Fod portfolio mario 1

M|Y|R|S MARIO YOHANES RINALDY SIHOMBING

Foundations of Design : Representation, Sem 1, 2017

PORTFOLIO 917889

Studio 19 - Hana Nihill

M1. HOW TO DRAW A CROISSANT?

Front elevation view

Top plan view

Drawing a croissant?

The first task that was given was to draw a croissant. Although it caused much confusion, the purpose of this task was to taught us about the concept of orthographic projection, a basic and crucial concept for architects. The croissant was then photographed, scanned, and photocopied, and acted as a reference for our drawings which was done by hand. A sense of scale and depth soon emerged, as well as a consciousness for shading techniques, hatching and realism. The photos and scanned images of the croissant and its section cuts was then arranged in an orthographic manner, shown on the next page. Aligning it which each other and keeping it true-to-scale was done to ease ourselve for the pinnacle part of this project, the axonometric projection.

The arranged images was then traced with pencil, and then pen, to give a clearer view for an emphasis in the croissant’s texture and contour. Realistic shading was needed to give a sense of depth to the croissant, especially its section cuts. As an understanding of its countour has been achieved, its time to progress to the axonometric projection.

Side elevation view

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The croissant photos arranged in orthographic projection, showing all the views with their respective viewing position

The croissant was then pencil traced and pen tranced, in which the pen traced one was shown, showing the croissant highlighted textures and depth

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The axonometric projection

Earlier, the croisssant was cut into 4 total sections. with 3 of them being notated on the orthographic projection, section AA, BB, CC, as described in the previous page. This section cuts will be used for the axonometric projection, and it gave us an understanding of the interior of the croissant.

An axonometric projection can be described as a projection of a two-dimensional object into a three-dimensional viewpoint being projected upwards and tilted by 45 degrees.

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Axonometric with grid process view showing the three section cut lines and the gridden section cut views of AA, BB, CC, being ‘tilted’ up in a 45 degrees manner

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Axonometric with final pen traced view showing the traced outlines of the 3D axonometric projected croissant and an inner view of its interior section cut plans.

To create one, a tracing of the base of the croissant was needed, and marked with lines the three section cuts of AA, BB, and CC. By making a grid of 10 mm by 10 mm on top of the section cuts (AA,BB,CC), and tracing it, we were able to make a rough pinpoint of the shape of the section cut to create this early axonometric drawing. Distorting the grid by 45 degrees (in this case an additional of roughly 31 (BB) and 24 (CC) degrees, because it was cut radially), we were able to ‘lift’ the croissant to a 3D view.

Finally, by tracing it with pen and joining all the section, the axonometric drawing is complete.

It now gives us a 3-dimensional understanding of the croissant which was used in this task.

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M2. A BRAND NEW MARIO WORLD A whole new Mario world

The game Mario Bros featured several game stages which are all unique, as if they are located in different worlds. The two dimensional world emphasise the concept of flatness, and in this task, this two dimensional realm will be turned into a three dimensional world through projection. This task was designed to differentiate between ‘subjective’ and ‘objective’ points of view, to further define 2D and 3D spatial constructions. However, in projecting it into a three dimensional world, a second section was needed to cover the rear of the world, and so two total worlds shown below will be combined into the final product on the right in an axonometric manner. Determining the length and depth of each section are left to the hands of the designer. In this case, I planned out that the world will equally be projected to cover all spaces that are left in the hidden space in the axonometric view. Eventually, there are several empty spaces that can be found in between which can be filled in objects.

First Mario world

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In this particular Mario world combination designed by Mario, there is a quite some unique traits. The original template doesn’t really have much ornaments and characters, and that is why those are added in this combination. The projected worlds portrayed a sense of high density, similar to modern urban jungles with its green ‘towers’. Some slight adjustments were done due to that the clouds covered half of the world and will block everything on ground.

Second Mario world

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Bank of China Tower The tower was added to give a more dense impression of the central “towers” found on the world. The central “towers” gave a sense of a high density building, and an addition of the Bank of China tower from Hong Kong supported the impression, as Hong Kong was one of the most dense city in the world.

Additionally, the tower was added due to the designer’s interest in modern architecture and skyscrapers

First World Projection.The first world projection was done in a forward manner, tilted 45-degrees, and projected upwards in an axonometric manner. The rearmost parts of the world is to be projected first before the foremost parts.

Mario character The character was added as part of the task requirement to add characters. In this world, there are no characters, so a Mario was chosen as one.

