Portfolio Ella Friedrich Foundations of Design Representation Semester 1, 207 Studio 08 Nina Tory - Henderson
Contents
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Measured Drawing 03 of a Croissant
New Mario World
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Paper Landscape
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Invisible City
Reflection
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Measured Drawing Of A Croissant Module 1: ‘How to draw a croissant?’ C C BB
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In our first Module ‘How to draw a croissant?’, we explore the representation of a three dimensional object - the croissant. We scan a 1:1 plan and 3 cross sections of the buttery croissant and are able to produce accurately measured Plan, Section, Elevation and Axonometric Drawings.
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95mm
95mm 95mm
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A A
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151mm 151mm
Plan 1 Plan
Section A Scale 1:1
Scale 1:1
Plan 11
Plan Not to scale
Plan
Section A
Sections Not to scale
Scale 1:1
Scale 1:1
Section B
Scale 1:1
Section B
Scale 1:1
Section C
Scale 1:1
Section C
Ella Friedrich - 916574
Scale 1:1
65mm
65mm
Ella Friedrich - 916574
65mm 65mm
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Module 1: ‘How to draw a croissant?’
151mm
90mm
151mm
Axonometric Scale 1:1
Elevation 1 Elevation Not1 to scale Scale 1:1
Elevation 2 Not to scale Elevation 2
Construction of Axonometric Not to scale
Scale 1:1
Ella Friedrich - 916574
Rendered Axonometric Not to scale
Ella Friedrich - 916574
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New Mario world In the module flatness vs projection, we explore the two dimensional space versus the three dimensional space. We are allocated two 200x200mm elevations of the game ‘Mario World’. Measuring from these elevations we project both worlds uncovering the hidden space and explore how these elevations meet each other. In the hidden space of the axonometric I imagine how the characters populate it (e.g. by adding Yoshi’s house) and a train track that connects both elevations and continues past the given 200x200mm constraint to demonstrate that this is a world that is infinite and can be constructed endlessly, which is indicated by incomplete scaffolding.
01 Computer rendered Mario World
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Drawing Process
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01 Final hand drawn line drawing 02 Front elevation of allocated Mario World 200 x 200mm 03 Drafting a plan from the elevations at 45 degrees 04 Projecting up in 90 degrees from the plan drawing 05 Creating a separate ‘cloud plan’
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Paper Landscape For our third module pattern vs surface we are allocated a piece of Tasmania’s National park with the dimensions of 594x594mm. Using panelling tools in Rhino we create a 10x10 grid. Using developable geometries we explore different ways to show our topography and finally unroll the 3D CAD model to make a 1:1 paper model. Four sided pyramids, that gradually change the direction emphasise the curve of the terrain and suggests the formation of two mountain scapes with a river dividing them. The river is shown in 2D panels that have triangular perforations, which show the movement of water.
01 Detail of folded paper pyramids 02 Image showing scale and movement of the model 03 Close up of the model showing the effect of the river and mountain scape
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Modelling Process
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01 Creating a 2D grid with the rhino panelling tools on allocated landscape 02 Image shows offset grid points that will be necessary to create the 3D panels 03 Sketch showing the different modules for the 3D panels 04 Model shows 3D panels on 10x10 grid. Height variation is achieved with curve attractors. 05 Creating a secondary grid for 2D panel perforations 06 Prototypes throughout the process help understand the geometry and the fabrication constraints 07 Finalised 3D CAD model 08 Grouping geometry in order to ‘roll it out’ 09 Creating a cutout template 10 Finalised cut out template 11 Fun begins: Cutting and gluing of 100 panels 12 Bullnose prove to be helpful in gluing model in stages at the tabs. Cutting, folding and sequence are marked on the backside of the model
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Invisible City Trading Cities 1: Euphemia In our last module frame vs field we are given a story of Italo Calvino’s ‘Invisible Cities’ and we are required to represent them via two perspective drawings and a notational isometric drawing showing Marco Polo’s experiences. I was given a trading city named Euphemia, where at every equinox and solstice people come from seven nations to trade and share stories at night. The drawings show my abstract interpretation, where the 16th century story is fast forwarded into the technology driven 2017. The isometric illustrates abstract ideas through notations, such as time, feelings and movement, whereas the perspectives use obvious visual cues demonstrating how we subjectively perceive the world; showing the change of time with the help of clothing, drawing style, light and accessories.
Legend
Light Feeling
Passage of Time Light/Dark
Crowds/People Communication Movement Perspective 01 Marco Polo’s Gaze
Perspective 02
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Perspective 01 In Invisible Cities Marco Polo describes Euphemia as a trading city where at every equinox and solstice merchants from 7 nations meet to trade at day and at night exchange exciting and mysterious stories from their travels. I have chosen 7 line drawing men from different parts of the Byzantine Empire since the story is set in Venice and had a lot of links with the East. The fire in the center symbolises the medium around which these men gather four times yearly. Around the scene you can see items of their daytime trading
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Perspective 02 The second perspective is more ambiguous. 1000 years later 7 people are casually sitting in the space, not interacting with each other and with their backs turned. In my first scene the trading nations had to physically meet around the fire to connect. Now this isn’t necessary, the seven nations are able to connect virtually. Please be aware that this is not coming from an critical angle. Living abroad I cherish that one is able to stay in contact virtually with friends and family via skype and email.
Concept sketch
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REFLECTION 1) what did you learn from these projects with reference to lectures? The subject Foundations of Design Representations of Design offered a well rounded knowledge base of representation approaches, technical and presentation skills. First we looked at traditional representation approaches of architectural drawings when representing the croissant in Plan, Section, Elevation and Axonometric drawings. We were able to learn how to construct a measured and concise 3D axonometric drawing with given Elevations. This offered the opportunity that 2D representational methods aren’t always able to show what lies ‘in between’ (e.g. Mario World). Designing for buildability in Module 3 was a very important lesson on how digital fabrication is changing the role of architects. In the final Module we had the challenge to represent a complex world in a non static and objective way using notations and contrasting this directly to the subjective perspective drawing. 2) What skill set did you gain? We were able to develop creative concepts with quite restrictive parameters. I learnt a lot of technical skills that will be valuable for our future careers (e.g. Hand Drafting, Rhino, Digital Fabrication, Laser Cutting, Model Making, Prototyping, Adobe Suite, Rendering and how to take photos). I also had to how to quickly generate ideas and adjust concepts. I was able to practice verbal presentation skills regularly. 3) If a particular module is not successful, why? And how can you improve it? If you have made amendments to improve drawings, please note it here. Module 2 and 4 were my least successful module in this subject. In both modules I miscalculated the amount of time I would need to reflect on how to demonstrate my concepts. In Module 2 I overused the gradient tool and didn’t use it consistently. I have reworked it by pairing back on the gradient tool and using more flat colours. My Module 4, perspective 02 doesn’t show the same amount of detail as my first perspective. I have quickly constructed a rearrangement of my composition and will take time to rethink it in the semester break. Also the axonometric drawing of the croissant wasn’t at the standard I would likeI have reworked it and finished of the end and rendered it to show depth.
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