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FOUNDATIONS OF DESIGN

present re present presentation

SEM 1. 2018

THE UNIVERSITY OF MELBOURNE

re

m.

(i) (ii) (iii) (iv)

Jaqlin Lyon 762561 Studio #16


CONTENTS

crois sant

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terrine terrain

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mario

thin cities / 31 /


SEM 1. 2018 THE UNIVERSITY OF MELBOURNE

FOUNDATIONS OF DESIGN

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MODULE 01

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crois sant D oes a w el l- drawn c roissa nt hold more val ue than a c rude ly - dra wn c roissa nt? Gi ven i t can only e x ist in a “a s c lose a s possi bl e” d oma in, a me a sure d dra wing, no matter how se e mingly “ac c ura te , ” hol ds no rea l re f le c tion of the phy sic a l croi ssant. T he f ollowing re - pre se nta tions, i n the form of photogra phs a nd a na logue draw i ngs, of a spe c if ic c roissa nt a im to suggest tha t no re - pre se nta tion can ever be truly a c c ura te , as it is not the thi ng itse lf . Alluding to M a gritte’s i nfamous “ C e c i n’e st pa s une pipe , ” the se photographs a nd dra wings a re only v isua l re-creati ons , or re - inte rpre ta tions of the actual thi ng . Thi s l ead m e to wonde r, wha t is the purpose be hind our e nde avour to accuratel y re - pre se nt obje c ts/things? If these m e a ns of re - pre se nta tion a re i nadequatel y ina c c ura te , we c a n only eve r refer to the m a s se c onda r y to wha t they “ represent.”


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A PHOTOGRAPHIC STUDY 95

65

E l eva ti on_ E a ster n _ [ Im a g e ]

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150

E l eva ti on_ Wester n _[ Im a g e ]

P l a n_ [ I ma ge]

N *NOT TO SCALE

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B

C


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B

C

S ecti ons_ A_ B _ C_ [ S c a n s ]


A DRAWN STUDY 95

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E l eva ti on_ E a ster n _ [ Im a g e ]

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150

E l eva ti on_ Wester n

Plan

N *NOT TO SCALE

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B

C


A

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B

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Sections _ A_ B_C


AN AXO. STUDY

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Axonometr i c_ Fi na l

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45° Axonometr i c_ R efere n c e G rid

*NOT TO SCALE


60 50 40 30 20 10

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90

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B

70

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S ecti ons_ A_ B _ C [ Po in t G rid ]

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30


MODULE 02

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mario

Thi s modu le looke d to the na ture of pi ctori al spa c e (2 - dim e nsiona l, pla na r) , and how i ts c onte nts c a n be e x trude d to a 3-di mensi on a l spa c e . I came to re a lise the limits of 2-di mensi on a l spa c e ; its inna te abi l i ty to be guile the v ie we r into only recogni si ng a nd pe rc e iv ing c onte nt a t a ver y super fic ia l f a c e - va lue . From this, I expl ored how ‘f latne ss’ in pic toria l spa c e i s onl y ever an insta nc e of the re a l thing i t i s a si ngl e m om e nt of a gre a te r re a lity. Comparati ve ly, proj e c te d spa c e of fe rs a broader vi e w, pe rha ps eve n a pproa c hing a hol i sti c i nsight, into the truths be hind spati al rel ationships. Thi s project se e k s to re de f ine the limits of tw o pl an a r insta nc e s of M a rio World el evati ons, whe re the “spa c e in be twe e n” i s pushed in a n atte m pt to reve a l the potentia lly illusor y na ture of the el evati ons. Ultim ate ly, the M a rio World el evati ons be c ame c loa k s, eve n ma sk s, for what really, truly, lie s be hind.


PROJECTION PROJECTIO PROJECTI PROJEC PROJE PRO PR P


MARIO WORLDS

SUP E R M A RI O B RO S. 3 19 9 8 - 1 9 9 3 , Ni n t e n d o M a p p e d by ZE RI C , 2006

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Concept

M a r io Wo r ld # 1 6 .

M a r io Wo r ld # 7 .

With m y a xonom e tric f ollowing the Worm’s Eye pe rspe c tive (re f . Ja m e s Stirling’s drawings) , I wa s a ble to play wi th illusion a nd de c e ption, en a ble d by the eye . I sought to manipula te v ie w, pe rspe c tive and de pth, c ha lle nging the eye’s imme diate a bility to pe rc e ive a nd c onc e ive .

c a use d by the ve r y n at u re of tra nsla tion f rom obj ect t o re - pre se nta tion? Or is i t t h e me ta m orphosis f rom e leva t i o n to a xonome tric ? This pe rm i t t ed me to play with de pth, s p at i al re la tionships a nd une x p ect ed re a litie s, a ll while ma intai n i n g the true e leva tions of Wo r l d s 1 6 a nd 7 .

