Portfolio

fod:r portfolio

HAYLEY COTTRELL // SEMESTER ONE 2018 995093 // LIANG HU, STUDIO 20

contents

04.

Module 1 How to Draw a Croissant?

09.

Module 2 Flatness vs. Projection

18.

Module 3 Pattern vs. Surface

27.

Module 4 Frame vs. Field

38.

Reflection

module 1 HOW TO DRAW A CROISSANT

04

how to represent a croissant This module was an introduction into the concept of representation, in particular the technical drawing skills for representing a object or idea in some sort of format. The croissant was the form that would be represented through a series of photographs, scans and, most importantly, drawings. The drawings were orthogonal projections of the croissant, displaying the plan and two side views or elevations that were captured in the photographs.

Section drawings were also completed from the scans of the cut halves, and an axonometric drawing which is a three-dimensional projection of the croissant were also produced. In creating these drawings, different ways or rendering an object was explored, in particular outline, shading and cross-hatching to discover which was the best way to define the object.

Plans, sections and elevations as well as three-dimensional projections such as axonometric drawings are all drawing techniques implemented in the representation of a structure by an architect to throughly and accurately present a building. Through practicing these techniques, the first foundations and crucial aspects of design were established, marking the start of the journey towards becoming an architect.

05

“to superimpose” In Enric Miralles’, “How to Draw a Croissant”, it is described how the layers of a croissant superimpose itself over the exterior to create the unique, textured surface. This idea of layering, with each surface remaining visible, was explored in collating the drawings in order to represent the croissant, in particular the top plan view. The first drawing (left) was shading, used to represent the shadows and more of the overall form of the croissant. The second is cross-hatching which particularly demonstrates the highlights across the surface.

Through placing one drawing on top of one another, different textures appeared in one image, and combined the features of the croissant’s surface that were highlighted and emphasised in each separate drawing.The two different shading techniques have been layered on top of each other in Photoshop. This combination of images creates emphasis on the different tones of the croissant, and in turn highlights more textures in the representation.

06

98mm A

94mm

B

C

210mm

SECTION A

SIDE ELEVATION

98mm

TOP PLAN VIEW

FRONT ELEVATION

94mm

SECTION B

210mm SECTION C

orthographic projection

A

B

C

07

C B A

axonometric projection

08

Creating the axonometric drawing was done by creating map-like grids over the section views, which were then placed on a 45 degree angle and mapped out once more.

These three grids, when placed on the section cuts of the top plan view, create a rough idea of what a 3D, cut-in-half croissant would look like. To further suggest the idea of the resulting outlined drawing being a 3D projection of a croissant, an image of a shaded croissant is place underneath.

Included too, are the section markers to show where about the cuts lines would appear on the shaded croissant.

module 2 FLATNESS VS. PROJECTION

09

3-4 #17, back elevation

10

3-4 #14, front elevation

axonometric exploration Building on the skills acquired in the previous module, Flatness vs. Projection focused on representing a three-dimensional object in the two-dimensional form of an axonometric drawing. To each student, a combination of two elevations from a Mario world were given out which were to be combined and projected upwards, three-dimensionally. The two elevations on the right are 17 and 14 from World #3-4, and these two merged into a single new world, with new space to be explored, imagined and designed from what could could not be seen. This idea of not all being represented in a elevation, or for the matter, one single architectural drawing type was the overall message behind this module.

In this new world, this idea is highlighted in the additions to the drawing, with a whole new layer of broken ground emerging from below the pictorial plane. Module 2 has shown that it is clear why the axonometric is so important in architecture as a form of representing the unseen view.

11

12

drawings How to combine the two elevations was a process that required a lot of planning out and thinking as to how to best execute the axonometric projection. Quick sketches were used to generate ideas regarding how to represent the flat two-dimensional shapes depicted in the given world views, and how to use the space that is not visible when initially viewing the elevations. Some of the ideas that were produced were a method of representing the clouds, making them have the illusion of appearing three-dimensional when in fact they were just a two-dimensional object, as well as the space below where the eye can see being fragmented into blocks, with the entire world broken apart and floating in mid-air. These where then developed and refined when creating the final drawing of the combined Mario’s world.

13

14

combined mario’s world Essentially, the final combined world has three levels: the broken islands or sub structure, the trees and hedges that form what can be called the super structure and then the clouds and other floating items. These drawings where created with pencil which was then traced over by 0.2 and 0.5 fine liners and then transferred into Photoshop to be combined. This became the base image which all shapes were traced on in Illustrator to create the final, coloured new Mario world.

15

16

illustrated new mario’s world The three-dimensionality of the outlined axonometric drawing has been accentuated in this illustrated, projected world, achieved through the use of colour, tone and texture. Shadows are created with the darker shades appearing on one side of the axonometric, and through opaque shapes of the object above appearing on those that are below. This, in sense, creates a sense of realness to the otherwise very unrealistic looking image through the illusion of a light source. The addition of texture and detail creates greater visual intrigue and a sense of depth and height to the floating islands that the world is composed of. An illusion to continuity of the world is also present, but rather than it being sideways, it is instead suggested that the world continues upwards with the green pipe at the forefront vanishing into nothingness, leaving the viewer wonder where it came from.

