FoDR Portfolio

FOUNDATIONS OF DESIGN: REPRESENTATION

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Jia Studio

Min 04

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Audrey

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1055131 Cavalera

C O N T E N T S

04 | M1

How To Draw A Croissant

08 | M2

Flatness vs. Projection

14| M3

Pattern vs. Surface

22| M4

Frame vs. Field

Foundation of Design Representation is an introductory subject consisting of four modules that provides knowledge and skills for the basis of design. The subject introduces different representation methods including orthographic and axonometric projection, and the way to incorporate them in design. This subject also stimulates creative thinking through introducing various concepts and artworks in the lecture series. For instance, in Module 4, we examine the use of notations to represent movement, data value, boundaries and threshold. This enables us to explore a representation technique that helps in understanding and conveying relationship between different elements in a given space or system.

R E F L E C T I O N

Prior to taking this subject, I had no art background and had very little to no experience with software such as Photoshop, Illustrator, InDesign and Rhinoceros. Through FoDR, we were consecutively introduced to the usage of these software programs and technical skills were able to be learned and accumulated during the process. In addition, thanks for my tutor’s guidance, I have gained a better understanding on some basic principles such as composition and gradation, at the same time gaining knowledge on design concepts such as tectonics. The intensiveness of this subject has also made me to be more aware of the importance of proper time management and efficient workflows.

Based on my tutor’s feedback, I have attempted to make adjustments on all the modules. In M1, the photographs are re-edited to remove unwanted green tint. All the terminology and dimensions have also been redrawn in a neater way. For M2, I received feedback about the repetitiveness in composition and have tried to make adjustments.

For M3, I have improved Artifact 3 and Composite Drawing to better represent the painting drapery. Lastly for M4, I have made adjustment to the perspectives and also the notational units in the isometric drawing.

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M1 H O W A

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C R O I S S A N T

How To CAPTURE A CROISSANT? The croissant was photographed at a photostage using a key light and reflector.

One of the important things I have learned is to capture the photographs without being perspectival. It is critical for the camera lens to be completely level to the object to capture the ortographic representation of the croissant.

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How To DRAW

A C R O I S S A N T?

During the process of drawing, I tried to relate to the techniques encountered in the reading materials of the subject.

Hence, I identified two key elements.

The first element is rendering technique, achieved through applying shading to show tonal values. The second is line types, which the most evident is the cut lines of the sections’ drawing that are shown as the darkest elements.

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How To PROJECT A CROISSANT? In this task, the drawing is created by combining the plan and section drawings. As my tutor suggested, this is like a ‘mapping practice’ that involves using grid lines as guidance to map the previous drawings onto the axonometric drawing. From this, I have learned that axonometric projection is a representation that is able to achieve through precise measurement.

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M2 F

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P R O J E C T I O N

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PROJECTED

WORLD

The design of my Mario world was initially triggered by the ideas of ‘wall puzzles’ and ‘compactness’, inspired by the giant wall and clusters of mountains present in the elevations. Two design trigger words ‘tectonics’ and ‘aggregation’ later help forming a clearer theme for my Mario world.

The dismantling of the tectonic units in the Mario world reveals the interior structures and interior spaces of the world, suggesting how these units or objects are interconnected or interrelated to one another. All these units and objects are bound by specific configuration, by which wall puzzles act as horizontal framing element while the mountains and pipes being the vertical elements to balance the composition. At the same time, the rectangular tubes could be considered as a penetrating element, which goes through different units and ‘holds’ them together. The aggregation of these objects is what leads to the formation of my Mario world.

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B U I L D I N G

C: 69 M: 34 Y : 88 K: 19

B L O C K S

C: 24 M: 51 Y : 99 K : 06

C: 03 M: 02 Y : 91 K : 00

C: 37 M: 65 Y : 83 K : 31

C: 45 M: 00 Y : 99 K : 00

C: 15 M: 36 Y : 78 K : 00

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World: 8-2 Jia Min Cheong, 1055131

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Handsketch.

Outline in Illustrator.

Adding gradient and shadow.