This a c t de libe ra te ly se e k s to co nf ront the notion of the “ga p, ” as disc usse d in the le c ture serie s. It re fe rs to the loss/ ga in/tra nsla tion/de pic tion of i nforma tion be twe e n the re a l (tr uth, obje c tive ) a nd a spe c if ic re- pre se nta tion (insta nc e , su bj e c tive ) . I be ga n to que stion wh at c ould ha ppe n in this ga p? Is it a c ha nge of inf orm a tion,

The f orma l proje ct i o n s the mse lve s look at the notion of implie d inf init y, a s e x a mine d by L issitz k y a n d D e Stij l pre c e de nts. The res u l t is a m ore abstra c te d a n d c ompositiona l ‘ world’ w h ere spa c e a nd the v ie we r ’s po s i t i o n a re de - c onte x tua lise d. The ground pla ne is a m big u o u s , a nd the orie nta tion unc e r t a i n .


COMBINED WORLDS

/ 14 / Hand- draw n Isome tric Co mp i l at i o n o f Ne w Mar i o Wo r l d .


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NEW MARIO WORLD


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DETAILS

D isor ienting staircas es that lead to now he re , angle d pipes, m odular water falls and de tac he d w alls...


Pro jecti ng from beneath al l ow e d me t o experi ment wi th the eye’s inna te we ak ness, as I l ooked to demon stra te h o w the pri vi l eged posi ti on of the eye c a n be w i l dl y detri mental to i ts a bility Ro t ati ng an d

pi pes,

pl anar

hoveri ng

w ater fal l s

defi ne

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t o a ccuratel y percei ve the thi ng itse lf . sta irs the

u n e xpected, di sori enti ng the vi ew e r a nd t h e ir posi ti on. Scal e i s toyed with, to make uncl ear the scal e of the spa c e h a b itabl e/uni nhabi tabl e? S e le c te d de tails of Combine d Mario Worlds.


MODULE 03

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terrine terrain What i s the outc om e of digita l proc e sse s w hen they a re use d to re - pre se nt, or re recreate? Thi s project e x plore s the sof twa re R hino i n conjunction with Pa ne lling Tools, to generate a 3 - dime nsiona l pa tte rn a c ross a sur face. The n, it is f abric a te d in the real worl d. In the se ste ps alre ady, the re have been c ountle ss insta nc e s of re conceptual i sa tion/re - pre se nta tion. For the p urpose of this module , it must be stre sse d (a nd re m e m be re d) that the phy sic a l outc ome is limite d to an approx imation at be st. It is a representati on, in the ma nne r of “a s c lose to as possi b le . �


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HOW TO MAKE A TERRAIN TERRINE

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list of ingredients

2 duck breasts, skin removed 200g thinly sliced bacon rashers 1kg pork shoulder, cubed 2 slices bread, crusts removed 100ml milk 3 shallots 1 large garlic clove 200g duck livers 6 black peppercorns 12 coriander seeds pinch of ground cinnamon 2tbsp brandy 2 eggs, lightly beaten 25g shelled pistachio 50g dried cranberry for garnish

1 rhino license 1 panelling tools 5.0 manual 1 digital surface 3 modules, carefully selected A1 ivory card, gently sliced 20g uhu glue, air dried

Why a terrine? My terrain looks to the 2-dimensional sur face patterning of a slice of terrine (which is replicated in plan), while also using the attributes of said terrine to extrapolate 3-dimensional geometr y. The resulting effect is an overarching gestural sweep, which mimics the fatty marbling of the slice of terrine, with various “points of pistachio intensity � which extrude upwards.

In order to ground my project in a formally legitimate framework, I looked for a method, or catalyst, that would help inform the generation of form. Aside from the obvious pun, terrines offer great complexity in pattern. Thus, my terrain is a formal reconceptualisation of an existing thing (terrine), which results in the creation of something entirely new and distinct.


EXTRAPOLATING PATTERN The steps: This indicates the iterative process of referencing the slice of terrine, and detail how the food item was used to guide digital patterning.

The Te rrine .

E x tra pola ting pa tte rn f rom the f a tt y m a rbling of the te rrine . Ide ntif y ing “points of pista c hio f orma l c lima xe s.

