Elizabeth Voss Design 1 Portfolio ARFD 101 Fall 2020 Prof. Hermann Jefferson University
Dramatized perspective of City of Culture of Zora -Elizabeth Voss
Preliminary Cube-Made on our ďŹ rst day of class in Aug 2020 -Elizabeth Voss
Elizabeth Voss
OVERVIEW
PROJECTS 1 Diagramming Nexus | Nexus Apartments 2 Topological Transformations | The Shoe Project 3 Visual Hierarchy: Using Mondrian | Stad in Acht 4 Creating Pattern, Color, and Texture 5 Making Space | Landscape of Zora 6 Making Place | City of Culture of Zora
ADDITIONAL 02 Cubes and Cylinders 01 Significant Artist | R. Buckminster Fuller 00 Process Book | Reflection
PROJECT 1
DIAGRAMMING NEXUS Nexus Apartments
Annie, Connor, Gaston, Marcus, and I worked together on our Nexus project as a group. We learned about each other, asking over
seventy questions, narrowing it down to a list of what overlaps existed between the ďŹ ve of us. Then each of us designed our own oor plans with rooms for each member of he group. The bottom level had individual qualities, the second had what two of us had in common, the third was the three of us, and so on and so forth. This project taught us about each other and how to work effectively as a team.
PROJECT 2
TOPOLOGICAL TRANSFORMATIONS
On This Page: (Below) An arrangement of the four models (horizontal, vertical, egg carton, and skin) along with the original shoe it is modeled after.
The Shoe Project
. Opposite Side: A series of drawings of the original shoe, showing a top view, side view, back view, angled perspective, with a set of sections to go with the side and back.
PROJECT 3
VISUAL HIERARCHY: USING MONDRIAN Stad in Acht
On This Page: (Above) A selection of sketches that directly impacted the formation of the project; in counter-clockwise order starting from top left: only red lines, soley blue lines, yellow, and then a recreation of solely vertical lines that were mirrored over the y=x axis. (Left) The ďŹ nal, colorized drawing of the model Opposite Side: A display of the New York City painting (by Piet Mondrian) and how it translated to my ďŹ nal project.
PROJECT 4
CREATING COLOR, PATTERN, AND TEXTURE
On This Page: (Top Row:) An experimentation of using the same shape to create three diversiďŹ ed patterns. (Middle Row:) Using stamp pads, I formed a color wheel, a plaid, and recreated a pattern from the top row to show how versatile the use of color is. (Bottom Row:) Experimenting with texture, an origami fold was colored, using the same colors as the above row, to show how color impacts a texture. Opposite Side: A set of digital renderings based on the color wheel and plaid handmade with the different colored stamp pads.
Early AM
Late AM
Noon
Early PM
Late PM
PROJECT 5
MAKING SPACE Landscape of Zora
On This Page: (Top Row). A digital colorized sketch of the landscape, as well as a simpliďŹ ed line drawing of the same site. (Bottom) A perspective photo facing north, where one can see the curvature of the landscape. There are also two potential scale ďŹ gures on the site. Opposite Side: A display of how the lighting at different times of the day would affect the shadows and overall look of the landscape.
PROJECT 6
MAKING PLACE City of Culture of Zora
On This Page: (Above) An birds-eye view of the ďŹ nal landscape and structure of Zora. (Top) The elevation of the structure built to ďŹ t the space and the story about Zora. (Middle) A section drawing displaying the position of the stairs and the location of the second story in scale. (Bottom) Another section drawing, but perpendicular to the one above. It displays most of the slices in the structure. Opposite Side: (Background) A perspective photograph of the model of City of Culture of Zora- obviously inspired by the City of Culture of Galicia. (Overlay) A line art perspective drawing of the structure on the site
PROJECT 02
CUBES & CYLINDERS
On This Page: Various examples of my favorite cubes, cylinders, and exploratory structures. Creating these taught me how best to handle different materials and tools in order to create something that would visually and physically fulďŹ l the requirements for this assignment. Opposite Side: Various Drawings from over the semester. I expanded on my drafting technique, adding detailed shading and tonal qualities to my drawings. I explored with different line weights and utensils to create a drawing that would be accurate and artistic as possible.
PROJECT 01
SIGNIFICANT ARTIST R. Buckminster Fuller
Gaston Pombo and I worked together on our
SigniďŹ cant Artist, who was R. Buckminster Fuller. He was a profound man with an extremely fascinating history and portfolio of designs. I was especially interested in his epiphany, which was a clear call to designimagine if we, as students, had similar experiences that would tell us precisely what to do with our lives!
PROJECT 00
PROCESS BOOK Reflection
At the beginning of this semester, I had some prior knowledge of what I was walking into on the first day of class. However, I was (and still am) not perfect, but I have definitely improved on my craftsmanship for both 3D and 2D creations, furthered my application of real-world thoughts onto my projects, and made many friends over this semester in Design 1. I believe the final project (5+6) helped me to combine building skills from the cubes and other prior projects (e.g. the topological transformations project) and understand how to draw and build something that had only previously been just a thought. This semester was not awful or amazing, (it was ‘eh’) but Design 1 was probably my favorite class. I look forwards to developing and expanding my skill set more over the next several years. -Elizabeth Voss