*. There is no restriction on academic use of the contents of this book.
*. The copyright of all design results contained in this book belongs to each (student) designer.
PUBLISHER’S NOTE
Since the beginning of my teaching career in Korea, I have always wished that I had a book such as this one. This wish may have originated from my 6th grade teacher, who made a graduation workbook containing students’ writings, drawings, and photographs. After my graduation and before my undergraduate years, I was able to see my growth in ways of thinking and understanding as a result of reading the book. With my colleagues, I made a school book including all the graduate projects completed at Hanyang University in 2006. By reading the book, I had been able to cheer up and reenergize myself whenever I was exhausted and burnt out in practice. With these memories, it has been four years since I made the course books for the subjects I taught.
During the process of creating this book, I learned something that I had never known before. I am gradually improving my skills as an instructor, learning what I have missed as an instructor, what I should remember when teaching next semester, which assignments to emphasize more, and what to emphasize less. Seeing the efforts and thoughts of the students that I had not yet discovered, I smiled at them and regretted that I had not been able to encourage them more.
After receiving this book, each recipient may have a different reaction to it. In the past four years, it has been observed that it serves as a tangible teaching portfolio for instructors, a data bank for students in the event of unexpected laptop failures, and an educational experience that motivates students to create their own portfolios. What will be your reaction when you receive this book? In the future, when you are about to graduate, what will you think after reading this book? In keeping with this thought, I completed the process of making the book.
In my opinion, the curriculum in the first two years is typically more focused on visualizing ideas by converting them into visualized outputs that can be shared with others. In the second half, the focus is more on materialization aligned with the realities, such as building codes, social issues, etc. It is my hope that you will be able to improve your ability to visualize and sense scale before the second half.
As a final note, I would like to thank you for all the time I spent with you. Despite the fact that this design studio with you has ended, please feel free to contact me at any time. I will be glad to respond to your contact. It has been a pleasure having you with me this semester.
I congratulate them on their successful completion.
-
Jinoh Park, Instructor and Publisher
Callahan,Rachel
Harrington,Ava 222 Penfield,Marilynn Mae
Walker,Reece Elaine
If I could talk to me before these five weeks, what would I like to share with me?
Main Themes
1. Self-Discovery and Personal Growth
- Self-Confidence and Potential
- Students expressed surprise at their ability to push beyond their perceived limits and achieve more than expected.
- Realization of inner strength and capabilities.
- Resilience and Adaptability
- Overcoming challenges, managing stress, and coping with unexpected difficulties.
- Emphasis on the importance of perseverance and trust in the process.
2. Importance of Time Management
- Managing heavy workloads through effective time management.
- Balancing productivity with good craftsmanship and attention to detail.
- Recognizing the value of taking breaks to maintain mental health.
3. Significance of Relationships and Support
- Importance of building friendships and collaborating with peers.
- Relying on classmates for support and encouragement during challenging times.
- Instructors as valuable resources for guidance and learning.
4. Embracing Challenges and Learning Opportunities
- Understanding that difficult experiences are integral to growth and learning.
- Emphasis on the rewarding nature of overcoming obstacles.
- Appreciation for the lessons learned and the skills acquired during the course.
5. Reflection on Stress and Workload
- Acknowledgment of the initial overwhelming nature of the course.
- Learning to manage stress and not overthink or complain excessively.
- The importance of maintaining a positive mindset despite challenges.
6. Enjoyment and Fulfillment
- Despite the challenges, students found joy and fulfillment in their work.
- The sense of accomplishment and pride in completed projects.
- The positive impact of enjoying the process and the work itself.
Sentiments and
Emotions
1. Positive Emotions
- Pride and Satisfaction: Many students felt proud of their
accomplishments and the progress they made.
- Joy and Enjoyment: Despite the hard work, students found enjoyment in the creative process and the outcomes.
- Gratitude: Appreciation for the opportunity to learn and grow, as well as for the support received from peers and instructors.
2. Negative Emotions
- Stress and Overwhelm: Initial feelings of being overwhelmed by the workload and the intensity of the course.
- Doubt and Anxiety: Moments of doubt about their abilities and the feasibility of completing the tasks.
3. Mixed Emotions
- Relief and Accomplishment: Relief at having completed the course and a sense of accomplishment.
- Reflection and Insight: Mixed feelings about the difficulty of the course, balanced by the recognition of its value and impact.
Key Takeaways and Advice
1. Trust in the Process
- Emphasizing the importance of trusting the process and believing in one’s abilities.
- Encouragement to embrace challenges and learn from them.
2. Importance of Community
- Highlighting the value of building relationships and seeking support from peers.
- Advice to engage with classmates and instructors for a richer learning experience.
3. Balanced Approach
- Advocating for a balance between hard work and self-care.
- Importance of managing time effectively and taking breaks when needed.
4. Embrace Creativity and Risk
- Encouragement to think outside the box and take creative risks.
- Recognition that mistakes and messes are part of the learning process.
5. Positive Mindset
- Advice to maintain a positive mindset and avoid unnecessary stress.
- Encouragement to focus on the rewarding aspects of the work and the progress made.
Overall, the reflections indicate a transformative experience for the students, characterized by personal growth, the development of resilience, and the acquisition of valuable skills. The recurring themes of self-discovery, the importance of time management, and the value of relationships underscore the holistic nature of their learning journey.
Wall, Column, and Space
Learning Objective
Students will explore 59 abstract series of interior spaces and their emotional reactions to them. They will use the 59 abstract series of interior spaces as ingredients in their space cube projects.
Key Themes:
1. Impact of Lighting on Space:
- Students learned how lighting affects walls, spaces, and overall ambiance.
- The importance of different lighting strategies and how they influence the feel and appearance of a space.
2. Emotional Influence of Architectural Elements:
- How walls, columns, and their arrangements can evoke different emotions.
- The relationship between spatial elements and human perception and emotion.
3. Technical Skills and Craftsmanship:
- Skills in cutting, molding, and arranging materials.
- The importance of clean and precise craftsmanship for creating visually appealing work.
4. Design and Composition:
- Creating purposeful compositions using walls, columns, and space.
- Understanding how the placement and sequence of architectural elements impact the overall design.
5. Iterative Process and Attention to Detail:
- Learning the value of repetition and iteration in developing design skills.
- Managing time, materials, and decision-making to produce consistent and detailed work.
6. Spatial Awareness and Perception:
- Understanding the impact of spatial arrangements and how they affect human perception.
- The significance of scaling and proportions in creating realistic and functional designs.
7. Foundational Knowledge in Architecture:
- Basics of space, area, and lighting.
- Introduction to architectural design principles and their application.
Lessons Learned:
1. Lighting and Its Effects:
- The critical role of lighting in changing the mood and appearance of a space.
- Techniques for implementing effective lighting in design projects.
2. Emotional Impact of Design:
- Designing spaces that evoke specific emotions by arranging walls and columns.
- Considering the emotional responses of users when designing spaces.
3. Craftsmanship and Precision:
- Developing skills in creating clean and precise architectural models.
- The importance of detailed and high-quality craftsmanship.
4. Design Principles:
- Creating intentional and purposeful designs.
- Understanding the foundational elements of walls, columns, and space in architectural design.
5. Iterative Learning:
- Iteration and practice are important in improving design skills.
- Managing time and resources effectively to complete projects.
6. Spatial and Structural Understanding:
- Gaining a deeper understanding of spatial relationships and structural elements.
- Learning to visualize and create spaces that are both functional and aesthetically pleasing.
7. Introduction to Architecture:
- Acquiring foundational knowledge and skills in architecture.
- Preparing for more advanced projects and design challenges.
Conclusion:
The “Wall, Column, and Space” project provided students with a comprehensive introduction to architectural design. They learned about the importance of lighting, the emotional impact of spatial arrangements, and the technical skills required for precise craftsmanship. Through iterative practice and detailed attention to design principles, students developed a strong foundation for future architectural endeavors.
Mesa Alm
Portfolio
What I learned...
Project #1 “Wall, Column, and Space”
- This project provided a valuable opportunity to explore the fundamental elements that shape an interior environment. Through hands-on experimentation with light, spatial relationships, and scale, I began to understand how each of these components contributes to the overall atmosphere and functionality of a space. It challenged me to think critically about how walls, columns, and voids interact, not just as structural elements, but as tools for guiding movement, framing views, and creating emotional responses within a designed interior.
Project #2 “Hand Drawing”
- Through the hand drawing projects, I developed a stronger sense of control and intention in my freehand work while also learning how to use rules and geometry to create expressive patterns. Drawing my window view helped me connect personal memories with everyday observations, showing me how storytelling and emotion can be translated through visual media. I also gained a deeper understanding of how color can influence perception and atmosphere in a space. Sketching outdoor further sharpened my ability to analyze and capture real-world environments, encouraging me to recognize design principles in natural and built landscapes. These exercises collectively taught me how drawing can be both a tool for design and a means of personal reflection.
Project #3 “Drawing What you See, Drawing What you Feel”
- Through this project, I learned how to look beyond the surface of both art and space—to not just observe the details, but to understand how they make me feel and why. By analyzing both a historical painting and a real-life architectural space, I began to see how emotion, memory, and personal experience can shape interpretation. I learned how to connect factual elements, like size, material, and composition, with personal responses such as comfort, nostalgia, or peace. This process taught me how powerful it is when design and art resonate emotionally, and how meaningful connections can form when we draw not just what we see, but what we feel.
Project #4 “Space Cube”
- Through the Space Cube project, I learned how to create intentional and meaningful spatial experiences within a confined volume. Working within the 9”x9”x9” cube pushed me to think critically about transitions, boundaries, and the emotional responses that different spatial arrangements could evoke. I explored how to define space explicitly and implicitly, and how subtle shifts in form or placement can completely alter the experience of moving through a space. This project also taught me the importance of iteration, developing multiple ideas and refining one to its full potential, while balancing creative vision with constraints. Overall, I gained a deeper understanding of how to design spatial sequences that communicate a clear intention through both physical models and digital tools like Rhino.
Project #5 “First Portfolio”
- Through this project, I learned how to reflect on my design process as both a creative and professional journey. Using AI tools like Fabrie helped me see how technology can enhance and inspire new directions in design, while also challenging me to think critically about how to maintain my own creative voice. Creating a personal portrait gave me a moment to celebrate my growth and recognize the effort behind each project. Compiling my work into a portfolio taught me that design isn’t just about individual outcomes, it’s about the process, the decisions made along the way, and how everything comes together to tell a cohesive story.
Overall
- Over these five weeks I moved from sketching dancing lines to curating a finished portfolio, and every step taught me to see design as a layered conversation between craft, concept, and technology. Free-hand drawing sharpened my eye for nuance; building the Space Cube deepened my grasp of spatial sequencing and emotional intent; architectural drawings and Rhino modeling translated ideas into precise, communicable form; and experimenting with AI tools pushed me to blend innovation with personal voice. Pulling everything together in a portfolio showed me that good design isn’t a series of isolated tasks, it’s an integrated narrative of exploration, iteration, and reflection.
If you could talk to you before these five weeks, what would you like to share with you?
- Hey, future-you here—relax and dive in. The next five weeks will feel fast and super challenging, but every experiment matters, even the messy ones. Trust your instincts when a line “feels” right, and don’t over-polish the first idea; iterate, then iterate again. Let the Space Cube teach you how tiny shifts can change an experience, and let Rhino’s precision sharpen (not replace) your intuition, you WILL learn how to use it all eventually. Use AI as a springboard, not a shortcut, and remember the portfolio isn’t just a showcase, it’s a story of growth. Celebrate small wins, document everything, and keep your sense of wonder; it’ll carry you through late nights and laser-cut mishaps. Most of all, enjoy the process, you’re about to surprise yourself.
Category #1: Facing surface
- Ten photographs illustrate how the angle of the wall that the human figure is facing gradually shifts, resulting in gradual obstruction of the human figure’s view. As the wall shifts, the human figure’s view is blocked.
- As the wall’s degree changed, my view was more and more blocked and I felt closed in and unable to move forward.
Category #2: Facing edge
- Ten photographs illustrate how the angle of the wall facing the human figure becomes less and less until it is perpendicular to its original position. As the wall changes the human figure becomes gradually blocked, but only by the narrow side of the wall and so the figure’s view is not completely obstructed.
- I have been partly blocked by a gradually shifting wall, but my path is not obstructed if I just step to the side and continue.
Category #3: Blocking wall
- Eleven photographs illustrate how the angle of the wall that the human figure is facing gradually shifts, resulting in gradual obstruction of the human figure’s view. As the wall shifts, the human figure’s view and path is blocked.
- As the wall’s degree changed, my view was more and more blocked and I felt closed in and unable to move forward, similarly to the first category.
Opened level 1
Opened level 4
Block level 3
Block
Opened level 2
Block level 1
Block
Block
Opened level 3
Block level 2
Block level 5
Category #4: Passing the blocking wall
- Five photographs illustrate how the wall gets closer to the camera, but keeps the same angle. The human figure appears to be walking past the wall, but he doesn’t get further away from the camera.
- As I walked past the wall, I was no longer able to see it and felt very free in the big open area behind it.
Category #5: Aligned Wall
- Six photographs illustrate how the wall gets closer to the human figure, but keeps the same 90-degree angle. The wall crosses into the human figure’s path, but doesn’t obstruct his view.
- Before the wall moved, I was able to see straight ahead, but as it moved into my view it obstructed it and made me feel blocked.
Closed level 1
Closed level 4
Closed level 2
Closed level 5
Closed level 3
Category #6: Passing the aligned wall
- Six photographs illustrate how the wall gets closer to the camera, but keeps the same angle. The human figure appears to be walking beside the wall, but he doesn’t get further away from the camera.
- As I walked past the wall, I was no longer able to see it and felt very free in the big open area behind it. Passing
Category #7: Walls with different heights
- Nine photographs illustrate a wall growing in height in front of the human figure. As the wall grows taller it gradually obstructs the human figure’s view and path.
- Before the wall grew, I could see over it and walk over it, but after it obstructed my view and path and made me feel unable to continue forward.
Wall with 1ft
Wall with 4ft
Wall with 7ft
Wall with 2ft
Wall with 5ft
Wall with 3ft
Wall with 6ft
Category #8: Floating and faced Wall
- Eight photographs that illustrate a wall gradually getting higher in front of the human figure. As the wall rises it no longer obstructs the human figure’s view and path.
- Before the wall lifted, I was unable to see forward or walk forward, but after it lifted I felt free to walk and could see out in front of me.
Category #9: 8ft high floating and aligned wall
- Four photographs that illustrate a floating wall that is at 90 degrees moving above the human figure. As the wall shifts to above the human figure’s head it does not obstruct his path way or eyesight and it stays at 90 degrees.
- As the wall shifts it feels close to my head, but it doesn’t block me in and I am still able to fit under it.
Alignment level 1
Alignment level 4
Alignment level 2
Alignment level 3
Category #10: 8ft high floating and faced wall
- Eight photographs that illustrate a floating wall at 180 degrees. The floating wall moves over the human figure’s head but doesn’t obstruct his view or path.
- As the wall shifts it feels close to my head, but it doesn’t block me in and I am still able to fit under it.
Overlap level 1
Overlap level 4
Overlap level 2
Overlap level 5
Overlap level 7
Overlap level 3
Overlap level 6
Overlap level 8
Category #11: floating horizontal surface
- Six photographs that illustrate a horizontal floating surface that moves over the human figure’s head. As the surface shifts it does not obscure the human figure’s path or view.
- The horizontal floating surface just looks like a floating plain and it makes me feel intrigued.
Overlap level 1
Overlap level 4
Overlap level 2
Overlap level 5
Overlap level 3
Overlap level 6
Category #12: Horizontal surfaces with different heights
- Twelve photographs that illustrate a horizontal surface moving from high to low and past ground surface. The floating surface stays out in front of the human figure the whole time.
- As the surface moves down, I am able to see all around it and then it moves past the ground and seems as if it is going to disappear and I feel free and curious of what is happening to the surface.
Category #13: Wall surface with an incline
- Eight photographs that illustrate a wall changing angles to be a floating structure above the human figure’s head. The wall changes angles from being perpendicular to the ground to almost parallel to it, but it stays above the human figure creating an arc motion in the sky.
- I feel as if I am walking through a tunnel that only has one of its sides each time and I feel as if I am being closed in on.
Category #14: Inclined wall
- Six photographs that illustrate a structure that is gaining a greater incline. It is beside the human figure, but doesn’t obstruct his path.
- Before the structure moved, I felt as if I was in a completely open space, but as the structure gained an incline it closed me in on the right side and made me feel more closed in.
Inclined level 1
Inclined level 4
Inclined level 2
Inclined level 5
Inclined level 3
Inclined level 6
Category #15: Floating wall surface facing edge with an incline
- Six photographs that illustrate a floating surface that gains an incline facing the human figure. The structure doesn’t block the human figure, but goes in an arc above it as the incline increases.
- Before the surface moved, I felt as if I could lean on the surface, but after it’s incline grew and it rotated, it was perpendicular to the ground and floating in front of me so I felt like I couldn’t move forward.
Inclined level 1
Inclined level 4
Inclined level 2
Inclined level 5
Inclined level 3
Inclined level 6
Category #16: Inclined surface to a facing wall
- Nine photographs of a inclined surface changing into a wall that blocks the human figure. As the surface rises the figure is no longer able to see over it, but is blocked.
- At first I could see over the surface, but after it shifted to a wall-like figure I could no longer walk forward or see forward and I felt unable to move forward.
Category: #17 Inclined ramp to facing wall
- Nine photographs that illustrate an inclined ramp changing to a wall the human figure is facing. The human figure’s view and path becomes obstructed by the ramp as it changes to a wall.
- At first I felt like I could walk up the ramp, but as it moved my path and view was obstructed, and I felt like I couldn’t move forward.
Category: #18 One Column
- Two images that depict a human figure and a column from the front and the side. The human figure seems to be walking towards the column.
- Emotionally, the front view drives a sense of direction and mystery, drawing me inward as if I’m being pulled into the unknown, but the side view feels more static and repetitive.
Category: #19 Two Columns
- Two photographs that illustrate a human figure between two columns and then from a horizontal angle walking towards the two columns. The human figure in the first image is walking through the columns, and in the second is walking past the columns.
- The first image makes me feel as if I’m walking through a doorway of some kind, while the second image makes me feel like I’m walking beside a wall or fence and can’t turn right.
Category: #20 Three Columns
- Two images that depict three pillars first, in a line, and then staggard. First the human figure is walking beside the three pillars, and in the second picture he’s walking between the pillars, two on one side and one on the other.
- Emotionally, the vertical view gives a sense of direction and a pathway, while the horizontal image gives a sense of mystery or choosing your own path.
Category: #21 Four Columns
- Two images that depict four columns going from wide to narrow. The human figure is in the middle of the four columns in both images, as if he’s boxed in.
- The wide pillars make the area feel more open and inviting, while the narrow pillars feel like I’m being closed in on.
Vertical
Wide
Horizontal
Narrow
Category: #22 One Wall and One Column
- Eight images that illustrate a wall on the left and a pillar that moves around in the images. The human figure faces parallel with the wall and stays on the right side of the wall.
- Images like two, three, and seven feel as if I’m walking through a corridor, while the other images don’t give much sense of direction, but make it feel more like an open room.
Category: #23 One Wall and two Columns
- Three illustrations that show a wall and two columns. The human figure has somewhat of a pathway in each image as the walls change angles and pillars move positions.
- In all three images I feel like I have space to move, but the third one specifically makes me feel free, with more space to move around.
Category: #24 Two Walls and two Columns
- Two photos that show two walls that stay in the same perpendicular positions, and two columns that change vertically and horizontally. There are two human figures, a man walking down a walk way, and a woman standing facing away from a wall.
- The space makes me feel like I’m in a grand room with pillars and corridors, and it feels spacious.
Condition 1: aligned wall and vertically aligned columns
Columns aligned vertically with perpendicular walls
Condition 2: facing wall and vertically aligned columns
Columns aligned horizontally with perpendicular walls
Condition 3: facing wall and horizontally aligned columns
Category: #25 Two Walls and two Columns with two lighting conditions_01
- Six images that depict two perpendicular walls, and two columns that move, along with lighting behind the figure, and then lighting behind a wall. The figure faces a wall and is parallel with another wall, while the columns stay beside him and create a pathway. - The lighting from behind makes the space feel cheery and I can see where I’m going, whereas the lighting from behind the wall gives an eerie effect.
Walking between vertically aligned columns and perpendicular walls with lighting behind Figure
Walking beside vertically aligned columns and perpendicular walls with lighting behind wall
Walking between vertically aligned columns and perpendicular walls with lighting behind wall
Walking beside vertically aligned columns and extended perpendicular walls with lighting behind Figure
Walking beside vertically aligned columns and perpendicular walls with lighting behind Figure
Walking beside vertically aligned columns and extended perpendicular walls with lighting behind wall
Category: #26 Two Walls and two Columns with two lighting conditions_02
- Four photographs that illustrate two parallel walls with two columns and lighting from behind the figure and from inside the space. The figure is facing a wall and walking past another wall, while the pillars change from being aligned vertically and horizontally. - The light from behind feels more eerie, as if I’m walking into the unknown, but the light from inside gives the feeling of finding the light and walking towards it.
Passing horizontally aligned columns to enter the space between two walls with lighting behind Figure
Passing vertically aligned columns to enter the space between two walls with lighting from the inside space
Passing horizontally aligned columns to enter the space between two walls with lighting from the inside space
Passing vertically aligned columns to enter the space between two walls with lighting behind Figure
Category: #27 Two Walls and two Columns with two lighting conditions_03
- Six photos that depict two walls staggard and parallel, two columns changing from vertical to horizontal, and lighting from behind and then inside. The human figure is walking in a kind of pathway near both pillars and walls.
- The light from behind and pillars vertical make me feel closed in, while the light from inside and the horizontal pillars give an effect of walking toward a big space that is lit up.
Passing vertically aligned columns to pass a narrow opening between two walls with lighting behind Figure
Passing vertically aligned columns to pass an intermediate opening between two walls with lighting from the inside space
Passing vertically aligned columns to pass a narrow opening between two walls with lighting from the inside space
Passing horizontally aligned columns to pass a wide opening between two walls with lighting behind Figure
Passing vertically aligned columns to pass an intermediate opening between two walls with lighting behind Figure
Passing horizontally aligned columns to pass a wide opening between two walls with lighting from the inside space
Category: #28 Vertically aligned Two Walls and two Columns
- Two illustrations that show a walking human figure between vertically aligned walls and columns. The human figure is walking past narrowly placed pillars and widely placed pillars.
- Walking between the walls feels more restricting, but also a clear sense of direction, while walking through the pillars makes me feel freer to move as I’d like, but also doesn’t give me a clear direction to continue.
Between walls, walking
Between columns, walking
Category: #29 Space composed with 5+ columns and 2 walls
- Seven images that show a plan view and a human figure walking through a hallway that has pillars and walls. The figure walks through two pillars that give the idea of a doorway and then he continues left, down a path, around a corner, and down another path. The hallway leaves him space to stop and look around, but also gives him a clear sense of direction.
- As I walk through the halls of this building, I know where I’m going because there’s a clear flow to the pathway, but it’s not narrow so it doesn’t rush me onwards, and I feel like I have the ability to pause and look around before continuing on.
Top view of the space composed
Sequence phase #3
Sequence phase #1
Sequence phase #4
Sequence phase #2
Sequence phase #5
Sequence phase #6
Category: #30 Faced wall with Connected wall
- Nineteen images that depict two walls that vary in degree. The human figure is facing the corner and watching the angle get larger and larger.
- At the smaller degrees I feel confined and unable to move forward, along with the room feeling darker, but as the angle widens it creates a kind of path way that I could move towards and the space becomes lighter.
Category: #31 Aligned wall with Connected wall
- Seventeen images that show two walls with a starting angle of 10 degrees that slowly widens to 170 degrees. The human figure faces the corner but is further away from the walls.
- Throughout all the degree changes I feel able to move around because I’m far away from the walls and so it feels like a nice large space, no matter what the walls are angled at.
Category: #32 Facing the connected edge of two walls
- Seventeen images that depict two walls that start off with a small angle that faces away from the human figure, and the angle gradually becomes larger. The human figure faces the corner of the walls.
- Because the angled walls are faced away from me it feels like I’m outside, and as the angle widens into a straight line, like a wall, it feels like I’m suddenly blocked off from something.
Category: #33 Three connected walls
- Two photos that illustrate three connected walls with either wider angles or narrow angles. The human figure faces the middle wall, but is slightly towards the left corner.
- Watching the angle go from larger to smaller feels more confining, but also makes it feel more like a normal room, whereas the larger angles make it feel like a strange warped wall rather than a room.