17

module 3 PATTERN VS. SURFACE

18

An intial idea based off of using basic pyramids to create a rocklike formation.

Idea from previous drawing expanding upon with increated complexity in it’s form.

Scan of one of the ideas for how to extrude different forms in Rhino.

exploring two and three dimensional forms This module saw the introduction of digital modelling, which enabled more complex and precise geometries to be created and then be transformed into a physical three-dimensional object. These geometries were to be formed and panellised over a given typography that is of a part of Tasmania.

Due to the origins in landscape and mountainous regions, various digital modules where created that resembled crystalline and rocklike formations. These jagged forms were a complex geometry that would not only have been able to create even just a single one module let a lone a 10x10 panellised landscape by hand into a physical model with out digital programs allowing the exploration of developable surfaces. For instead, through is module, the perception that there is a large gap between inception and construction of an idea was taken away, and in it’s place a belief that both can occur with the assistance of one.

19

digital model The typography’s unique undulation was key in creating the panellised landscape, as the highs and lows that are prevalent in it’s form is reflected in the highs and lows of the distribution of modules.

This was achieved through first offsetting the points at higher and lower heights at desire places on the typography, and then implementing an attractor curve to fully accentuate the valley and the hills.

Of course, the modules two had to vary in height and density in order to fully achieve this effect, and also so that they could dissolve the grid and form one singular form. This ultimately was to create a typography where things seemed chaotic and disorderly in it’s jagged, crystalline form, but also create a connected, cohesive landscape through the flow of pattern over the surface.

four module variants 20

modules applied to the typography 21

photographs Each photograph shows different elements of the model, and highlights attractions within the landscape. Some of the images show a view from above the entire model, showing how each and every module is panellised and how they all work together to make a coherent form.

The depth that the different heights of the modules have created is displayed and clearly shows the variation of heights across the given typography. Other images are close-ups that demonstrate the variation of intensity created by the way the landscape was panellised and the jagged rocklike formation that it is.

22

micro and macro

high and low

variation

These two words, “micro” and “macro, directly correlate to the theme of the module, pattern versus surface. “Micro” refers to the individual modules which are repeating and create a pattern across the “macro” typography, or surface. The relationship between an individual module and the larger model creates emphasis on the form of the landscape and also has a consistent arrangement that doesn’t create seperate areas within the pattern.

Each individual module was a different height, ranging from about 10mm to 60mm. However, with such a difference in height, it was important to create a smooth transition between each module. This was done through manipulating the offset grid points which was used to create a variation of heights that flowed over the typography. Also, the addition of an attractor curve running through what could be called the valley of my sloping landscape.

The 4 modules used had to have a similar look and shape in order to maintain consistency when they were panellised across the typography. However, they still had to have changes that made them different from one another, which therefore would add to the overall complexity in the created pattern. The range of geometries used heightened this sense of complexity to the extreme, due to the number of pyramids in each one and their different forms.

25

22

module 4 FRAME VS. FIELD

27

the ideology of looking Conceptualisation was the key thinking that this final module promoted, and demanded that it be represented in some form of visual communication. This came in the form of an quad, that a scene inspired from an exert from Italo Calvino’s Invisible Cities would be created within. The finished product has been created from quotes taken from Cities and the Sky 5, which describes a version of Venice that Marco Polo, who’s interpretations or memories are found in the text, has named Andria. The way in which the passage was viewed, shaped the form that quad took and the perspective scenes that were captured within the space. The conceptual nature of this module allowed the boundaries to be pushed within both the frame (the perspective views) and the field (the isometric and notation), a prospect which introduces critical thinking techniques needed for the future.

28

29

30

“the days on earth and the nights in the sky reflect each other.”

relationship between the city and the universe - reflection of actions (consequences in space or perhaps the cause - simultaneous)

“life flows calmly like the motion of the celestial bodies and it aquires the inevitability of phenomena not subject to human caprice.”

steady movement; humans have no control over the events that occur or earth and in Andria, much like the course of the “celestial bodies” such as the planets and their various moons follow, or the explosion of stars

“Andria is the only city I know where it is best to remain motionless in time.”

observation of the unstoppable force of the heavens/destiny -- weary of disturbing a change of events leave to a “phenomena” out of the citizen’s control

“‘And these innovations do not disturb your city’s astral rhythm?’”

movement in the sense of astrological events and their earthly counterpart

“‘Our city and sky correspond so perfectly,’ they answered, ‘that some change in Andria involves some novelty among the stars.’”

relationship of reflection in both realms -- the world is constantly changing and evolving much like the wider galaxy

“the city and the sky never remain the same.”

reinforces the first line of the paragraph’s idea -- state of constant change, movement even when there appears to be none

“they calculate the risks and advantages for themselves and for the city and for all worlds.”

reflection of actions amongst the stars and the potential other planets that orbit around them

unpacking the source material In order to not only find inspiration but as a way of making sure that Andria was representated as described by Marco Polo in cryptic words, the exert from Italo Cavino’s Invisible Cities was examined in great detail, which was achieved through identifying key quotes that provided a deeper insight into the view of Venice that is being portrayed. The text, in a sense, was transformed into a design brief, and informed many of the decisions made throughout the design process as it had to be adhered to in some sense - either literally or in abstract form.