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C H A N G E S An attempt on improvement The previously submitted work received feedback regarding the repetitiveness in composition. Hence, I have attempted to make some adjustments in hope of possible improvements. World: 8-2 Jia Min Cheong, 1055131

Changes are made in: •

removing some repeating units;

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incorporating diffferent units into the center space,

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RESEARCH

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PROCESS

Question 1: What is Pictorial Space according to Le Corbusier?

According to Le Corbusier, Pictorial Space is a non accessible space. It is a space that can only be viewed at a distance and is defined by its rigid frontality. Le Corbusier’s pictorial space is displayed in his paintings and drawings from the mid- and late-20s, such as Nature Morie.

Question 2: The Flatness of Le Corbusier’s paintings are attributable to two properties. What are they? And what are these pitted against?

The Flatness of Le Corbusier’s paintings is attributed to the pure extension of geometries. The objects in his paintings are registered as flats shapes that are extended and remain at the picture’s frontality. The second property that attributes to the Flatness is the sense of continuity. This is first achieved by the “insistent continuity of edges” that wedge the objects together. It is also achieved by the handling of color and texture of his paintings that display a sense of material continuity.

These are pitted against the idea of extreme contrast. By using black, objects in painting are defined and distinguished against one another with black as cast shadows against areas of white. This gives the objects a sense of three dimensionality in space and might lose the extension and continuity Le Corbusier emphasized.

Question 3: Explain the difference between Pictorial (in this case perspectival) space and Projection?

Pictorial space is a finite space with perspective being linked to fixed point of view and defined by vanishing points. It can only “record what already exists”, with no prolonged distance beyond vanishing points.

On the contrary, Projection provides infinite extension of distance and space, with vanishing points being extended to infinity. It creates an illusion of space that can be constructed out of imagination.

Question 4: Where did Axonometric projection first arise, and why?

Axonometric originated from ancient visual practices and has been argued that it was in relation to the continuous development of parallel projection and perspectival projection. Axonometric projection was first utilized systemactically in the military context and was used to chart the three-dimensional trajectories of artillery projectiles. This is because it provides measurability and transmissibility that is precise and verifiable.

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M3

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PAINTING

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S U R F A C E

The terrain and drapery sample share some similarities - the low points of the terrain meets with the major crease lines in the painting. However, the general ‘flows’ are different. The terrain is generally lower at the left hence the ‘flow’ of landscape is heavier to the left. Meanwhile, fabric in the painting drapery sample appears to be pulled towards two directions. Therefore, I tried to achieve a balance in between.

The custom panels are designed to capture the condition of painting drapery. In this, Artefact 1 is probably more successful than the other two.

Terrain

Artefact 01

Artefact 02

Artefact 03

Composite Drawing

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ARTEFACT

01

Panels are customized to reflect the lighting condition. Therefore, panel with flattest surface that reflects most light constitutes the brightest part, while panel with tallest height and deepest trench that captures most light forms the darkest part of the Artefact.

Isometric View

Custom Panels

Plan View

Oblique View

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ARTEFACT

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Effort is made to portray the formal condition of the painting drapery. By distorting base grid, the base areas of panels are changed to reflect the crease lines of the drape. At the same time, by shuffling top grid, the vertexes of the panels are made to follow certain direction to convey the flow of fabric.

Isometric View

Custom Panels

Plan View

Oblique View

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ARTEFACT

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The edge of the artifact is shaped to mimic edge conditions of the drape. As the painting drapery appears to be pulled towards two direction, attempt is made to portray this pull and suggest on the extension of fabric towards both left and right.

Isometric View

Custom Panels

Plan View

Oblique View

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Artefact 01

Artefact 02

Artefact 03

Exploring customized panels.

Exploring effect of distorting grids.

Exploring the way to alter edge condition.

Offset Points - Variable - Point Attractor - Magnitude: 10

Shuffle Grid (Base) - Variable - Point Attractor - Magnitude: 5

Points On - Edge Pull Out

Offset Points - Variable - Point Attractor - Magnitude: 10

Shuffle Grid - Variable - Point Attractor - Magnitude: 10

Points On - Edge Pull Out - Edge Push In

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RESEARCH

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PROCESS

Question 1: What are the three elementary types of developable surfaces? Provide a brief description.

