

R E F L E C T I O N onto different mediums have different possible interpretations and connotations which the creator must properly visualize onto their work. The lectures extended my knowledge on how to looking at the modules in a different perspective, more conceptual and abstract. This then helped me look at more radical methods towards finishing the projects. I learned proper analytical skills in understanding the codes and conventions of different forms, structures, colours, things essential in creating architecture. Deconstructing these visuals were the ultimate lesson to be gained from this subject which is vital in designing spaces with a specific atmosphere or sensation in mind to be incited by people who interact with them. Furthermore the ability to ‘think outside the box’ with my creations were also encouraged rendering having more dynamic approaches within my design process. One of my modules that I had difficulty in reaching my standards was Module 3. Within the given time frame, it was emphasised to focus more on the model-making rather than the complexity of my design, however I drove my work the other

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C O N T E N T S

FRAME VS. FIELD

PATTERN VS. SURFACE

FLATNESS VS. PROJECTION

HOW TO DRAW A CROISSANT

10

07

03

Throughout this subject, the idea of representation projected

way. It was here where I learnt that the level of detail and meticulousness in handling the ivory paper is just as important to properly present your vision. Time was the pressuring force of this module which potentially messed up the quality of craftmanship, hence it was all a matter of a profound consideration of time management. The significant changes I made within my modules were no. 3 and 4. The oblique view for Module 3 I changed drastically in emphasizing its positive qualities more. And one of the main characters in module 4 was completely altered as well to better cohere to the rest of the perspectives’ ‘look’ or ‘vibe.’

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M1 H O W

T O

D R A W

A

C R O I S S A N T

3

3

H O W

T O

C A P T U R E A

C R O I S S A N T ?

In photographing my croissant it was essential for me to find the perfect angle of light which captured its features the best. I handled the croissant like a model, understanding its whole physique and knowing which surfaces could express more character. It was simply all about manipulation of the body in a way that looks perfect within the frame of the camera. I learnt that understanding your subject’s features, lighting, and angles are all necessary in best capturing a good photograph.

Fig 1. Section Scans

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Fig 2. Croissant Photgraphy

H O W

T O

D R A W

A

C R O I S S A N T ?

The relatonship of how light interacts with my croissant was the most important idea revolving around my drawing process. Hatching personally suited my preference best as I had complete control in deciding how much depth/ darkness I wanted in a specific area. Conclusively different types of drawing techniques could have varying features of the croissant emphasized.

Fig 3. Croissant Drawings

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5

H O W

T O

P R O J E C T

A

C R O I S S A N T ?

Outlining the axonometric was quite straightforward as I found marking the section scans a useful guide in projecting it 3-dimensionally. However the challenge was creating the details for the exterior as my vision was to be potentially consistent with my elevation drawings. I was able to create some consistency by following the similar lighting properties of the exterior thereby creating equivalency with its elevation drawings. Axonometric projections reframes the audience’s perspective as a more dynamic and interactive view which ultimately makes them understand the object much clearer.

Fig 4. Axonometric Drawings

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M2 F L A T N E S S

V S .

P R O J E C T I O N

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7

T H E M A K I N G O F A O JJ EE C C TT EE D D PP RR O W O R L D My entire driving force was built upon the idea of visual illusions and how one form can potentially be manipulated to look completely different. There are various building blocks extending from one layer to another which accentuates the presence of hidden spaces more significantly. Through this, I wanted to create this visual journey created by the audience where they trace the passage of each object and see where they lead into within my Mario World.

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8

Fig 5. Final Axonometric

B U I L D I N G B L O C K S F O R C R E A T I N G A W O R L D

Fig 6. First Elevation

C: 36 M: 15 Y: 11 K: 57

C: 58 M: 18 Y: 63 K: 15

C: 48 M: 18 Y: 77 K: 4

C: 11 M: 21 Y: 77 K: 6

C: 10 M: 13 Y: 39 K: 0

C: 0 M: 33 Y: 75 K: 56

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Fig 7. Second Elevation

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M3 P A T T E R N

V S .

S U R F A C E

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T H E M A K I N G O F A N E W S U R F A C E I felt like the combined effort of manipulating my grid work as well as the complexity of each of my modules help strengthen my vision much more understandable. Inspired by the movement of waves, the surface has excellent horizontal-vertical equivalence. There is a clear direction of where everything is centralized around (a wave going to the upper right hand corner.) At the upper left quadrant there is a sudden break in direction to represent the natural uncertainty in the flow of waves. The arrangement of the modules as well further emphasized the stretch or push-pull personality of my desired surface.

FInal Rhino Modules

Fig 8. Final Rhino Model of Surface

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M4 F R A M E

V S .

F I E L D

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S2

S1

C O N T I N U O U S

Continuous Cities 4: CeCilia

C I T I E S

4 :

C E C I L I A

Luis Isidore ‘Iggy’ Licup, 1025360

In the readings, I imagined the old Cecilia as this glorious city untouched by the artificial hands of humans, where nature thrived organically.

However a herdsman, one of the characters, now describes the new Cecilia as this city where it is suddenly overturned by urban sprawl and easy to get lost in. Hence an indoor marketplace was my main inspiration as it is a space where it undoubtedly is easy to lose track of your way as your eyes are just bombarded by products upon products within endless hallways of stores filled to the brim with fellow consumers.

Cecilia now is a city overun by commercialism and capitalism. The concept of repeating elements seen throughout my isometric and my perspectives therefore emphasizes the sense of loss and disorientation. Through contrasting the old vs. new Cecilia in my first perspective, the viewer gets a clear grasp of just how artificial and synthentic the atmosphere of the city now is where the herdsman just longs for the glorious remnants of its past.

S1

S2

Fig 9. FInal Isometric of Cecilia

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1m

2.5m

5m

P E R S P E C T I V E

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TRIM THIS WHITE AREA AFTER PRINTING

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TRIM THIS WHITE AREA AFTER PRINTING

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0 2

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