Fodr portfolio 915202 (1)

Foundations of Design : Representation Semester 1, 2017 PORTFOLIO Sandra Lin

915202 Studio 13 Carl Areskoug

HOW TO DRAW A CROISSANT MODULE 1: pg 3

PATTERN VS SURFACE MODULE 2: pg 7

FLATNESS VS PROJECTION MODULE 3: pg 11

FRAME VS FIELD MODULE 4: pg 15

HOW TO DRAW A CROISSANT Enric Miralles: How to draw a croissant?

TRADITIONAL ORTHOGRAPHIC DRAWING ANNOTATIONS AND HATCHINGS AXONOMETRIC PROJECTION DRAWING PHOTOSHOP

CROISSANT PHOTOGRAPHY

How to measure a Croissant?

High quality photographs and scans of the croissant were taken using proper lighting and white backgrounds.

Then the levels were adjusted in Photoshop to enhance the shadows. The plan and elevation views were collated with the section views and printed to be used as a guide for the orthographic drawings. Outlines and hatchings in both pen and pencil were produced to scale using tracing paper and drawing equipment.

The section cut scans aided a 1:1 scale axonometric drawing of half the croissant. This module highlighted the precision and meticulousness needed to create correctly scaled orthographic drawings from real life objects.

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MEASURED DRAWING OF A CROISSANT

PROCESS The outlines of the side elevations with dimension lines were used to generate the hatchings beneath. The dimensions provided match the physical croissant at a 1:1 scale. The curve of the croissant in the left elevation was further from the camera, distorting it slightly.

A range of graphite pencils were used to create shadow and depth in the hatchings. A 2B pencil applied lightly generated the softest grey as the base layer. Then 3B, 4B, 2H and 6H graphites were gradually layered on top.

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Similarly the section cuts also used the initial outlines to create the hatchings. A 10mm by 10mm grid enabled the translation from 2D sections into a 3D axonometric projection.

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FLATNESS VS PROJECTION

Mario World PERSPECTIVAL AND PROJECTION AXONOMETRIC PROJECTION DRAWING ILLUSTRATOR PHOTOSHOP INDESIGN

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The making of new Mario world.

Hidden space was abstracted in this module through the exploration of underground pathways. The aim was to create a world where the simple 2D facades disguise the complexities and depth within and below the perspective in 3D. As the world images were projected towards each other, the hidden negative 2D space was considered and acted as a metaphor with the desert theme. The desert disguises many paths and creatures hence by projecting the worlds using an axonometric hidden depth and dimension was revealed. The sub ground area shows the veiled pathways and tunnels that Mario uses to travel around the world and avoid the scrutiny of the guarding monsters, in the aim of reaching the star.

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PROCESS The left shows the projection method for the axonometric, the top capture was projected down and the bottom capture projected up.

The worlds collide into one 290mm x 290mm square.

The technical drawing process involved a 45 degree set square, t-square and rulers. Initially a 6H graphite pencil was used, then the line work was traced using a 0.15 fine liner to remove the construction lines.

The right images are the initial Mario world captures used for the axonometric projections. The night scenes had patterned cacti and a textured retaining wall. These tactical details were left out of the Final Mario World, as patterns were not permitted. However gradients were used instead to create depth and character.

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NEW MARIO WORLD

On the right is the final hand drawn line axonometric of collided world.

Below is the Adobe Illustrator process from line tracing to live paint and gradient additions.

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PATTERN VS SURFACE

Developable and Non-developable surfaces MODEL MAKING RHINOCEROS 5.0 SOFTWARE: PANELLING TOOL: 2D AND 3D PANELS PHOTOSHOP INDESIGN

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THE MAKING OF A NEW LANDSCAPE The created panel explores patterns and geometries and their role in developable and undevelopable surfaces. The 3D modules create a pattern amongst the 2D panel but also produces an interior pattern through the gradation of the perforations. Added height variation was generated by offsetting the second grid in Rhino at a diagonal, following the slope of the original landscape. The use of octagonal and hexagonal geometries made the transition from digital design to physical model challenging. This was because Rhino was unable to unroll modules that did not tessellate together and so each module was joined manually.

The undevelopable (non-tessellating) space was left open as it highlighted the developable 2D panels. This differentiation emphasises that negative and positive space are equally important within a pattern.

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PAPER LANDSCAPE

PROCESS The 2D panel used in the final model had trapezium detailing which raised the panels slightly. This added some variation and depth rather than being simply a flat 2D panel.

The blue modules in the bottom left image were the ones used in the final surface. The selection pattern was based on a mirrored symmetry that reflects the imperfections of a natural landscape. The whole appears random, however individual module groups repeat themselves throughout.

The final 3D panel on the right shows the profile of the terrain, with the perforations simulating the uneven surface.

The bottom image is a close up of the completed model, highlighting the integration of different geometries and surface depths.

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FRAME VS FIELD

Invisible Cities by Italo Calvino Cities & Signs 3: ZOE NOTATION RHINOCEROS 5.0 SOFTWARE: DIGITAL MODELLING: OLD QUADRANGLE PHOTOSHOP ILLUSTRATOR

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INVISIBLE CITY: CITIES & SIGNS 3: ZOE

Cities & signs 3: Zoe

The City of Zoe is conceivable but not tangible, meaning that Marco Polo’s expected city is not what he encounters.

