Foundations of Design : Representation. Sem1, 2017 PORTFOLIO Caleb Biffanti 915044 Studio 03 - Ray Ali
module 01.
HOW TO DRAW A CROISSANT?
module 01.
HOW TO DRAW A CROISSANT?
“a surface wraps over itself and an inside appears … then the ends wrap over themselves, forming the wrapping over which the folds are arranged.”
module. 01 elevations & plans.
The fulfilment of technical hatching can be applied to the representation of a croissant, working to execute the detail required to understand the structure and complexity of such a form. It is in this that a croissant was obtained, scanned and photographed at levels of elevation and plan. This composition was the foundation for which each proceeding step within module 01. was formulated.
Caleb Biffanti 915044 photo of elevation.
photo of elevation.
photo of elevation.
photo of elevation.
photo of elevation.
photo of elevation.
Through taking the rough geometric interceptions of each croissant section on a hand-drawn 10mm x 10mm grid, an axonometric projection was formed. This projection allowed for an understanding into the relationship between each section and the form of an organically complex croissant.
scan plan view. scan plan view. Croissant composition used for proceeding module 01 works
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photo plan view. scan plan view. scale 1:1
scale 1:1
module 01.
CROISSANT module. 01HATCHING. hatching.
Caleb Biffanti 915044
C.
front elevation.
B.
A. section cuts.
side elevation. plan view.
scale 1:1
Croissant hatching composition from each view, including section cuts
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scale 1:1
module 01.
SECTION AXONOMETRIC.
Axonometric progression from section outline to croissant form.
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scale 1:1
module 02.
FLATNESS vs. PROJECTION
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module 02.
FLATNESS vs. PROJECTION. Look up. These are the clouds that shield us from beyond. This is the world of Mario that remains to be fully explored and civilised. It is a land of promise, inhabited only by those with the ease of opportunity – conforming to the limits that clouds present.
This module explored the projection of two coinciding Mario worlds. Their amalgamation allows them to form into a conceptual 3D axonometric environment, where one can visualise the space with a minimisation of boundaries. It is between these two settings that I explored an idea of adventure and the unknowing, as seen in the shielded view and enticing ladders.
Illustrated axonometric Mario World.
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module 02.
PROCEDURE. This module saw the integrated procedure of practical work with digital, as seen through the employment of materials such as T-square, set square, 300mm ruler, 2H pencil, 0.2mm and 0.5mm fine liners. It was here that the physical was manipulated and developed through the use of digital software in Adobe Illustrator to obtain the final iteration.
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module 02.
LINEWORK.
Hand drawn linework made from the two provided Mario World images an the technique of axonometric projection.
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module 03.
PATTERN vs. SURFACE
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module 03.
PATTERN VS. SURFACE. This module is the manifestation of a panelised section of Tasmanian terrain. It is therefore that the model design adheres to an idea of natural procession. The shape iterations represent a closing aperture, where a transition is made as the square evolves into a pointed pyramid. This connotation integrates with the patterned 2D surface to form a terrain that naturally rises and develops into a peak.
It is in this that the 2D and 3D work cooperatively, where an idea of erosion in the natural environment was explored for the relationship that is seen. It is in this that notions of surface and pattern were explored in a cohesive vessel.
Paper Model Landscape.
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module 03.
CRAFTSMANSHIP & PROGRESS.
This shows the relationship and evolution of a closing aperture between the three shapes used in the design.
E2
E1
A7.5-
10
B9-10 C10
E5
C5
C6
D5
B4
C4
B1-3
C1-2
D1-4
E3-4
C7-9
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C3
B5-8
A1-7.5
This image provides an insight into the shape nets used for the completion of the paper model.
Underside of paper model presenting the precision taken for modelling.
module 04.
FRAME vs. FIELD
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module 04.
FRAME VS. FIELD. As time progressed from their initial visions, the men of different nations pursued the image of their dreams. However, they evidently became trapped and inhibited by the obsessions that controlled them.
This is the story of Zobeide, a city that was formed from the manifestation of men’s dreams. It is such that I aimed to explore a relationship between dreams and reality. It is the obsessive workings of these men, that they evidently created a city absent of space – freedom, beauty and movement. It is in this that two the proceeding perspectives explore two moments, in an attempt to combat the perspectival limits of time. The first of looks from the dream into the foreshadowing of reality, and the second looks back, reflecting on what has become of “this ugly city, this trap.”
Key:
0
1m
2.5m
5m
Perspective 1
Light Emotion
Perspective 2
Heavy Emotion
Stare / Longing
People
Movement
Transition of Time
Isometric model exploring the progression and manifestation of Zobeide.
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Transition of dream to reality Absence of Space
module 04.
PERSPECTIVES. Perspective 1 - The dreams we have. This view encapsulates the dream of Zobeide through its manifestation of the men and their pursuing of their dream, this being the woman. A mist / fog cover can be seen to encase the front layer of this perspective. As the woman crosses through this threshold, the story begins a transition of dream to reality. The use of the fog and starry night further enhance the idea of a dream.
Perspective 2 - The obsessions that rule us. This scene depicts an observation of the past. Where the men lost their desire they formed an absence of space, this being an abstract idea of freedom, cleanliness, safety and movement, in the hopes of trapping what they had longed for (as shown in the progressing, busy brick work).
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REFLECTION.
Through the progression of each module, my interest and understanding into design terminology and theories has greatly developed. This is especially in relation to the historical and foundational topics as presented in lectures and readings that explored the coalescing theories such as orthographic space, perspectival limitations, and the notion of flatness. I enjoyed trying to wrap my head around what appeared to be quite complex and abstract ideas. It was in such a journey that my skills into technical drawing and integrated prototype model making was developed and refined, especially in regards to module 1 and module 2 where I had never utilised the technical tools of a T-square and set-square in such an application. This is not to mention my new developed capabilities in the digital model making software of Rhino3D, and advancement of skills in the Adobe suite. I especially found it enriching to see the capabilities that each of these tools, both physical and digital, had for being integrated into a cohesive means of designing. Rhino3D presented itself as an exciting digital tool that I look forward to further exploring. In saying all of this, I believe that I did not push myself enough for each of the modules – not trying to extend my capabilities to fully explore my skills. This was most apparent in module 2, where my depiction of the Mario World lacks creative substance and an inviting story/journey for the viewer. I also believe my photos for module 3 do not fully encapsualte and represent the final model. This lack of extension in each of my works, I believe, is due to my shortfall in time management and slow nature to arriving at a solid idea. This limits my ability to explore my designs and push them further. It should be noted that minimal amendments were made to the module 1 axonometric to try and improve the wireframe form. As the name of this unit suggest, a foundation of my design capabilities and knowledge has been established. The ground work has been instigated, and I am looking forward to the developmental journey I will continue to go on.
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