Using this a bstra c te d dia gra m to guide the dire c tiona l 3 - D pa ne ling a c ross the sur f a c e .

The f ina l m ode le d outc ome .

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inte nsity � to be re - c onc e ptualise d a s


OUTCOME [DIGITAL 3-D]

i.

ii.

iii.

iv.

v.

vi.

vii.

M o d u les a n d it er a tions us ed to

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m a p o n t o su r f a ce.

T h e f in al d ig it al model uses an array of module s

va ria tion/pa tte rn, I e x tra pola te d the key ‘pis t a ch i o s ’

wit h mu lt ip le i terati ons (rotated, angl ed, pulle d,

a s pe a k s. This is whe re the la ndsc a pe re ach es i t s

t alle r e t c ). Th is w as done i ndi vi dual l y to achieve the

he ight. To e x a gge ra te this, I have a ngle d/ d i rect ed

ge s t u r al an d d irecti onal grai n across the ter ra in.

the points of the surrounding pa ne ls to f lo w i n t h e

T h e f in a l mo d e l pl ays off the 2-di mensi onal ma rbling

sa me dire c tion.

pa t t e r n o f t h e terri ne sl i ce. To defi ne the he ight

Fina l D i g i t al Mo d e l .


/ 24 / Ne ste d 2 -d i me n s i o n al ge ome tr y fo r fab r i c at i o n o f 3- dime nsional p h ys i c al mo d e l .


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OUTCOME [PHYSICAL 3-D]

T h e over a ll, f in a l p hysical lands cape. T h e “ Te r r i n e Ter r a i n . ”


Mome n t s o f mo s t ext reme h e i g ht at pis tachio l ocat i ons . Ang led g e o met r y i s exagger ated by colla p s i ng m o d u les .

T he

ge stural

“grain”

ac ross

the

note

the

pane lise d sur fac e .

It

is

wor thy

to

re - pre se nta ti o n / re-

c onc e ptua lisa tion that take s pla c e f rom the d i g i t a l f ile to the phy sic a l. In this pha se of tra ns l at i o n , the e f fe c t is a n “a pprox im a tion” - the re la ti o n s h i p be c ome s a bstra c te d, ina c c urate , re fe re ntia l o n l y.


SLICE V. LOAF INSTANCE V. CONTINUOUS

/ 28 / Extr apolating the 2- dime nsional marbling patte rn of a te rrine slic e , and e xtrud i n g i t 3 dime nsionally to e xagge rate e ffe c t .

Ter r in e s h ave 3-di mensi onal patterns thro ughout

only a single insta nc e of ge om e tr y tha t a pp ea r t o

t h e ir b o d y (o r “l oaf �), how ever we onl y ever se e a

be f roze n pa ne ls in wha t look s to be a n evo l vi n g ,

s i ng le , 2- d ime n si onal i nstance of thi s when it is

c ha nging a nd a dapta ble pa tte rn.

s l i c e d . We a re g i ven sel ect access. Si mi l arl y, whe n c rea t in g an ove ral l pattern across the terrain, it is


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MODULE 04

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thin cities Thi s module look s a t the f rame v. the fi el d i n the se nse of c ura te d pe rspe c tive s. How does the f ra m ing of inf orma tion determi ne how/wha t we pe rc e ive ? The i l l ustrations a nd a nnota te d isome tric are i n response to a n e xc e rpt f rom Ita lo Cal vi no’s Invi si b l e C i ti es , whic h te lls the tal e of Zenobia , a se e mingly f ic titious ci ty, but one in f a c t roote d in the histor y of Veni ce. This module c onte x tualise s/ re-presents the se insights within the Old Quad at the Unive rsity of M e lbourne . My project se e k s to e x plore the c ontra st and l i mi tati o ns be twe e n a n isola te d/single frame of ex pe rie nc e , a nd an a ugme nte d/ mul ti -faceted f ra m e whe re by the eye’s typi cal bounda r y be c om e s obsc ure d.