This city is a representation of Marco Polo’s reality colliding with his imagined and remembered city of Venice. He revisits this Venice within the setting of the old quad and navigates the anticipated canal paths accordingly, though they don’t physically exist. The canals, that would exist in the original Venice, in Zoe act as leaps of time connecting different districts of the city.

The perspectives replicate Marco Polo’s experience of the city as he searches for the familiar within the foreign. It is a collision between imagined reality and physical reality. The distorted ethereal atmosphere created in the perspectives by reducing the shadows and opacity of the quadrangle, further emphasises the intangibility of the dreamlike landscape.

Key People

Interesting

Fascinating

Perspective 1 Perspective 2

Fast pace Slow/Leisurely pace 0

1m

2.5m

Gaze

5m

Stare

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Private Space Public Space Time and Transition Refocus

PERSPECTIVE 1: THE FORUM

Marco Polo envisions the interactions of Venetian civilians in their city square. Though the columns of the quadrangle appear to create loose boundaries between the central market space and the theatre and temple on either side, the characters cross over slightly. This makes the space indivisible to represent the ambiguity of reality and imagination. The interaction of the characters does not seem perfectly natural as it is just an amalgamation of remembered and imagined scenes from life in Venice.

Rhino capture of shaded perspective 1 view with symbols

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PERSPECTIVE 2: THE PALACE

Here Marco Polo expects to see villas and the prince’s palace adjoining the senate; hence the quad and these areas collide to create an alternate city.

The perspective of this view is direct and centrally focused. It demonstrates Durer’s idea of a vanishing point and projected space. However, as with Perspective 1 the proportions and positioning are not entirely correct to represent the collision between reality and imagination.

Rhino Capture of shaded Perspective 2 view with symbols

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STORY NOTATION: SYMBOL LAYOUT

I endeavoured to show that the angle a setting is framed at creates a certain atmosphere, influenced by the viewer’s own context and the physical elements of the area. Often what is perceived is entirely differently to reality. The isometric captures the physical, tangible layout of the city. The perspectives convey a distorted, personalised view of certain parts of the isometric. Marco Polo’s interpretation of the symbols (reality) is presented in the two perspectives. For example, the camera positioning of Perspective 1 depicts large groups of people and areas of fascination. Based on Marco Polo’s background, the large groups of people have become crowds at the market, theatre and temple within the city centre because that would be what he would encounter in Venice.

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REFLECTION

I gained knowledge of fundamental design principles and representation skills used commonly in architecture. Each module highlighted diverse ways different architects and artists work with ideas and their representation, subsequently producing unique effects. I found Donald Bates’ lecture on “Pattern� the most engaging as it forced me to expand and deepen my perspective of everyday objects.

I learned the technical skills required to competently and efficiently operate Adobe Suite and Rhinoceros 5.0 both separately and transitioning between platforms. I have also noted the importance of presentation, specifically page hierarchy and pin up presentation. Clear articulation of the design concept and justifying the representation techniques chosen is equally if, not more important than the work itself as the audience needs to be persuaded to see the project from a certain point of view. I have been challenged to think to think conceptually but also practically. An abstract idea needed to be consistently edited to become a buildable and successful design.

Thinking less literally but still being able to portray an idea was a key goal for me during the semester.

I found the work of my peers quite inspirational as even though we were given a similar brief, they had completely different perspectives. Upon reflection from where I am now, with the current skill set I have, I believe modules and ideas could have been pushed further. However, my abilities at the time did not allow for much more than I have already produced. The subject was quite fast paced and my inexperience meant I had to constantly work to keep up, always editing, reworking and rethinking. Looking back, this inexperience meant that intriguing ideas could not be as effectively explored and communicated to the audience, compared to someone with a more developed skill set. Regardless the course pushed me to produce my best work possible under the circumstances and I am proud of what I have presented.

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World: 8-2_11

FINAL ADJUSTMENTS: Work progress MODULE 1: more breathing space on pages was added, varying the criteria slightly due to practical reasons. The section outlines were placed on a separate page.

MODULE 2: gradients and geometries were adjusted to look less skewed, also adding depth and overall consistency. Shadows were added to the floating objects to enhance the sense of dimensionality.

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SANDRA LIN: 91520

Cities & signs 3: Zoe

Cities & signs 3: Zoe

Key

Key People

Interesting

People

Fascinating

Perspective 1

Fascinating

Perspective 2 Fast pace Slow/Leisurely pace 0

1m

The Forum

2.5m

Gaze

5m

Stare

Interesting Perspective 1 Perspective 2

Fast pace

Private Space

Slow/Leisurely pace

Public Space Time and Transition 0

Refocus

1m

2.5m

Gaze

5m

Stare

The Forum

Palace and Politics

Palace and Politics

Sandra Lin, 915202

Sandra Lin, 915202

FINAL ADJUSTMENTS: Work progress MODULE 3: New photos of M3 were taken using a different background and lighting to enhance the over-all cohesion. The photo was then adjusted to black and white to highlight the geometric variations.

MODULE 4: Opacity of quadrangle vaults and line weights were reduced.

The colour hierarchy of symbols was adjusted, with the more important being darker. In the perspectives characters were sharpened and angles were adjusted. The opacity of roof and pat-terns was lowered to strengthen the dreamlike and imaginative setting.

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Private Space Public Space Time and Transition Refocus