Design 1 Process Book- Sarah Mutchnick

Design 1 Portfolio Sarah Mutchnick

Prof. Jessica Wolff, Fall 2022

Table of Contexts

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❏

Meet the Designer

… pg 3

❏

Project 1: Site Specific Intervention

… pg 4

❏

Project 2: Topological Transformations

… pg 6

❏

Project 3: Creating Pattern, Color, Texture

… pg 8

❏

Project 4: Visual Hierarchy

… pg 9

❏

Project 5: Bend.Cut.Fold

… pg 11

❏

Esmeralda

… pg 13

❏

Project 6: Embassy of Space

… pg 14

❏

Project 01: Significant Artists

… pg 18

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Project 02: Crafting Cubes + Cylinders

… pg 19

❏

Semester Reflections

… pg 21

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1: Site Specific Intervention The goal of the project stressed the importance of teamwork while creating a visual statement about connection through a spacial experience on the campus. The placement of the piece was a crucial part and had to be thought about. A dog water bowl stop was crafted out of wood and was placed next to a bench. In front of the bench was a enormous grass space where dogs would play. The placement of the water bowl next to the bench shows the that the human can sit on the bench as they watch their dog play, but the dog can also be close to the owner if it needs to rehydrate. The design and color of the dog water bowl was inspired by the bench so it would seem like a seamless connection and was always there.

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STUDY MODEL

ORIGINAL SITE

SKETCH/COMPUTER MODEL

PROCESS

FINAL SITE/MODEL Credit also to: Emily Luckenbach, Alec Aviles & Joseph Truskowski And special thanks to Drake Schaefer, Interim Resource Manager of CABE, who assisted in the Fab Lab

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2: Topological Transformations This project’s goal was to take an object and be able to see the relationship between 2D and 3D form.

The object had to be crafted accurate to the original object. The object needed to be drawn to help with crafting; so drawing elevations, plans, sections, and perspectives. The object that was specific for this case was a polaroid camera. The camera had to be crafted into the 4 full scale models with concepts of horizontal axis, vertical axis, intersecting spatial grid “egg-crate”, and any material “skin”, which in this case was design with wire and string.

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HORIZONTAL

ORIGINAL

SKIN

VERTICAL

EGG-CRATE

AXONOMETRIC & ORTHOGRAPHIC DRAWINGS

FINAL PRESENTATION SET-UP & FINAL MODELS

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3: Creating Pattern, Color, Texture The goal of this project was to explore the possibilities of a stamp in various different orientations and color schemes. The objective was to carve a simple pattern into a linoleum block and for the first board have three different patterns; detached (original stamp design carved), touching, and overlapping. For board 2, the objective was to make a color wheel for the color scheme of the overall project through primary and secondary colors. Next a layered plaid pattern had to be designed using the colors and finally recreate one of the stamps with the color scheme. The third board objective was to take a single piece of paper and make a texture design, then take that folded pattern and color it, and finally have the color scheme on the paper and have a folded version again. The overall concept to learn through this design was the ways to manipulate patterns through changes in the direction it is placed, color. and materials.

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FINAL BOARDS

4: Visual Hierarchy

NAVAJO WOVEN RUG

2D MODEL

3D MODEL

This project’s goal was to use the idea of hierarchy and how to transform a 2D textile and recreate it into a 3D abstract design model. The textile chosen was specifically a Navajo Woven Rug. First 6 diagrams analysing the pattern was drawn out to understand the textile components that compose it.

Next a 2D model was created using those concepts. Finally using the diagrams and concepts from the 2D model, a 3D model was constructed to demonstrate the hierarchy. The 3D model showed the textile broken apart into different sections and how these layers together make up the pattern when looking at it.

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STUDY MODEL. & SIDE/TOP VIEW AXONOMETRIC & ORTHOGRAPHIC DRAWINGS

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5: Bend.Cut.Fold

ORIGINAL PAINTING

The goal of this project was to explore a painting and represent it in different ways to construct a model. First, a visit to the Philadelphia Art Museum to select a painting was needed. The paining chosen was The Large Bathers

by Paul Cézanne. Then drawing analysis diagrams that broke the painting into its components to see the different parts within the painting were drawn.

Then when given a piece of paper, one would construct a bas relief of the painting to display these components.

The importance of the people, the trees, the use of triangles, and the background lines were most important in this painting. Then one would need to construct a section of the bas relief out of wood.

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BAS RELIEF SECTION

WOOD MODEL PLAN VIEW 12

BAS RELIEF

ESMERALDA Calvino, Italo. (1974). Invisible Cities.

IS A CITY OF WATER, A NETWORK OF CANALS AND A NETWORK OF STREETS SPAN AND INTERSECT EACH OTHER. TO GO FROM ONE PLACE TO ANOTHER YOU HAVE ALWAYS THE CHOICE BETWEEN LAND AND BOAT… THE NETWORKS OF ROUTES IS NOT ARRANGED ON ONE LEVEL, BUT FOLLOWS INSTEAD AN UP-AND-DOWN COURSE OF STEPS, LANDINGS, CAMBERED BRIDGES, HANGING STREETS… THE MOST FIXED AND CALM LIVES IN ESMERALDA ARE SPENT WITHOUT ANY REPETITION. 13

6: Embassy of Space This part of the project’s goal was to make the wooden model into a city. First a city from the book Invisible Cities by Italo Calvino was chosen. The city chosen here was Esmeralda, which is a city involving water with various routes. Next one had to build the city by using the components from the reading and incorporating it into what was added onto the original wooden model. Since Esmeralda has many routes, stairs, slides, bridges and waterways, different materials and more wood was added for the various different routes across land and water to come to life. The city scale was kept in mind when constructing as a person could live in the city. The scale used was ⅜”=1’.