Wide-facing wall with two wings
Narrow-facing wall with two wings
Category: #34 Curved wall inside
- Four images that show a curved wall of varying width and height. The human figure faces away from the wall, but stands slightly inside the curve.
- The round smooth edge of the wall feels comforting, but the taller wall does feel more eerie and daunting.
Small-curved and 8ft height
Small-curved and 16ft height
Large-curved and 8ft height
Large-curved and 16ft height
Category: #35 Curved wall outside
- Eight photos that depict curved walls of different heights and widths. The human character is seen facing the outside of the curved wall or walking beside it.
- I honestly don’t feel much with this one. It feels like a strange round building that maybe I could get inside if I continue around the edge.
Facing Small-curved and 8ft height
Passing Small-curved and 16ft height
Facing Large-curved and 16ft height
Passing Small-curved and 8ft height
Facing Large-curved and 8ft height
Passing Large-curved and 16ft height
Facing Small-curved and 16ft height
Passing Large-curved and 8ft height
Category: #36 Curved Walls and Flat Walls
- Five images that show a curved and flat wall creating a pathway. The human figure walks between the walls both inside to outside, and outside to inside.
- It feels like I’m walking through a curved hallway that I can’t see the end of, and it makes me feel curious but also nervous.
Facing a flat wall (8fh height) while passing a curved wall (8fh height)
Entering a space between a flat wall (8fh height) and a closed-curved wall (8fh height)
Entering a space between a flat wall (8fh height) and an opened-curved wall (8fh height)
Entering a space between a flat wall (8fh height) and a half opened-curved wall (8fh height)
Your coordination in height and openness.
Category: #37 Entering into a space between Parallel Curved Walls
- Eight illustrations that show two curved walls of different heights and widths. The human figure is seen walking through the pathway created by the two walls.
- When walking into the hall it feels cheery and familiar, like I’m walking into my family dinner, and walking out feels like I’m going into the unknown.
Small-curved and 8ft high outside
Large-curved and 16ft high outside
Large-curved and 8ft high inside
Small-curved and 16ft high outside
Small-curved and 8ft high inside
Large-curved and 16ft high inside
Large-curved and 8ft high outside
Small-curved and 16ft high inside
Category: #38 Entering a space between curved mirror walls_01
- Four images that depict tall and short curved walls that create a gap/opening. The human figure is facing the opening as if he is going to walk through it.
- The narrow opening with the tall, curved walls feels oppressive or like a trap, while the short, wide gap is more inviting.
Small-curved and 8ft height
Small-curved and 16ft height
Large-curved and 8ft height
Large-curved and 16ft height
Category: #39 Entering a space between curved mirror walls_02
- Eight images showing different heights and widths of curved walls from the outside, with different lighting. The human figure is walking through the gap between curved walls.
- The images with the lighting from the inside make the space feel more inviting and welcoming, while lighting from the back, prevents me from seeing into the room and it looks dark and scary.
Small-curved and 8ft high with inside lighting
Small-curved and 16ft high with outside lighting
Large-curved and 16ft high with inside lighting
Small-curved and 8ft high with outside lighting
Large-curved and 8ft high with inside lighting
Large-curved and 16ft high with outside lighting
Small-curved and 16ft high with inside lighting
Large-curved and 8ft high with outside lighting
Category: #40 One curved wall and one column
- Two photos that illustrate one curved wall and one column. The human figure is entering a space between the column and curved wall outside, and inside in the two different images.
- Walking through the objects outside makes me feel blocked out or like I’m just following a curved wall, while passing between the objects from an inside perspective makes me feel like I’m on a pathway.
Entering a space between a column and curved wall outside
Entering a space between a column and curved wall inside
Category: #41 One curved wall and two columns
- Three photographs that show two columns and a curved wall outside. One human figure walks between the columns and wall while the other stands in front of the wall facing away from it.
- This space makes me feel like I’m outdoors, maybe in a pavilion, and the space makes me feel free.
Entering a space between a column of two horizontally aligned and curved wall outside
Facing the outside of a curved wall with two horizontally aligned columns with insufficient space between them
Entering a space between a column of two vertically aligned and a curved wall outside
Category: #42 Role of a column between Curved and flat walls
- Four images that show different ways of entering between a wall, a curved wall, and a column. The human figure walks through the walls and column, into what looks like a hallway.
- I feel as though I am walking into a building, and having the column towards the outside wall gives a better sense of direction, while having the column by the inner wall seems pointless, but maybe more decorative.
Entering a space between two parallel curved walls, with a column in front of the outer curved wall
Entering a space between a parallel flat wall and a curved wall, with a column in front of the flat wall
Entering a space between a faced flat wall and a curved wall, with a column in front of the flat wall
Entering a space between two parallel curved walls, with a column in front of the inner curved wall
Category: #43 Curved connection
- Four images that depict two walls connecting at varying angles. The human figure walks along the wall even though it seems like there’s a whole room.
- The area feels spacious and empty; the 60 degree angled walls give the space the feeling of a big room, while the 150 degree angled walls feel more like a walk way and open up a more void-feeling space.
Follow two flat walls that are connected at an angle of 60 degrees smoothly
Follow two flat walls that are connected at an angle of 90 degrees smoothly
Follow two flat walls that are connected at an angle of 120 degrees smoothly
Follow two flat walls that are connected at an angle of 150 degrees smoothly
Category: #44 Curved wall and S-curve wall
- Four images showing curved walls and s-curved walls of different heights. The human figure is walking between the walls as they create a winding pathway.
- The shorter walls make the path feel more welcoming while the higher walls are more daunting, and the light from the inside gives the area a happier, inviting feeling.
Curved wall and S-curve wall 8ft high with inside lighting
Curved wall and S-curve wall 16ft high with outside lighting
Curved wall and S-curve wall 8ft high with outside lighting
Curved wall and S-curve wall 16ft high with inside lighting
Category: #45 1 point perspective pictures: Void on the upside
- Four photographs that illustrate an open space with a square void or a round void in different sizes on the ceiling. The human figure stands directly beneath the void in each image.
- The space with the bigger cutouts feels more open and naturally lit, and the round void is softer and less harsh feeling than the square void.
A 4’x4’ square void with a height of 8ft
A 8’x8’ square void with a height of 8ft
A 4’ diameter void with a height of 8ft
A 8’ diameter void with a height of 8ft
Category: #46 Void on the upside with columns or walls
- Four images that show a void area in the ceiling and columns and walls around the edges. The human figure is under the void and faces towards the wall.
- The columns make the area feel roomy, but when the wall is added the space gets smaller.
A 8’x8’ square void with columns
View for A 4’x4’ square void with a flat wall aligned with one side and two columns aligned with the opposite side
A 8’x8’ square void with a facing wall
A 8’x8’ square void with a passing wall
Category: #47 Void on the downside with columns or walls
- Six photos that depict a ceiling with a void inside and a hole in the ground, and a wall coming through the void. The human figure faces the wall and the void.
- The space makes me feel like I’m up high and in danger of falling because there are no rails.
A 8’x8’ square void with a facing wall and light from upper floor
A 8’x8’ square void with a facing wall and light from side
A 8’x8’ square void with a passing wall and light from lower floor
A 8’x8’ square void with a passing wall and light from side
A 8’x8’ square void with a facing wall and light from lower floor
Category: #48 Void on the upside with combinations of columns or walls
- Ten images that depicts a space with a low ceiling that has a void in it, and there are also pillars and walls. The human figure can be seen facing the void angled down the hallway. Then he walks between two pillars and a wall before turning right. He can be seen looking down the hall to the right before turning left and rounding another corner. There is another pillar in this hallway and a void space in the ceiling.
- The space could feel cramped, but the sky lights in two areas help the area feel more open and less confining.
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Category: #49 Void between Floating Surfaces
- Five images that show a void space that has two floating surfaces. There are three human figure that are seen on the ground or on the floating surfaces.
- The space feels very open and futuristic, though the floating surfaces feel unusable because there’s no way to get up or down from them.
Category: #50 Void between curve-linear Surfaces
- Two images that illustrate an organic cut out from the background wall along with a elevated surface that is also shaped like the organic shape. The human figure can be seen facing the elevated surface and wall in the back, along with standing on the platform that is almost like a stage.
- The space feels like an art museum or and artistic stage, and the space feels very large and spacious because there is no ceiling.
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Category: #51 Void with a combination of
- Two images that depict an organic space that has a ceiling with a void, two pillars, along with a slanted wall and support beam. The human figure is standing in the bright highlight being made from the skylight.
- The space feels very creative but sturdy making the space enjoyable to be in, but it is a small room.
Category: #52 Curved vertical surface
- Two photos that show a curved vertical surface varying in width. The human figure is facing the curved surface as if he is going to try to walk up it.
- The space makes me feel curious but also confined because I am not able to walk forward and the void is daunting.
Scene #1
Scene #2
Category: #53 Curved vertical surface with an upper floor
- Five images that show a curved vertical surface with a raised floor facing it. The human figure stands on top of the raised floor while facing the curved surface, and also stands on the ground below the raised floor.
- The space makes me feel free to move how I’d like but facing towards the vertical curve with the void in the back feels like the wall is blocking my view.
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Category: #54 Curved vertical surface with a void
- Five images that illustrate a raised surface with a square void and a curved vertical wall coming out of it. The human figure stands both on top of the surface facing the wall, and on the ground under the surface walking past the wall, facing the wall, and facing away from the wall.
- The space feels like a very stand-alone area because there are no pillars or walls to close the space in. The vertical curved wall gives a softening effect to the space.
Category: #55 Facing Curved vertical surface
- A single vertical curved surface, curving away from the human figure. The human figure faces the wall, standing a few feet away.
- The wall makes me feel blocked and unable to continue forward, but the space is large and void so I could walk around it.
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Category: #56 Hanging curved surfaces
- Four images that show two low hanging curved surfaces, curving off of two tall, curved walls. The human figure stands directly under the curved surfaces, between the curved walls.
- The space feels very abstract and creative, it makes me feel adventurous.
Category: #57 Surfaces with convexities and concavities
- Three images that illustrate a curving wall with a curving wall overhead. The human figure walks between the two walls and turns the corner to the right.
- The space feels restricting and makes me feel claustrophobic, though there is clearly and out area if I continue forward.
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Category: #58 A
sphere with a strong center and centripetal force
- Five photos showing a floor with a square void that contains a sphere, and all of it is resting on two curving walls. The human figure explores the top and bottom area.
- The space feels almost like an art museum that you can interact with. I feel free to move about as I’d like, and it’s a space I want to stay in and am in no rush to get out of.
Category: #59 Surfaces that are twisted and free
- Four images that depict a curved wall with a sphere inside, and a curved vertical wall resting on the sphere. The human figure explores all around the space, even on top of the sphere and curved surface.
- The space feels less like a confining structure and more like a centerpiece of art in a room. I enjoy looking at it and there seems to be no restrictions to what I could do in the space.
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Rachel Callahan Portfolio
Project #1 “Wall, Column, and Space”
Project #2 “Hand Drawing”Project #3 “Drawing What you See, Drawing What you Feel”
Project #4 “Space Cube”
Project #5 “First Portfolio”
OverallIf you could talk to you before these five weeks, what would you like to share with you? - Its all okay, just make the to-do list and get after it.
Category #1: Facing surface
In this set, a wall on the left rotates from the left view to front facing in a 10 pictures series. As the wall rotates it gradually becomes facing the human figure. From 0 degrees to 50 degrees you feel more breathable, but then from 60 degrees to 90 degrees the wall eventually cuts of view of what is ahead and I feel more closed off and less optimistic.
Category #2: Facing edge
A wall is aligned 90 degrees to the left and rotates in a 10 picture sequence to become front facing. The wall is aiming at the human figure to the left and slowly rotates around the human figure to become standing before it in front. The feeling changes from making me feel as though I have more free options of where to go, to becoming feeling more indecisive and divided feeling whenever the wall ends at front facing 90 degrees.
Category #3: Blocking wall
A wall left facing a human figure gradually changes over a sequence of 11 photographs to become centered. The wall goes from being along side the human figure to becoming centered in front of the human figure. The feeling for me starts out as feeling more available to becoming more shut down and blocked away, less optimistic feeling.
Opened level 1
Opened level 4
Block level 3
Block
Opened
Block
Block
Block
Opened
Block
Block
Category #4: Passing the blocking wall
In a series of 5 photos, a human figure is moving past a wall and ends up behind the wall. The human figure begins closer to the camera appearing closer and ends behind the wall and smaller appearing farther away implying it has passed the wall. This sequence makes me feel progressive and accomplished by swiftly making it passed the wall and moving forward.
Category #5: Aligned Wall
A wall over a sequence of five photos slides from aligned on the left, to centered in front of a human figure. The wall moves from the left view of the human figure to directly centered in front of the human figure so its taring right at the wall. This makes me feel easy and calm because everything is coming to the center and being aligned so I see that feeling with the wall becoming aligned.
Closed level 1
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Closed level 3
Category #6: Passing the aligned wall
In a series of six photos a human figure approaches an aligned wall and passes the wall. The human figure starts out approaching the wall and comes into light as it passes the left aligned wall. This feels very comforting being close to the wall and having such an open area to the left so it conveys an actual breathable space.
Category #7: Walls with different heights
In a series of eight photos a wall grows from one foot to eight feet high. As the wall grows from one foot to eight feet it slowly surpasses the human figure in height. This wall growing conveys a feeling of growth and progress, whether that is accomplishment or growing problems either one can be conveys but I feel more of growth and positive progress.
Wall with 1ft
Wall with 4ft
Wall with 7ft
Wall with 2ft
Wall with 5ft
Wall with 7ft
Wall with 3ft
Wall with 6ft
Category #8: Floating and faced Wall
In a series of eight photos a wall stars on the ground and rises to be floating eight feet high eventually. A wall starts in front of a human figure and it slowly gets cleared from the figures line of sight the higher it grows and begins to hover above its height. This portrays the feeling of
Category #9: 8ft high floating and aligned wall
In a series of four photos a floating wall aligned on the left aligns in the center. Continually hovering above the human figures head, the wall aligns centered to the human figure. This gives me a fun and playful feeling with the wall being in the air and coming to align in the center.
Alignment level 1
Alignment level 4
Alignment level 2
Alignment level 3
Category #10: 8ft high floating and faced wall
In a series of eight photos, a floating facing wall becomes centered in the air. The wall starts to the left of the human figure in the air and ends up being facing center to the human figure above its head. This provides another playing feeling just as the last category because it is the same position just a different alignment (facing wall instead of aligned).
Overlap level 1
Overlap level 4
Overlap level 2
Overlap level 5
Overlap level 7
Overlap level 3
Overlap level 6
Overlap level 8
Category #11: floating horizontal surface
A horizontal floating wall aligns in the center of the frame in a sequence of 8 photos. The surface comes in from the left view of the human figure and slides gradually into front view above the human figures head. This sequence gives a clear feeling of purpose and path of where you could possibly go on a guided wall.
Overlap level 1
Overlap level 4
Overlap level 7
Overlap level 2
Overlap level 5
Overlap level 8
Overlap level 3
Overlap level 6
Category #12: Horizontal surfaces with different heights
A floating square wall descends and continues through the floor creating different levels. The human figure is centered in front of a descending wall and eventually when the surface continues through the floor multiple figures are revealed. This provides me with a feeling of mystery and wonder because it is unexpected for multiple people to be revealed as well as the surface continuing through the floor.
Category #13: Wall surface with an incline
In a sequence of eight photos, an inclined wall rotates from 10 degrees to floating at eight degrees. The human figure is beside the inclined wall at 10 degrees and ends up underneath the wall at 80 degrees when the wall is in the air. The feeling portrayed through tis is also playful and surprising because it is not expected nor is it following typical wall rules.
Category #14: Inclined wall
In a series of six photographs an inclined wall becomes stood up to be an aligned left wall. The human figure is to the right of an increasingly leaning wall and becomes aligned with the wall. This creates a feeling of completion of everything coming together but also a little suffocating because an open horizon becomes closed off.
Inclined level 1
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Inclined level 2
Inclined level 5
Inclined level 3
Inclined level 6
Category #15: Floating wall surface facing edge with an incline
In a sequence of six photos a floating inclined wall becomes aligned in the center. The floating surface is horizontal to the left of the human figures but rotates to become aligned in the center floating above the human figures head. This provides a cut off small feeling to me because the eye level view becomes obstructed when the wall becomes centered.
Inclined level 1
Inclined level 4
Inclined level 2
Inclined level 5
Inclined level 3
Inclined level 6
Category #16: Inclined surface to a facing wall
In a series of nine photos, a floating surface becomes a front facing wall from 10 degrees to 90 degrees. The human figures view gradually becomes blocked by the floating surface as it rises up to block the eye level view. This provides a guided feeling of direction because my path becomes cleared and there is room to keep going forward as the wall becomes front facing.
Category: #17 Inclined ramp to facing wall
In a series of nine photos a front facing inclined wall becomes front facing wall at 90 degrees. The human figure is front facing a center front facing inclined wall while the wall increases in degrees is slowly starts to block the human figures view. This provides a feeling of structure for me because the wall is slowly coming together but it is still not too wide that you cant see around it.
Category: #18 One Column
The environment itself doesn’t change but the viewers POV changes from front to the side. As the view changes you see the change in distance as it appears to the camera POV, the front facing POV looks like the human figure is right in front of the column, but the side view shoes that it actually is farther away from the human figure. This sequence to me expresses how you feel as though you’re being block by the column only to reveal there is ample space between you and the column and overall feels much open and easier.
Category: #19 Two Columns
Two different photographs show the column’s aligned on the right to then being one on each side of the human figure. The column’s change from being on the human figures right side to guarding the human figure one column on each side. It changed from feeling like I could walk freely along the 2 columns but the horizontal view changed to make it feel like I was guarded on each side.
Category: #20 Three Columns
Two POV one shows 3 columns aligned on the right side of the human figure, and horizontal view shows three staggered, two on left, one on the right of the human figure. In the first vertical one the human figure appears to be walking beside 3 aligned columns, then the shift to the second one the human figure is aligned in front of 3 columns staggered. It feels like I could walk smoothly along the 3 aligned columns, but when it switches to the horizontal view it shifts to feeling more chaotic to walk through even though it is still a straight shot.
Category: #21 Four Columns
There are 4 columns in the shape of a square, one photograph is the columns in a wider stance, the second photograph is the columns in a narrower stance squeezing in the human figure. The columns jump from ample space around the human figure to a slenderer stance in each side of the human figure. The difference between the first photograph to the second I feel increased confinement on the left and right but keeping the same feeling looking forwards.
Vertical
Wide
Horizontal
Narrow
Category: #22 One Wall and One Column
Eight photographs show different sequences of a column in relation to a wall. The wall and column start out an equal distance from each other but the column is positioned farther back, then the next sequence is the column and the wall with the column closer to the front of the wall, followed by the column being at different positions up against the wall, and the last part of the sequence is the column far away from the wall moving front to back, the human figure stays positioned in the middle in front of the wall and column for this entire sequence. When the wall is closer to the column I don’t appreciate it as much because the space feels uneven and heavy on the wall. It feels more breathable when the column and the wall start distancing from each other while staying parallel.
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Category: #23 One Wall and two Columns
In three photographs, the columns changed from vertical to horizontal, and the wall changes from vertical to horizontal and mirrors left to right. The human figure is standing in between vertically aligned columns with a wall also vertically aligned to the left, to then being in the middle of vertically aligned columns again but the wall is now horizontal, to then lastly being aligned through two horizontal columns with the wall facing horizontally on the right side now. As the walls shift from side to side and change alignment, I feel like losing purpose, there’s more overwhelming options on what path I could take through, but the last one is a little less overwhelming while still not providing a clear path through.
Category: #24 Two Walls and two Columns
2 photographs show a smaller perspective verses a wider perspective of the same space. The human figure appears to be the center of the area until the wider perspective is shown, then the human figure is a smaller focus. I feel with the first perspective I feel less open or opportunistic, until the wider view is revealed then the opportunity for option is greater.
Condition 1: aligned wall and vertically aligned columns
Columns aligned vertically with perpendicular walls
Condition 2: facing wall and vertically aligned columns
Columns aligned horizontally with perpendicular walls
Condition 3: facing wall and horizontally aligned columns
Category: #25 Two Walls and two Columns with two lighting conditions_01
In this set, a wall on the left rotates from the left view to front facing in a 10 pictures series. As the wall rotates it gradually becomes facing the human figure. From 0 degrees to 50 degrees you feel more breathable, but then from 60 degrees to 90 degrees the wall eventually cuts of view of what is ahead and I feel more closed off and less optimistic.
Walking between vertically aligned columns and perpendicular walls with lighting behind Figure
Walking beside vertically aligned columns and perpendicular walls with lighting behind wall
Walking between vertically aligned columns and perpendicular walls with lighting behind wall
Walking beside vertically aligned columns and extended perpendicular walls with lighting behind Figure
Walking beside vertically aligned columns and perpendicular walls with lighting behind Figure
Walking beside vertically aligned columns and extended perpendicular walls with lighting behind wall
Category: #26 Two Walls and two Columns with two lighting conditions_02
A left aligned column with a front facing wall and a wall to the right with right lighting. The human figure is standing between the column and the right horizontal wall. This feeling to me is optimism or curiosity of what is coming with the added element of the lighting.
Passing horizontally aligned columns to enter the space between two walls with lighting behind Figure
Passing vertically aligned columns to enter the space between two walls with lighting from the inside space
Passing horizontally aligned columns to enter the space between two walls with lighting from the inside space
Passing vertically aligned columns to enter the space between two walls with lighting behind Figure
Category: #27 Two Walls and two Columns with two lighting conditions_03
Two walls at separate angles and two columns at various placements. The human figure is in front of the walls and columns. The feeling I get with all of these is guidance and clarity because a clear path is being made and shown within this sequence.
Passing vertically aligned columns to pass a narrow opening between two walls with lighting behind Figure
Passing vertically aligned columns to pass an intermediate opening between two walls with lighting from the inside space
Passing vertically aligned columns to pass a narrow opening between two walls with lighting from the inside space
Passing horizontally aligned columns to pass a wide opening between two walls with lighting behind Figure
Passing vertically aligned columns to pass an intermediate opening between two walls with lighting behind Figure
Passing horizontally aligned columns to pass a wide opening between two walls with lighting from the inside space
Category: #28 Vertically aligned Two Walls and two Columns
Two columns vertically aligned and two vertically aligned walls. The human figure is between the two columns in depth but front facing the first wall with right lighting. This feeling is more free and open because the wall is back open and the lighting is back into frame feeling more free.
Between walls, walking
Between columns, walking
Category: #29 Space composed with 5+ columns and 2 walls
Left slats along the left of the space and a leaning right wall with columns on the left and a void on the left wall. There is slats along the ceiling with upper lighting illuminating the room from above. The human figure moves through the room under the hallway. This room feels very intriguing and creative.
Sequence
Sequence
Sequence
Sequence
Top view of the space composed
Sequence phase #3
phase #1
phase #4
phase #2
phase #5
Sequence phase #6
Category: #30 Faced wall with Connected wall
A front facing wall and an intersecting right aligned wall. The firs human figure is looking at the walls and the second human figure is standing against the front facing wall. This space feels progressive to me because the right wall is moving backwards at an increasing angle to reveal a new area.
Category: #31 Aligned wall with Connected wall
This sequence of photos is an aligned wall with a connected wall starting out as a wedge and is increasingly opening up to a straight long wall at 180 degrees. The human figures are standing at the beginning of the wall and at the joint of the wall. This sequence to me feels
Category: #32 Facing the connected edge of two walls
An aligned wall is sliding from centered to an angle on the right. The human figure is front facing the wall but ends up to the left of the wall once the sequence is over. The feeling I get form this sequence is the feeling of guidance with the view becoming clearer and less obstructed by the wall.
Category: #33 Three connected walls
In a series of six photos three connected walls go from a narrow room to a wider room. One of the two human figures is against the front facing wall and the second human figure is standing in the middle of all the walls. This to me feels like claustrophobic and closing in because of the narrower walls.
Category: #34 Curved wall inside
This sequence is 2 wide curved walls and two narrow curved walls at short and tall heights. The human figures is centered in all of these walls. This feeling that I am getting from this sequence is very overwhelming and overpowering because the walls curve in closer and closer and gets taller and taller.
Wide-facing wall with two wings
Narrow-facing wall with two wings
Small-curved and 8ft height
Small-curved and 16ft height
Large-curved and 8ft height
Large-curved and 16ft height
Category: #35 Curved wall outside
In this sequence of eight photos the outside perspective of a curved wall is shown at different size curves and heights. The human figure goes from front facing to standing beside different curved walls. The feeling varies within this sequence because the smaller the curve and the placement makes it feel much easier to digest but the taller the wall and the closer to the curve the harder the feeling is to get.