FRAME SUBJECT VIEWER FIELD / 32 /


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INVISIBLE CITIES ITALO CALVINO

Close Reading The c ity of Ze nobia in the pre se nt c onte x t, is the c ulm ina tion of past “suc c e ssive supe rim positions. � The city today is the product of its collective pa st, a nd it c ontinue s to evolve in this m a nne r v ia f orm al, e x pe rie ntia l a nd pe rc e ptive laye ring. Founde d on de e p pile s, the c ity ha s grown a s ove rlay s through tra nsf orma tive re - mode lling, c onstantly in a sta te of f lux . The c ity itse lf is a n orga nism of c ha nge , a da pting to its surroundings, pe ople a nd v isitors. From the re a ding, I sought to ta ke a m ore c ritic a l v ie w of the c ity itse lf , f oc using le ss on the im me dia te obje c ts a nd c onte nts pre se nt in the c ity a t the tim e . R a the r, I wa nte d to distil the a ttribute s tha t m a ke the c ity f unc tion the way it doe s. This le a d m e to the ide a of the c ity a s a pa lim pse st - alway s evolv ing, with the ne w supe r- im posing on the old. Howeve r, the e x isting a lway s re mains pre se nt.


PRECEDENTS

Studies of various precedents (which were investigated following a close reading of the text) lead to an exploration of repetition and unity in form, against layered disorder. The colonnade’s per formance as a threshold between two (or more) conditions became a fascinating foundation upon which to explore the idea of a city via single frame perception. One view permits the clear transition between these two thresholds, typically interior and external. This offers somewhat of a privileged and omniscient viewpoint, of infinite depth and vision.

Research into a physical/architectural palimpsest naturally complimented this, acting as the inverse. The single frame viewpoint becomes a multifaceted and multi-tiered perspective, filled with views and insights which transcend the present. A brief look at the Brion Tomb and Sanctuar y, Scarpa, indicates similar examples of layering through form, light and threshold.

The Palimpsest

Stoa of Attalos, Athens, 159-138BC.

Source unknown.

The effect of symmetr y, depth and threshold, belonging to a single frame viewpoint.

The visible layering of the built environment, suggestive of progressive past. The remnants of what existed before still remain visible, offering a curious insight into what perhaps once was, and what may be.

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The Collonade

Carlo Scarpa

Brion Tomb and Sanctuar y, Italy, 1978. The manipulation/effect of light created via repeated material form. The pattern of lightness/darkness becomes synonymous with the physical.


INVISIBLE CITY : ANNOTATED ISOMETRIC T h e n o t a t io n s w hi ch overl ay the O l d Q u ad h ave b e e n i ntroduced i n a nondid a c t ic way. Instead of di ctati ng a rou t e t a ke n by Marco Pol o, I sought to i nd ic a t e a f ie ld of experi ence, w hi ch i s t h e e f fe c t o f formal and el emental qu alit ie s .

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T h e g e s t u re o f mi rrori ng the Quad’s c o lu mn s an d c api tal s bel ow the ground plan e make re ference to the pi l es of Zen o b ia, u p o n w hi ch the ci ty rests. T h ey a re n o t typi cal l y vi si bl e from t he g ro u n d p lane, and thi s fol l ow s i n Pe r s p e c t ive 01 . In Perspecti ve 02, ho weve r, t h e p iles are re-presented as glimp s e s t o b e low.

KEY Tentatively Invited Boldly Invited Stare Glance Soft Mood Uncertain Mood Transitional Mood Pause Omniscient View Threshold Unknown Field of Points Light/Dark Perspective 01 Perspective 02

0

1m

2.5m

5m


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FRAMING STUDIES

PERSPECTIVE 02

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PERSPECTIVE 01

Annotated Quad Plan

Notations I in t e n t i onal l y avoi ded empl oyi ng n o t at ions w hi ch referenced s p e c if ic movement and a defi ned ro u t e . I w anted to anal yse and n o t e the space, threshol ds, a mb ie nce etc. w i thout human in t e rc e pti on. I sought to expl ore wh at the space meant i tsel f, b e f o re i t became affected by the in t r u s ion of a vi si tor, be i t Marco Po lo o r not.

N *NOT TO SCALE


Perspective 01 The framing of this view alludes to the seemingly omniscient and privileged point of view. However, the limits of the single frame also become evident. The extensive colonnade helps allude to the idea of a singular, totalitarian view. It is an instance, a “single shot.” This apparently dominant viewpoint is to its detriment, as it means the frame’s extent of view is restricted to a single position, angle and direction.

T h e sin g le c o l o n n ade view, with the Old Quad

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re p e a t ed t o cre a te the illus ion of infinite depth.

Perspective 02 In contrast to Perspective 01, this view offers a layered and augmented insight. This perspective is the collaged outcome when these four views are combined - the result is a “gaseous” perception whereby glimpses into other fields and distant times are possible. The viewer is displaced, as their point of view is no longer humanly possible. No one can be in four places at once...

T he ‘Base V ie w ’ w ithin w hic h o t h e r pe rspe c tive s w e re pla c e d .


