Foundations of Design : Representation, Sem 1, 2017 PORTFOLIO James Urlini
921240 Studio 27 - Anastasia Sklavakis
|1 DRAWING A CROISSANT
Following a process of photographing and scanning profiles of a croissant, a two-dimensional orthographic projection of the images can be arranged in order to substantiate each image’s relationship with the others. The photocopied plan of the bottom side of the croissant and the cross sectional scans ensure continuity between the images.
Measuring the cross sections using a grid of 10x 10mm squares allow for the drawing of an axonometric projection of the croissant. Due to the cross sections being cut angularly, a reconfiguration of the angles to draw the axonometric projections was required for each subsequent section.
SECTION 1
SECTION 1
SECTION 2
SECTION 2
SECTION 3
SECTION 3
SECTION 1 SHADED SIDE
SECTION 1 SIDE VIEW
SHADED FRONT
FRONT VIEW
SECTION 2
PHOTOCOPIED PLAN
HATCHED PLAN
SECTION 3
SECTION 2
PHOTOCOPIED PLAN SECTION 3
PLAN VIEW
SECTION 1
SECTION 2
OVERLAYING CROSS SECTIONAL GRIDS SECTION 1
AXONOMETRIC PROJECTION OF A CROISSANT
|2 THREE-DIMENSIONAL MARIO WORLD
Using two Super Mario Bros. worlds as references, this task required a drafting and subsequent creation of a three-dimensional space viewed through axonometric projection. The space seeks to represent a collision between the two worlds we were each assigned. The constructed world features two ground planes, establishing height and expansion as two major themes to explore. In order to capitalise on the open-endedness of the observed worlds, the cloud layer and underground were turned into worlds of their own through the addition of bridges and subterrainean chasms. Furthermore, a rift in the top ground allows for an exploration of the world that is hidden by the particular axonometric view.
World: 27 - 4
COLOURED AXONOMETRIC
James Urlini, 921240
AXONOMETRIC LINE WORK
EXPLODED AXONOMETRIC LINE WORK
|3 MODELLING A PAPER LANDSCAPE
Rhino3D was used to model and manipulate a physical and digital model landscape consisting of a series of two dimensional and three dimensional panelised geometries. The original NURBS surface was sourced from a map of Tasmania. Through the utilisation of the PanelingTools Plugin, geometries were spread across a surface, with their frequency, position and form determined by a selection of attractor curves and points. The landscape was then unrolled into net geometries, to be later printed and constructed using paper to form a 594mm x 594mm topographical paper landscape. The paper model takes its own form, bending and curving in response to the folds in and properties of the materials. Furthermore, the seams of the nets permit a warping of the landscape as a whole, allowing it to flex in ways that Rhino3D does not model.
SOURCE LANDSCAPE
ISOMETRIC VIEW
3D VARIABLE LANDSCAPE
FOUR TYPES OF VARYING MODULES
PLAN VIEW
Cities & Desire 3: Despina
|4 INVISIBLE CITY - CITIES AND DESIRE 3: DESPINA
Modelled through the Old Quadrangle at the University of Melbourne, the streets and surroundings of Italo Calvino’s ‘Invisible City’ Despina are realised. A mapping of movement through and a presence within time and space is indicated through the markings.
Key Perspective 1 Perspective 2 Speed and direction of Marco Polo’s movements Areas where people are present Change in time and individual experience Heavy emotional experience
0
1m
2.5m
5m
Light emotional experience Ocean / Desert (Exterior Space)
Despina
is
a
city
characterised
by
duality
and
allure.
It is able to materialise the desires of whomever walks its streets, shifting its design to match the perception of a consumer. In my understanding of the text, I envision the narrative as episodic yet perpetual as it follows the story of a single person who experiences different desires throughout their lifetime. Whilst Despina is superficially an illusory city that reflects different people’s desires, I interpret the city as a catalyst for the development of an individual’s own desire to explore the world and his eventual reflection upon past experience and self. Perspective 1 details the arrival of a camel driver to Despina and the almost immediate fernweh or sense of wanderlust that overcomes the traveller as they absorb the atmosphere but ultimately focus on the windjammer that offers them escapism. Conversely, Perspective 2 actualises the traveller’s reflection and nostalgia following their return to Despina from a life at sea. Staring down a colonnade in the middle of the night, it aims to evoke a sense of sentimentality and reminiscence,
Perspective 1 View of Despina from the Desert | Perspective of a Camel Driver
Perspective 2 View of Despina from the Ocean | Perspective of a Sailor
| REFLECTION Over the course of this subject, I have explored and experimented with the many different ways of interpreting the world as a designer. Through the coursework and the lectures, I have gained an understanding of and developed a skill set in:
- the appropriate use of RGB and CYMK files and vector and raster graphics in different situations - the workflow between Rhino3D and the various Adobe programs (from Rhino3D to Illustrator to Photoshop to Indesign)
- the process of measuring physical objects and subsequently constructing representative orthographic projections
- the benefits and limitations of representing the world in perspective and a perspective’s subsequent effect on one’s framing of a scene
- the conveyance of physical analog design onto digital imagebased programs such as the Adobe InDesign, Photoshop and Illustrator
- the use of panelling to permit the construction of developable geometries and the workflow between CAD to physical construction of designs
A reflection: Despite facing many challenges throughout this subject, I have thoroughly enjoyed learning about the many ways in which spaces and environments can be represented, both physically and digitally. I have enjoyed learning about the different views of architects, artists and designers in relation to their understanding of and execution of design. Modules 1 and 2 proved the most difficult in my personal experience of the subject, mainly due to the lack of knowledge of the programs and their capabilities. As the semester progressed, however, I feel that I grasped the concept of a design process better and applied my knowledge from the lectures and studios to improve my designs and interpretations of the modules. The brevity of this subject has enabled me to experience design in a holistic sense and I believe that it teaches an essential lesson about seeking inspiration from multiple sources in order to augment one’s own understanding of the world. I think that my experience in this subject will springboard me into my future in the Bachelor of Design and I will harbour my teachings for years to come.