Facing Small-curved and 8ft height
Passing Small-curved and 16ft height
Facing Large-curved and 16ft height
Passing Small-curved and 8ft height
Facing Large-curved and 8ft height
Passing Large-curved and 16ft height
Facing Small-curved and 16ft height
Passing Large-curved and 8ft height
Category: #36 Curved Walls and Flat Walls
This sequence of four photos is a wall on the left with a curved wall on the right creating a hallway with lighting coming from the hallway. The human figure is positioned between the flat wall and the curved wall. The feeling I get from this one is curiosity and finding the source of the light or whatever the light represents.
Facing a flat wall (8fh height) while passing a curved wall (8fh height)
Entering a space between a flat wall (8fh height) and a closed-curved wall (8fh height)
Entering a space between a flat wall (8fh height) and an opened-curved wall (8fh height)
Entering a space between a flat wall (8fh height) and a half opened-curved wall (8fh height)
Your coordination in height and openness.
Category: #37 Entering into a space between Parallel Curved Walls
This sequence is a series of eight photos of parallel curved walls. The human figure is in front of the two walls while the walls change around the human figure. This sequence conveys a very fun and inquisitive feeling because you cannot see where the walls are trying to take you but the curves are a fun twist to an area.
Small-curved and 8ft high outside
Large-curved and 16ft high outside
Large-curved and 8ft high inside
Small-curved and 16ft high outside
Small-curved and 8ft high inside
Large-curved and 16ft high inside
Large-curved and 8ft high outside
Small-curved and 16ft high inside
Category: #38 Entering a space between curved mirror walls_01
A sequence of three photos of outside views of curved walls. The human figure is between the two curved, in front of them as if it is about to walk between them. This feeling to me is a feeling of openness even though the walls are tall and overwhelming.
and
Small-curved and 8ft height
Small-curved and 16ft height
Large-curved and 8ft height
Large-curved
16ft height
Category: #39 Entering a space between curved mirror walls_02
A series of eight photos with different sized curves and various heights. The human figure is in front of the openings of the curves in each photo. The feeling I get from this series of photos is a feeling of being overwhelmed and a feeling of an increase in stress correlated with the increase of height in the curves.
Small-curved and 8ft high with inside lighting
Small-curved and 16ft high with outside lighting
Large-curved and 16ft high with inside lighting
Small-curved and 8ft high with outside lighting
Large-curved and 8ft high with inside lighting
Large-curved and 16ft high with outside lighting
Small-curved and 16ft high with inside lighting
Large-curved and 8ft high with outside lighting
Category: #40 One curved wall and one column
This sequence is two photos of a curved wall and a column. One of the photos is a column on the left with an inside curve on the right while the other is a column on the left with the outside of a curve on the right. The human figure is standing between the column and the curve in each of the photos. The feeling I am getting from this sequence is indecisiveness because there are two options very similar to choose from, but almost too close to be able to choose one.
Entering a space between a column and curved wall outside
Entering a space between a column and curved wall inside
Category: #41 One curved wall and two columns
This is a sequence of three photos, one being a facing curve with a column on either side and the second is the same curve but with the columns spaced wider. The third photo is a wider angle of the curve and columns but with two human figures instead of one. In the other two photos the human figure is standing in front of the facing curve. The feeling I am getting from this sequence is pleasant because of the symmetry conveyed in these photos.
Entering a space between a column of two horizontally aligned and curved wall outside
Facing the outside of a curved wall with two horizontally aligned columns with insufficient space between them
Entering a space between a column of two vertically aligned and a curved wall outside
Category: #42 Role of a column between Curved and flat walls
This sequence is a series of 4 photos consisting of walls, facing and horizontal, and curves. All of the photo shas a column placed in the same spot for each photo. The human figure is placed in front of the hallway being created between the walls and curves The feeling I am get from this sequence is chaotic and unorganized because there are so many different components in no order.
Entering a space between two parallel curved walls, with a column in front of the outer curved wall
Entering a space between a parallel flat wall and a curved wall, with a column in front of the flat wall
Entering a space between a faced flat wall and a curved wall, with a column in front of the flat wall
Entering a space between two parallel curved walls, with a column in front of the inner curved wall
Category: #43 Curved connection
This sequence is two walls connecting into an angle. The human figure is at the start of the closest wall to the camera. The feeling I get from this sequence is very free and breathable because the walls are opening up to create a better view.
Follow two flat walls that are connected at an angle of 60 degrees smoothly
Follow two flat walls that are connected at an angle of 150 degrees smoothly
Follow two flat walls that are connected at an angle of 90 degrees smoothly
Follow two flat walls that are connected at an angle of 120 degrees smoothly
Category: #44 Curved wall and S-curve wall
A series of four photos with a curved wall on the left and a s-curved wall on the right with right lighting coming from the created hallway. The human figure is at the start of the hallway illuminated by the light. The feeling I get from these photos is very ominous and intriguing because of the created lighting coming from the hallway.
Curved wall and S-curve wall 8ft high with inside lighting
Curved wall and S-curve wall 16ft high with outside lighting
Curved wall and S-curve wall 8ft high with outside lighting
Curved wall and S-curve wall 16ft high with inside lighting
Category: #45 1 point perspective pictures: Void on the upside
A series of photos with round and square voids on the upside. The human figure is under the void with upper lighting in each photo. These photos feel very pleasing to me because there are no other elements in the way it is just the void and the lighting with symmetry.
A 4’x4’ square void with a height of 8ft
A 8’x8’ square void with a height of 8ft
A 4’ diameter void with a height of 8ft
A 8’ diameter void with a height of 8ft
Category: #46 Void on the upside with columns or walls
A series of photos with a void and a wall coming in through the void as well as different combinations of columns in relation to the walls aswell. The human figure is situated around the columns and walls a swell as under the void. The feeling I get from these photos is very particular because the combinations are very different and scattered but seem to have purpose on where they are placed.
A 8’x8’ square void with columns
View for A 4’x4’ square void with a flat wall aligned with one side and two columns aligned with the opposite side
A 8’x8’ square void with a facing wall
A 8’x8’ square void with a passing wall
Category: #47 Void on the downside with columns or walls
A void with a curve passing through it. The human figure is on the surface below the void looking at the curve through different angles. The feeling I get from this sequence is very on edge because the human figure is literally on the edge of a surface with a void which is very scary of a space.
A 8’x8’ square void with a facing wall and light from upper floor
A 8’x8’ square void with a facing wall and light from side
A 8’x8’ square void with a passing wall and light from lower floor
A 8’x8’ square void with a passing wall and light from side
A 8’x8’ square void with a facing wall and light from lower floor
A 8’ diameter void with light from lower floor
Category: #48 Void on the upside with combinations of columns or walls
A series of photos with different combinations of facing walls and horizontal walls, as well asl columns. The human figure is between the different columns and walls. The feeling of this sequence is very trapped because the void ceiling is very low and the lighting is very ominous.
Scene #1
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Scene #10
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Category: #49 Void between Floating Surfaces
A series of four photos with different arranged floating surfaces. The human figures are on the different levels of surfaces. The feeling I get from this sequence is very repetitive since the human figures are repeated on the same kind of surfaces just on different heights.
Category: #50 Void between curve-linear Surfaces
This sequence is a rounded rectangle with a rounded rectangle void and upper lighting. The human figure is sitting on the edge of the surface with a human figure below the void as well. The feeling from this void is very independent and solo because of the spotlight the void creates on the human figure below.
Scene #1
Scene #4
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Scene #2
Category: #51 Void with a combination of
A void above two curved surfaces, one view from above and one view from below. There is a human figure on top of the void sitting down and a human figure below just under the void. The feeling I get from these two photos is a feeling of seperation because there are two people at two different points but there is no way to get down to each other.
Category: #52 Curved vertical surface
A series of two photos, both are of a curved surface front facing but one is wider than the other. The human figure is standing just at the base of the curve. This feeling to me gives resilience because of the long curve in front of your view and not being able to see the top of the curve or where it is going.
Scene #1
Scene #2
Category: #53 Curved vertical surface with an upper floor
A series of five photos of a curved wall and a vertical surface with views form the top of the surface and views from below the surface. The human figures jumps from being at the bottom of the curve under the surface, to being on top of the surface looking down on the curve. The feeling I get from this sequence is very playful and fun because the different elements provide so many different angles and views.
Scene #1
Scene #4
Scene #2
Scene #5
Scene #3
Category: #54 Curved vertical surface with a void
A void with a curved surface going through it in a series of four photos. The human figure switches from below the void in front of the bottom of the curve, to being on top of the void surface facing the curve going through the void. The feeling I get from these series of photos is very diverse because of the diverse change in angles and positions.
Category: #55 Facing Curved vertical surface
A wider void and a wider curve in a series of two photos. The human figure is standing at the start of the front facing curve. The feeling I get from these photos is very defeated because you are at the bottom of a curve that you cant see the top of.
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Scene #4
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Category: #56 Hanging curved surfaces
A series of four photos all consisting of curved floating surfaces. The human figure is between two surfaces on above and one below, the next is below a curved half sphere, the last one is a horizontal curved surface from above. I really enjoy these photos so the feeling I get from these photos is very playful and joyful.
Category: #57 Surfaces with convexities and concavities
A curve and a s-curved wall and an inclined right aligned wall with a curved element above the wall. The human figure is at the start of the wall in each of these photos. These feelings are very questionable and different because of the combination of curved walls and surfaces.
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Scene #2
Scene #5
Scene #3
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Category: #58 A sphere with a strong center and centripetal force
A series of four photos all with spheres half and full spheres. The human figure is at different positions next to and below spheres and half spheres. This feeling is very intriguing and interesting because of the unusual elements in the sequence.
Category: #59 Surfaces that are twisted and free A sphere with a strong center and centripetal force
A round surface on the floor with a free curved element coming from above. The human figure is next to the round surface on the ground underneath the free flowing surface above. This feeling is very joyful and energetic because of the organic element from above.
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Carissa Hallett
Portfolio
What I learned...
Project #1 “Wall, Column, and Space”
- Working through walls, columns, and space in studio, I started seeing things differently. Walls weren’t just barriers, but shapers of the room, changing how you move and feel. Learning proportions was a big change, and using the 1/4 scale helped a ton. It made big ideas fit into my hands, so I could really get how everything sized up and fit together. I learned from this project how space and shapes really work and create a sense of space.
Project #2 “Hand Drawing”
- Through daily hand drawings, Ive learned so much by dividing into different techniques. Sketching taught me to quickly capture the essence of a subject, while cross contour exercises helped me understand form and volume. Blind contour forced me to really look and connect with what I was drawing, and hatching gave me control over shading and texture. Paying attention to proportions was also a big part in these daily drawings. It became second nature throughout these 5 weeks, ensuring my drawings felt balanced and accurate. Each method built upon the others, enhanced my observational skills and deepening my understanding of how to translate simple daily objects onto paper.
Project #3 “Drawing What you See, Drawing What you Feel”
- During this third project, has taught me the importance of observation and attention to detail. On the other hand, drawing what I feel has been about expressing emotions, letting go of realism. While doing this I was able to convey a deeper meaning. It has shown me that art can be powerful in different forms and its not all about perfection.
Project #4 “Space Cube”
- During this fourth project I learned a lot about not only about proportions but how to go simply from a series of photos to a structure. During this project I was able to express and step out of my comfort zone and using my imagination to build this series into a building itself. I was able to learn the importance of scaling everything correctly as well as making sure its functional. During this project I was also opened to how to do architectural drawings not only by hand, but through rhino digitally as well. Overall through this project I was able to learn how to take a series of photos and make them into a working construction, understanding perspective and space and making it go from just an idea to a 3D model.
Project #5 “First Portfolio”
- Creating my first architecture and interior design portfolio was journey of blending traditional skills as well as modern. I was able to explore AI’s potential by applying it our space cube models, pushing the boundaries of whats possible in design visualization. “Dancing Lines”, an abstract interpretation of our chosen model’s shadow, showcased my ability to see and represent designs. I also learned a lot of different softwares through linked in completing different certificates of different softwares such as rhino. These allowed me to open up to different technical skills and learning how to make my work and projects come together in the end.
If you could talk to you before these five weeks, what would you like to share with you?
- If I could talk to myself before these five weeks, I would tell myself that its worth it in the end. I would reassure that all the hard work and late nights staying up doing your work is worth it. I would also tell myself to not listen to the negativity and anyone telling you to take the easy way out; keep persevering. In the end I would like to share with myself is that I’m proud of her and the dedication she is to make her dream come true in this major, that not matter what she will be loved and have many supporters rooting for her.
Category #1: Facing surface
Ten photographs are presented with a 1’ human figure, alongside a wall; throughout the photos the wall continuously changes at different angles, creating a change in the appearance of the human form. As the walls continuously increase in degree measurements, the human figure becomes more obscured by the resulting in a gradual change in the perspective. As my human figure was affected by the gradual obstruction of the walls moving at (30-60 degrees), I felt a sense of frustration as well as a feeling of confinement due to the restricted movements.
Category #2: Facing edge
Ten photos are presented, with a 1’ human figure and a white wall; throughout the photos the wall continuously is going at a 90-degree angle counterclockwise as the wall turns it blocks the view of the person. The turning wall increasingly blocks the figure’s view, changing the relationship from open to more confined and isolated position. As the walls continued to change in a counterclockwise direction, I felt a sense of relief because the walls cleared a way, removing obstacles.
Category #3: Blocking wall
Ten photos are illustrated, with a 1’ human figure and alongside it a white wall; the environmental elements shift from an open and inviting space to an enclosed and restricted area as the blocking walls increase. As the blocking walls rise, the human figure is obscured to a sense of freedom to restriction. I felt a sense of constraint as the wall continued to move forward blocking the figures’ view.
Opened level 1
Opened
Block
Block
Opened
Block
Opened
Block
Block
Category #4: Passing the blocking wall
5 Photos are illustrated with a human figure passing the blocking wall; and how the angles of the wall change giving a sense of motion. As the wall moves father way it gives the human figure a sense of motion as if he was walking away. I felt a sense of enjoyment, when simply passing a wall showing the simplicity of life.
Category #5: Aligned Wall
5 photos are presented with a human figure and a white aligned wall as it gradually changes and moves towards the figure. It changes the obstruction of the human figure. As the aligned wall moves to the right it obstructs the human figure, stopping on the left shoulder of the figure. I felt a sense of restriction as well as frustration; in a sense of not being able to get around the wall.
Closed level 1
Closed level 4
Closed level 2
Closed level 5
Closed level 3
Category #6: Passing the aligned wall
6 photos are shown illustrated with a human figure and a white aligned wall as the wall continuously changes moving towards the figure giving it a sense of motion of a human figure passing by. As the wall changes it gives a shallow perspective. The changes represented in the photos affected my emotions by a sense of curiosity on what the other side the human figure passes at (level 5 and 6).
Passing
Passing
Category #7: Walls with different heights
8 photos are illustrated with a 1’ human figure and different heights of a white wall; the wall gets taller in each picture going from 1 foot to 7 feet, gradually obstructing the human figure. As the wall gets taller, it blocks the human figure, but by the end the wall covers the whole figure, resulting in the human figure gradually being obstructed. The increasing height of the walls transitions led me to a sense of enclosure resulting in me not being able to leave.
Wall with 1ft
Wall with 4ft
Wall with 7ft
Wall with 2ft
Wall with 5ft
Wall with 7ft
Wall with 3ft
Wall with 6ft
Category #8: Floating and faced Wall
These 8 photos illustrate a human figure and a floating and faced wall; this changes the direction and affects the visual space and obstructs the human figure. As the wall gets taller, it blocks more of the person. At first you see the whole person, but by the end the wall covers most of the figure. They felt a sense of uneasiness and freedom with the different heights of the walls.
Category #9: 8ft high floating and aligned wall
4 photos are illustrated with a human figure and high floating and aligned walls facing the human figure gradually changes above, resulting in a gradual obstruction. As the walls change, the human figure becomes obstructed. Observing these photos, I felt a sense of unease, as the floating wall questions stability.
Alignment level 1
Alignment level 4
Alignment level 2
Alignment level 3
Category #10: 8ft high floating and faced wall
8 photos are illustrated with human figures and an 8ft high floating and faced wall, the wall hovering over the human figure has an increase in obstruction towards the figure. As the overlap increases, the human figures shift from clear visibility to obstructed appearance. Witnessing this, I experienced a sense of increasing complexity and curious about how the figure navigates with the strange environmental dynamics.
Overlap level 1
Overlap level 4
Overlap level 2
Overlap level 5
Overlap level 7
Overlap level 3
Overlap level 6
Overlap level 8
Category #11: floating horizontal surface
6 photographs are illustrated with the human figure and the floating horizontal surface: as the direction of the wall changes overlapping in the space of the human figure. As the overlap level increases, the human figure’s path becomes increasingly obscured. Observing these photos, I feel a sense of complexity and intrigued as human figures experience this different environment.
Overlap level 1
Overlap level 4
Overlap level 7
Overlap level 2
Overlap level 5
Overlap level 8
Overlap level 3
Overlap level 6
Category #12: Horizontal surfaces with different heights
There are 12 photos illustrated with a 1’ human figure and a floating horizontal surface: increasing from 1 foot to 8 feet. The floating surface at different heights gradually changes the human figure. As the height increases, the human figures are obstructed gradually. Reviewing these photos, I feel a growing sense of detachment as the figures rise higher, mixed with curiosity on what’s on the other side.
Category #13: Wall surface with an incline
8 photos are illustrated with a human figure and a wall surface with an incline as it increases from 10 to 70 degrees across the series of pictures. As the wall changes, moving in a clockwise direction, resulting in a change of the visual of the human figure. Witnessing the progression, I felt a sense of unease as the inclination escalates making the incline very steep hovering over the figure.
Category #14: Inclined wall
6 photos are illustrated with a human figure and an inclined wall; the inclined wall changes by increasing its angle across six levels presented. The inclination of the wall obstructs the human figure through balance. Observing these changes, I feel a bit of anxiety as the incline becomes more challenging.
Inclined level 1
Inclined level 4
Inclined level 2
Inclined level 5
Inclined level 3
Inclined level 6
Category #15: Floating wall surface facing edge with an incline 6 photos are presented with a 1’ human figure and a floating wall surface with an incline; the floating wall surface gradually increases in incline, transitioning through six different levels off the ground. As the incline of the wall surface increases, the human figure is obstructed. The increasing incline gave me a sense of cautiousness’ and unease with the balance.
Inclined level 1
Inclined level 4
Inclined level 2
Inclined level 5
Inclined level 3
Inclined level 6
Category #16: Inclined surface to a facing wall
9 photos are illustrated with a human figure and an inclined surface increasing at different angles from 10 to 90 degrees: gradually obstructing the figure. As the ramp angle increases, the figures orientation shifts from standing straight to leaning back against a steep incline. This resulted in me feeling a sense of tension and instability, as the incline in the slope becomes very steep.
Category: #17 Inclined ramp to facing wall
9 photos are illustrated with the inclination of the ramp parallel to the facing wall progressively increasing from a shallow 10 degree to a steep of 90 degrees. As the ramp’s inclination increases, the human figure transitions from standing on a gently sloped surface facing the wall to being perpendicular to the wall at the highest point. This made me feel a sense of fear and shock, as the inclination of the ramp shows a huge change in height resulting in me being afraid of heights.
Category: #18 One Column
Two photographs are illustrated presented with one column and a 1’ human figure, the way the column is placed, the perspective is constructed resulting in a gradual obstruction of the human figure. As the point perspective is altered, the human figure is gradually obstructed. When looking at these two images, I feel a sense of ease as the column seems sturdy and reliable.
Category: #19 Two Columns
Two photographs are illustrated showing two different perspectives and how the change in view can gradually obstruct the human figure. As the photos change based on the point of view the human figure changes gradually. Viewing these two photos, I gained a sense of joy and welcoming as the two pillars were positioned in the form of a walkway.
Front
Horizontal
Category: #20 Three Columns
Two photographs are illustrated showing the change in the position of the wall surrounding the human figure and sense of depth, resulting in a gradual obstruction to the perspective of the figures. As the walls take place at different angles creating different shapes, the human figure gradually changes, evolving a different story. Reviewing these photos, I felt a sense of calmness and relaxation, as I can stroll down walking by these pillars and enjoying the architecture.
Category: #21 Four Columns
Two photographs illustrate how the change in space with the walls can gradually change the atmosphere of the figures. As the walls change in distance, the human figure gradually changes. Looking back at these two photos I felt happy, and cheerful as it reminded me of a gathering or a special moment with a significant other.
Vertical
Wide
Horizontal
Narrow
Category: #22 One Wall and One Column
Eight Photographs are presented illustrating the change in the position of the column results in the reshaping of one’s perspective. As the columns change direction, the human figure and wall become gradually obstructed. I felt a sense of confusion and unease, as I was unsure what the different directions of the columns represented confusing my human figure of where to go.
Category: #23 One Wall and two Columns
Three photographs illustrate how the change in appearance and direction of the human figure can gradually change the sense of scenery. As humans change direction, the environment gradually changes along. Reviewing these photos, I felt a sense of relaxation and calmness as my figure can walk through the columns and have a pathway that’s not only direct but functionable.
Category: #24 Two Walls and two Columns
Two photographs illustrate how the change in perspective of the human figures can drastically change the sense of space, resulting in a gradual obstruction of the environmental scenery. As the viewpoint is altered, human figures gradually change. I felt a sense of curiosity in the human figure’s relation and the next moves of the human figures.
Condition 1: aligned wall and vertically aligned columns
Columns aligned vertically with perpendicular walls
Condition 2: facing wall and vertically aligned columns
Columns aligned horizontally with perpendicular walls
Condition 3: facing wall and horizontally aligned columns
Category: #25 Two Walls and two Columns with two lighting conditions_01
Six photographs illustrate the change in lighting and how lighting can change a human figure obstructively. As the change in lighting occurs in both photos, the human figure gradually changes. Looking at these photos I gained a sense of curiosity and was intrigued by what was behind the wall as light was glaring in.
Walking between vertically aligned columns and perpendicular walls with lighting behind Figure
Walking beside vertically aligned columns and perpendicular walls with lighting behind wall
Walking between vertically aligned columns and perpendicular walls with lighting behind wall
Walking beside vertically aligned columns and extended perpendicular walls with lighting behind Figure
Walking beside vertically aligned columns and perpendicular walls with lighting behind Figure
Walking beside vertically aligned columns and extended perpendicular walls with lighting behind wall
Category: #26 Two Walls and two Columns with two lighting conditions_02
Four photographs illustrate the importance of lighting and how the change in appearance can alter the human figure as it gradually changes. When looking at these photos I got a sense of alien obduction with the light glaring from the other side of the room, resulting in me feeling intrigued and curious.
Passing horizontally aligned columns to enter the space between two walls with lighting behind Figure
Passing vertically aligned columns to enter the space between two walls with lighting from the inside space
Passing horizontally aligned columns to enter the space between two walls with lighting from the inside space
Passing vertically aligned columns to enter the space between two walls with lighting behind Figure
Category: #27 Two Walls and two Columns with two lighting conditions_03
Six photographs illustrate the change in illumination and how the change in lighting conditions results in human figures and environmental space gradually changing. As lights change, the human figure become gradually obstructed. When reviewing these photos, I felt a sense of annoyance and frustration as the light was bright blinding my human figure. It reminded me of when someone shines their car lights on their face.
Passing vertically aligned columns to pass a narrow opening between two walls with lighting behind Figure
Passing vertically aligned columns to pass an intermediate opening between two walls with lighting from the inside space
Passing vertically aligned columns to pass a narrow opening between two walls with lighting from the inside space
Passing horizontally aligned columns to pass a wide opening between two walls with lighting behind Figure
Passing vertically aligned columns to pass an intermediate opening between two walls with lighting behind Figure
Passing horizontally aligned columns to pass a wide opening between two walls with lighting from the inside space
Category: #28 Vertically aligned Two Walls and two Columns
Two photographs illustrate the change in lighting conditions as well as the angle of the wall and columns facing the human figure, resulting in a gradual obstruction of the human figure. As the walls and lighting change, the human figures become gradually obstructed. When reviewing these photos, I felt calm and pleased almost, as if I was walking into the light about to witness something amazing on the other side.
Between walls, walking
Between columns, walking
Category: #29 Space composed with 5+ columns and 2 walls
Seven photos illustrate the composition of my own creation and how the change in viewpoint and angles facing the human figure gradually change, resulting in shift. When looking at these photos I feel proud, and curious of the storyline. The story I decided to present was a young man who is walking into a metro and is waiting for his train after a long day of work in the presence of two other citizens.