CONCLUSION In Andria, there is a prominent relationship between the citizens and the universe - astrology plays an important role in society, as they believe that their actions are reflected in the cosmos. Through this, it can be said that they remain fixed in their belief, but this is what allows change to occur. There is a constant battle between motion and stillness, as nothing can ever truely be the exact same as it was once before. The world is continuously moving and changing, even if we don’t notice it. From this, it was interpreted that the most important aspects to display within the quad and the perspectives in order to create the mood of the scenes was this sense of motion juxtaposed against the still, and the relationship of reflection between the city and the sky above.

31

Key

0

32

1m

2.5m

5m

Movement

Threshold

Characters

Brightness

Phenomena

Darkness

Stare

Perspective 1

Glance

Perspective 2

isometric and notation The isometric was used as a map of sorts to display the different experiences that Marco Polo will encounter on his journey through the city of Andria. His movement through the city is denoted by the arrows that start by the first perspective and work its way up the stairs and throughout the space to the second perspective. While he travels through the quad, he observes both that “Andria is the only city I know where it is best to remain motionless in time” and that “the city and the sky never remain the same” which causes this conflicting views of the city. The stares and glances that he takes are him experiencing his juxtaposition, with them either being him seeing movement and stillness in the architecture or people, or seeing movement and movement or stillness and stillness. There is a new notation which was created specifically for the conveying of the concept which is called “phenomena”. This is the movement that is created by characters that are in a sense, out of time with the rest of the environment. They exist in this world with out anything else that is going on effecting them.

This once more ties into the story, that suggest that there is an inevitability of change which cannot be prevented from taking place.

33

perspective one

The first perspective establishes a wider view of the quad and the juxtaposition between movement and stillness. There is clearly two different structural forms present: the quad, in its detailed nature, remaining still and permanent within the landscape, and the winding and twisting nature of the unadorned platform, providing the space with direction in which motion flows. The characters introduced can be observed to be posing, not in active motion. In addition to them there will be an illusion created where it appears that there are figures moving around them, however in a different time.

34

perspective two

The second perspective is focused on the second floor and the framing created through the scene. In this perspective, the city’s connection with the universe has more emphasis placed on it, achieved through the slight tilting upwards of the view. The roof too, will assist in a sense of movement through the use of animated etching of constellations, therefore appearing as though they are moving in the sky. Once more, along side the characters will be the effect of long exposure, blurring time and space within the image.

35

36

perspective one The overall nature of Andria is set up in the first perspective, as it includes aspects of the city and its connection to heaven, and the contrasting ideas of movement and stillness.

This wider view provides Marco Polo with conflicting ideas, therefore reflecting his thoughts as he explored the city. Continuation is created in the view, to create openess that assists in representing the main concept of the motion against stillness - a sense of timelessness whilst time still exists.

perspective two A more intimate outlook is represented in the second perspective, with the characters being relatively closer and the space feeling smaller through the framing the vault and arches create. The moving bodies have been made white in order to tie into the white illustrations of the constellions, which suggests how the movement and change Andria experiences relates and connects to the stars. This is a more heavenly scene, both through it being on the second level of the quad, elevating the character towards the sky, but also through the ghostlike quality of the phenomena and it’s relationship with the changing sky.

37

reflection

38

pushing boundaries Foundations of Design: Representation has provided through the four individual modules a base of design knowledge needed to cement one’s self in the design field. Each module, although they got harder as they went along, was an accumulation of knowledge that was built upon in each subsequent outcome. The idea of communicating an an idea or object through representation was the key message found in every module, and the different ways in which this could be explored was captivating as it helped to understand why visual representation is so crucial to design. Personally, the theory behind each representation technique was the most important thing that I have learnt and understood throughout completing this studio, as without it you do not recognise the effect design and representation has on the everyday world.

Throughout the subject’s structure, many new techniques - both digital and manmade - and ways of thinking and representation were introduced, which are things I will carry with my into my future studies. Rhinoceros and the introduction into more complex geometries being able to be formed digitally is the most important technique I can take away from this experience, for with a program that can do those sorts of commands, architectures and forms beyond what is thought to be physically impossible can be created.

In terms of what is possible, and what I did not believe was possible, this subject gave me the answers to both. Push the boundaries you are given, but within a certain limit. If you exceed this, you will struggle to achieve you true vision in a way that you may have alternatively imagined. My work in this subject has been not only a great learning experience of techniques, but of time management and quality.

Overall, whilst this subject and its modules have been challenging at times, there was no better way of introducing myself fully into the world of design. For in the future during my degree, there will be many more cramped deadlines, demanding and extraordinary projects and representational design thinking to come, and will continue into my career.

39