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FINAL SCENES

Perspective 01 T he singular view. An in stan c e. Fram ed by a n isolated eye. R e p re s e n t in g t h e noti on of the ‘pal i mpsest’ t his p e r s p e c t ive al so i ndi cates that the c it y e x is t s in an ever-changi ng state, wh e re by re lic s of the past sti l l remai n as remin d e r s o f t h e past. Moti fs such as hal f dr a wn c u r t ain s and col l apsed wal l s al l ude t o t h e a c t o f a n d l ayeri ng.

Fa de d m ura ls a nd dissolve d te x t a c ross the qua d’s stone sur f a c e s a lso sugge st a f orm of we a the ring a way, while pile s of ra w m a te ria l sugge st f uture re - evolution a nd re - m ode lling.


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Perspective 02 The f r agmente d vie w. Mu lti- face ted . Tr anscending s p ace an d tim e to b rin g t oget her indepen d en t frame s. T his o f fe r s t h e abi l i ty to see w i thout t h e limit at io n of boundari es, di stance or t i me , f o llo win g the concept of “gaseous p erc e p t io n . ” C o l l aged vi ews i nto the pi l es b elo w, t o g e t h e r wi th warped perspecti ves o f v ie ws d o wn col onnades, al l anchored

within a nothe r v ie wpoint, c re ate a distor te d a nd busy e f fe c t. The eye’s m e thod of singula r, isolate d a nd insta nta ne ous pe rc e ption is disrupte d, a s it is now c onf ronte d with a n a rray of sna pshots.


SEM 1. 2018

THE UNIVERSITY OF MELBOURNE FOUNDATIONS OF DESIGN

re - flection re - presentation

/-/

The compl eti on of thi s subj e c t ha s affected si gni fi cant chang e in the way I now percei ve, conce ive a nd ultimately re-present. Each task has encouraged me to trul y i nte rrogate what i t means for objects/c onte nt to exi st i n the physi cal dom a in, and the possi bl e ways they m ay be transl ated to a 2-di mensiona l or 3-di mensi onal condi ti on. I a m now hyper-consci ous of the proc e ss of re-conceptual i sati on, whic h i nevi tabl y occurs conc urre ntly wi th any attempt at re-prese nting; i e. a photograph, a ske tc h, a measured draw i ng, i s n ot the thi ng i tsel f. Si mi l arl y, I w a s a ble to expl ore thi s gap between ‘thing’ and re-presentati on, par ti c ula rly in Modul e 2, to fi nd oppor tuni tie s a nd possi bi l i ti es permi tted wi thin this space of transl ati on. In the context of archi te c tural practi ce, my thoughts have a lso shi fted. My current perspec tive is one per tai ni ng to tw o ‘real ms’ - the fi rst bei ng contents, obje c t, a nd i deas (wi thi n w hi ch archite c tural desi gns l i e). The second is the physi cal output (draw i ng s, built envi ronment). Thi s subjec t ha s brought me to focus on the uncer tai n rel ati onshi p be twe e n the tw o. J ust because curre nt a nd

Jaqlin Lyon 762561 Studio #16

ty pic a l m e thods of re pre se nta tion e x ist in pra c tic e , doe sn’t me a n they a c c ura te ly or insightf ully re pre se nt. I have be e n prom pte d to f ur the r c onside r wha t it m e ans to link be twe e n the se two re a lm s, v ia v isua l/gra phic /phy sic a l me a ns. I a m be ginning to c onside r c urre nt industr y sta nda rds of re pre se nta tion in pra c tic e a s ina de qua te . Te c hnic ally, I have a lso a dva nc e d my sk ills in ma ny progra ms. Through the se te c hnic a l le a rning c ur ve s, I a lso be ga n to c onside r how te c hnology a nd the ra pid digitilisa tion of the a rc hite c tura l/ de sign f ie ld, a nd the re st of the world, will a f fe c t how we re pre se nt a nd re c e ive inf orm a tion. It a lm ost a dds a nothe r dim e nsion of re - pre se nta tion; the inta ngible a nd non- phy sic a l. W he the r this is a n a dva nta ge , oppor tunity or trap, I am ye t to disc e rn. Ultima te ly, I have be e n guide d to se e the a c t of re - pre se nting not a s a m e re m e thod of tra nsla tion or proc e ss, but inste a d a s a tool to of fe r ne w insights into the way we c onc e ive a nd c onvey. It is no longe r a m e a ns, but a n oppor tunity.

FoDR Portfolio 2018  
FoDR Portfolio 2018  
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