Top view of the space composed
Sequence phase #3
Sequence phase #1
Sequence phase #4
Sequence phase #2
Sequence phase #5
Sequence phase #6
Category: #30 Faced wall with Connected wall
Nineteen photographs illustrate how the angle of the walls and viewpoint can be subtle but drastic, resulting in a gradual obstruction to the human figures. As the wall and viewpoint change, human figures change as well. When reviewing these photos, I felt a little dizzy and there were so many angles surrounding the human figure, it also intrigued me to see the different angles surrounding the subject.
Category: #31 Aligned wall with Connected wall
Seventeen photographs illustrate how the angle of the wall facing the 1’ human figure increasingly changes, resulting in the shift in the view of the human figures. As the wall changes, the human figures become slightly obstructed. Looking at these photos I felt claustrophobic by the spacing between the walls and the human figures.
Category: #32 Facing the connected edge of two walls
Seventeen photographs presented illustrate how the angle of the wall facing the human figure slightly changes, resulting in a shift toward the human figure causing an obstruction. As the walls change, the human figure gradually changed as well as the perspective of the human figure. I felt frustrated and confused about how to get my human figure around the connected edge of two walls.
Category: #33 Three connected walls
Six photographs illustrate the change in space and position of the human figure, resulting in the slow shift in obstruction towards the human figure. As the wall and human figure change direction and placement, the human figure becomes gradually obstructed. When reviewing these photos, I felt claustrophobic as I felt I was stuck in a room that was shaped like a box with no way out, resulting in frustration.
Category: #34 Curved wall inside
Four photos illustrate small curves and large curves at different heights as well as distance, resulting in a gradual change in space affecting the human figure. As the walls change in height as well as direction, the human figure becomes gradually obstructed. When I had placed these walls around the human figure, I felt a sense of comfort and security, as the walls gather around the figure.
Wide-facing wall with two wings
Narrow-facing wall with two wings
Small-curved and 8ft height
Small-curved and 16ft height
Large-curved and 8ft height
Large-curved and 16ft height
Category: #35 Curved wall outside
Eight photos illustrate the variety of small and large curves at different heights as the human figure faces and passes the wall, resulting in a slight change to the human figure and environment. Reflecting on these photos, I was engulfed with curiosity as to what was behind the wall.
Facing Small-curved and 8ft height
Passing Small-curved and 16ft height
Facing Large-curved and 16ft height
Passing Small-curved and 8ft height
Facing Large-curved and 8ft height
Passing Large-curved and 16ft height
Facing Small-curved and 16ft height
Passing Large-curved and 8ft height
Category: #36 Curved Walls and Flat Walls
Five photos illustrate how the coordination in how the angle of the wall facing the human figure gradually changes, creating a sense of motion, resulting in an obstruction to the human figure. As the walls change, the human figure gradually changes resulting in five photos creating a stop motion movement. The changes in the curved walls and flat walls made me feel relaxed because I felt a sense of control in my movements.
Facing a flat wall (8fh height) while passing a curved wall (8fh height)
Entering a space between a flat wall (8fh height) and a closed-curved wall (8fh height)
Entering a space between a flat wall (8fh height) and an opened-curved wall (8fh height)
Entering a space between a flat wall (8fh height) and a half opened-curved wall (8fh height)
Your coordination in height and openness.
Category: #37 Entering into a space between Parallel Curved Walls
8 photos illustrate how the angle and entering a variety of spaces between parallel curved walls gradually have an effect to the human figure. As the walls gradually change the sense of motion and perspective of the human figure has effect.
Small-curved and 8ft high outside
Large-curved and 16ft high outside
Large-curved and 8ft high inside
Small-curved and 16ft high outside
Small-curved and 8ft high inside
Large-curved and 16ft high inside
Large-curved and 8ft high outside
Small-curved and 16ft high inside
Category: #38 Entering a space between curved mirror walls_01
Four photos illustrate the change in entering a space between different angled curved mirror walls, resulting in the obstruction to the human figure gradually. As the walls change, the sense of space is gradually obstructed. As I pass these walls a feel very anxious as I’m surrounded by mirror walls in a tight space, resulting in me feeling like I can’t move around freely.
Small-curved and 8ft height
Small-curved and 16ft height
Large-curved and 8ft height
Large-curved and 16ft height
Category: #39 Entering a space between curved mirror walls_02
8 photos illustrate how the angle of entering a space between curved mirror walls placed in front of the human figure gradually changes, resulting in a small change to the appearance of the human figure. I had the possibility to move forward and around the corner of the curved walls, peaking my interest and curiosity to what is behind the wall.
Small-curved and 8ft high with inside lighting
Small-curved and 16ft high with outside lighting
Large-curved and 16ft high with inside lighting
Small-curved and 8ft high with outside lighting
Large-curved and 8ft high with inside lighting
Large-curved and 16ft high with outside lighting
Small-curved and 16ft high with inside lighting
Large-curved and 8ft high with outside lighting
Category: #40 One curved wall and one column
Two photographs illustrate how the angle of one curved wall and one column facing the human figure gradually changes, resulting in the small gradual shift to the human figure. As the walls change, the human figure is gradually obstructed in the sense of direction. Reviewing these photos, I felt a sense of dizziness as I felt I was going around in circles with no ending destination.
Category: #41 One curved wall and two columns
Three photographs illustrate how the angle of the curved wall and two columns gradually have an effect to the human figure. As the walls change, the human figure is gradually obstructed. I felt excited like I was walking through a museum or some sort of art exhibition.
Entering a space between a column and curved wall outside
Entering a space between a column and curved wall inside
Entering a space between a column of two horizontally aligned and curved wall outside
Facing the outside of a curved wall with two horizontally aligned columns with insufficient space between them
Entering a space between a column of two vertically aligned and a curved wall outside
Category: #42 Role of a column between Curved and flat walls
Four photographs illustrate how the change in a column between curved and flat walls changes not only the dimension but how the human figure gradually changes. As the walls change the human figure is gradually obstructed by changing the sense of depth. I feel intrigued and curious about what is on the outside of the walls with the gravitational force of what is beyond that light.
Entering a space between two parallel curved walls, with a column in front of the outer curved wall
Entering a space between a parallel flat wall and a curved wall, with a column in front of the flat wall
Entering a space between a faced flat wall and a curved wall, with a column in front of the flat wall
Entering a space between two parallel curved walls, with a column in front of the inner curved wall
Category: #43 Curved connection
Four photographs illustrate the change of the curved walls facing the human figure, resulting in the human figure gradually changing. As the walls change the perspective of the human figure is gradually obstructed. I feel a sense of loneliness as well as isolation as I am alone in this big open space.
Follow two flat walls that are connected at an angle of 60 degrees smoothly
Follow two flat walls that are connected at an angle of 90 degrees smoothly
Follow two flat walls that are connected at an angle of 120 degrees smoothly
Follow two flat walls that are connected at an angle of 150 degrees smoothly
Category: #44 Curved wall and S-curve wall
Four photographs illustrate how the curved wall and s-curve wall as they face the human figure gradually changes, resulting in the obstruction to the human figure and perspective. I feel a sense of loss as I’m also curious about what is beyond these walls. I felt like I was in a tunnel or some sort of cave roaming around to eventually discover something.
Curved wall and S-curve wall 8ft high with inside lighting
Curved wall and S-curve wall 16ft high with outside lighting
Curved wall and S-curve wall 8ft high with outside lighting
Curved wall and S-curve wall 16ft high with inside lighting
Category: #45 1 point perspective pictures: Void on the upside Eight photographs illustrate how the change in 1 point perspective using a void on the upside above the human figure gradually changes, resulting in the human figure gradually changing. As the different voids change, the perspective of the human figure is obstructed affected from the light appearing through the void. I felt excited and awed as I felt like I was being abducted from aliens as the different angles and shapes of the void placed over the human figure.
A 4’x4’ square void with a height of 8ft
A 8’x8’ square void with a height of 8ft
A 4’ diameter void with a height of 8ft
A 8’ diameter void with a height of 8ft
Category: #46 Void on the upside with columns or walls
Eight photos are presented illustrating how the change in angle the void on the upside with columns or walls gradually changes, resulting in the human figure gradually being obstructed. As the angles and walls are changed through perspective the human figure is obstructed. I feel mysterious wondering where I am and feeling a sense of loss wondering what is above through the void.
A 8’x8’ square void with columns
View for A 4’x4’ square void with a flat wall aligned with one side and two columns aligned with the opposite side
A 8’x8’ square void with a facing wall
A 8’x8’ square void with a passing wall
Category: #47 Void on the downside with columns or walls
Six photographs illustrate how the angle in the void on the downside with columns or walls gradually change, resulting in the human figure to be gradually obstructed. As the change in lighting and placement of the human figure change the scenery is gradually obstructed changing the point of view. I feel a sense of anxiety as I was really closed to the edge of the void and was worried about falling through.
A 8’x8’ square void with a facing wall and light from upper floor
A 8’x8’ square void with a facing wall and light from side
A 8’x8’ square void with a passing wall and light from lower floor
A 8’x8’ square void with a passing wall and light from side
A 8’x8’ square void with a facing wall and light from lower floor
A 8’ diameter void with light from lower floor
Category: #48 Void on the upside with combinations of columns or walls
Ten photographs illustrate the angle and placement of the human figure and how they gradually change through the environment of upside voids with columns or walls, resulting in the human figure gradually changing. I felt happy and calm as I was walking through the halls peacefully going on my day.
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Category: #49 Void between Floating Surfaces
Five photographs illustrate how the angle of the human figures changes the sense of depth and perspective, resulting in a gradual obstruction to the human figure. As the human figure changes, the walls and perspective become gradually obstructed. I felt uneasy as I was on the ledge of the void as well as a floating surface above, making me nervous of falling off putting me in a stage of shock of being unable to move.
Category: #50 Void between curve-linear Surfaces
Two photographs illustrate how the angle of the walls facing the human figure gradually changes, resulting in a gradual obstruction to the human figure. As the walls change, the human figure is slightly obstructed. I felt happy as I was viewing the void and curved linear surfaces placed around me making me feel a sense of home and belonging.
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Category: #51 Void with a combination of
Two photographs illustrate how the angle of the void gradually changes, resulting in a gradual obstruction to the human figure. As the human figures change whether being below the void or right by it, the human figures become gradually obstructed. I feel amazed and amused with the abstract void. I also felt a little uneasy as I was close to the void feeling like I was going to fall through.
Category: #52 Curved vertical surface
Two photographs illustrate how the angle of the curved vertical surface facing the human figure gradually changes. As the vertically curved surface changes, the human figure becomes gradually obstructed. I feel a sense of boredom as a curved wall is placed in front of me with no knowledge of what to do.
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Category: #53 Curved vertical surface with an upper floor
Five photographs illustrate how the angle of the curved vertical surfaces with an upper floor facing the human figure gradually changes, resulting in obstruction to the human figure. As human figures are placed differently the scenery and environment are gradually obstructed. I feel uneasy as I am close to this unstable slope and placed alongside a upper floor near the edge.
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Category: #54 Curved vertical surface with a void
5 photos are presented with a 1’ human figure and a curved vertical surface with a void and how the angle of the human figure gradually changes, resulting in the environment to be obstructed. I felt lost as I felt confined to the space unable to escape the void, resulting in my curiosity of what was beyond.
Category: #55 Facing Curved vertical surface
Two photographs illustrate the change in angle of the human figure, resulting in the environment and perspective to change. As the human figure is placed differently by the curved vertical surface the human figure becomes slightly obstructed. I feel confined and small in this space as I’m facing a curved vertical surface, I felt unable to move around.
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Category: #56 Hanging curved surfaces
Four photographs illustrate the hanging curved surfaces and how the angle of these surfaces hovering over the human figure gradually change, resulting in gradual obstruction to the human figure. I felt uneasy as these random curved surfaces were hanging above my head worried, they are unstable and with fall on my head, I felt I was unable to avoid the hanging objects.
Category: #57 Surfaces with convexities and concavities
Two photographs are illustrated with surfaces with convexities and concavities and how the angle of these surfaces facing the human figure gradually changes, resulting in gradual obstruction of the human figure. As the surfaces take different forms, the human figure becomes gradually obstructed. I feel taken aback and amazed as these surfaces are in peculiar shapes making me more curious of the shapes. I felt like I was in a museum and was looking at abstract pieces of work.
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Category: #58 A sphere with a strong center and
centripetal force
Four photographs illustrate how the angle of the sphere with a strong center and centripetal force facing the human figure gradually changes, resulting in a gradual obstruction to the human figure. As the sphere and curved wall change, the human figure slowly changes, resulting in the change of appearance and perspective.
Category: #59 Surfaces that are twisted and free
Three photographs illustrate the abstraction of the surfaces that are twisted and free and how the angle of these surfaces facing the human figure gradually changes, resulting in the obstruction of the human figure. As the surfaces bend and change form freely, the human figure shifts gradually obstructing the perspective. I felt amazed and pleased with the surface, I felt like I was walking through an abstract gallery viewing all these different forms of art.
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Ava Harrington Portfolio
What I learned...
Project #1 “Wall, Column, and Space”
- During our first project, “Wall, Column, and Space”, I learned the importance of patience as well as the importance of speed and time management. We had a week to make 59 scenes cut and assembled out of foam core. This was definitely a shell shock for me going into this project the first week, but I believe it set me up for success for the rest of the projects moving forward.
Project #2 “Hand Drawing”
- “Hand Drawing” taught me to be tedious and technical when sketching. It can sometimes feel passive and simple while drawing, although through this project I learned that it is quit the opposite. Sketching is intricate and detailed, when simply one wrong angle can throw off the entire piece. While it can be relaxing and passive at certain times, it also requires great concentration when drawing from pure observation in front of you.
Project #3 “Drawing What you See, Drawing What you Feel”
- This project took place on location at Crystal Bridges Museum of American Art in Bentonville, Arkansas. We were assigned to find a painting in the musem that we resonated with and sit in front of it to observe and sketch it. I chose the landscape “View of Mount Washington” by John Fredrick Kensett. As I sat in front of the painting to sketch, I learned how to blend in within a setting and be connected with the piece. For a few short hours I was in that painting, seeing the land in front of me, feeling the air around me, and understanding the intentions of the piece. This I have learned is an extremely critical piece for success while drawing from observation.
Project #4 “Space Cube”
- During the “Space Cube” project I learned that it is important to explore all options and ideas during the design process. I also learned that it is important to review and assess your own work in order to make revisions. Throughout the project we made many new iterations of our space cubes, changing different aspects of the cube each time in order to get the final product to perfection. While of course an artists job is never done and there will ways be more changes to be made, this process of revision and experimentation is extremely important as a designer. We must remember to never settle with our first ideas as the process of designing is trial and error, observation of our work, gaining inspiration, and making revisions.
Project #5 “First Portfolio”
- The “First Portfolio” project was an entirely new experience to me. I found it really fun and exciting making a collection of all the work I have completed and accomplished in just five weeks. Although, this project taught me that time is your most frugal resources. Time is not something that can be gained when you are on a deadline. To be organized in managing the completion of projects and your own personal timeline can be one of the most important skills a designer can have.
Overall
- Overall, I have learned the importance of teamwork, hardwork, perserverance, time management, organization, and much more. While my journey over the five weeks of this program wasn’t easy, it was definitely worth it because of the immense amount of design and life skills I learned. The things I learned over this course could never be replicated in any other way, in both the projects we are assigned and the completion of them, as well as the conditions we work in. I can confidently say I have gained extremely positive personal growth over the 5 weeks of this program and know I am even closer to reaching my goals in the future.
If you could talk to you before these five weeks, what would you like to share with you?
- If I could talk to myself before the five week course I would tell her that she has no idea what is heading her way. It is going to be a lot of hard work, dedication, and long days. Although, I would also tell her that she is exactly where she is meant to be. She is going to step foot through the doors of The Fay Jones School on day one and feel reasurrance in knowing that she absolutely made the right decision in being here.
Category #1: Facing surface
Ten pictures depict a still figure with a wall moving around the figure, each photo indicating a change in about 10 degrees of the wall. As the degree of the wall changes, the figure sees a different point of view of the wall. The figure was at first completely to the right of the wall (020 degrees), although as it slowly shifted in degree the figure ended up completely in front of the wall (80-90 degrees). The figure is angry about the movement of the wall as it ultimately blocks his path upon its final destination. Anger and frustration fester when the final photo has no clear pathway through for the figure.
Category #2: Facing edge
Ten photos depict a figure directly to the right and parallel with the edge of a wall. As the wall edge gradually changes in degree, it moves to be directly in front of the figure. The figure never got to see the entirety of the wall, just the edge of it because he was always perpendicular with the edge of it. Although, in a way this evokes some happiness because for a majority of the wall’s movement he was able to see a clear pathway past the wall. There was no feeling of being blocked in for the figure, only an encouraging feeling of freedom.
Category #3: Blocking wall
Eleven photos depict a wall moving from left to right parallel in front of the figure. As the wall moves, the figure goes from being directly to the right of the wall to being directly in front of the wall. The figure felt mixed emotions with this movement considering the back-andforth actions of the wall. The figure was also nervous throughout the movement of this wall because of the indecisiveness of it. It initially completely blocked the figure from sight past it although by the end of the movement the figure was again able to see past it and it was a freeing feeling for the figure.
Opened level 1
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Block level 3
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Opened level 2
Block level 1
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Opened level 3
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Category #4: Passing the blocking wall
Through five photos the wall moves from in front and to the left to behind and to the left of the figure. The wall is to the left of the figure and each photo the wall is further back, ultimately passing the figure. The figure felt very casual with this movement, almost as if the wall didn’t exist. As the wall moved further and further back, the figure was unphased and calm.
Passing
Category #5: Aligned Wall
Throughout five photos the wall moved to the right, closer and closer to the figure. The wall goes from left to right and in the final photo it is almost directly in front of the figure. The figure would’ve been able to walk next to the wall before it moved, although after movement to the right was final, it blocked him from moving forward past it. Therefore, the figure had some feelings of confusion. In a sense, the figure got his hopes up from the initial stance of the wall allowing him to walk past, then it had closed in on him. It left the figure feeling hopeless and unseen.
Closed level 1
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Category #6: Passing the aligned wall
Six photographs depict the wall moving from in front and to the left of the figure to behind and to the left of the figure. As the wall changes the figure gets closer and closer to the end of the wall. The figure was able to walk beside the wall with zero obstacles and make it to the end of the wall. This bought the figure joy as he was able to “escape” the wall and explore what was past it in the horizon.
Passing
Category #7: Walls with different heights
Eight photographs depict a still wall growing taller. The wall is centered directly in front of the figure yet grows in height in each photo, ultimately reaching a height taller than the figure. At first, the figure was easily able to see over the wall as he stood still. By the end of its growth the figure could no longer see over the wall at all. This left the figure with a feeling of uneasiness. He was not able to control how much he could see over the wall and ultimately he couldn’t see anything over it, this provoking emotions of helplessness.
Wall with 1ft
Wall with 4ft
Wall with 7ft
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Wall with 5ft
Wall with 7ft
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Wall with 6ft
Category #8: Floating and faced Wall
Eight photos depict a wall slowly floating upwards, revealing the space below it more and more. The figure stands still directly in front of the wall as it grows. At first the figure was unable to see past the wall, although at its final height he could see past the wall and even walk under it. This brought the figure joy and excitement. It was a grand reveal in the sense that the figure was filled with anticipation.
Category #9: 8ft high floating and aligned wall
Depicted in four photos is a floating wall that moves from left to right. The figure is standing below the floating wall, which is parallel to the figure, as it moves from left to center directly above the figure. Despite the movement of the wall, the figure was able to see and move past it clearly even when it hovered above him. This movement left the figure feeling safe. Even though there was a floating, moving object above him, he felt as though he could conquer and explore anything. He felt not a care in the world.
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Category #10: 8ft high floating and faced wall
Through eight photos a floating wall moved from left to right in front of the figure. The figure was directly below the wall as it moved as if it was a show. The figure was excited with the movement of this wall like it was a new discovery. In the final photo, he stares directly at the wall with extreme curiosity.
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Overlap level 8
Category #11: floating horizontal surface
Throughout eight photos the wall was perpendicularly above the figure as it moved from left to right over it. The figure remained still as the wall moved from left to right directly over it and stopped in center of him. The figure was clearly able to walk under the wall during its complete movement over him as it never moved vertically. Initially, the figure was unaware of the wall and was simply minding his own business. As the wall approached him, he exuded curiosity. He looked up at the hovering wall above him and found it funny.
Overlap level 1
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Category #12: Horizontal surfaces with different heights
Depicted in twelve pictures a horizontal wall moved from 8 feet tall in front of the figure to negative 4 ft tall, as it descended below 0 feet it exposed two other figures below ground. The wall moved downward directly in front of the original figure and onwards even further down into the ground. The figure felt great confusion with the movement of this wall. When the wall reached its descent past the surface of the ground, ultimately exposing people below, he felt concerned and frankly scared.
Category #13: Wall surface with an incline
Through eight photos a wall moved in an incline from 10-80 degrees around and above the figure. While the figure remained still, the wall moved around him in a circular motion. As the wall moved around the figure, he felt extremely intrigued. The motion of the wall was abnormal in the way it moved around him which evoked great curiosity.
Category #14: Inclined wall
Seen in six photos, an inclined wall gradually increases its incline to the left of a figure. The figure was still and to the right of the inclining wall as it reached its almost complete upright position. The figure was always able to see past the wall or walk beside it as it never moved side to side colliding with his potential movement. Although, he was uninterested in the wall’s movement and gave more attention to what was beyond it.
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Inclined level 6
Category #15: Floating wall surface facing edge with an incline
Throughout six photos a floating wall has a slightly raised edge pointing towards the figure, which ultimately makes a rotation around and above the figure to then be positioned above him. The figure remains still to the right of the horizontal wall as it raises its opposite edge to make a rotation above him. The figure felt anger from the motion of the wall. It was disturbing him from his exploration elsewhere and it overall aggravated him.
Inclined level 1
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Category #16: Inclined surface to a facing wall
Depicted in nine photos, the wall inclined one end to ultimately be completely vertical. The figure stood in front of the inclining wall, at first very near one edge and then very far from that edge by the end of the movement. The figure was scared by the movement of this wall. A large wall inclining higher and higher above him made the environment feel unsafe to him.
Category: #17 Inclined ramp to facing wall
Nine photos depict a wall inclining its further end from 10 degrees to 90 degrees upward. The figure stands still directly in front of the inclining wall. The figure felt inspired by the inclined movement of this wall. He stared in awe as one end of the wall rose higher and higher into the sky.
Category: #18 One Column
Two photos illustrate two different angles surrounding a column. The first photo being a front view shows the figure standing to the left of the column while the second photo shows a side view with the figure standing to the right of the column, in both the figure is looking at the column. In the front view the figure is disinterested in the column and more preoccupied in looking for what is past the column. In the side view the figure shows more interest in the column and is more curious about its purpose.
Category: #19 Two Columns
Two photos depict two columns with the figure standing at different point of views of them. The first photo shows the figure standing in the middle of the two columns facing towards them, while the second photo shows the figure standing to the left of the first column facing towards the second column behind the first. The figure is too preoccupied to notice the columns and their movement. He is stressed about other things and the movement of the columns is of no importance to him.
Category: #20 Three Columns
Two photos depict three columns in two different formations. The figure is seen standing in between three columns making up a triangle formation in the first photo and is standing at the head of three vertical columns in the second photo. The triangle of columns is intriguing and brings joy to the figure. After the column’s motion, he is met with sadness as the straight line of columns is not at all intriguing to him.
Category: #21 Four Columns
In two photos, four columns are depicted in both narrow and wide interpretations. In the narrow formation, the figure is standing in between the back two columns. In the wide formation, another figure appears between the front two columns staring back at the original figure. The figure has a feeling of loneliness initially as he stands alone within the four columns. When the second figure arrives, he feels a sense of calmness and excitement to be met with another being.
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Wide
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Narrow
Category: #22 One Wall and One Column
Eight photos depict a still wall and movement in one column. The wall is dormant while the column moves to a very different spot in each photo. The figure feels a sense of urgency in that he is being rushed by the extreme and vast movements of the column.
Category: #23 One Wall and two Columns
In three photos, a wall and two columns are represented in three different perspectives. The figure stands between the two columns facing the wall in all three point of views. The figure feels eagerness to explore what the purpose of the structure is from every angles.
Category: #24 Two Walls and two Columns
Two photos depict the movement of two columns in relation to two still walls and figures. In both photos the figures are staggered in position between the columns. The figure on the right feels power in his stance between the columns, while the figure on the left feels resentment to the movement of the columns as he looks the opposite way.