The three elementary types of developable surfaces are cylinders, cones, tangent surfaces of space curves. A cylinder is formed by parallel lines that can be flattened. A cone is formed by lines connecting a profile curve and a vertex point. Tangent surface of space curve is a ruled surface obtained and defined by tangents to curve. All these three surfaces are special ruled surfaces and are characterized by the ability to be mapped isometrically into the plane.

Question 2: Why is the understanding of developable surface critical in the understanding of architectural geometry?

This is because developable surface forms the foundation of 3D design. From this fundamental principles, architects are able to create more complicated geometry that can be easily constructed in real life. This hence enables a more simplified construction of architectural project.

Question 3: What is digital fabrication and how does it change the understanding of two dimensional representation?

Digital fabrication is a computerized process that provides streamline production of physical models by using digital data to control a fabrication process. By often eliminating the intermediate stage, it enhances the efficiency between design and final production. Digital fabrication changes the understanding of two dimensional representation by enabling a back and forth design process between physical and digital surface models. This can hence satisfy both aesthetic and buildability aspects of the design.

Question 4: Suggest two reasons why folding is used extensively in the formal expression of building design?

Folding of a two dimensional surface gives the materials stiffness and rigidity, and transform the surface into a three dimensional form that is materially economical, visually appealing and effective. Secondly, folding introduces new spaces in a building without losing the original characteristics of what is being folded. Hence, it is able to present a sense of cohesion and continuity even among unrelated elements.

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M A R O Z I A

A city that consists of two cities the rat’s and the swallow’s.

Main Scene The Rat’s The Swallow’s

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H I D D E N

C I T I E S

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M A R O Z I A

This modified isometric representation of the Old Quad building is intended to emphasize on the contrast of the two cities - the rat’s and the swallows’ in Marozia.

The model is separated into three sections - the top and the bottom representing the two cities while the middle being the ground of transition. Notations are placed to showcase two distinctive cities, each forming a center within their own ground.

Notations are also used to indicate a general direction of attention and motion towards the city of swallow’s to reinforce the idea of the swallow’s about to free itself from the rat’s.

The distinction between two cities is portrayed through contrast between spatial dimension and organization. With taller columns, higher vaults and organized elements, the swallow’s is portrayed to be an open and orderly space. Meanwhile, the confinement and chaos of the rat’s is displayed through skewed vault and unorganized elements. The intended effect is further enhanced by removing ribs, capital and column base from the rat’s to highlight its difference from the swallow’s.

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PERSPECTIVE

0 1: T h e R a t’ s

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P E R S P E C T I V E 0 2: T h e S w a l l o w’ s

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RESEARCH

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PROCESS

Question 1: What are Durer’s rules for perspectival projection?

There are three rules for perspectival projection. First, all perpendiculars are to meet at a central vanishing point, which is determined by the perpendicular drawn from the eye to the picture plan. Second, all parallels share a common vanishing point no matter what direction they lie. Lastly, equal dimensions in the picture diminish progressively as they recede in space so that any portion of the picture is measurable from one another.

Question 2: Describe homogenous space?

Homogenous space is a constructed space with all its elements being the mere determinations of position that possess no independent content of their own outside of this relation. All these elements, that represent the homogeneity of structure, is expressed by assuming similar figures are able to be drawn in all directions and magnitudes.

Question 3: What is the difference between autographic and allographic practice?

According to Nelson Goodman, autographic practice refers to work of arts such as painting and sculpture that depend for their authenticity upon the direct contact of the author. On the contrary, allographic practice involves work of arts that can be reproduced without presence of the author through the means of notations.

Question 4: Why do architects need new representational techniques?

This is because architecture practice in itself involves transforming the drawings into real life structures. As contemporary city continues to evolve with new streams of information continues to appear, static representational techniques can no longer satisfy the current demand and desire. Therefore, it is critical for architects to incorporate new representational techniques to display complex dynamics of the contemporary city in architectural drawings. New representational techniques can also inspires new creative expressions that might incorporate principles from other fields such as engineering.

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Foundation of Design: Representation 2020, Semester 1