FOD portfolio

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F O U N D A T I O N S

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D E S I G N : S E M 1 2 0 1 7

R E P R E S E N T A T I O N

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2 2 : H A N A

N I H I L L

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MEASURED DRAWING OF A CROISSANT The task involved scanning a croissant in plan and sections in order to scale the front and side elevation photographs. The template could then be used to accurately sketch in pen and pencil the details of the croissant, in order to develop our architectural hand drawing techniques. From the sections and the top elevation an axonometric drawing was also generated. The axonometric drawing steps outside the finite box of pictorial space and into the infinite. In regard to the axonometric drawing I feel as though this was my best representation of the croissant. I was able to clearly demonstrate the steps that I used in order to create the final image through a clear and concise format. Both the pencil and pen rendering although very abstract, were still able to demonstrate the third dimension of the croissant.

Axonometric

Scale photographs

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Pen

Pencil

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NEW MARIO WORLD

The task was to create an axonometric world utilizing 2 differing images from Mario the game.

Through the use of colours, precise measurements and textures. The 3 dimensions of the world can clearly be examined; capturing the complexities and fluidity of gaze. It has gone beyond the 2nd dimension to create a measurable and completely new realm in which Mario can be viewed and engaged.

The subtle yet elegant transformation of colours and gradients to create not only an accurate representation of the colour used in the initial Mario, has also been utilized to precisely portray depth and shadow. The elegant Mario world can be seen floating simultaneously in in both time and space. Through the use of illustrator, I have aimed at creating a completely new world, inspired by original images in which one can engage, perceive and most of all enjoy.

Texture Mario World

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Colour Mario World

Grayscale Mario World

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Mario Distortion

First layer axonometric. Desk set up of the first layer of the axonometric . T square used with a set square in order to measure and draw at 45 degrees.

Completed First axonometric

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Second Layer axonometric. Same set up as layer 1 except the trace has been overlayed on both the first layer and second mario world image.

Hand Drawn Mario World

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Completed Second axonometric

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Back

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PAPER LANDSCAPE

The aim of this project was to develop a model using both 2d and 3d panelling tools on rhino that utilized apart of Tasmania’s terrain as its base surface. Initially I looked at the cultural history of Tasmania and came across the influential aboriginal elder Truganini who had been denied the proper burial in Hobart, instead her remains were exhibited at the museum of Hobart for many years.

I then chose to map her face into the terrain as an apologetic and commemorative gesture for the atrocities done in the past. The Manifestation of the face and the landscape can be seen in the final design. The eye becomes entranced, seeing vague familiarities between the form of the face and the landscape, essentially capturing the Fluidity and complexities of the landscape with the abstraction and symbolism of the Tasmanian aboriginal culture.

Both the 3d and 2d come together to form a Fluid, organic, rigid, harsh and symbolic entity creating its form from the very fabric of Australia and Australian Culture.

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2D terrain. On the left features the initial Terrain given and on the right demonstrates the 2D pattern mapped across the landscape using PT tools in rhino

Truganini Face pattern. Trunganini’s face was converted to greyscale, then halftones and mapped out in a 10 x 10 grid in order to generate the formation for the 3D landscape.

3D obects used.The following 3D objects were then mapped accross the landscape in accordance with 10 x 10 grid of turganini’s face.

Terrain 3d Render. The render represents the final digital form of the Model. Using Rhino the model was then separated into sections and unrolled into developable surfaces. These were then put into illustrator formatted onto an A0 page, printed and constructed.

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line depiction of the final model. The model was then generated and unrolled into strips on rhino in order to print and then construct.

HIDDEN CITIES 4: THEODORA

The task involved reading a segment from Marco polo’s experiences in the novel invisible cities.

Like a musical score the isometric notation transcends though time to convey the planning of my two perspectives. It Portrays the complexities, themes and motifs established in Marco polo’s experiences. The isometric and perspectives aim to Draw a link between the descriptions illustrated

by Marco polo to create a new, individual and creative seen set in both time and space. A permanent depiction of the ephemerality of time, representing the past, present and future as a collective.

Isometric notation

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Perspective 1 Battle : The use of characters, objects and textures can all be linked back to the themes, motifs and descriptions illustrated in the story. The positioning of them also relate to the order in which they were described in the story. The placement was then used in accordance with the notation isometric. I feel the vast array of characters, use of dark shadows and overlayed textures has effectively created a dark and extremely confusing seen, in order to accurately represent the gruesome and complex battle that the humans faced against the Fauna as described by Marco polo.

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Perspective 2 Library: Once again the use of characters and objects in this seen can all be linked back to the themes and motifs described in the story. My use of texture has been used to create a futuristic and utopian existence of the new and rebuilt Theodora. The use of animal skin as a texture has been used in order to illustrate the death of the typical fauna illustrated in the previous perspective. The librarian can be asleep as a sphinx stands over her, as in the story it illustrates that a mythical creature watches over the sleeper in the library. The creatures lurking outside the the quad can be seen as the animals that have escaped into the city and into the future. The use of the galaxy texture and characters outside has been utilized in order to represent the uncertain future of the city.

All elements combine to create a bold abstraction of the experiences of Marco polo.

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Reflection As a whole the semester has taught me some extremely valuable lessons in not only architecture and design but in organisation and time management. It has broadened my views on design to an extent that I am now able to generate my own opinion on certain buildings and analyse different design techniques and philosophies. I was particularly interested in the Stan Allen readings on El lissitzky and chose to experiment in both the module 2 and module 4 around his concepts. These experiments can be seen in the background of both these modules and on this page.

From drawing techniques, axonometric construction, panelling tools, 3D modelling and Photoshop scenes ,I have learned an inncredible amount starting from little to no knowledge in the adobe suite or rhino.

I definitely could improve my hand drawing skills and have already made an assertive effort in this field.

After Completing module 3 it has come to my attention that there are cultural implications in the use of a deceased indigenous Australian and that my design would need to be looked at and require the correct permission if it were to be explored further. I have also realised that it is not just the idea behind the work but it also must look and be crafted to the utmost care. I was unable to convince my tutor that the glue marks, slightly rounded edges and some tears in module 4 were apart of the design to incorporate the themes of the brutal; scraggly environment and flora of Tasmania; and the she’ll be right attitude of the Australian digger as explained by Robin Boyd in Australian Ugliness.

I feel Module 2 and 4 were my most resolved works as I was able to put the time and effort required to create a complex and creative solution to the task.

I have learned an extreme amount, to the extent that I am able to formulate my own design philosophy and look at further ways in which design can be viewed, created, perceived, but most of all enjoyed. I will be forever learning and look forward to what the the rest of my architectural studies, no matter how much sleep I will have to sacrifice.

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