Condition 1: aligned wall and vertically aligned columns
Columns aligned vertically with perpendicular walls
Condition 2: facing wall and vertically aligned columns
Columns aligned horizontally with perpendicular walls
Condition 3: facing wall and horizontally aligned columns
Category: #25 Two Walls and two Columns with two lighting conditions_01
Six photos depict two walls that meet at a 90 degree and two parallel columns. Throughout the photos, the figure gets closer and closer to the corner of the walls, moving in and out of the columns on his way as they move closer to the inside of the wall. The figure feels confusion during this movement. He doesn’t know why he is in this strange environment and feels frantic as much movement occurs.
Walking between vertically aligned columns and perpendicular walls with lighting behind Figure
Walking beside vertically aligned columns and perpendicular walls with lighting behind wall
Walking between vertically aligned columns and perpendicular walls with lighting behind wall
Walking beside vertically aligned columns and extended perpendicular walls with lighting behind Figure
Walking beside vertically aligned columns and perpendicular walls with lighting behind Figure
Walking beside vertically aligned columns and extended perpendicular walls with lighting behind wall
Category: #26 Two Walls and two Columns with two lighting conditions_02
Four photos depict two parallel walls that over lap themselves, with two columns that change position. The figure is originally between the two columns facing the walls and then is transitioned to be next to the two columns facing the walls. The figure is intrigued by the walls, he gets closer. He seems to be in an art gallery sort of setting and is greatly focused and observing the walls.
vertically
Passing horizontally aligned columns to enter the space between two walls with lighting behind Figure
Passing
aligned columns to enter the space between two walls with lighting from the inside space
Passing horizontally aligned columns to enter the space between two walls with lighting from the inside space
Passing vertically aligned columns to enter the space between two walls with lighting behind Figure
Category: #27 Two Walls and two Columns with two lighting conditions_03
Through six photos, two still walls are seen with lots of movement around them from two columns. The figure stays in between the two columns as they transition from in front of the walls and straddling the walls. As the columns have quick movement, the figure stays dormant. He feels calm and tucked away standing in the middle of the two walls as chaos erupts from the columns’ movement.
Passing vertically aligned columns to pass a narrow opening between two walls with lighting behind Figure
Passing vertically aligned columns to pass an intermediate opening between two walls with lighting from the inside space
Passing vertically aligned columns to pass a narrow opening between two walls with lighting from the inside space
Passing horizontally aligned columns to pass a wide opening between two walls with lighting behind Figure
Passing vertically aligned columns to pass an intermediate opening between two walls with lighting behind Figure
Passing horizontally aligned columns to pass a wide opening between two walls with lighting from the inside space
Category: #28 Vertically aligned Two Walls and two Columns
In the first photo, two walls are seen facing each other with two columns in between. In the second and last photo we access a different angle, and a third column is revealed in the distance. The figure is ultimately distracted from the initial wonder of the structure when the third column is revealed. He feels excitement and curiosity when another factor is introduced.
Between walls, walking
Between columns, walking
Category: #29 Space composed with 5+ columns and 2 walls
Within seven photos, a dreamy structure is introduced which includes two diagonal, parallel walls and five pillars as a barrier to the walls. Two figures are dispersed within the walls and barriers as they explore the mysterious space. Each figure feels relaxed and afraid. This eerie environment provides a sense of comfort from the strong structured walls yet also a ghostly feeling from the tall, skinny columns acting as a blockade.
Top view of the space composed
Sequence phase #3
Sequence phase #1
Sequence phase #4
Sequence phase #2
Sequence phase #5
Sequence phase #6
Category: #30 Faced wall with Connected wall
Within nineteen photos, two walls are positioned to make a 90 degree angle. Initially, one figure is in the center of the two walls when another one appears upon the movement. The walls move in a circular motion, exposing their exterior and placing the figures then on the outside of themselves. The figures feel a sense of mystery and magic with the walls’ movement. The unworldly movement of the walls feels out of place and unknown to the figures.
Category: #31 Aligned wall with Connected wall
Seventeen photos depict two walls that meet in a 90 degree angle to form a corner. The figure is initially close to the corner until is recedes away from him and ultimately opens to be a straight line. The figure feels proud of the walls’ growth and movement. He saw them at their most simple form all the way to their most complex form.
Category: #32 Facing the connected edge of two walls
Seventeen photos start with two walls touching parallelly. The figure is position directly in front of the edge of the walls as they begin to split and eventually form a corner on their inside. At the end of their movement, the walls form a straight line. The figure has a feeling of helplessness as the walls undergo immense change in form. He feels as if there is nothing he can do or opinion he can give to the movement of the walls.
Category: #33 Three connected walls
Throughout six photos three different perspectives are given of a narrow set of walls and a wide set of walls. In each, two figures are positioned in the corner of the two walls and the point of view zooms further and further into the corner towards them. The figures feel exposed as a result of representing the integrity of each set of walls. The feeling is of being in a fishbowl, with everyone to see your every move.
Category: #34 Curved wall inside
In four photos, four different size curved walls are depicted. The figure is seen standing in the center of the curve as the size of the wall grows higher and higher over him. As these walls surround him, the figure feels small. Especially with the tallest size wall, the space around him is daunting and it makes him feel intimidated by the structures.
Wide-facing wall with two wings
Narrow-facing wall with two wings
Small-curved and 8ft height
Small-curved and 16ft height
Large-curved and 8ft height
Large-curved and 16ft height
Category: #35 Curved wall outside
Shown in eight photos, four different size walls are seen moving around a standing figure. The figure is centered outside of each wall, in each perspective picture, and the wall rotates and moves to be on the right side of the figure. The figure is intrigued by this curved wall in front of him. He is shown staring up at the enormous wall in front of him with great wonder. Its purpose and structure is astonishing to him and it draws great curiosity.
Facing Small-curved and 8ft height
Passing Small-curved and 16ft height
Facing Large-curved and 16ft height
Passing Small-curved and 8ft height
Facing Large-curved and 8ft height
Passing Large-curved and 16ft height
Facing Small-curved and 16ft height
Passing Large-curved and 8ft height
Category: #36 Curved Walls and Flat Walls
Depicted in each of the four photos are a straight wall and a curved wall, each showing a different point of view of the structure. The figure is seen facing the wall and standing to the left of the curve in the first photo and is standing in between the two in the second photo. In the last two photos, the figure is still in between the wall and the curve, although another figure is introduced standing inside of the curve. The two figures form a beautiful harmony which represents their feelings in where they are positioned. The figure inside of the curve feels secure and safe in his “bubble”, while the figure outside of the curve feels fake in the sense that he must put on a brave face while rather he is feeling sacred to be so exposed.
Facing a flat wall (8fh height) while passing a curved wall (8fh height)
Entering a space between a flat wall (8fh height) and a closed-curved wall (8fh height)
Entering a space between a flat wall (8fh height) and an opened-curved wall (8fh height)
Entering a space between a flat wall (8fh height) and a half opened-curved wall (8fh height)
Category: #37 Entering into a space between Parallel Curved Walls
Depicted in eight photos are four different wall curve lengths and heights. The figures are seen both inside and outside of the four different curves types. In this depiction there are many representations of the figure, although in all of them he feels intrigued and curious. The curving pathways represent what else there is to see beyond his frame and that is inspiring for the figure.
Small-curved and 8ft high outside
Large-curved and 16ft high outside
Large-curved and 8ft high inside
Small-curved and 16ft high outside
Small-curved and 8ft high inside
Large-curved and 16ft high inside
Large-curved and 8ft high outside
Small-curved and 16ft high inside
Category: #38 Entering a space between curved mirror walls_01
Two variations of curve length and wall height are depicted in a mirroring curve pattern. The figure is seen in the walkway between the mirroring curves in all four photos. In this representation, the figure feels trapped by the curved walls. Their mirroring effect acts as a barrier to what is further beyond them. Despite the pathway they create, it feels small and restricting ultimately leaving him to feel belittled by their existence.
Small-curved and 8ft height
Small-curved and 16ft height
Large-curved and 8ft height
Large-curved and 16ft height
Category: #39 Entering a space between curved mirror walls_02
Again, two variations of curve length and wall heights are depicted in mirroring curve patterns although this representation shows the difference between inside and outside lighting. The figure is seen positioned in between the two mirroring wall curves as if he’s walking in between them. The figure feels excited about what is beyond the curved walls. In all of the depictions he seems excited to explore further as the walls are acting as a gateway to exploration.
Small-curved and 8ft high with inside lighting
Small-curved and 16ft high with outside lighting
Large-curved and 16ft high with inside lighting
Small-curved and 8ft high with outside lighting
Large-curved and 8ft high with inside lighting
Large-curved and 16ft high with outside lighting
Small-curved and 16ft high with inside lighting
Large-curved and 8ft high with outside lighting
Category: #40 One curved wall and one column
Two photos contain a column and a curved wall, which is seen outside and inside the column. In the first photo the figure is seen standing in between the column and the outside of the wall. In the second photo, the figure is seen standing in between the column and the inside of the wall. In both interpretations, the figure feels grateful for the structure. No matter its orientation, he proves that he is happy to experience what beauty it provides.
Category: #41 One curved wall and two columns
Three photos incorporate a curved wall with two columns on the outside of it, all three in different compositions. The figures are placed on the outside of the curved wall, in between the columns, and directly centered in front of the wall. The figure feels protective over the structure as if his stance is in an attempt to guard it. His body language is powerful and he feels content with his duty to protect.
Entering a space between a column and curved wall outside
Entering a space between a column and curved wall inside
Entering a space between a column of two horizontally aligned and curved wall outside
Facing the outside of a curved wall with two horizontally aligned columns with insufficient space between them
Entering a space between a column of two vertically aligned and a curved wall outside
Category: #42 Role of a column between Curved and flat walls
In four photos, two curved walls and a column are represented in different formations. The figure is positioned outside of the curved wall and on the inside of the other curved wall, somewhere adjacent to the column for all the orientations. He feels stressed with the formation of the structure because of the column’s placement. The walls are oriented in a way that would create good flow, although the randomness of the column’s placement creates chaos in the space to the figure.
Entering a space between two parallel curved walls, with a column in front of the outer curved wall
Entering a space between a parallel flat wall and a curved wall, with a column in front of the flat wall
Entering a space between a faced flat wall and a curved wall, with a column in front of the flat wall
Entering a space between two parallel curved walls, with a column in front of the inner curved wall
Category: #43 Curved connection
Within four photos, a long, curved wall is seen opening up to be a straight wall. The figure is standing still to the right of the wall as its orientation flattens out. The figure finds the movement to be freeing as it allows for a large volume of space to be explored. Without the curve in the wall there are endless possibilities for movement. Although, on the other hand it feels confusing in a sense because the curve in the wall allowed for a subconscious flow to occur.
Follow two flat walls that are connected at an angle of 60 degrees smoothly
Follow two flat walls that are connected at an angle of 90 degrees smoothly
Follow two flat walls that are connected at an angle of 120 degrees smoothly
Follow two flat walls that are connected at an angle of 150 degrees smoothly
Category: #44 Curved wall and S-curve wall
Four photos demonstrate two curved walls in the forefront with a straight facing wall in the background. There are different lighting representations of both short and tall curved walls. When the figure is in between the short walls, he feels crowded and overwhelmed by the lack of space it expresses. The tall walls provide a much for open concept and the figure finds it to feel freeing and opportunistic.
Curved wall and S-curve wall 8ft high with inside lighting
Curved wall and S-curve wall 16ft high with outside lighting
Curved wall and S-curve wall 8ft high with outside lighting Curved wall and S-curve wall 16ft high with inside lighting
Category: #45 1 point perspective pictures: Void on the upside
Through four photos, four different overhead voids are represented. There are two square voids, small and large, and two circle voids, again being small and large. The figure is still directly under the voids in all four depictions as he stairs into the horizon. For both shapes, the figure feels more heard and seen under the larger sized voids. The large size allows for more sunlight and air, which translates to happiness and freedom for the figure. The smaller sizes provide a sense of restriction and a lack of expression.
A 4’x4’ square void with a height of 8ft
A 8’x8’ square void with a height of 8ft
A 4’ diameter void with a height of 8ft
A 8’ diameter void with a height of 8ft
Category: #46 Void on the upside with columns or walls
Four pictures represent an overhead void with different variations of walls and columns. The figure is seen on the left side point of view in each photo as he examines the space. He feels calm in the space but also that there is a lack of structure. With a simple wall or few columns for the make-up of a space so large, he feels too open and exposed rather than comfortable and nurtured by it.
A 8’x8’ square void with columns
View for A 4’x4’ square void with a flat wall aligned with one side and two columns aligned with the opposite side
A 8’x8’ square void with a facing wall
A 8’x8’ square void with a passing wall
Category: #47 Void on the downside with columns or walls
Six photos present a downward void, represented by both a square and a circle, with the addition of various incorporations of walls and lighting aspects. In each of the depictions, the figure feels curious about what is downwards in the void. Rather than focusing attention to the protruding walls or aggressive lighting, his focus stays on the void. He stares downwards with caution and excitement for what else there is to explore.
A 8’x8’ square void with a facing wall and light from upper floor
A 8’x8’ square void with a facing wall and light from side
A 8’x8’ square void with a passing wall and light from lower floor
A 8’x8’ square void with a passing wall and light from side
A 8’x8’ square void with a facing wall and light from lower floor
A 8’ diameter void with light from lower floor
Category: #48 Void on the upside with combinations of columns or walls
Seen in ten photos are different interpretations of an overhead void and various lighting directions. The figure is positioned in or around the light, as if it is the center of attention in the structure. In each photo, he feels content and curious with the structure. Often, he is seen comfortable within the symmetrical pieces or powerful in the abstract lighting pieces. The intense contrast of the lights and shadows is intriguing and mysterious to him.
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Category: #49 Void between Floating Surfaces
In five photos are different depictions of voids between floating surfaces. Within different shapes and sizes of walls the figures are seen interacting with both the walls themselves and the void shadows they create. The figures feel small compared to the vast floating structures above them. Although, this also sparks a sense of inspiration for them as they marvel with wonder at the structures.
Category: #50 Void between curve-linear Surfaces
In two photos we see a structure with an intense highlight casting downwards. This unique shape of light is reflected down with the figures hiding in the shadows. This powerful lighting creates a spark within the figures. They feel spiritual from the mysterious shape of lighting over them and are drawn to embrace their emotions and feelings within this space.
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Category:
#51 Void with a combination of Three pictures present a playful space composed of different wall shapes, lengths, and columns. The figures are seen exploring different nooks of this space as lighting plays a role in each figure’s stance. The figure on the left feels secure and comfortable in the shadow of the jagged wall and feels nurtured by the arch wall. The figure on the right feels lost under the inclined wall as he is unsure of what move to make next. There are many mysteries in this space to explore, and he feels overwhelmed as to what comes next.
Category: #52
Curved vertical surface
Two photos depict two curved walls inclining upwards. The figure is seen standing at the base of the wall, looking up at it. In the first photo, the figure is inspired and excited about the inclining wall as if he wants to know where it leads to. In the second photo, the figure is scared as he examines the wall. Its narrow build makes him timid to explore further.
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Category: #53 Curved vertical surface with an upper floor
There are five different depictions of a curved wall and an elevated floor. The figure is seen standing on the elevated floor in each photo with the wall somewhere near or surrounding him. The figure is intrigued by the curving upwards wall as he stares at the wall with wonder. He is excited about the wall and what it could lead to.
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Category: #54 Curved vertical surface with a void
Five photos show different variations of a curved vertical wall and a void above and below the figure. He is seen interacting with both the wall and void in each photo, some standing on top of the void and some standing at the base of the wall below the void. The figure feels playful in these spaces as the curved all arches and twists into or out of the void. He feels happiness exploring these spaces and wants to see more.
Category: #55 Facing Curved vertical surface
Two photos depict a curving vertical wall, one showing the wall going overhead the figure and one showing the wall curving over a horizontal facing wall. The figure is seen facing the wall in both depictions as it curves over and away from him. The figure feels sad in the first photo as the wall is trapping him in, with no way of moving forward. He feels excited in the second photo as the wall is leading him over a wall, opening up opportunities ahead.
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Category: #56 Hanging curved surfaces
Six photos depict hanging curved walls, both above and below the figure. The figures are seen interacting with the walls, sitting on them and standing below them. The figures feel intrigued by the mysterious hanging walls. They are playful and creative surfaces which leave the figures feeling inspired.
Category: #57 Surfaces with convexities and concavities
In two photos, walls with convexities and concavities are expressed. In the first photo, the figure is seen standing in between two curving and winding walls which creates concavities for the figure to explore. The second photo shows an arching wall jetting out from behind a wall. The figure feels joyful about these spaces as the curviness of the walls is playful and eye catching to him.
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Category: #58 A sphere with a strong center and centripetal force
Through two photos, a sphere with a strong centripetal force is shown. The figure is seen staring intently at the sphere in both photos as he stands near it. He feels drawn to the sphere and curious as to what its purpose is. The lighting aspects surrounding the sphere are intriguing and inspiring to the figure, causing him to feel happy.
Category:
#59 Surfaces that are twisted and free
Three photos show surfaces that are twisted and free, including curved walls and crumpled paper. In each, the figures are seen standing on or under the winding and twisty walls. The figures feel extremely excited by these fun spaces. The curviness of the walls is freeing to them and evokes youthfulness. The photo with the crumpled paper, feels powerful to the figures as one is seen sitting on top of a mountain in a sense.
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Marilynn Penfield Portfolio
Project #1 “Wall, Column, and Space”
- “Wall, Column, and Space” introduced me to the concept of surface movement and the impact the mvoement has on the viewer. Throughout the 59 categories, I was able to understand the effect shadows, obstructions, and angles had on the space and on the user. The paragraphs after each category also helped me to learn how to express these findings in word form. For this project, I also learned a lot about patience with myself and with the material I was using. This was my first experience with building since the sixth grade so the learning curve was very steep for me.
Project #2 “Hand Drawing”
- This project was by far the most difficult for me because I did not really know how to draw in the way I was being asked to. I have always been a doodler but never a sketcher so this exercise was very daunting to me. Looking back on my first sketches, I can see how much I have improved. I think that the biggest improvement is that I am more confident in myself and it translates to cleaner lines. I have learned the effects of contour, hatching, line weight, and singular lines versus multiple lines. All of these learnings have made me a better and more confident sketcher.
Project #3 “Drawing What you See, Drawing What you Feel”
- This project gave me some challenges because I really wanted to make my work as similar to the reference as possible. In the “Outdoor Sketches” assignment, this perfectionist barrier was finally broken and I was able to draw what I felt. I realized that I was much better at sketching what I saw and explaining in words how I felt rather than sketching what I felt from the start. While I still have a long way to go with this concept, I know that I am capable of drawing my feelings and experiences.
Project #4 “Space Cube”
- The project helped me to understand movement through a space as well as how to arrange surfaces in a space to make the most sense to the viewer. After several iterations, I came up with a sequence that I am happy to say I am proud of. The project also taught me that thinking before acting is so important when designing. Before glueing anything down, I always arranged it first, and edited as I needed. It was not until the entire sequence was laid out that I finally started making things permanent.
Project #5 “First Portfolio”
- For this project, I practiced and mastered using the InDesign Program. I was able to learn how to arrange different projects together in order to make it flow nicely. I was also able to learn how to edit images and rearrange textboxes in order to fully display my work.
Overall
- Overall, I feel as though I am in a completely different place than I was before summer studio started. Not only am I more confident in myself and my work, but I also feel more caught up to the fall and spring studio students. I know so much more about spaces, what effects a space, colors, and drawing. While my work is not perfect, I feel as though the process has taught me so much that I will be able to use to create near-perfect projects in the future.
If you could talk to you before these five weeks, what would you like to share with you?
- I would probably tell myself that perfection is impossible but effort is everything. So far, summer studio has taught me that the outcome is not everything and that the real value comes with the learning process. I would tell pre-studio, perfectionist self to relax and give myself some grace. This is a steep learning process and you are doing your best! You best is all that matters!
Category #1: Facing surface
As seen in the ten images, a wall moves to block the path of the viewer. Slowly, the human figure’s view is obstructed. While I can move around the wall, this obstacle takes away from the openness I felt at the beginning of the zero-degree image, and I feel confined. 0
Category #2: Facing edge
Ten images depict another gradual path disruption with the wall moving from the side to directly in front of the human figure. As the wall shifts, the human figure’s view is obstructed. Now, instead of taking the path to the right, I, as the viewer, am forced to choose between the left and right paths, which makes me feel pressured.
Category #3: Blocking wall
Eleven images show a wall slowly shifting to the viewer’s right. As this shift occurs, the human figure’s path is disturbed. In this case, there appears to be nowhere to go, leaving me feeling trapped and anxious. I am also slightly annoyed that I must go completely around the wall in order to resume my path.
Opened level 1
Opened level 4
Block
Block
Opened
Block
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Block
Opened
Block
Block
Category #4: Passing the blocking wall
Five photographs show the viewer gradually passing a wall that once blocked the path. As the human figure moves forward, more space opens up, allowing the viewer to choose their own path. As I walk past the blocking wall, I feel a sense of relief that I am able to continue my journey uninterrupted. I also appreciate how I am able to see my surroundings much better than before passing the wall.
Passing level 1
Passing level 2
Passing
Category #5: Aligned Wall
In five images, a wall slowly moves to the right to eventually stop directly in front of the viewer. The viewer’s path becomes disrupted, forcing them to choose a direction to continue their original path. I am able to see both options before making my choice, which creates a sense of security instead of pressure because I am aware of both outcomes.
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Category #6: Passing the aligned wall
As seen in six images, the right path is chosen, and the viewer walks past this aligned wall obstacle. The human figure walks along the wall in order to pass the object. The wall acts as a guide by encouraging me to walk right along it. This encouragement makes me feel secure in that I do not feel as though I need to make any sort of decision.
Category #7: Walls with different heights
Eight images show how a gradual increase in wall height occurs and how each height affects the viewer. The human figure’s path was obstructed from the first image, and as the height increases, the human figure’s line of sight becomes obstructed as well. As the walls slowly increase in height, anxiety and a feeling of being overwhelmed come over me. I know that there is no way over the wall, for it has become much larger than my figure.
Wall with 1ft
Wall with 4ft
Wall with 7ft
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Wall with 5ft
Wall with 7ft
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Category #8: Floating and faced Wall
Eight images show the progression of a wall being lifted off the ground. As the wall continues to rise, the human figure’s path becomes no longer obstructed. At the beginning of the eight images, I felt a hint of freedom with the crack between the wall and the floor. This sense of freedom increases for me as the wall is lifted to reveal more of an opening.
Category #9: 8ft high floating and aligned wall
Four photos show how the movement of a floating wall can have an impact on the viewer without disrupting the human figure’s path. As the wall gradually shifts to the right, the human figure must walk under it in order to continue the original path. I feel anxious about walking under the wall because I fear it will fall on me, but I am thankful it is not blocking my path.
Alignment level 1
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Category #10: 8ft high floating and faced wall
Eight images depict the impact a faced wall makes on the viewer the closer it moves towards the user’s center. The human figure is at first not strongly impacted by this wall until it is directly in front of it, for it covers a large amount of space above the figure’s path. As this wall moved closer toward the center, it slowly felt more daunting. I think its mass and height above my head created this feeling in me. I feel like I have little to no control over the space.
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Category #11: floating horizontal surface
Eight photographs illustrate the movement of a horizontal floating surface from the right of the frame to the center. As the surface gradually moves to the right, a covering becomes available for the human figure to walk under. The horizontal surface makes me feel curious as to what is above and out of my eye view. I also feel somewhat helpless, as there is no way to scale the structure. This detail also adds to the curiosity aspect that has been invoked in me.
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Category #12: Horizontal surfaces with different heights
Twelve images show the gradual lowering of a surface until it reaches its final destination under the surface of the ground. As the surface moves downward, the human figure’s path becomes obstructed, first from above the ground and then from below the ground. Once the horizontal surface goes beneath the surface of the ground, I become worried that I will fall into the void that was created.
Category #13: Wall surface with an incline
Eight images show an inclined wall surface slowly begin to move over the viewer’s path. As the wall shifts upwards, the human figure is able to see to the left instead of just the front and the right. This open space makes me feel receptive to sights and sounds I might be able to observe. I much prefer this open concept over something more closed off.
Category #14: Inclined wall
Six photographs illustrate the gradual change of an inclined wall as it slowly reaches an almost vertical point. The human figure is now guided by the wall that lines the viewer’s path. The different degrees of slanting in the wall change my perception of the wall’s purpose. As the wall nears its upright position, I feel more and more secure.
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Category #15: Floating wall surface facing edge with an incline
Six images show how the surface of a floating wall slowly shifts from below the viewer’s waistline to above their head. As the wall shifts upward, the human figure becomes unable to use the surface. The series together started to remind me of a part of a museum I used to visit as a kid. The almost whimsical appearance makes me feel in awe.
