Landscape Representation Portfolio

Page 1

421 portfolio

holly reising

FALL

2021


Washington University in St. Louis Instructed by Michael Powell

Landscape Architectural Representation I Fall 2021



table of contents

1.1

the power of the line

1.2

conveying texture and tone

1.3

expressing spatial atmosphere

1.4

adding color

1.5

measuring time

1.6

diagramming time

2.0

sublime synthesis


8-15 16-23 24-33 34-39 40-45 46-49 52-71


module 1



1.1 the power of the line Duration: 1 Week Objectives: Interpret an exterior landscape through drawn lines and the production of standalone models. line drawing and modeling techniques contribute to the expressiveness, energy and form of the subject matter.


9


Darkness

10


Lightness

11


Movement

12


Stillness

13


Model 1: Hatching

14


Model 2: Scumbling

15


Conveying 1.2 texture and tone Duration: 1 Week Objectives: moments where two or more materials (or material textures) meet are observed and recorded to hone observational abilities, representational skills and the ability to wield two-dimensional media. Here, one is challenged to look beyond the obvious shapes, edges and boundaries that define material subjects to truly unpack each materials’ physical qualities and understand what happens at the moment of transition from one material to the other.


17


Canister and counter

18


Hairband and plastic bag

19


Basket and couch

20


Pin and board

21


Basket Bas relief

22


Ceramic shadow Bas relief

23


Expressing spatial 1.3 atmosphere Duration: 1 week Objectives: To capture atmosphere is to capture the “spirit” of a place. atmospheric drawing should capture an environment holistically. This means that the drawing subject and composition should be more about filling space than drawing an object. these drawings capture a sense of how light fills space and creates an emotional direction, conveying a mood or a specific quality of place and time.


25


Weil Sculpture Garden: Moody

26


Gateway Arch: Vast

27


Scumbling model: playful

28


Hatching model: obstructive

29


Scumbling model: digital edit

30


Hatching model: digital edit

31


Scumbling model illustration: digital edit

32


Hatching model illustration: digital edit

33


1.4 Adding Color Duration: 1 week Objectives: using past drawings, establish tonal steps that vary in texture. Then, using colors based off of artwork by Mark Bradford, a Limited Color Palette was established. The monochromatic tone swatch study is then modified by overlaying each step with the selected colors.


35


36

10 Tone Study


37


38

10 Tone Study, colorized


39


1.5 measuring time duration: 2 weeks Objectives: The Measured Ephemera Drawing introduces the use of measured and constructed drawing to record the transformation of an organic material Over multiple days


41


Day 7, Measured Day 1

42


Day 13, Measured Day 3

Day 10, Measured Day 2

43


Day 7, Measured Day 1

44


Day 13, Measured Day 3

Day 10, Measured Day 2

45


1.6 Diagramming time Duration: 1 week Objectives: The measured drawings completed for Module 1.5 tell a story about time, decay, the life cycle, and more. In this module, informational and meaningful icons, create a visual system that stitches the measured drawings together into a single cohesive narrative.


47


48

day 0

day 0, cut

Measure day 2

day 1.5

the cut

evaporation; shrinking

gravity; sinking

huMan Intervention; bruising


49

Measure day 1

Measure day 3

bacteria; Mold

rotting; teMperature increase

Process Diagram


module 2



2.0 sublime synthesis Duration: 6 weeks Objectives: use of measured drawing, orthographic typologies, and graphic conventions Are explored through the study and representation of the landscape that emerged from the re-interpretation of Module 1 work. an interpretive component emphasizes use of digital, analog and hybrid tools and techniques as well as compositional strategies for layering meaning, balancing clarity and ambiguity, expressing narrative, and conveying a conceptual framework clearly, compellingly and with intent. The Sublime Dreamscape drawing uses a constructed section as an organizing element tying the long composition together. this drawing is hybridized and collaged containing moments of surprise, overlap and ambiguity that allow simultaneously readings of the dreamscape in plan, section, perspective and through time.


53


54

Update 11/20

Update 11/27


55


56

Update 12/4

Update 12/8


57


58

Final Dreamscape


59


60


61


62


63


64


65


66


67


Handmade Book

68


69


70


71



Turn static files into dynamic content formats.

Create a flipbook
Issuu converts static files into: digital portfolios, online yearbooks, online catalogs, digital photo albums and more. Sign up and create your flipbook.