Initially, this addition was inspired by the Subject Leader’s “challenge”, although a joke, he mentioned that someone who can draw Mario’s bottom would get a distinction mark.

Another factor of decision to add this character was purely by the coincidence that the designer’s name is also Mario.

Second World Projection. Similar to the first projection, but done backwardly. In this case, the front part of the world is now the rear, and so the front part of the second world is to be projected first before the rear part of the world.

Combination. Both world’s projection was done in seperate tracing papers. Overlaying them both with an additional tracing paper will combine the two worlds. It was then traced with pencil first where adjustments were made.

IJN Kongou battleship This Second World War era Japanese battleship was added to increase the amount of ornaments in the Southwestern part of the Mario World, as there was a significant amount of space in the middle. A great amount of time was used to convert the reference drawing (shown above) from an isometric view into an axonometric view. The ship was added due to the designer’s interest for World War II naval history. A small docking port was also added for aesthetic filler.

Final Pen Traced. After the adjustments with pencils, the world was then retraced with a fineliner before scanning.

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M3. PAPER TERRAIN MODEL The Tasmanian terrain, reimagined

A certain section of the Tasmanian landscape was assigned to each of us for us to work on. The Rhino program was introduced to us to model the patterns and panels for this task, in particular to manipulate form , in which the two dimensional and three dimensional panels were formed.

The final paper model is shown on the right. To create something intresting, it was decided to create a certain image or pattern with the panels applied to the terrain, rather than random abstract patterns. The general plan view of the paper model resembles the Southern Australian coast, stretching from Adelaide all the way to Sydney, with a slight bit of Tasmania seen at the bottom. Regarding to the panels, there are 3 main three dimensional panels which tried to symbolise the approximate terrain contour of the land in real life, as seen with the “pyramids” on the right side resebling the eastern mountain range. However, some adjustments were made for the more central part of the land, as they are mainly flat. It created a “boring” impression if half of the model were flat panels, and to counter that, an additional mountain range was added on the left side of the model.

It can be said that this attempt was one of the more successfull creation during the subject year, as the resemblance and tidiness of the model was on par with the other great ones, although a sense of creativity was further needed for me to advance and get higher marks.

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The final paper model general plan view showing the resemblance to the Southern Australian coast form.

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A closer view of the model shows us the interior and cutting process of the model. Although during the process of cutting the use of laser printing was not used, the cutting quality was still decent and tidy.

Additionally, although glue sticks was not really recommended for the project due to the threat of glue stains on the panels, the sticking quality and cleanliness of the product was on par with other models who uses other types of glue.

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Another closeup view of the model reveals the handiwork and smooth transition between the panels and the 2D pattern surfaces. The choice for making a center square hole for the 2D panels are in correspondence to the square shaped majority of the model, making it more uniform, although the triangular pyramids break that uniformity to create a different impression other than a flat square surface.

Experimentation. Several attempts to â&#x20AC;&#x2DC;replicateâ&#x20AC;&#x2122; the southern coast were made, whether regarding the overall plan design or the panels design.

Final Required Workpieces. After finalizing the design, other experimentations for the 2D panels and the unrolled surfaces were needed for the final submission and the construction process of the model.

3D Panels Design. The designed 3D Panel form. The taller panels and pyramids resembles higher terrain and mountain range, while the lower and flatter one resemble the flat area of land.

Rendered Model. A rendered view of the model to give a better impression of what it should have looked like.

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HIDDEN CITIES 1: OLINDA M4. A CERTAIN HIDDEN CITY The First Hidden City: Olinda The general description of the city is straightforwardly given in the story with minimum symbolism. Furthermore, there are no characters described in it, making it another challenge to create the imagery of the city. After careful reading and analysing, it can be said that the city was in a concentric circle form, where the city started in the center and grows outwards.

Logically speaking, the center of the city must be the oldest one, since it was the place where the city started, but not in Olinda. The center of the city is the newer part of the city, while the older ones are on the outskirts, continued being pushed out from the newer center part of the city. This key information was then translated into the isometric view. The isometric view featured 5 concentric rings in different elevations and shades of gray. The shades of gray represent the passage of time, where the lighter ones symbolises the “new” while the darker shades symbolises the “old”. Furthermore, in the story, Olinda was described to bear the shape of the age circles found on a tree, which is why when the model is viewed from the stop, it will look like the age circles. Additionally, if viewed from the side, it resembles a blossoming flower, which the story mentioned that the new “Olindas” that started in the center continues to blossoms. A center piece is also featured, which consists of circles and inward arrows. The circles represent people, and if the definition is expanded, it symbolises society, located at the origin point of the city. The inward arrows corresponds to the outwards arrows, as the city expands outwards, a new Olinda is being created in the center, hence a re”birth” or a recreation.