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Category #16: Inclined surface to a facing wall
Nine images show a ramp at different degrees from 10-90, slowly assuming an upright position. The human figure is now able to walk forward in the space that was revealed, but the path is still blocked. This set of images distressed me because I was never able to really interact with the surface and the ramp it made. I kept wanting to be able to use the ramp, but due to its direction, it would have been very difficult.
Category: #17 Inclined ramp to facing wall
Nine photographs show a ramp gradually assuming an upright position by moving from ten to ninety degrees in the direction of the viewer. As the degree of the ramp increased, the human figure was no longer able to use the ramp, and it became an obstacle. As the ramp took the 90-degree angle, I felt more and more small in comparison. This made me realize that the angle of a surface can affect how big or small it appears.
Category: #18 One Column
Two photographs illustrate how the movement around a column does not really obstruct anything from the human figure. As the human figure moves around the pole, the human can still be fully seen. I feel such strong emotions toward this column because I am not significantly affected by its presence.
Category: #19 Two Columns
Two photographs show how the presence of two columns adds to the effect on the human figure. The second column added centers the figure and adds an element of procession. The second column makes me feel special in a sense because it feels as though it was added for me to walk through.
Category: #20 Three Columns
Two images show how a row of columns creates an imaginary wall in comparison to the randomly scattered columns. The aligned columns create an idea of procession, whereas the more randomly placed columns create more freedom in movement. I felt as though I needed to walk along the lined-up columns, whereas I feel more comfortable moving freely through the randomly arranged columns.
Category: #21 Four Columns
Two photographs show how two different widths of a set of four columns affect the feel of the human figure. As the columns get closer to the human figure, the figure’s path is also narrowed. I felt compressed as the columns narrowed in around me and felt forced to walk directly in the middle of the two sets.
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Narrow
Category: #22 One Wall and One Column
Six photographs show how the distance between the column and the wall creates either a procession or an obstruction to the human figure. As the column moves closer to the wall, the human figure’s path is obstructed due to space concerns. As the column moves further away, there becomes a clear path of procession for the human figure. This series of images make me feel awkward because I am not sure whether to walk through the opening or not due to varying distances.
Category: #23 One Wall and two Columns
Three images depict how the procession between two columns can be interrupted by a wall. In the first condition, the wall adds to the procession; in the second condition, the wall somewhat encourages the procession; in the third condition, the wall obstructs part of the pathway. I felt compelled to walk along the space provided in the first and second conditions, but in the third condition, I felt a little more confined due to the obstruction the wall provided.
Category: #24 Two Walls and two Columns
Two images depict two different angles of the same scene: a human figure standing against a wall with two columns on either side, with another human figure walking to the side of it along a hallway to an opening. As the angles change, the human figure between the two columns seems to shift despite not moving at all, thus showing the importance of angles. I feel curious to see what is behind the wall.
Condition 1: aligned wall and vertically aligned columns
Columns aligned vertically with perpendicular walls
Condition 2: facing wall and vertically aligned columns
Columns aligned horizontally with perpendicular walls
Condition 3: facing wall and horizontally aligned columns
Category: #25 Two Walls and two Columns with two lighting conditions_01
Six images illustrate how the distance between the column and the wall can influence the human figure’s path. The different lighting examples highlight the space between the columns and the wall. I had the ability to walk between the columns and the wall before the columns shifted in towards the wall. I felt like I would either have to squeeze to fit or I would have to miss out on the experience of procession and take an alternative route.
Walking between vertically aligned columns and perpendicular walls with lighting behind Figure
Walking beside vertically aligned columns and perpendicular walls with lighting behind wall
Walking between vertically aligned columns and perpendicular walls with lighting behind wall
Walking beside vertically aligned columns and extended perpendicular walls with lighting behind Figure
Walking beside vertically aligned columns and perpendicular walls with lighting behind Figure
Walking beside vertically aligned columns and extended perpendicular walls with lighting behind wall
Category: #26 Two Walls and two Columns with two lighting conditions_02
Four images depicting two scenes with different lighting effects show how a wall, and a column in this case, can diffuse light entering the space. In the second scene, the wall acts as a shield from the light hitting the column, whereas in the first scene, the column’s position allows it to be hit by the light. I felt at home in the first scene because I was not truly aware of the direct light entering the space, but in the second scene, I felt more alert due to the obvious light hitting the exposed column.
Passing horizontally aligned columns to enter the space between two walls with lighting behind Figure
Passing vertically aligned columns to enter the space between two walls with lighting from the inside space
Passing horizontally aligned columns to enter the space between two walls with lighting from the inside space
Passing vertically aligned columns to enter the space between two walls with lighting behind Figure
Category: #27 Two Walls and two Columns with two lighting conditions_03
Six images show how the position of the columns on the walls creates procession, an opening, and an obscured pathway. In one scene, the columns make the human figure take steps off the path to avoid them. The other scenes both depict how vertical and horizontal columns can create an entryway or pathway into a larger space. In the scenes where the columns made an entryway or pathway, I felt welcomed, but when the columns invaded my path towards the larger space, I felt annoyed for having to walk around them.
Passing vertically aligned columns to pass a narrow opening between two walls with lighting behind Figure
Passing vertically aligned columns to pass an intermediate opening between two walls with lighting from the inside space
Passing vertically aligned columns to pass a narrow opening between two walls with lighting from the inside space
Passing horizontally aligned columns to pass a wide opening between two walls with lighting behind Figure
Passing vertically aligned columns to pass an intermediate opening between two walls with lighting behind Figure
Passing horizontally aligned columns to pass a wide opening between two walls with lighting from the inside space
Category: #28 Vertically aligned Two Walls and two Columns
Two images illustrate how the effect of a set of columns can change depending on their alignment with one another. In one image, the columns are aligned, and in the second image, they are off-center from one another. I felt much more welcomed into the space where the columns were aligned rather than the space where they were not. The columns that were not in alignment with each other felt awkward and weird.
Between walls, walking
Between columns, walking
Category: #29 Space composed with 5+ columns and 2 walls
Seven photographs illustrate how the angle of walls and position of columns change the ability to move around a space due to the obstruction of a clear path. The closer the columns are to a wall, the more uncomfortable the space gets. I felt very uncomfortable as I saw through the lens of the human figure because of the “wall” the columns create that keeps me confined, and the awkward positioning of the columns in relation to the wall.
Top view of the space composed
Sequence phase #3
Sequence phase #1
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Sequence phase #2
Sequence phase #5
Sequence phase #6
Category: #30 Faced wall with Connected wall
Nineteen images show how the angle of a wall can impact the available space as well as the overall feeling of the room. As the angle between the walls increases, the space opens up, allowing more light to enter the space. I felt more pleased with the space around me as the area opened up, and more confined when the space was more restricted.
Category: #31 Aligned wall with Connected wall
Seventeen images portray how small changes in the degrees of an angle change the makeup of a structure. As the structure opens up with increasing degrees, the human figure is able to move more freely in the space. I felt very trapped at the beginning of the picture sequence, but as the space opened up, I felt very relieved.
Category: #32 Facing the connected edge of two walls
Seventeen illustrations depict a harsh example of how an open space can be created by the smallest movement of a wall. As the wall slowly starts to open up, there are fewer shadows present, and more light is able to enter, showing the space revealed. At the beginning of the sequence, I was claustrophobic of tight spaces and corners, but it was eliminated as the wall continued to shift open.
Category: #33 Three connected walls
Two pictures show how wall angles confine or open a space, but this time, three surfaces are used. As the walls shift out, there is a larger, less confining space, whereas when the wall angles are narrower, the space is boxier and compartmentalized. The more open wall picture made me feel much more eager to explore my surroundings and move about freely. The narrower space made me feel oppressed and less curious.
Category: #34 Curved wall inside
Four photographs illustrate how the length and width of a curved wall affect the feeling of the space in the curve. As the length and width of the curve increase, the space feels more open and freer, while the smaller the length and width become, the space becomes more confining. The sixteen-foot wall felt daunting as it loomed over my head, whereas the eight-foot wall felt more secure, especially the smaller length.
Wide-facing wall with two wings
Narrow-facing wall with two wings
Small-curved and 8ft height
Small-curved and 16ft height
Large-curved and 8ft height
Large-curved and 16ft height
Category: #35 Curved wall outside
Eight photographs show the effect of length and width on a human figure with the curve facing away from the user. As the lengths and widths increased, the human figure became much more miniscule and as the lengths and widths decreased, the human figure seemed more similar in size. The sixteen-foot walls made me feel very secure, in comparison to the eight-foot walls, despite their large size and impression.
Facing Small-curved and 8ft height
Passing Small-curved and 16ft height
Facing Large-curved and 16ft height
Passing Small-curved and 8ft height
Facing Large-curved and 8ft height
Passing Large-curved and 16ft height
Facing Small-curved and 16ft height
Passing Large-curved and 8ft height
Category: #36 Curved Walls and Flat Walls
Eight images compare the feelings of inner and outer facing curves with the addition of a flat wall. The flat wall added an appearance of stability for the human figure, with the changing sizes and shapes of the curved walls. The image where the human figure is facing the wall with the curved wall to the right felt much more secure than the flat wall parallel to the curved wall.
Facing a flat wall (8fh height) while passing a curved wall (8fh height)
Entering a space between a flat wall (8fh height) and a closed-curved wall (8fh height)
Entering a space between a flat wall (8fh height) and an opened-curved wall (8fh height)
Entering a space between a flat wall (8fh height) and a half opened-curved wall (8fh height)
Your coordination in height and openness.
Category: #37 Entering into a space between Parallel Curved Walls
Eight images illustrate the space created by two parallel walls of different lengths and widths, and how the viewer relates to it. The human figure is prompted by this space between the two parallel walls to move forward, regardless of the wall height. The wall height changes the proportion between the wall and the human figure, creating different feelings. I felt curious about what was through the “hallway” created by two parallel walls of different lengths and widths, by the parallel curved walls. The smaller curved walls (length) felt safer than the larger curved walls (length) because there was less room for surprises.
Small-curved and 8ft high outside
Large-curved and 16ft high outside
Small-curved and 16ft high outside
Small-curved and 8ft high inside
Large-curved and 8ft high inside
Large-curved and 8ft high outside
Small-curved and 16ft high inside
Large-curved and 16ft high inside
Category: #38 Entering a space between curved mirror walls_01
Four pictures show how the height and length of curved walls affect the appearance of the space for the viewer. As the height and length increase, the space between appears to be smaller compared to the decreased height and length of the curved walls. I felt claustrophobic between the sixteen-foot, large, curved walls and the eight-foot, large, curved walls. This feeling of claustrophobia decreased as the height and length lessened.
Small-curved and 8ft height
Small-curved and 16ft height
Large-curved and 8ft height
Large-curved and 16ft height
Category: #39 Entering a space between curved mirror walls_02
Eight images show the difference between two curved walls with two different lighting effects. As the lighting changes, the human figure is able to see more clearly in between the spaces. I found myself much more drawn to the spaces that light was coming from, instead of the outside lighting spaces, because I appreciated how I was able to have a better view of the space in between the curved mirror walls.
Small-curved and 8ft high with inside lighting
Small-curved and 16ft high with outside lighting
Large-curved and 16ft high with inside lighting
Small-curved and 8ft high with outside lighting
Large-curved and 8ft high with inside lighting
Large-curved and 16ft high with outside lighting
Small-curved and 16ft high with inside lighting
Large-curved and 8ft high with outside lighting
Category: #40 One curved wall and one column
Two photographs illustrate how a curved wall is able to accentuate the natural curve of the column. The curved wall facing the column creates a curved pathway for the human figure to follow, whereas the curved wall facing away from the column does not encourage any curved movement but rather a straight path. The image of the human figure entering a space between a column and a curved wall inside felt much more natural to me than the human figure entering the space between a column and a curved wall outside.
Category: #41 One curved wall and two columns
Three images show how a curved wall interacts with two columns by arranging the three objects in different setups. The human figure can walk between the wall and the column in the first picture, process along a “wall” created by the columns and the curved wall in the second picture, and is unable to enter the space through the column and curved wall in the third picture. With the first and third images, I felt compelled to enter into the space because of the entry it created for me. The second image made me uncomfortable because I saw the open space, but was unable to enter through it.
a
the outside of a curved wall with two horizontally aligned columns with insufficient space
Entering a space between a column of two vertically aligned and a curved
Entering a space between a column and curved wall outside
Entering a space between a column and curved wall inside
Entering
space between a column of two horizontally aligned and curved wall outside
Facing
between them
wall outside
Category: #42 Role of a column between Curved and flat walls
Four photos show the relationship between columns and curved and flat walls. The human figure is able to travel between the column and the curved wall surface regardless of the column’s position, but can only travel between it in one of the curved and flat wall arrangements. The figure is blocked by the flat wall in one of the arrangements. When the column was to the left of me instead of against the right wall, I felt like I was being squeezed in between the surfaces.
Entering a space between two parallel curved walls, with a column in front of the outer curved wall
Entering a space between a parallel flat wall and a curved wall, with a column in front of the flat wall
Entering a space between a faced flat wall and a curved wall, with a column in front of the flat wall
Entering a space between two parallel curved walls, with a column in front of the inner curved wall
Category: #43 Curved connection
Four images show how two flat surfaces can make a curved effect based on their degree of fold. The human figure was able to walk in a straighter path forward, the higher the connection degree became, because there was less surface to block the path. The first two images with the lower degrees of connection made me feel corralled toward a designated area, whereas the second two images made me feel like I had a choice of where I wanted to go.
Follow two flat walls that are connected at an angle of 60 degrees smoothly
Follow two flat walls that are connected at an angle of 90 degrees smoothly
Follow two flat walls that are connected at an angle of 120 degrees smoothly
Follow two flat walls that are connected at an angle of 150 degrees smoothly
Category: #44 Curved wall and S-curve wall
Four images show how an S-shaped curvature manipulates the light, in comparison to a curved or flat wall, by using two lighting strategies and two different wall heights. The human figure walks along a path created by a curved and S-shaped wall, one at 16 feet and one at eight feet. The viewer either walks into the light when inside lighting is used or away from the light when outside light is used. I enjoyed walking into the light much more than I enjoyed walking away from the light because it added an element of safety.
Curved wall and S-curve wall 8ft high with inside lighting
Curved wall and S-curve wall 16ft high with outside lighting
Curved wall and S-curve wall 8ft high with outside lighting
Curved wall and S-curve wall 16ft high with inside lighting
Category: #45 1 point perspective pictures: Void on the upside
Four photographs illustrate how different void shapes and sizes can create different shadow effects for the viewer. The human figure experiences different amounts and shapes of lighting entering the space, depending on the void above, the human figure experiences different amounts and shapes of lighting entering the space depending on the void above. The 4’x4’ square void felt uncomfortable to me because it felt like a spotlight. The other voids were more pleasant for me to experience because more light was let into the space.
A 4’x4’ square void with a height of 8ft
A 8’x8’ square void with a height of 8ft
A 4’ diameter void with a height of 8ft
A 8’ diameter void with a height of 8ft
Category: #46 Void on the upside with columns or walls
Four photos show how two different void options relate to an arrangement of walls and columns. The human figure was able to pass through the columns and the wall with the light from the void, both 8’x8’ and 4’x4’, acting as a halfway marker. The facing wall created an obstacle for the human figure, whereas the passing wall did not have much effect on the user. I felt like the arrangements with no columns felt much more open than the arrangements with columns. The 8’x8’ void also felt much more open compared to the 4’x4’ void.
A 8’x8’ square void with columns
View for A 4’x4’ square void with a flat wall aligned with one side and two columns aligned with the opposite side
A 8’x8’ square void with a facing wall
A 8’x8’ square void with a passing wall
Category: #47 Void on the downside with columns or walls
Six images show how different light sources and floor locations change the experience of light through a void for the viewer. The human figure is able to either walk through the light when the light comes from the top and the side, or is prevented from walking through the light due to the void when the light is coming from the bottom floor. The numerous lighting options made me feel curious as to where the light was coming from.
A 8’x8’ square void with a facing wall and light from upper floor
A 8’x8’ square void with a facing wall and light from side
A 8’x8’ square void with a passing wall and light from lower floor
A 8’x8’ square void with a passing wall and light from side
A 8’x8’ square void with a facing wall and light from lower floor
A 8’ diameter void with light from lower floor
Category: #48 Void on the upside with combinations of columns or walls
A series of ten images shows how a void at the top of a space creates an effect on the viewer. The human figure is taken through different scenes so that the viewer is able to experience the void at various angles. I most appreciated the scene where the void was coming from above a facing wall because the space felt more open and made me feel less crammed than the other void and wall options.
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Category: #49 Void between Floating Surfaces
Five pictures show how a void formed by several different surfaces creates a wider variety of spaces for the viewer to occupy. The human figure is able to occupy space from the bottom and top of the void and still have a perfect view of things happening around them. I felt safe while standing under one of the platforms forming the void because I felt covered from anything overhead.
Category: #50 Void between curve-linear Surfaces
Two photographs illustrate how a void can be experienced both from the upper level and the lower level. As the human figure moves between levels, the relationship with the void changes. From the upper floor, I was worried about falling into the void, while from the bottom floor, I felt connected with nature due to the large open space above me.
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Category: #51 Void with a combination of
Two images show how the angle of the viewer can change the appearance of the shadow created from a void. As the angle changes, the shadow becomes more rounded at the top instead of sharp at the edges as it had before the change. As I moved through the space, the shadow’s changes made me feel open and free because I knew it came from a void, which made me feel less confined.
Category: #52 Curved vertical surface
Two photographs illustrate how the change in width of a curved surface impacts the human figure. As the width thickens, the human figure appears to be smaller despite no change in angle or position. I felt overwhelmed by the eight-inch curve looming over me, but somehow it did not seem as steep as the four-inch curve, which I found to be comforting.
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Category: #53 Curved vertical surface with an upper floor
Five images show how the height of the human figure affects the overall experience of a curve. As the human figure switches between floors, the impact of the curve increases and decreases. While on the bottom floor, the wall felt huge and overpowering, whereas the top floor view made the curve seem much more manageable to take in.
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Category: #54 Curved vertical surface with a void
Five photographs illustrate the impact a void creates when used with a curved surface. As the human figure moves from the first level to the second level, the extremity of the curve is disrupted while also creating two experiences. On the first floor, the curve did not have as great of an impact on me because I was unable to see the top of the curve from my point of view. The curve from the first floor made me feel secure compared to the typical overwhelmed feeling. From the second floor, the top of the curve seems much smaller than usual and creates a cover from overhead, making me feel safe.
Category: #55 Facing Curved vertical surface
Two images show how the angle at which the human figure faces the curved vertical surface alters the extreme nature of the curve. As the human figure moves from facing the surface from the front to facing the surface from the side, the available space that the figure is able to move increases. While facing the curve straight on, I felt overpowered by the vertical surface looming over me. When I faced the surface from the side, those feelings lessened, and I felt more open to move around.
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Category: #56 Hanging curved surfaces
Four pictures show how a hanging curved surface can create a space that a flat surface cannot. As the human figure moves across the length of the object, they are able to occupy more or less space compared to a flat surface, only providing the same space all the way across. I really enjoyed being able to “hide” underneath the curve closest to the wall. I felt safe because I knew that I could not be approached from any direction but from the front.
Category: #57 Surfaces with convexities and concavities
Two images show the relationship between a curved and flat surface and the procession it creates for the user. The curved surface acts as a tunnel, and the flat surface acts like a guide through the space. I felt compelled to walk along the tilted wall through the tunnel space, and felt very comfortable at the back of the tunnel because it acted as a shelter for me.
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Category: #58 A sphere with a strong center and centripetal force
Four photographs illustrate how different positions around a sphere can change the prominence of the sphere in relation to the space around it. The human figure is overpowered by the proportion of the sphere in every scene, especially the images from floor one. While on floor one, looking at the sphere, I felt minuscule in comparison, whereas on floor two, while I still felt small, I felt like I had the upper hand.
Category: #59 Surfaces that are twisted and free
Three images depict how movement can be created within a space through uneven and “twisted” surfaces. The human figure’s path is disrupted in one of the images due to the surface on the floor, but remains uninterrupted in the other two images because the surface is elevated. I felt really free in this space because I did not feel confined by any walls. The barrier I experienced in one of the images did not have much effect on me because I knew the uneven surface could provide a way out.
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Jasmine Sukhija Portfolio
What I learned...
Project #1 “Wall, Column, and Space”
- These 59 categories gave a glance at how the space relative to the human figure had an impact on their perspective in the space. It also gave an idea of spacial awareness, how certain walls and collumns can change the space. Also, how these are placed can open or close off parts of the room.
Project #2 “Hand Drawing”
- Hand drawing brought out much more creativity with the way we can draw everyday items. From cross-contouring to blind contour, these effectively allowed me to learn more detailed characteristics about drawing and improved my skills to sketch easier.
Project #3 “Drawing What you See, Drawing What you Feel”
- Taking a day trip to crystal bridges allowed me to see a new space and what all there is to draw. After picking two places that felt the most emotional to me, I was able to slowly and carefully sketch the surroundings using my hand to eye coordnation. The outcome was amazing and truly revealed my vision through the careful drawings.
Project #4 “Space Cube”
- The space cube was a new design perspective that allowed me to build up my previous work to a final product. After carefully figuring out the best layout, I was able to build a 9X9 cube of my sequences, which brought a lot of careful planning. This project opened my eyes to many possibilites from a sequence, and improved my design skills in a new area I had never previously worked in.
Project #5 “First Portfolio”
- This project allowed the use of AI to transform our spaces in the space cube model to an almost life-like view. The outcomes were helpful because it gave new perspectives to how our spaces can be used in real life. Also, this gave ideas that may have never been thought of previously, regarding how we put every room characteristic in a new space.
Overall
- All 5 projects expanded my horizons in the design world, beginning to work on new projects in ways I never previously had. Also, there were obstacles I learned to overcome myself, and even more work I had ever done in a short time. I enjoyed how all projects corrolated with one another to give the best outcome. After the 5 weeks of hard work, I was able to use my skills to create this portfolio that not only shows my growth but the dedication, experimentation, and the final vision formulated along the way.
If you could talk to you before these five weeks, what would you like to share with you?
- There are so much more possibilities in the design world than ever imagined. Using new techniques such as cutting, building, color thinking, and so many digital skills, I have many new ways of showcasing my work. There is so much learning you will do, but keep pushing because displaying your work at the end is rewarding. Especially being able to see all you have done from the beginning to now, there is a deep sense of accomplishment. Every challenge, late night, and creative risk is all worth it when you look back and realize how far you’ve come. So don’t be afraid to try new things out of your comfort zone and skill set, take the harder path, and trust your creative insticts.
Category #1: Facing surface
There are ten images that compile how the wall changes in the perspective of the human figure. As the walls change in the photos, the figure sees the front closing, showing a smaller view. This represents how closing the wall (70-90 degrees) stopped any flow past the wall.
Category #2: Facing edge
There are ten images to represent how the wall once parallel to the figure, moves 90 degrees directly in front. This shows the wall gives more room to the sides now when it is moved to the front. This opens the space making the figure feel less blocked on the sides, and less crammed, they can still see each side of the wall.
Category #3: Blocking wall
There are 11 images showing how the wall is slowly moving towards the front of the figure and eventually blocking the whole view. The figure has a large, open view, then it slowly is covered completely by the end. This can make the figure seem trapped, now their passageway has been blocked off, and now has less light shining on it.
Opened level 1
Opened level 4
Block
Block
Opened
Block
Block
Block
Opened
Block
Block
Category #4: Passing the blocking wall
This category has 5 images showing the wall compared to the figure as it passes through. The figure is blocked by what is behind the wall until it completely walks through to see the other side. This is nice because the figure is able to feel more open when getting to the other side of the blocked wall Passing
Category #5: Aligned Wall
These 6 images show how the wall to the left of the figure slowly move towards the right, eventually blocking the front of the figure. The wall moves constantly to block the view of the figure in the middle. This image shows how the path in front of the human figure is now blocked and can seem stressful to navigate.
Closed level 1
Closed level 4
Closed level 2
Closed level 5
Closed level 3
Category #6: Passing the aligned wall
This category has 6 images that demonstrate the wall slowly moving towards as the figure goes the opposite way. This can show how the light changes compared to the figure when the wall changes, brightening up the way. This can feel relieving, because they are able to see the end and a bigger view overall when they arrive.
Category #7: Walls with different heights
This category has 8 images, all representing a foot higher to reach a total of 8 feet. Everything is still in this image except the added wall height, blocking the view of the human figure. This can seem flustering, slowly having the wall in front raise, and blocking the light on the other side.
Wall with 1ft
Wall with 4ft
Wall with 7ft
Wall with 2ft
Wall with 5ft
Wall with 7ft
Wall with 3ft
Wall with 6ft
Category #8: Floating and faced Wall
This category has 8 images, each showing how the wall is floating a foot higher each time. The first wall is lower, then rises, giving the figure a big view from afar at the end. This can be comforting because the big wall in front eventually rises, broadening the view.
