HANNAH MOORE UNDERGRADUATE PORTFOLIO | UNIVERSITY OF SOUTH FLORIDA SACD
01 THE KIT OF ELEMENTS
02 MOVEMENTS IN A FIELD
03 THE LIGHT BOX
04 BUILDING ANALYSIS
05 SUPPLEMENTAL WORK
01 THE KIT OF ELEMENTS INTRO 1 FALL 2016 HANWISAI
An exploration of the fundamentals involved in using a concept to drive every aspect of the creative process. This series of drawings and constructs explore the possibilities of geometric and organizational space making. Simple planes, masses, and volumes were uniquely assembled and acted upon in order to make a spatial three dimensional world that explores fundamental design vocabularies and spatial relationships. The concept being explored in this project is a comparison between when close friends are separated versus when they are together.
Draft model shows a more enclosed space and a more open space to reveal the difference between when friends are together and when they are separate.
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First draft model that includes the small scale which becomes the part of the model that represents when friends are together.
Next draft integrated the small scale to show how friends are still connected even when physically separated.
Section drawings showing hierarchy of draft models
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Section drawings of the large scale, medium, and small organized in a dynamic composition in order to highlight the most important information.
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This final draft added the large scale to the model. The largest scale represents a connection between the times when friends are together and when they are apart. Even when friends are physically separate, they are still connected.
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Details of final model showing where small scale connects to large scale
The small scale in this model represents the times when friends are together. The space is smaller and consequently more private because it evokes a comforting feeling. When close friends are together they can relax and this is easier to do in a smaller, more private space. The medium scale represents the times in which friends are separated. The space is more open and public. This kind of space discourages intimacy and is representative of a more discomforting feeling rather than the closeness of the small scale in this model.
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Final model
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Final model 14
The axonometric drawing gave the opportunity to change the composition of the thin linear elements in the model. The use of sticks in the model was changed in the drawing in order to direct movement through more spaces rather than staying more static. The lightest shade of texture shows the armature in the model. The medium tone highlights the changed direction of the sticks through the model. The darkest tone reveals the small scale because it is the hierarchy of the model.
Axonometric drawing of final model. 15
02 MOVEMENTS IN A FIELD INTRO 1 FALL 2016 HANWISAI
The 1956 short film, “Le Ballon Rouge,� was analyzed visually and conceptually. A dichotomy was extracted from the film based on the fundamental dichotomy of the profane and sacred which was then used to guide the rest of the project.
Diagrammatic models of essential design vocabulary 18
The imagery of the dark and slow streets contrasted with the energy of the young boy in the film and his bright red balloon. The visual slowness in the film became the profane and the energetic youthfulness became the sacred. The profane is defined by the word enervation, a feeling of being drained of energy. The sacred is defined by the word vitality, the state of being strong and active.
Vitality
Enervation
Different aspects of the words vitality and enervation were analyzed visually with sketches that abstracted the meanings of the words
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The concept model for this project manifested in the intervention of the sacred into large horizontal profane elements. Three walls were used that were broken up by museum board elements. This concept model began ideas of intervention and an exploration of the space “in between.� 20
Conceptual drawing based on the ideas of the profane and sacred.
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Small scale of conceptual model showing where vitality is at its strongest point
First draft of conceptual model
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A life grows. It winds and winds through the air and pierces through the stillness. Its strength allows it to combat the fatigue that oozes all around it. Its swiftness destroys the feeble ground and causes it to crumble.
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Section drawings showing interior spaces
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Third draft of conceptual model
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Final draft conceptual model 26
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The sacred is represented by the vertical museum board elements in both drafts. The profane is represented by the more massive foam board pieces that the sacred pierces through. The profane is meant to be disrupted by the sacred. The sacred, vitality, has strength that can break through the weaker and more feeble profane, enervation.
First Draft
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Second Draft
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Final model nested inside pedestal 30
Axonometric drawing of project two final model 31
Plan and section drawings of project two. Narrative is written to connect spatial elements. 32
This final model is nested into a monolithic pedestal that reacts spatially to the model. The pedestal has scoring lines that were taken from the shaded lines of the scroll. The model changed orientation after the final draft in order to show a more spatial composition. The white museum board represents the sacred, vitality, because it is more open. With more space, there is more ability to move around freely. The horizontal wooden elements represent the profane, enervation, because there is more condensed space that would be more difficult to move through.
Reverse side of pedestal with nested final model
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Project two final model with sacred highlighted
Showing where the profane meets the sacred
The spaces in between the profane and sacred
The sacred, vitality, is representative of life and energy. The lights in these photos highlight the qualities of the model that are showing the most energetic spaces. When the sacred meets the profane, it pierces through the sluggish enervation and breaks it up. The pictures highlight the moment in which the profane is disrupted by the sacred.