Key People Rebirth Expansion Shape/Time Perspective 1 Perspective 2

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1m

2.5m

5m

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The final model of the city’s intrepretation applied to the Old Quad building in 1:50 scale.

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A 3D render with shadows of the model to emphasise the different elevations of the rings, as it was not clearly show on the final model.

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A top plan view of the model showcasing the concentric circles resembling the age circles found on a tree trunk.

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The first perspective view featured the Old Quad model’s interior viewed at an angle.

This angle created an “expanding” scene, which started from the vanishing point at the right, and expanded into a bigger space to the left. This symbolises the passage of time as the city grows, or, a ‘timeline’. The kids playing and the old man emphasise this. In the story, the newer parts of the city is located in the center, while the older parts are located in the outskirts.

This can be seen in the placement of the people, where the kids (newer generation) are located closer to the center than the old man (older generation). The fountain was located in the direct center of the building. It represents the center and heart of the city, as well as the source of life and starting point of the city. The circular tiled floors resembles the shape of the city, a concentic circle, while the ceilings were given a skylight frame texture, which is a feature of Olinda if viewed from above.

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The second perspective featured a visual interpretation of the city. As I was reading the city, I interpreted the part in which the newer parts of the city is in the center and the older parts in the outskirts, as an argument for modernisation. Olinda, just like any other cities nowadays, is affected by the progress of time. For instance, take a look at Melbourne. Melbourneâ&#x20AC;&#x2122;s origin point was the creation of the Hoddle Grid by the Yarra River, and since then it expanded and grows, creating new suburbs and satellite cities around it, bearing the architectural style and buildings from the Hoddle Grid. If we take a look at Melbourne now, the Hoddle Grid, now the CBD, is the most modern looking part of the city, with new high rise skyscrapers and contemporary styled buildings, while the suburbs around it still have that old buildings intact, such as Carlton, with the presence of the University, which is old.

This interpretation can be seen in the perspective view. The central part is filled with high rises and modern buildings, a newer part, while the outskirts is filled with classical buildings, churches, spires, an old circular city wall, and small town and villages. This view also seemingly created a model city inside the Old Quad, with the cloud filled ceilings and the wooden columns with leaves as its capitals, trees.

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FINAL REFLECTION

Upon completing the Foundations of Design: Represenation subject, I have learned, studied, understood, and applied many different techniques and knowledge that will be beneficial to my studies in architecture.

Starting from Module 1, drawing a croissant was unexpected and hilarious at the same time. Some probably disses at the joke of scanning and photocopying a croissant.

However, I have learned an important skill during the process.

The croissant drawing introduces me to orthographic projection, a basis for architects, and subsequently the axonometric projection. The module also tested us on our sense of scale, since the drawings produced must be true to scale, and also our drawing and shading skills to show depth, an emphasis on realism.

On the next module, making a Mario world seems an intresting task at first, but this module proofed that it was one of my least successful. Although we learned new skills such as the usage of programs (Photoshop, Illustrator, InDesign) and making use of our drawing equipments, it proofed me hard to make use of technology (programs) to deliver my creative ideas on my mind. As much as I want to pour many things and ideas into the Mario World, I was limited to the programs as I was not familiar with them, yet.

The next module is model making, and by far it is the most stressful and time consuming task. Model making is an important skill that architects must have, and an exceptional attention to cleanliness and tidiness was given during the process. This task also introduces us to the program Rhino.

The introduction to Rhino was rough, and several problems occur in designing the panels for the model. As I learned from the previous module for not being creative, I tried to be as creative as possible with the panels, only to find that I was limited by the program again. The unrolled surfaces overlapped each other, making it unconstructable. I resided to a more simpler design but presented it in a certain manner and received good feedbacks, also backed up by my cleanliness and tidiness of my model making.

The last module was by far the most interesting and gets me going. As I personally has a fond interest in cities and city-building games, I took this project seriously. The project involved programs especially Rhino, Illustrator, and Photoshop, but now I am already quite familiar with the program. I learned new Rhino and Photoshop skills in applying the cityâ&#x20AC;&#x2122;s intrepretation to the Old Quad model.

Module 4 was by far my favorite part of this subject, as it finally let my city-focused mind and creativity be used.

I thanked my tutor and everyone else involved in this subject for providing me with useful knowledge and skills that will be used further in my architecture studies.

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