Category #9: 8ft high floating and aligned wall
This has 4 images showing a floating wall slowly moving from left to center with the figure. This does not block the figure too much because it is much higher than it. But this can feel odd especially when it ends up above the figure in the end.
Alignment level 1
Alignment level 4
Alignment level 2
Alignment level 3
Category #10: 8ft high floating and faced wall
This category has 8 pictures, showing how the floating wall starts at the left corner, eventually ending up towards the exact middle. The figure is aligned with the wall in the end, but watches it slowly move its way. This can cause the figure to feel scared because the wall is creeping towards it, moving down and right ward.
Overlap level 1
Overlap level 4
Overlap level 2
Overlap level 5
Overlap level 7
Overlap level 3
Overlap level 6
Overlap level 8
Category #11: floating horizontal surface
This category has 8 images and shows the way the wall is now horizontal and moves from the left to end up in the middle. The human figure is aligned with the wall in the end but allows the viewer to tell where the wall is moving according to the figure. This may feel emotionally strange, with the wall moving to be almost above the figure in the end.
Overlap level 1
Overlap level 4
Overlap level 7
Overlap level 2
Overlap level 5
Overlap level 8
Overlap level 3
Overlap level 6
Category #12: Horizontal surfaces with different heights
This category has 12 images showing how the wall in the floor slowly moves up and down under the ground. The figure shows how the height changes the perspective of the plane moving, also when it goes underneath. This may feel interesting because the floor was once floating and ended up beneath the original spot in the figure’s perspective.
Category #13: Wall surface with an incline
This category has 8 images that show the wall moving upwards at an angle and ending at the top. The human figure is shown with a shadow that is slowly rising above it. The figure may feel concerned because it moves eventually to be above the figure.
Category #14: Inclined wall
This category has 6 images with a wall has an incline starting almost horizontal and angles upwards to the vertical position. The incline wall looks as if the wall is coming up to stand at the top relative to the human figure. The figure may show how it is blocked now by the wall on the side, blocking its view now.
Inclined level 1
Inclined level 4
Inclined level 2
Inclined level 5
Inclined level 3
Inclined level 6
Category #15: Floating wall surface facing edge with an incline
This category has 6 images showing the wall moving upwards from a floating horizontal side. The figure relative to the floating surface shows a perspective on the moving objects, and the inclined levels. The figure might feel confused the floating surface moves along the photo and a chance something like this could possibly fall near or on top.
Inclined level 1
Inclined level 4
Inclined level 2
Inclined level 5
Inclined level 3
Inclined level 6
Category #16: Inclined surface to a facing wall
This category has 9 pictures to show the inclined surface as it moves up and down relative to the human figure. The wall slowly gets taller, and the figures view lessens as this goes upward. The wall now blocks the figure and gives a feeling of fear if the wall falls back downward when they continue to move.
Category: #17 Inclined ramp to facing wall
This category has 9 images to show the wall slowly moving up, ramp like for the human figure to use. The human figure has a horizontal ramp that slowly gets steeper and steeper, until it is completely vertical. The figure may feel nervous as it rises, giving it a possibility that it can come down on the figure the other way.
Category: #18 One Column
This category has one singular pillar that is in the middle of the image to be seen. The human figure is relatively close to the pillar and shows how he is walking towards it in both angles. The pillar is a shock when you see how closely the human figure is walking straight towards it.
Category: #19 Two Columns
This category has two images but successfully shows the differences in the pillars moving vertically to horizontal. The human figure can be seen next to them, showing their size relevance. This could bring confusion but not too much the pillars move between the two images taken.
Front
Category: #20 Three Columns
There are two images shown that have different placements of the pillars in each. The figure walks along the pillars all on the right in the vertical one, while the horizontal is on either side of him. This is a relaxing image because it seems so balanced and makes sense in my brain to be placed this way.
Category: #21 Four Columns
This category has four pillars evenly placed on both sides of the image, with a second human figure in the background. The figure is placed a tad off center to really capture the shadows and other figures in the back. This is aesthetically pleasing with the even structures presented and is visually cool to look at with the shadow.
Vertical
Wide
Horizontal
Narrow
Category: #22 One Wall and One Column
This category consisted of eight images to represent the spacing between the column and the wall. The figure shows the slight differences with the pillar when it moves, and how this changes the whole image. Emotionally, this was interesting considering the pillars positions and how they change with a slight tilt of the camera or movement.
Category: #23 One Wall and two Columns
The three images given show the ratio between the figure and the columns each time they move. The two vertical images show how the wall changing direction closes and opens the space, the horizontal columns make the space more open. This made the space seem more closed in with the different placements of the walls and columns.
Category: #24 Two Walls and two Columns
These two images show the two different perspectives when changing the columns placement. The second human figure helps show where the columns moved to, this also opens the picture to the viewer. This image is pleasing to look at and brings more perspective and makes this simply easy to understand.
Condition 1: aligned wall and vertically aligned columns
Columns aligned vertically with perpendicular walls
Condition 2: facing wall and vertically aligned columns
Columns aligned horizontally with perpendicular walls
Condition 3: facing wall and horizontally aligned columns
Category: #25 Two Walls and two Columns with two lighting
This category has six images which show the different lighting and how it changes the image completely. The figure helps show the shadows and how the pillars and walls are equally lined up with the shadows present. This gives an eerie feeling, with the figure looking as if it is walking in the dark, the shadows convey this as well.
Walking between vertically aligned columns and perpendicular walls with lighting behind Figure
Walking beside vertically aligned columns and perpendicular walls with lighting behind wall
Walking between vertically aligned columns and perpendicular walls with lighting behind wall
Walking beside vertically aligned columns and extended perpendicular walls with lighting behind Figure
Walking beside vertically aligned columns and perpendicular walls with lighting behind Figure
Walking beside vertically aligned columns and extended perpendicular walls with lighting behind wall
Category: #26 Two Walls and two Columns with two lighting conditions_02
This category has four images with the walls overlapping, this gives a hallway effect for the figure when it keeps walking. The figure helps bring the shadows out with the light shining on either side, the pillars help align the images as well. This also gives an eerie feeling because it is showing the area in both dark and light sides.
Passing horizontally aligned columns to enter the space between two walls with lighting behind Figure
Passing vertically aligned columns to enter the space between two walls with lighting from the inside space
Passing horizontally aligned columns to enter the space between two walls with lighting from the inside space
Passing vertically aligned columns to enter the space between two walls with lighting behind Figure
Category: #27 Two Walls and two Columns with two lighting conditions_03
This category consists of six images which have a darker and lighter lighting point of view. The columns are placed with the human figure which correlates especially with the spacing between the objects. This gives an eerie feeling, as the human figure walks into a darkness compared to how different it looks in the lighter option.
Passing vertically aligned columns to pass a narrow opening between two walls with lighting behind Figure
Passing vertically aligned columns to pass an intermediate opening between two walls with lighting from the inside space
Passing vertically aligned columns to pass a narrow opening between two walls with lighting from the inside space
Passing horizontally aligned columns to pass a wide opening between two walls with lighting behind Figure
Passing vertically aligned columns to pass an intermediate opening between two walls with lighting behind Figure
Passing horizontally aligned columns to pass a wide opening between two walls with lighting from the inside space
Category: #28 Vertically aligned Two Walls and two Columns
This category has two images that show the figure walking towards and then angled to his right to show the difference when moving the columns. The figure makes the angles easier to understand, especially with the shadows in the second picture. This gives an eerie feeling, almost like a scary movie when a character walks in, but the lighting makes a difference on this image.
Between walls, walking
Between columns, walking
Category: #29 Space composed with 5+ columns and 2 walls
This category consists of seven images that we made our own area to describe, mine was a covered boardwalk near the ocean. The human figure walking down while passing the other figures gives off a more realistic view just like every day light. This gives a happy summer like feeling when thinking of the boardwalk, using the light to help show how it was covered for half of it till it comes back into the sun.
Top view of the space composed
Sequence phase #3
Sequence phase #1
Sequence phase #4
Sequence phase #2
Sequence phase #5
Sequence phase #6
Category: #30 Faced wall with Connected wall
This category has 19 images total, showing the almost complete change in the angles of the two walls connecting. The human figure helps show how the walls moving changes the area completely in its scale perspective. This one was interesting because the walls changing to every degree opened the whole space up, eliminating a wall in front of the figure.
Category: #31 Aligned wall with Connected wall
This category consists of 17 images to show the walls moving from 10 degrees all the way to 170 degrees. As these walls moved, the space the figure was in completely changed to a straight wall. This felt super small and obstructed in the beginning but slowly felt more open as the wall degree changed.
Category: #32 Facing the connected edge of two walls
This category had 17 images that showed the walls changing from 10 degrees to 170, but instead from an outside perspective. The figure has plenty of room in the beginning, until the wall goes to 170 degrees and takes up half of the space in front of him. The place felt very spacious in the beginning until the wall took up majority of the space, feeling like it was closing in.
Category: #33 Three connected walls
This category has 6 images that show three different angles of the wall changing from a narrow and wide perspective. The two figures help show the angles of the walls and how they are connected, it also helps the narrow and wide perspective be easier to view. The space seems dull in these images with just three walls in the way, it looks more like a dull space for the figure.
Category: #34 Curved wall inside
This category consists of four images that display the curve at different heights and how it affects space. The walls compared to the figure show how much more blocked it is when they are taller or longer. This makes me feel trapped because of the way the wall is wrapping around my figure, making it harder to find a way out.
Wide-facing wall with two wings
Narrow-facing wall with two wings
Small-curved and 8ft height
Small-curved and 16ft height
Large-curved and 8ft height
Large-curved and 16ft height
Category: #35 Curved wall outside
This category has eight images that show the curved wall on the outside from different angles and heights. Compared to the figure shows more of a curve or pillar-like structure that they are passing through, the 16ft walls seem much taller when putting it next to the figure. This feels neutral, sort of like the figure is just walking around and towards a large wall or pillar but shows how the different lengths and heights affect the images.
Facing Small-curved and 8ft height
Passing Small-curved and 16ft height
Facing Large-curved and 16ft height
Passing Small-curved and 8ft height
Facing Large-curved and 8ft height
Passing Large-curved and 16ft height
Facing Small-curved and 16ft height
Passing Large-curved and 8ft height
Category: #36 Curved Walls and Flat Walls
This category has 5 images, with the fifth one having us compare the height in our own way, which I put the figure inside a wide and tall curve. The use of the flat wall with the curve shows more dimension in the space, and using another figure for the middle two has a feeling of an office bubble or doctor’s space. This feels clean and organized by the way it is structured and brings a feeling of being in a hallway.
Facing a flat wall (8fh height) while passing a curved wall (8fh height)
Entering a space between a flat wall (8fh height) and a closed-curved wall (8fh height)
Entering a space between a flat wall (8fh height) and an opened-curved wall (8fh height)
Entering a space between a flat wall (8fh height) and a half opened-curved wall (8fh height)
Your coordination in height and openness.
Category: #37 Entering into a space between Parallel Curved Walls
This consists of 8 different images that have different heights and lengths included in the curves, which also has a light shining in on the figure. The two figures help show the ratio between the walls in the heights; they help the shadows look more realistic as well. This gives a spooky feeling, like walking in between two halls not knowing what is around the corner, the lighting helps display this.
Small-curved and 8ft high outside
Large-curved and 16ft high outside
Large-curved and 8ft high inside
Small-curved and 16ft high outside
Small-curved and 8ft high inside
Large-curved and 16ft high inside
Large-curved and 8ft high outside
Small-curved and 16ft high inside
Category: #38 Entering a space between curved mirror walls_01
This category has four different images to show the difference in length and height going between the two curves. The figure conveys the different lighting in each setting and shows the illusion and symmetry in the category. This gives a haunted feeling because the ends are so closely together in these pictures, like walking into an unknown abyss.
Small-curved and 8ft height
Small-curved and 16ft height
Large-curved and 8ft height
Large-curved and 16ft height
Category: #39 Entering a space between curved mirror walls_02
This category has eight images that show the curved walls as the figure walks through the hallway but shows the lighting from two different angles. The human figure helps show the way the lighting affects the whole image when walking down the path, as if they are heading towards or leaving the light. This gave a cool perspective on the pathway but felt like there could possibly be something strange down the hall.
Small-curved and 8ft high with inside lighting
Small-curved and 16ft high with outside lighting
Large-curved and 16ft high with inside lighting
Small-curved and 8ft high with outside lighting
Large-curved and 8ft high with inside lighting
Large-curved and 16ft high with outside lighting
Small-curved and 16ft high with inside lighting
Large-curved and 8ft high with outside lighting
Category: #40 One curved wall and one column
This category has two images that show the wall and column and how the curve of the wall (facing towards or away) makes the space completely different. The human figure helps illustrate how the curve facing in feels like a room, while on the outside it feels like walking past a wall outside. The images make me feel blocked because the wall curved in feels like there is not a way around, but the outside feels much more open and spacious.
Category: #41 One curved wall and two columns
This category has three images that show the perspective with the curve, pillars, and the two human figures. The human figures make this feel more lifelike, as if they are passing by someone on the street as they squeeze past the close columns to get back into a more spacious area. The image feels simple and easy to understand, the figures look like they are waiting around on a busy street.
Entering a space between a column and curved wall outside
Entering a space between a column and curved wall inside
Entering a space between a column of two horizontally aligned and curved wall outside
Facing the outside of a curved wall with two horizontally aligned columns with insufficient space between them
Entering a space between a column of two vertically aligned and a curved wall outside
Category: #42 Role of a column between Curved and flat walls
This category has four images that show the figure walking between a column and a curved or straight wall adjacent to it. The figure and lighting help show the way the light down the hall gives a sense of direction with the light shining at the end. This gives a feeling of hope, like the light at the end gives a brighter perspective on the image.
Entering a space between two parallel curved walls, with a column in front of the outer curved wall
Entering a space between a parallel flat wall and a curved wall, with a column in front of the flat wall
Entering a space between a faced flat wall and a curved wall, with a column in front of the flat wall
Entering a space between two parallel curved walls, with a column in front of the inner curved wall
Category: #43 Curved connection
This category has four images that show how the slightly different curves in the wall change the space greatly. The human figure and lighting gives a sort of spotlight sensation while the wall expands. This reminds me of a stage, like a production as the curtains (walls) open toward the audience as the actor walks into the spotlight.
Follow two flat walls that are connected at an angle of 60 degrees smoothly
Follow two flat walls that are connected at an angle of 90 degrees smoothly
Follow two flat walls that are connected at an angle of 120 degrees smoothly
Follow two flat walls that are connected at an angle of 150 degrees smoothly
Category: #44 Curved wall and S-curve wall
This category has four images that show how these curves heights change the effect of the space the figure walks through. The difference in heights changes in the way space looks with the human figure as a reference to the heights. It reminds me of a dark alley in a movie where it is very suspenseful and you don’t always know what is at the end of the path.
Curved wall and S-curve wall 8ft high with inside lighting
Curved wall and S-curve wall 16ft high with outside lighting
Curved wall and S-curve wall 8ft high with outside lighting Curved wall and S-curve wall 16ft high with inside lighting
Category: #45 1 point perspective pictures: Void on the upside
This category has eight images that show the void in the ceiling and how it affects the way the light shines through. The space has many angles with the same shape, such as the square that moves angles based on the human figure. The space feels like they are standing in a sunroom, with the rest of the lights off and just allowing the sun to shine through on the body.
A 4’x4’ square void with a height of 8ft
A 8’x8’ square void with a height of 8ft
A 4’ diameter void with a height of 8ft
A 8’ diameter void with a height of 8ft
Category: #46 Void on the upside with columns or walls
This category has seven images that involve a void in the ceiling but also columns have many different angles of the room. The human figure helps show how the different angles and lighting change the space and gives a special effect in the dark space. This gives a cave like feeling, very dark and closed off to the rest of the place besides the one light shining through, giving the figure plenty of open space but closed off on top.
A 8’x8’ square void with columns
View for A 4’x4’ square void with a flat wall aligned with one side and two columns aligned with the opposite side
A 8’x8’ square void with a facing wall
A 8’x8’ square void with a passing wall
Category: #47 Void on the downside with columns or walls
This category has six images that show the way the light from the top or bottom shines. The human figure makes this room look almost like a balcony, like a public place such as a mall when you look down into the next floor through the void. This gives an eerie feeling because the added light is much fainter, and the figure looks almost like he is close to falling down.
A 8’x8’ square void with a facing wall and light from upper floor
A 8’x8’ square void with a facing wall and light from side
A 8’x8’ square void with a passing wall and light from lower floor
A 8’x8’ square void with a passing wall and light from side
A 8’x8’ square void with a facing wall and light from lower floor
A 8’ diameter void with light from lower floor
Category: #48 Void on the upside with combinations of columns or walls
This category has ten images that show the figure walking through a space with columns and walls included. My scenes had a circle opening above with three columns on a side holding it up. The space began to feel more like a house with a very modern perspective as the light shined through, with plenty of space around for the figure.
Scene #1
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Scene #7
Scene #10
Scene #2
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Scene #8
Scene #3
Scene #6
Scene #9
Category: #49 Void between Floating Surfaces
This category has five images that showed many different floating surfaces with different heights and a different number of figures around. The way I arranged it included the top and bottom views for a clearer image for the viewer to understand. This reminds me of a place with possibly multiple stories or balconies where all the figures are looking down, making the space very open.
Category: #50 Void between curve-linear Surfaces
This category has two images to show the different angles of my pattern, the first I did above to show the light shine underneath, and the second one I did opposite. The figures helped make the space look very proportional as they were leveled differently. This reminded me of a swimming pool type of feeling because they had a light shining and my shape the light showed a clear cut.
Scene #1
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Scene #2
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Scene #3
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Scene #2
Category: #51 Void with a combination of
This category has two images that show the house like structure I built with curved walls and pillars to make it different overall. The figure helped me to find a perfect perspective to trace the shape for category 50 later. This gave a sort of beach house feeling, very open and relaxing to look at, with many different areas the figure could go check out.
Category: #52 Curved vertical surface
This category had two images that showed the two different curved objects in front of the figure, both different widths. The figure helped show how these curves looked like from that perspective and looks as if they are walking into it. These gave me a feeling of unknown, because these objects were so steep in front of the figure, it is hard to know if they will be able to move and avoid the curve.
Scene #1
Scene #2
Category: #53 Curved vertical surface with an upper floor
This category had five images that were up for us to choose how we would like to interpret this category. The figure was moved many times to get different shots, but I tried to use the curve to change the space completely each time. This gave a visually pleasing feeling because these curves gave such a modern clean feel to the space given.
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Scene #3
Category: #54 Curved vertical surface with a void
This category consisted of 5 images that showed a void and how the curve was angled inside it. The figure helps convey the shadows with the lighting but also how the curve gave a boxy and modern take to this sequence. This gave an abnormal feeling because the figure looks as if he is walking into the abyss and unsure if he will keep walking, or if it will fall.
Category: #55 Facing Curved vertical surface
This category had two images that showed a curved surface being put in front and on top of the figure to give a different perspective. This looked as if there was a staircase or slanted ceiling placed near the human figure and shows how he will keep walking to make it towards the top. This gave a bold feeling because it feels brave as the figure walks towards the light on these curves.
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Category: #56 Hanging curved surfaces
This category has 4 images that display the curve in higher up views while staying mostly off the ground. This was like walking through an interesting museum where the curve is angled differently many times. The feeling was proud and strong because my interpretations looked almost as if the figure is walking through a different place while getting to the light to stand in.
Category: #57 Surfaces with convexities and concavities
This category has two images that show the arch facing in and away from the human figure. I used a narrow, swerved hallway and a tall curve on top for the images to make the space feel open and tall but also as if there was a path to follow. This gave a movie a feeling, sort of like when you find the treasure, but it leads you to a strange but very cool place to look around at the curves.
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Category: #58 A sphere with a strong center and centripetal force
This category has four images that use a sphere to control the center of the space. The human figure looks at the sphere as I added some smaller curves around and a void on top of the sphere. This gave a gallery type of feeling, the excitement of looking around at beautiful sculptures with the light shining on them.
Category:
#59 Surfaces that are twisted and free
This category has three images that show the curve being used in more abstract ways, such as because it is diagonal and twisted. I used a twisted curve and crumbled up paper to add dimension to the space and make it more lifelike compared to the figure. This gave a homey feeling, especially with the textured walls because they are used so often in modern design.
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Reece Walker Portfolio
Project #1 “Wall, Column, and Space”
- You can create different feelings and emotions in a space just by changing a wall facing, where a column is or how something is angled.
Project #2 “Hand Drawing”
- Drawing is not about being perfect. Drawing is meant to be something you feel, something you want to express, not how well you can replicate something exactly.
Project #3 “Drawing What you See, Drawing What you Feel”
- It can be easy to get caught up in the small things when trying to draw something, but it is important to focus on how that image makes you feel over what you physically see in the image.
Project #4 “Space Cube”
- You can inhibit a certain emotion in a space by combining different walls, columns, floating surfaces and color.
Project #5 “First Portfolio”
- Both physical and digital tools can be useful in generating AI images that take your model to a new level of realistic and accurate spaces.
Overall
- Everything has meaning. There is never a wall that is just randomly placed or a color that was randomly used. Everything in design evokes an emotion and a feeling and it is important to choose things that get your message and intent across.
If you could talk to you before these five weeks, what would you like to share with you?
- I would tell myself to breathe and not to rush things. It’s okay to have to stay after 5 p.m. in order to produce quality work. I would want myself to know that I will get through it and that you need to lean on your instructors and ask them for help when you need it.
Category #1: Facing surface
The ten photographs demonstrate how the change in angle of the wall facing gradually becomes closer to the human figure, obstructing it. As the wall changes, the human figure becomes closer and closer towards it with no room to move. I had the possibility of moving during the early stages of the wall moving (0-20), but was no longer able to when it was completely in front of me, making it impossible to move unless going completely around it.
Category #2: Facing edge
The ten photographs demonstrate how the wall changes its angle going away from the human figure, allowing room for movement. As the wall changes, the human figure gets farther away from the wall with room to move. I was stuck at the beginning angles and by around the 40 degree I was able to clearly see ahead of me and was free to move.
Category #3: Blocking wall
The eleven photographs demonstrate how the wall slides in front of the human figure, completely blocking it. As the wall changes, the human figure gets blocked more and more as the wall completely covers the way it is facing. I was able to walk around the wall at Open levels 1-4 but then slowly I became unable to move past it as it obstructed me.
Opened level 1
Opened level 4
Block level 3
Block
Opened level 2
Block level 1
Block
Block
Opened level 3
Block level 2
Block level 5
Category #4: Passing the blocking wall
The five photographs demonstrate how the human figure is able to pass the wall. The human figure is able to pass the wall as it changes because it does not block way, it expands the passing way. I was able to walk past the blocking wall as it moved farther and farther from me, because it never blocked my path. Passing
Category #5: Aligned Wall
The six photographs demonstrate how the human figure’s path is slowly aligned with the wall. The wall becomes aligned with the human figure, not allowing it to pass freely anymore. I quickly was aligned with the wall which made it difficult to pass and felt very uncomfortable with the positioning of it.
Closed level 1
Closed level 4
Closed level 2
Closed level 5
Closed level 3
Category #6: Passing the aligned wall
The six photographs show how the human figure is able to pass the aligned wall with ease as it gets closer. As the wall changes, the human figure is able to pass through with no trouble. I was able to comfortably get past the wall as it was to my side out of my way of walking. Passing
Category #7: Walls with different heights
The nine photographs show how the wall changes heights in comparison to the human figure. As the wall continues to grow taller, it goes from being shorter than the human figure, to being above it. I was able to see over the wall from 1ft to 6ft and it was uncomfortable at heights 1ft to 5ft because of how far I was over them.
Wall with 1ft
Wall with 4ft
Wall with 7ft
Wall with 2ft
Wall with 5ft
Wall with 7ft
Wall with 3ft
Wall with 6ft
Category #8: Floating and faced Wall
The seven photographs show how the wall gradually floats higher and higher in comparison to the human figure. As the wall continued to get higher up the human figure’s view was covered but then revealed again once at full height. The floating wall was very confusing at the three highest heights because of how I was able to completely see underneath them.
Category #9: 8ft high floating and aligned wall
The four photographs show how the high floating and aligned wall flies over the human figure’s head to the right. As the wall flew to the right, the human figure ended up completely aligned with the wall as it stopped in the middle. Being able to walk underneath the wall completely was really unusual and felt confusing when it was completely on top of me.