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FINAL MODEL

PERSPECTIVE PHOTOS

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PERSPECTIVE DRAWING ORTHOGRAPHIC DRAWINGS

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DIAGRAMS

FINAL PRESENTATION

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01: Significant Artists This project involved working in groups to make a presentation on the significant artist, Lucien Hervé. He is a French photographer who worked for Le Corbusier and combined humanist philosophy with architectural concepts to photograph buildings and spaces. He created the ‘less is more’ philosophy concept when taking his photos which would let the viewer see the building or space in snippets through various different angles and shots which would show the building in a new way.

Credit also to Jessica Mutchnick & Jake Cammarota Francis, Rich. “Lucien Hervé: Le Corbusier’s Favorite Photographer.” Culture Trip, 4 Nov. 2014, theculturetrip.com/france/articles/lucien-herve-le-corbusier-s-favourite-photographer.

Kilston, Lyra, and Lyra Kilston. “‘The Photographer With the Soul of an Architect’: Lucien Hervé.” Getty Iris, 2 Nov. 2020, blogs.getty.edu/iris/the-photographer-with-the-soul-of-an-architect-lucien-herve-le-corbusier.

“Lucien Hervé.” Michael Hoppen Gallery, www.michaelhoppengallery.com/artists/84-lucien-herve/overview.

“---.” Michael Hoppen Gallery, www.michaelhoppengallery.com/artists/84-lucien-herve/overview.

“Lucien Hervé 100.” Museum of Fine Arts, Budapest, www.mfab.hu/exhibitions/lucien-herve-100.

Lucien Hervé Photographs of Architecture and Artworks by Le Corbusier. oac.cdlib.org/findaid/ark:/13030/c87086jc/entire_text.

•https://i.pinimg.com/originals/ec/ed/ba/ecedba74c9c9ddc64f19e971ce1bcc1c.jpg •https://i.pinimg.com/originals/8b/c8/48/8bc848e72713a2657ee0493d8400ce05.jpg •https://i.pinimg.com/736x/98/40/ad/9840ad6b2b188b2297e2887b2d14f286--oscars-cathedrals.jpg •https://i.pinimg.com/originals/b1/c0/42/b1c0429daece3d67f5b14d00ade0f5bb.jpg •http://loeildelaphotographie.com/wp-content/uploads/2017/11/LucienHerve_18-min-x540q100.jpg •https://image.jimcdn.com/app/cms/image/transf/none/path/s7b9c40cec3c79683/image/i63d3cce1f9b3d34b/version/1460709541/image.jpg

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02: Crafting Cubes + Cylinders

CHIPBOARD

FOAMCORE

CARDBOARD

BASSWOOD PLANES

BASSWOOD STICKS

PLEXIGLAS

CONCRETE

For this project, each week throughout the semester. a 4” by 4” cube, cylinder, or both would have to be crafted out of a material. Along with the crafted object, a drawing through plan, elevation, and section view would be drawn along with an axonometric. These drawings taught the importance of line weights and showed and develop skills that would be needed for design drawings. This project emphasized “out of the box thinking” so each cube or cylinders would be abstract.

EXPLORE

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ORTHOGRAPHIC & AXONOMETRIC DRAWINGS

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Semester Reflections Coming into Design 1. I had no idea what to expect the class to be like and thought it would be totally different. I had previously taken an interior design class in high school where I learned concepts of interior design and would implement them into project of either building or drawing. I have also taken some art classes and woodshop. On the first day of design when we started a project was so unexpected, but now after taking the class, I realized it was a unique way of learning. It teaches us how to problem solve through our own thoughts, teaches us how to think out of the box and be either literal or abstract, and teaches us how to communicate with others. Throughout each project, there was always new concepts which I have never done before and had to learn so the project could be completed. I learned quickly through many errors and through multiple projects how to draw elevations, sections, plans, perspectives, and axonometrics. Throughout all the project, new terms and ways of thinking would have to be implemented and the way of learning was through trial and error. Design 1 has taught me the importance of sketching out ideas first, the importance of analysis, the importance of having to study models & communication with others. I learned the first thing created will most likely never be the best idea. One can always somehow improve what is made. Critiques showed how someone who has never seen the project can give helpful suggestions. Their take on what is presented can be a good idea to have because then you can receive feedback on how an outside perspective sees the design. This feedback may present how the design components can be improved. Feedback also can open up the mind of the designer.

Sometimes when you think of one idea, you can zone into that idea remaining too focused, and forget to consider or think of other concepts that might be better. Through presenting my projects, I have learned how important it is to be proud of your work and be able to defend your ideas of why you did something a certain way. It also shows that as a designer you have to be proud of your work and should never present something that you are not proud of creating.

You should be open minded to both constructive criticism and critics because, most of the time, it may help you improve your work and how you think things through the design process. This design semester makes me excited to keep progressing, growing, and stretching my imagination and increased wanting to learn even more about interior design.

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Sarah Mutchnick Portfolio Design 1, Fall 2022