ERUTCETIHCRA UK
Sophia 0202 TROPER OIDUTS
Fields
Sophia Fields
UNIVERSITY OF KANSAS SCHOOL OF ARCHITECTURE AND DESIGN
CONTENTS D R A W I N G
01. PERSPECTIVE 02. CONTOUR 03. DEPTH
04. SLICE L I N E
05. EXTRUSION 06. PARALINE
O B J E C T
07. TRANSFORMATION 08. WALL SYSTEM
09. LIGHTBOX L I N E
01. PERSPECTIVE
D R A W I N G
CONSTRUCTING (Finding the perspectival grid)
This project translated my knowlege of line quality and free-hand drawing skills into a increased awareness of how to use these skills with more accuracy. Through many skecthes in this project, I learned how to translate what I see into a drawing while using perspective as a tool to portray what I’m viewing with more conviction.
In this drawing, I aaplied my understanding of freehand perspective contruction to create a grid that helped translate what was actually seen into an accurately drawn two- dimensional field.
EXTENDING (Using the grid to draw new things) Using the perspective construct, I drew beyond what is actually seen. I had to use my knowlege of line heiarchy in a deliberate fashion to translate how I imagined the boxes extending, to how they would be seen accuratly on the perspective constuction.
OBSERVING LIGHT (Using tone not lines)
Using the grid, I was then able to reflect the model in a way that portrayed the shadow of each box. When drawing the boxes as they would look upside down I had to employ my understanding of layering to determine how the boxes would lay on top of one another. I also had to use a sense of seeing surface to determine the elements that would actually be seen in the shadow.
02. CONTOUR In this project, the use of freehand drawing was used to strengthen the independence between eyes, mind, and hand. The vase I chose for this project was drawn in 8 different ways to accomplish this goal. I have shown the orthographic set of drawings where I strived to employ my acute observational skills to truly understand each aspect of the vase. I also show my section drawing where I keyed into the understanding of how I could portray the vase as if it had been sliced in half to grasp a deeper understanding of the object as a whole. Lastly, I show my efforts to master the use of freehand drawing tools. With my pure contour drawing, I used a continuous line to enhance the edges of the object. My progession of freehand drawing skills is portrayed through these drawings in my efforts to grasp how each aspect of the object enhanced my overall understanding of it. My skills were enhancedith these skecthes through my understanding of the line quality and how I could use it to enhance my skills of drawing.
ORTHOGRAPHIC
SECTION
PURE CONTOUR
02. CONTOUR
For the second portion of this project I drew the exterior of a building on KU’s campus. I used my fresh knowlege and cultivated eye to transfer my contour skillas into a larger subject. With a continuous line, I strived to capture both the shape and texture of the building.
03. DEPTH
Eation Hall, University of Kansas For this project, I drew the same hallway at a one-point perspective, followed by a two-point perspetive. I used my perspective skills to trasnfer it into a full scale drawing while also incoorporating depth with formulaic tone.
TWO- POINT PERSPECTIVE
ONE- POINT PERSPECTIVE
04. SLICE
L I N E
HOUSETOP & BRICKLAYER
By Addie Pearl Nicholson This quilt was created in 1974 by Nicholson and her husband for their children. The quilt was designed with the intent to create a pattern incoorporating many textures, tones, colors, and shapes that would be interactive for the children. When learning how to map a model from this quilt I used Nicholson’s ideals for design to grasp how to truly understand the best way for mapping out a model. These scales represent the relastionship I created between the two dimensional tones to a three dimensional variation of heights and sizes.
05. EXTRUSION
I used much experimentation and refinement to create a model that held architectural space but still defined the relationship between the one-dimensional and three-dimensional fields. I keyed in on the L shapes as they were a guiding factor in the creation of the quilt and also challenged me to create space in a unique way.
The skeletal structure displays the space created through variation of height and size, while maintaining the model concept clear with percise lines.
06. PARALINE
O B J E C T
07. TRANSFORMATION I started this project by studying Santiago Calatrava; analyzing his architectural style, buildings,and background. My research focused mainly on the Museo de las Ciencia Principe Felipe (Science Museum Prince Fel). I used my newfound knowlege of Calatrava’s architectural style to design a form that mirrored the principles of the Museo de las Ciencia Principe Felipe. To accomplish this goal I had to develop my form-making skillls with force to accomplish creating the structure from one sheet of paper, using folded planes to capture the space. To properly diagram the change of shape within the paper, I had to design a concept that followed the overall idea of my form. The diagram is specific to my form to describe the secquence of operations that create the transformation from 2D to 3D.
Contemporary form
Skeletal structure
08. WALL SYSTEM The pod development for a cohesive and spacial wall system was inspired by my tansformation final model. To fully understand the best patttern, repetition and rythym in relation to spacial quality, I had to consider the complex spacial quality that my pod held on its own. I considered many ideas for the best pattern in relation to light affect before settling on a simple, yet complex and affective pattern. For cohesiveness, I attached the pods in a way that flowed with the space they held individually. This design simultaneously allowed them to flow well together while also displaying their interdependence. To understand the best structure to represent my space, I used a diagonal shape to represent the movement of the pod itself. I also created a sail effect to provide a perspective of my thought process from the inside. .
POD -TO POD- CONNECTION
PATTERN
08. WALL SYSTEM JOINT ELEMENT
09. LIGHTBOX
S P A C E
This project pattern and final form was inspired by the Kauffman Center in Kansas City, Missouri. The shape of the Kauffman structure provided my pattern inspiration to achieve the best light quality the form could yield. Understanding how each section will affect the spacial qualty of the form was a key factor. For the pattern, I morphed the original shape of the section then layered it irregularly. The form consists of nine evolving shapes, growing upward and with a leaning characteristic. The final model creates a space that blurs the line between object and space, holding a space that modulates light. The outcome grew my knowlege of interior architecture.
ERUTCETIHCRA UK
Sophia 0202 TROPER OIDUTS
Fields