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03 THE LIGHT BOX INTRO 1 FALL 2016 HANWISAI
The objective was to create an ending to the narrative written for project two inspired by the short film, “Le Ballon Rouge.� In this model, there were programmed spaces that were included along with a spatial representation of the short story. The programmed spaces included a covered viewing space for five people, a screen, a projection box, and a projector. This way, the model functioned as a journey through which someone would change after viewing the ending to the narrative.
Close up shot of project three draft
The ground fades away and disintegrates into a thousand tiny particles. An exuberant wind lifts the dust into the air. It travels higher and higher until the dust becomes alive once more. It transcends the tangible world and becomes a vibrant beacon of light.
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These sectional drawings are of the final model from project two. These drawings explored scale.
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Side 1
Side 2
Final draft 40
Close up shots of the final draft showing interior spaces and details
The way light moved through the model was emphasized. Interior spaces and corridor-like offshoots from the main path were used to reveal different qualities of light. This final draft focused on having a main pathway that began more enclosed and eventually traveled to a more open space that light could escape from. This was inspired by the narrative that describes the transcendence of dust into the air and outwards. So as the dust escapes up and out, so does light throughout the model.
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Axonometric drawing of project three final model.
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Final model
The programmed spaces throughout the model were created in the final draft using the white museum board. The path of the museum board creates the meaning of the different programs. The projector box begins the movement and then moves around to a more linear vertical moment that represents the projector. The programmed space ends towards the top of the model with the screen and viewing space.
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Photographs showing interior spaces of project three final model
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The interior spaces are winding and have smaller areas away from the main path of the narrative. These interior spaces have different meanings as they are different scales from the main path. They create different feelings being more enclosed and confined. Smaller details and transitions were paid attention to despite not being visible from the outside. There is a clear sense of procession when the inner spaces are considered.
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As light pours out of the model it is diffused. It begins to reveal the inner chambers and small intricacies that represent the path of the dust in the narrative. The light in these pictures can be considered representative of the dust that gets lifted by a transformative wind. When the dust transcends the tangible world and becomes light itself is the moment in the model in which the light is allowed to escape the most. 46
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04 BUILDING ANALYSIS INTRO 2 SPRING 2017 SANDERS
Six layers of the Delta Shelter organized from left to right
Structure of the Delta Shelter highlighted
The Delta Shelter is an open cabin like structure that has a customizable shutter system that allows for the light to stream in from all sides. It was designed by the architect group Olson Kundig in 2005. This building analysis consisted of six layers of drawings that reveal the makeup of the building and the hierarchical importance of each part. The layers begin with most important to least important. They consist of the general volume, the fireplace or the hearth, the structure, the stairs, and finally the outer panels. 52
The four layers of Casa Bianchi
Drawing of Casa Bianchi showing how the bridge enters the exterior of the building
Casa Bianchi establishes a concrete relationship with the surrounding mountains by using a bridge as an entry to the top floor. The walls are massive with geometric cutouts allowing the light to come through. It was designed by Mario Botta in 1973 in Switzerland. The analysis used four layers. The first was the volume of the house and the staircase tower, then the bridge, then the floor plates, and finally the exterior concrete walls. 53
05 SUPPLEMENTAL WORK INDEPENDENT 2014-2016
“Backwards�
Acrylic and tagboard 34 in x 71 in
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This piece was inspired by the artwork of Jean Michel Basquiat. It focuses on the spontaneity at the core of his artwork. Crumpled paper was used to add enrgetic texture. Words were also included to connect to the spontaneous nature of this type of artwork.
This piece was made in a series of concentric circles to mimic how sound waves radiate outwards. The large size of this piece mimicked how sound can grow to fill a large room.
“Sound�
Acrylic and tagboard 51 in x 53 in
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“Aggression”
Image transfer and acrylic 19 in x 24 in The jagged shapes and splotches of red paint were intended to create negative feelings of anger. The movement in this piece was supposed to look hectic and busy to show aggression.
“Marilyn”
Collage and acrylic 18 in x 22 in This piece was a biographical representation of the famous figure Marilyn Monroe. The pictures of eyes were pasted in order to represent Marilyn’s struggle with mental health that stemmed from her immense fame. The bottom portion of the piece represents her outer image that seemed flawless. 59
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“Fox� Acrylic
32 in x 12 in This piece was a study of fauvism with the use of bright colors combined with a study of the work of Alice Neel. It focuses on layering neutral colors over an underpainting of bright and bold colors.
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Photograph of an empty wine glass with light reflecting through it that causes the colors inside to transform.
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This piece was based on the photograph on the left. The composition is rather large in order to capture every small detail of the photo. The bright highlights with white show how complex this small object was. The large size of this piece helped to emphasize small, beautiful intricacies in the photo.
“Wine�
Acrylic on masonite
44 in x 60 in
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“Contrast�
Acrylic on masonite 42 in x 59 in This piece is an homage to spontaneity. It is an attempt to represent the duality present in artistic work between planned details and spontaneous creation. 65
2017