P O R T FO L I O ELLA ANDERSON
Foundations of Design: Representation - Sem 1, 2017 757195 - Brooke Gibson - Studio 13
CONTENTS 01 A MEASURED CROISSANT How to Draw a Croissant?
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02 NEW MARIO WORLD Flatness vs. Projection
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03 PAPER LANDSCAPE Pattern vs. Surface
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04 AN INVISIBLE CITY Frame vs. Field
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Ella Anderson Architecture and Urban Planning Student University of Melbourne 2
A MEASURED CROISSANT How to measure a croissant? The process of drawing a croissant from an architectural perspective, allows everyday objects to be viewed differently. Plans, elevations and sections were photographed and photocopied, then drawn, to show the
Front elevation
importance of each view. All photographs and drawings represent the croissant in individual ways, yet complement one another, transferring all necessary information to form
PHOTOGRAPHS
a complete image. This information is collected to form an axonometric drawing. The 45• angle of the drawing, expresses a more life-like perspective and produces a more complex image. From this task, I improved my necessary to form three-dimensional drawings.
THE PROCESS
Side elevation
understanding of how two-dimensional drawings are
Bottom plan view
Each section was measured onto a grid, then projected at a 45• angle onto the base plan. All lines were joined to form an axonometric drawing.
Top plan view
*Not to scale
Scale 1:1
125mm
Front elevation
MEASURED DRAWINGS
A
B
C
Side elevation
59 mm
59 mm
63mm
Section CC
Section BB
Section AA
63mm 125mm
Plan
A
B
C
Axonometric
Scale 1:1
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NEW MARIO WORLD The imagining of a new Mario world. This new creation of a three-dimensional Mario world is inspired by the intersection between a pair of twodimensional images. The world features difficult terrains such as a desert landscape, deep ocean, underwater and subterranean blocks, all below winding staircases reaching into the sky. The character of Mario, stuck on an island in the middle of the ocean, adds a human scale and shows the precarious nature of the world. The climbing staircases are accentuated with luminescent golden coins set against the backdrop of clouds. The hidden space, revealed by the source material, has allowed the repetition of objects in new and interesting arrangements. This world of sky and water is intended to show a complexity of levels and depth of elements, while maintaining a story.
SOURCE MATERIAL
First working drawing, then intersects with second world. Further background blocks and clouds added to complete cube form.
THE PROCESS
Drawing traced in Illustrator, with colour, shadows and texture added. This was the original finished product.
Further structural elements added; staircases, underneath blocks, underwater boxes and coins. Lines colours changed to reflect object and add lightness. Gradient introduced to water and clouds to add luminosity.
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PAPER LANDSCAPE The making of a landscape. This paper model, based on the surface of an undulating landscape, shows form through pattern. The rectangular boxes act as a consistent flat surface, while on either side triangles and pyramids rotate, showing movement. Five varied yet complementary designs were arranged on the landscape to form a 10 by 10 grid. They were placed according to the highest and lowest points, with differentiation in height. The rolling landscape can be seen by the shadows falling from the edge. The undulation is further emphasised through the tactility of the model, when parts are protruded and recessed. The aim of the model is to create a cohesive yet varied pattern that manipulates light and shadow. This is shown through the plan and detail photographs.
The model exhibited in ‘Four Ways of Seeing’, MSD.
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THE PROCESS A set of 5 designs were constructed on Rhino. 3D panelling tools were used to flow the pattern over the landscape. Point attractors, placed at the highest points of the landscape, developed the arrangement of the pattern.
Designs were urolled, individually and in pairs, to from nets.
ISOMETRIC - SOUTH EAST
ISOMETRIC - NORTH EAST
Nets were then arranged in Illustrator, with dotted fold lines as well as cutting lines.
After all nets were constructed, all were joined together to form the entirety of the landscape.
PLAN VIEW
The landscape constructed in Rhino. ISOMETRIC - SOUTH WEST
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AN INVISIBLE CITY ISOMETRIC
The city of Aglaura. The city of Aglaura is stuck in time; memories of the past have left the inhabitants unaware of the changes in their surroundings. These ideas are drawn from Invisible Cities by Italo Calvino, Marco Polo describes to Kublai Khan the cities within his empire. The isometric and the perspectives views show Aglaura to be an isolating place. Symbols such as people, silence and mood remain still, as opposed to Marco Polo’s, the foreigner’s, movements. All figures appear occupied in their own thoughts, the viewer is unwelcome. The ‘hint of something unmistakable, rare, perhaps magnificent’ is shown through ancient sculptures, mirrors and vases, although the very structure of the quadrangle is decaying. The city of Aglaura has changed over time, although this is not acknowledged.
PLAN
SCALE 0
1m
5m
KEY Camera Position Perspective 1/perspective 2
Mood and Feeling Light/heavy Crowds/people
Viewing, facing and looking Stare/glance Transition of thresholds Change from exterior to interior Marco Polo’s movements Spacing and size describes speed and direction
*Plan not to scale
Stillness and silence/movement and noise
Perspective 1 - The Hall of Reflections
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Perspective 2- Ancient Wonders
The quadrangle was assembled in Rhino. Figures and objects were placed into Rhino. Rendered images were overlaid with linework.
In Photoshop textures were placed onto surfaces of the quadrangle using a vector mask. Photographs were taken of textures from decaying surfaces.
THE PROCESS
Column base
Capitals
Flooring
Ceiling
Columns
Background
Images of solitary figures, ancient sculptures and ornamentation were chosen. An oil paint effect was then overlaid for consistency and texture.
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REFLECTION I have learned to further develop my design skills, as well as time management, through this subject. I have improved my ability to work on projects consistently from beginning to end, as completing each part of the process consecutively is integral to completing the whole. I have also learned to develop my thinking when given abstract tasks, and come to more complex conclusions between the finished product and its connotations. This was also made relevant through the lectures, describing different ways of seeing the physical product. Each module allowed me to further improve my skills in Photoshop, InDesign and Illustrator. I have developed a more complex understanding of the tools, and how to use each program more efficiently. I was introduced to Rhino, and feel confident that understand the basics. The time frame of modules was shorter than I am used to, forcing me to learn the skills of programs quickly. My first attempt at a New Mario World was underdeveloped, as I did not allow myself to move past the intersection of two worlds, and use creative freedom. Reflecting upon this, I was able to further the structural complexities of the world and express the objects in more dynamic ways. Each module has been adapted from initial presentation to better illustrate the process and condense the most important information into a readable format. The intention was that the viewer could be unaware of the subject yet still understand the outcome through the task and processes. The knowledge I gained in later modules, aided my workflow in earlier modules which I was able to utilise when preparing the portfolio. Ella Anderson - FODR - SEM1, 2017 757195 - Brooke Gibson - Studio 13