Alignment level 1
Alignment level 4
Alignment level 2
Alignment level 3
Category #10: 8ft high floating and faced wall
The eight photographs display how the high floating and faced wall slowly flew over the human figure to the right. As the faced wall flew towards the middle over the human figure, it was completely in line with the figure, still keeping the figure’s path clear. This high floating faced wall was also uncomfortable even though it was not blocking my path, the placement of the wall above my head facing me was uncomfortable to look at and unusual.
Overlap level 1
Overlap level 4
Overlap level 2
Overlap level 5
Overlap level 7
Overlap level 3
Overlap level 6
Overlap level 8
Category #11: floating horizontal surface
The six photographs show how the horizontal surface floated over the human figure and stopped right at it. The surface floated completely horizontal and did not block path of the human figure. As the surface floated over me, I felt able to still continue on my path as it did not block any of it.
Overlap level 1
Overlap level 4
Overlap level 2
Overlap level 5
Overlap level 3
Overlap level 6
Category #12: Horizontal surfaces with different heights
The twelve photographs display how the horizontal surface was at different heights, going through the floor. The surface blocked the human figure as there was a hole in the ground when it started and when it flew through the floor. I felt unable to move on as the surface left a hole in the floor on my path as well as continued farther into the ground than the floor was.
Category #13: Wall surface with an incline
The eight photographs show how the wall surface with an incline traveled up and around the human figure. The human figure was able to still complete its path as the inclined wall went up and around it. I felt able to continue on my path with every wall surface there was, although it became uncomfortable and closed in on at the 50-70 degrees.
Category #14: Inclined wall
The six photographs demonstrate how the inclined wall gradually becomes closer to the human figure, but still stays out of its path. The human figure is able to complete its path with the inclined wall. I felt comfortable and happy when going around this inclined wall as it was no where in my path.
Inclined level 1
Inclined level 4
Inclined level 2
Inclined level 5
Inclined level 3
Inclined
6
Category #15: Floating wall surface facing edge with an incline
The six photographs demonstrate how the floating wall with an incline travels up and on top of the human figure. The human figure is not blocked in their way and is able to continue on forward. I felt pushed to only going straight forward or to the right because of the wall being on my left, but when it became above me at inclined level 6 I was able to freely move wherever I wanted.
Inclined level 1
Inclined level 4
Inclined level 2
Inclined level 5
Inclined level 3
Inclined level 6
Category #16: Inclined surface to a facing wall
The nine photographs display how the inclined surface to a facing wall moves upwards getting steeper. The human figure must go around the wall in order to move on as the inclined surface obstructs its path. I felt inconvenienced having to go around the wall as well as closed in on when it was inclined towards me (10-30 degrees).
Category: #17 Inclined ramp to facing wall
The nine photographs demonstrate the ramp becoming a facing wall. The human figure would be able to use the ramp until the 40 degree because of it becoming too steep, turning into a facing wall. I was able to use the wall as a ramp until it became too steep to climb, making it difficult to decide whether to go around it, or use it as a ramp.
Category: #18 One Column
The two photographs display how one column can compare to a human figure from the front and side viewpoint. The human figure was able to continue on its path, going around the column. I was able to move freely around the column as it did not take much space up from the path ahead.
Category: #19 Two Columns
The two photographs show how two columns can appear to a human figure from the vertical and horizontal viewpoints. The human figure was able to move past both sets of columns as they were on the sides of it, not in front. In the horizontal viewpoint, it felt spacious and free for me to move onwards on my path, in the vertical viewpoint, both columns were to my right making me able to move to the left as free as I please.
Category: #20 Three Columns
The two photographs demonstrate how three columns can change a space based on where they are placed, vertically or horizontally. The human figure’s path stayed clear with the vertical display, but became a little clustered in the horizontal viewpoint. With having three columns, it became more challenging to navigate my path when it was horizontal, I felt more clustered but the vertical display was more free for me to move.
Category: #21 Four Columns
The two photographs display how the four columns can change a space’s mood depending on how they are placed, further apart and closer together. The human figure’s were even, and more spread out on the wider display, but then more crowded and clustered together on the narrow display. I felt lighter and smaller in the wider display as I had more room to move, in the narrow display, it was very tight and darker feeling.
Vertical
Wide
Horizontal
Narrow
Category: #22 One Wall and One Column
The eight photographs show how one wall and one column together can make a space feel tight and crowded as well as open and larger. The human figure was able to walk through and around most combinations, but when the column and wall were almost touching, the path became obstructed, causing the human figure to have to maneuver around it. I felt guided and narrow in conditions 1-2, and open and large in conditions 3-4 and 7-8, but when I was navigating conditions 5-6, I was forced to move around the column and wall as it was impossible to get through both.
Condition
Condition
Condition
Condition
Condition
Category: #23 One Wall and two Columns
The three photographs demonstrate how one wall and two columns can make a space feel open and organized. The human figure’s path was open and spacious in all conditions and had a guided/organized path planned out for it. I felt as the wall and column helped guide me on my path and made me feel that I was meant to go in the way that I did, my path was left unobstructed.
Category: #24 Two Walls and two Columns
The two photographs show how two walls and two columns can be laid out to make different spaces rather than just one. The columns almost blocked off the human figure making it evident that there was two separate areas in the space. I felt as I was walking down a hallway where there was a separate area to my right, making the one open space more as two smaller spaces.
Condition 1: aligned wall and vertically aligned columns
Columns aligned vertically with perpendicular walls
Condition 2: facing wall and vertically aligned columns
Columns aligned horizontally with perpendicular walls
Condition 3: facing wall and horizontally aligned columns
Category: #25 Two Walls and two Columns with two lighting conditions_01
The six photographs display how two columns with two lighting conditions can transform a space by forming a sort of hallway, with the lighting conditions shifting the mood of this hallway space. The human figure was either in the light, or the dark depending on the different lighting and the columns made for a more closed in hallway space in display 1-2 but were pushed on the wall in display 3-6. I felt lighter and more open when the lighting was behind me but dark and closed in when the lighting was behind the wall, it also made me more drawn to going behind the wall as that was the only light source.
Walking between vertically aligned columns and perpendicular walls with lighting behind Figure
Walking beside vertically aligned columns and perpendicular walls with lighting behind wall
Walking between vertically aligned columns and perpendicular walls with lighting behind wall
Walking beside vertically aligned columns and extended perpendicular walls with lighting behind Figure
Walking beside vertically aligned columns and perpendicular walls with lighting behind Figure
Walking beside vertically aligned columns and extended perpendicular walls with lighting behind wall
Category: #26 Two Walls and two Columns with two lighting conditions_02
The four photographs demonstrate how two walls and two columns can change moods when faced with two different lighting conditions. The human figure was in the dark when the lighting was behind the two walls, and was light when it was behind the figure making the mood change from dark and moody to light and airy. I felt able to pass through the columns with ease but when the lighting was no longer on me but behind the wall, the space suddenly closed in and all I wanted to do was get to the end of the walls.
Passing horizontally aligned columns to enter the space between two walls with lighting behind Figure
Passing vertically aligned columns to enter the space between two walls with lighting from the inside space
Passing horizontally aligned columns to enter the space between two walls with lighting from the inside space
Passing vertically aligned columns to enter the space between two walls with lighting behind Figure
Category: #27 Two Walls and two Columns with two lighting conditions_03
The six photographs show how different combinations of two walls, columns and lighting conditions can make a space feel narrow and dark but also light and spacious. The human figure was able to pass by the columns and walls but when the opening was narrower, it was more difficult to continue on its path. I was able to continue on my path but when the opening was smaller, I felt even more closed in on, especially when the only light was shining through the opening.
Passing vertically aligned columns to pass a narrow opening between two walls with lighting behind Figure
Passing vertically aligned columns to pass an intermediate opening between two walls with lighting from the inside space
Passing vertically aligned columns to pass a narrow opening between two walls with lighting from the inside space
Passing horizontally aligned columns to pass a wide opening between two walls with lighting behind Figure
Passing vertically aligned columns to pass an intermediate opening between two walls with lighting behind Figure
Passing horizontally aligned columns to pass a wide opening between two walls with lighting from the inside space
Category: #28 Vertically aligned Two Walls and two Columns
The two photographs display how vertically aligned walls and columns can be displayed differently to create a space that is open and a space that is small. The human figure had much more room to freely move when it was between columns instead of between walls. When I was walking between the walls, it was very dark, moody and closed in and when I was walking between the columns the space felt more open and larger as well as lighter.
Between walls, walking
Between columns, walking
Category: #29 Space composed with 5+ columns and 2 walls
The six photographs display how adding 5 columns to a space with 2 walls can become very hectic and almost claustrophobic feeling. The human figure had to navigate through all the columns making it very difficult to get around clearly. I felt very closed in on and confused as I was trying to navigate through the columns, almost as I was navigating a maze.
Top view of the space composed
Sequence phase #3
Sequence phase #1
Sequence phase #4
Sequence phase #2
Sequence phase #5
Sequence phase #6
Category: #30 Faced wall with Connected wall
The nineteen photographs demonstrate how a faced wall with a connected wall can change degrees to make a space feel as a constructed area then turn into more of a point where the walls meet. The human figure starts out in a more organized space from degrees 90-170 and then when it changes from 180-270, the walls became more of a connected point that was no longer a blocked out space. I felt like I was in a normal room in the beginning displays but then was on the outside of one when the degrees were towards the outside, making it uncomfortable.
Category: #31 Aligned wall with Connected wall
The seventeen photographs show how an aligned wall with a connected wall can change degrees to make a more narrow and closed in space to a completely flat wall. The human figure was blocked in completely for all of the degrees besides 170 as it approached a completely flat wall. I felt very compiled in in the beginning (10-50) but then more normal of a room as it became wider (60-120), and almost too open with no direction (130-170).
Category: #32 Facing the connected edge of two walls
The seventeen photographs display how facing the connected edge of two walls can make a sharp and harsh space to then change into a more mellow and flatter edge. When the human figure faced the degrees 10-90, it almost touching the point and was very harsh as opposed to when the degrees got larger and flattened out it felt calmer and softer. It felt very energetic and sharp in the beginning displays (10-90) and when the degrees got larger (100-170) it was softer and more mellow.
Category: #33 Three connected walls
The two photographs show how wide-facing and narrow-facing connected walls can change a space from feeling wide and open to small and dark. The human figure’s were small in the wide-facing room and became too large in the narrow-facing room. It felt very spacious and breathable in the wide-facing area but became claustrophobic and dark in the narrow-facing area.
Category: #34 Curved wall inside
The three photos display the different vibes a taller and wider curved wall can make a space feel. The human figure was more proportional to the curve when it was at 8ft, compared to how dramatic the 16ft curve made the space feel. The feeling was very normal and relaxed in the 8ft curve, it felt comfortable and then when I was in the 16ft curve, I felt very small and dramatic in the space as it was almost overwhelming.
Wide-facing wall with two wings
Narrow-facing wall with two wings
Small-curved and 8ft height
Small-curved and 16ft height
Large-curved and 8ft height
Large-curved and 16ft height
Category: #35 Curved wall outside
The seven photographs demonstrate how an outer facing curve can change the feeling of a space, making it feel smaller, bigger, overpowered and soft. The human figure was very proportionate with the smaller sized curves, 8ft, as opposed to the human figure was very small against the dramatic 16ft curves. I felt soft and easy to move around the 8ft curves, but felt very overwhelmed and almost frightened with the 16ft curves.
Facing Small-curved and 8ft height
Passing Small-curved and 16ft height
Facing Large-curved and 16ft height
Passing Small-curved and 8ft height
Facing Large-curved and 8ft height
Passing Large-curved and 16ft height
Facing Small-curved and 16ft height
Passing Large-curved and 8ft height
Category: #36 Curved Walls and Flat Walls
The four photos show how a flat wall and curved wall can change in type of opening and positioning to create a different path for the human figure. The human figure was able to easily move around the curves because they created almost a hallway for it to pass through, but it was more confusing with the open curved walls because they did not block off other areas. I was at ease walking through the space when the curved walls were closed because they created a boundary for me to walk through, instead of like the open walls where they created a new space for me to go into.
Facing a flat wall (8fh height) while passing a curved wall (8fh height)
Entering a space between a flat wall (8fh height) and a closed-curved wall (8fh height)
Entering a space between a flat wall (8fh height) and an opened-curved wall (8fh height)
Entering a space between a flat wall (8fh height) and a half opened-curved wall (8fh height)
Your coordination in height and openness.
Category: #37 Entering into a space between Parallel Curved Walls
The four photographs demonstrate how parallel curved walls can make a different spaces by being faced both inside and outside. The human figure was able to walk through the two curved walls, entering a new space that they created. I felt guided and safe when entering into the space between the parallel curved walls because there was only one way for me to go so there was no questioning.
Small-curved and 8ft high outside
Large-curved and 16ft high outside
Large-curved and 8ft high inside
Small-curved and 16ft high outside
Small-curved and 8ft high inside
Large-curved and 16ft high inside
Large-curved and 8ft high outside
Small-curved and 16ft high inside
Category: #38 Entering a space between curved mirror walls_01
The four photos illustrate how curved mirror walls can get smaller and smaller, almost obstructing the human figures path. The space between the walls became smaller and more difficult for the human figure to get through. I felt as though the walls were caving in on me at the last display because the walls kept getting closer and closer, making me no longer want to enter the space.
Small-curved and 8ft height
Small-curved and 16ft height
Large-curved and 8ft height
Large-curved and 16ft height
Category: #39 Entering a space between curved mirror walls_02
The six pictures show how curved mirror walls create a hallway like space that guides you to the next destination. The human figure was able to guide around the walls into the space between them. I felt as though I did not have to question where to go and was just able to follow through the guided space because of the way the curved mirror walls were placed together.
Small-curved and 8ft high with inside lighting
Small-curved and 16ft high with outside lighting
Large-curved and 16ft high with inside lighting
Small-curved and 8ft high with outside lighting
Large-curved and 8ft high with inside lighting
Large-curved and 16ft high with outside lighting
Small-curved and 16ft high with inside lighting
Large-curved and 8ft high with outside lighting
Category: #40 One curved wall and one column
The two photographs show how when adding one curved wall and a column it can create two different types of spaces. When the column was placed with the curved wall facing outside, the human figure was forced to walk around the wall and through the column, but when the column was placed with the wall facing the inside, the human figure just had to walk between them. I had to walk around the wall when it was facing the outside and felt very confused on where I was supposed to go on my path but when the wall was facing the inside, I was guided along my path and walked in between the column and wall.
Category: #41 One curved wall and two columns
The three photographs illustrate how one curved wall and two columns can create completely different spaces like a hallway and something you must move around. The human figure was forced to move around the wall and columns in the 1-2 photos as they were right in the middle of its path. I was able to walk down the path created in the 3rd photo as they were not in my way but the 1-2 pictures the columns and curved wall obstructed my path and forced me to have to maneuver around them.
Entering a space between a column and curved wall outside
Entering a space between a column and curved wall inside
Entering a space between a column of two horizontally aligned and curved wall outside
Facing the outside of a curved wall with two horizontally aligned columns with insufficient space between them
Entering a space between a column of two vertically aligned and a curved wall outside
Category: #42 Role of a column between Curved and flat walls
The four pictures depict how adding a column to a flat and curved wall can completely change the path and intent of a space. The human figure was able to guide itself down the path as the column changed its location because it was never in way of the figure. I felt as the column with the walls were almost pushing me towards the path they wanted me to go, making me feel guided and comfortable.
Entering a space between two parallel curved walls, with a column in front of the outer curved wall
Entering a space between a parallel flat wall and a curved wall, with a column in front of the flat wall
Entering a space between a faced flat wall and a curved wall, with a column in front of the flat wall
Entering a space between two parallel curved walls, with a column in front of the inner curved wall
Category: #43 Curved connection
The four pictures display how a curved wall angle can change the feeling of a space making it seem super long and short. When the walls angle changed, it felt very long and far compared to where the human figure was standing. When the angle got larger, it felt too long and difficult to understand really where the path was supposed to be as the wall became flatter.
Follow two flat walls that are connected at an angle of 60 degrees smoothly
Follow two flat walls that are connected at an angle of 90 degrees smoothly
Follow two flat walls that are connected at an angle of 120 degrees smoothly
Follow two flat walls that are connected at an angle of 150 degrees smoothly
Category: #44 Curved wall and S-curve wall
The four photographs illustrate how adding an s-curve wall can make a hallway/opening to a new space feel completely different and more textured. The human figure was almost drowning in the 16ft wall and it seemed as though they were traveling through a large castle type space. I felt very nervous and almost scared when walking through the 16ft high wall because of how much more dramatic the walls were compared to me.
Curved wall and S-curve wall 8ft high with inside lighting
Curved wall and S-curve wall 16ft high with outside lighting
Curved wall and S-curve wall 8ft high with outside lighting
Curved wall and S-curve wall 16ft high with inside lighting
Category: #45 1 point perspective pictures: Void on the upside
The four pictures demonstrate how a void on the upside can create a skylight and change where the lighting is placed. By moving the void around, the human figure was getting light and dark based on where it was placed. When the void was above me, it was very light and bright, but when it was away from me, it was dark and I wanted to go towards where it was lightened.
A 4’x4’ square void with a height of 8ft
A 8’x8’ square void with a height of 8ft
A 4’ diameter void with a height of 8ft
A 8’ diameter void with a height of 8ft
Category: #46 Void on the upside with columns or walls
The four pictures demonstrate how a void on the upside when placed with columns or walls can also change the difference in lighting in a space making it feel smaller or larger. The human figure was always trying to walk towards the light because it is more comfortable there. I wanted to always be where the skylight was because when it was away from me, it was very dark and gloomy making the room feel much smaller than what it actually was.
A 8’x8’ square void with columns
View for A 4’x4’ square void with a flat wall aligned with one side and two columns aligned with the opposite side
A 8’x8’ square void with a facing wall
A 8’x8’ square void with a passing wall
Category: #47 Void on the downside with columns or walls
The six pictures display a void on the downside with columns and walls changing the lighting and the way the space feels. With having the void on the downside the human figure could was more in the dark and seemed less comfortable because in order to continue on its path, it was forced to move around the void. Having the void on the downside made the room feel dark and moody as the void seemed to suck up all of the darkness and compile it into one.
A 8’x8’ square void with a facing wall and light from upper floor
A 8’x8’ square void with a facing wall and light from side
A 8’x8’ square void with a passing wall and light from lower floor
A 8’x8’ square void with a passing wall and light from side
A 8’x8’ square void with a facing wall and light from lower floor
A 8’ diameter void with light from lower floor
Category: #48 Void on the upside with combinations of columns or walls
The ten photographs demonstrate a very smooth and soft hallway going into a larger, circular room. The human figure easily was able to move around the walls and through them, briefly getting stopped by the columns and having to go around them. I felt very calm and guided with all the round edges, it made it feel very tranquil and spa like.
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Category: #49 Void between Floating Surfaces
The five pictures describe how a void between floating surfaces can create a split and more dynamic space that gives a more upbeat, energetic feeling. The human figure moved around the wall and revealed the void between the floating curve and the floating surface, making them unable to move from one surface to another. I was not able to travel to the other floating surface but could see what was happening.
Category: #50 Void between curve-linear Surfaces
The two pictures show how a void between curve-linear surfaces can create a very unique and dynamic pattern in a space. The human figures were able to still move around the void but not over it. It was very unique to see a void in the form that the void was in and made it feel very playful.
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Category: #51 Void with a combination of
The three pictures illustrate how combining walls, curves and columns can create a very tranquil space. The human figure was able to easily move through the space as there was nothing blocking their path. All of the curves and columns made the space very calm and easy-going to travel through.
Category: #52 Curved vertical surface
The two photographs demonstrate the different atmosphere a wide and narrow curved vertical surface can make the space feel. The human figure was very small compared to the wider curved surface. It felt very dramatic and bold to have a vertically curved surface, especially when the surface was much wider and taller than I, making my path blocked.
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Category: #53 Curved vertical surface with an upper floor
The six pictures illustrate a curved vertical surface with an upper floor changing dimensions and directions to create new spaces and paths. The human figure was either walking towards the curve or facing it making the space seem very large and dramatic compared to its size. All the edges felt soft but dramatic in size to me as I was walking through the space.
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Category: #54 Curved vertical surface with a void
The five photographs demonstrate how a curved vertical surface with a void can change both the space and the lighting. The human figure was lit up and dark in some of the pictures showing how a void can change the lighting and feel of a space. I felt as though the curved vertical surface was sometimes pulling the light with it whether that was going down into the void or coming out of it.
Category: #55 Facing Curved vertical surface
The two pictures display how the curved vertical surface can almost pull the human figure in to where it is. The human figure walked towards the curved vertical surface and had to stop as it blocked its path. I felt almost drawn into the curved vertical surface because it led upwards and I was curious to see where it ended.
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Category: #56 Hanging curved surfaces
The four pictures display how hanging curved surfaces can make a space feel smaller and larger. The human figure could walk through and underneath the hanging curved surfaces as they did not block its path. It felt very calming as the surfaces were rounded but also scary because of the fear of them being able to fall from the ceiling at any given moment.
Category: #57 Surfaces with convexities and concavities
The two pictures illustrate how surfaces with concavities can be a guiding path for the human figure. The human figure was able to fit in the concavities and continue on its path through them. It felt very dark and cold inside the concavities and almost as if I wasn’t supposed to be in there.
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Category: #58 A sphere with a strong center and centripetal force
The four photographs demonstrate how a sphere can make a space different by adding a new geometric layer to the area. The human figure was able to view the sphere in the void and in the regular space. I felt as though the sphere made the space feel more intricate and soft because of the smooth lines.
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#59 Surfaces that are twisted and free
The three pictures display different spaces with twisted and free types of elements in them. The human figure was proportionate with some elements while very small with the third one. It was very soft and curvy in the first two spaces but very big and dramatic almost scary in the last space.
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Overall, what I have learned...
Main Themes
1. Self-Discovery and Personal Growth
- Self-Confidence and Potential
- Students expressed surprise at their ability to push beyond their perceived limits and achieve more than expected.
- Realization of inner strength and capabilities.
- Resilience and Adaptability
- Overcoming challenges, managing stress, and coping with unexpected difficulties.
- Emphasis on the importance of perseverance and trust in the process.
2. Importance of Time Management
- Managing heavy workloads through effective time management.
- Balancing productivity with good craftsmanship and attention to detail.
- Recognizing the value of taking breaks to maintain mental health.
3. Significance of Relationships and Support
- Importance of building friendships and collaborating with peers.
- Relying on classmates for support and encouragement during challenging times.
- Instructors as valuable resources for guidance and learning.
4. Embracing Challenges and Learning Opportunities
- Understanding that difficult experiences are integral to growth and learning.
- Emphasis on the rewarding nature of overcoming obstacles.
- Appreciation for the lessons learned and the skills acquired during the course.
5. Reflection on Stress and Workload
- Acknowledgment of the initial overwhelming nature of the course.
- Learning to manage stress and not overthink or complain excessively.
- The importance of maintaining a positive mindset despite challenges.
6. Enjoyment and Fulfillment
- Despite the challenges, students found joy and fulfillment in their work.
- The sense of accomplishment and pride in completed projects.
- The positive impact of enjoying the process and the work itself.
Sentiments and Emotions
1. Positive Emotions
- Pride and Satisfaction: Many students felt proud of their accomplishments and the progress they made.
- Joy and Enjoyment: Despite the hard work, students found enjoyment in the creative process and the outcomes.
- Gratitude: Appreciation for the opportunity to learn and grow, as well as for the support received from peers and instructors.
2. Negative Emotions
- Stress and Overwhelm: Initial feelings of being overwhelmed by the workload and the intensity of the course.
- Doubt and Anxiety: Moments of doubt about their abilities and the feasibility of completing the tasks.
3. Mixed Emotions
- Relief and Accomplishment: Relief at having completed the course and a sense of accomplishment.
- Reflection and Insight: Mixed feelings about the difficulty of the course, balanced by the recognition of its value and impact.
Key Takeaways and Advice
1. Trust in the Process
- Emphasizing the importance of trusting the process and believing in one’s abilities.
- Encouragement to embrace challenges and learn from them.
2. Importance of Community
- Highlighting the value of building relationships and seeking support from peers.
- Advice to engage with classmates and instructors for a richer learning experience.
3. Balanced Approach
- Advocating for a balance between hard work and self-care.
- Importance of managing time effectively and taking breaks when needed.
4. Embrace Creativity and Risk
- Encouragement to think outside the box and take creative risks.
- Recognition that mistakes and messes are part of the learning process.
5. Positive Mindset
- Advice to maintain a positive mindset and avoid unnecessary stress.
- Encouragement to focus on the rewarding aspects of the work and the progress made.
Overall, the reflections indicate a transformative experience for the students, characterized by personal growth, the development of resilience, and the acquisition of valuable skills. The recurring themes of self-discovery, the importance of time management, and the value of relationships underscore the holistic nature of their learning journey.
