Derrick freske vc2 portfolio

LAWRENCE TECHNOLOGICAL UNIVERSITY SPRING SEMESTER 2014 PROFESSOR JESSE WETZEL

DERRICK FRESKE

ARCH 1223

VISUAL COMMUNICATION 2

1

TOOLING

4

pp. 3-8

pp. 17

EIDETIC tooling sketchup mixed media illustrator-ation detail drafting

PHYSICALITY pp. 18-20 METHOD

2

methodology media matrix

5

diagram diary

seeing site analysis

pp. 9-12

site plan site section joiner

eideticism the eidetic image

SEEING

pp. 13-16

3

physicality

CRITICALITY

6

pp. 21-22

proun construct + cornell box

criticality course/self evaluation new trajectories

p. 3

TOOLING : SKETCHUP

tooling

METADATA TOOLS USED DIGITAL

sketchup google earth

REFERENCES PROJECTS

utd student services buiilding

ARCHITECTS

UTD SERVICES BUILDING Plans, elevations as well as photos available on the internet were supplied for this assignment. It is often necessary to model buildings near a site as a way to build up the context of a project. Sometimes all of the information is provided, but most of the time only bits and pieces of information is available. This assignment is an example of such an exercise.

perkins + will

Project objectives:

IMAGES

1.

To build a model as accurate as possible with the basic information given.

2.

To understand the importance of grouping, materials, and using components.

3.

To get a basic understanding of how Sketchup works.

elevations (https://my.ltu.edu/ bbcswebdav/pid-635540dt-content-rid-2468172_1/ xid-2468172_1) plans (https://my.ltu.edu/ bbcswebdav/pid-635540dt-content-rid-2468176_1/ xid-2468176_1) photo (http://www.utdallas.edu/ sustainability/files/ssb-mall. jpg)

methodology

seeing

Lessons Learned: 4.

“Always be grouping” - a saying lodged into our brains after this project. Failure to group objects made editing the model a hassle.

5.

“Guesstimate” - yet do it skillfully. Some standard information is relevant in all buildings to satisfy the codes and regulations. Work around these standards while eyeing the building to figure out the most accurate measurements.

eideticism

physicality

criticality

Derrick Freske / ARCH 1223 - Visual Communications 2 - Wetzel / Lawrence Technological University / spring semester 2014

p. 4

TOOLING : SKETCHUP

tooling

METADATA TOOLS USED DIGITAL sketchup

ELEVATIONS

REFERENCES

ELEVATIONS OF THE UTD STUDENT SERVICES BUILDING ARE SHOWN ON THE LEFT.

PROJECTS

utd student services buiilding

methodology

FiIGURE A - EAST ELEVATION

ARCHITECTS perkins + will

FIGURE B - NORTH ELEVATION

IMAGES FIGURE C - SOUTH ELEVATION

elevations (https://my.ltu.edu/ bbcswebdav/pid-635540dt-content-rid-2468172_1/ xid-2468172_1)

seeing FIGURE D - WEST ELEVATION fig. A - East Elevation

fig. B - North Elevation

plans (https://my.ltu.edu/ bbcswebdav/pid-635540dt-content-rid-2468176_1/ xid-2468176_1) photo (http://www.utdallas.edu/ sustainability/files/ssb-mall. jpg)

eideticism

physicality

fig. C - South Elevation

fig. D - West Elevation

criticality

Derrick Freske / ARCH 1223 - Visual Communications 2 - Wetzel / Lawrence Technological University / spring semester 2014

p. 5

TOOLING : MIXED MEDIA

tooling

METADATA TOOLS USED ANALOG pencil trace paper flair pens scanner

DIGITAL

sketchup photoshop

REFERENCES READINGS

van berkel + trummer “between ideogram and image-diagram” OASE “diagramming the contemporary”

MIXED MEDIA DIAGRAM The objective of the assignment was to recreate the original image as closely as possible. The final image should be crisper than the original since the original had a low resolution. Paying attention to line weights and line types when drafting was an important concept.

The image is composed of three layers: the hand drawn, 3D model, and Photoshopped layers. The beginning stages of the project began by composing the 3D model underlay and hand drawn content separately. Once completed, the hand drawn content was scanned in.

In Photoshop, these two layers were combined. To finish it off, the Photoshop layer was added to add color to certain areas. In order to match colors, the original image was brought in and the eyedropper tool was utilized. The final image was then a combination of all three layers. The final image can be seen on the left.

methodology

seeing

IMAGES

reference photo (vc2_LTL example.jpg)

eideticism

physicality

criticality

Derrick Freske / ARCH 1223 - Visual Communications 2 - Wetzel / Lawrence Technological University / spring semester 2014

p. 6

TOOLING : MIXED MEDIA

tooling

METADATA TOOLS USED ANALOG pencil trace paper flair pens scanner

INDIVIDUAL LAYERS THE FOLLOWING DIAGRAMS SHOW THE DIFFERENT LAYERS THAT CREATED THE FINAL IMAGE.

DIGITAL

sketchup photoshop

methodology

FIGURE A - PHOTOSHOP CONTENT

REFERENCES FIGURE B - BASIC GEOMETRY

READINGS

van berkel + trummer “between ideogram and image-diagram”

FIGURE C - 3D MODEL UNDERLAY seeing

OASE “diagramming the contemporary”

FIGURE D - HAND DRAWN CONTENT fig. A - Photoshop Content

fig. B - Basic Geometry

fig. C - 3D Model Underlay

IMAGES

FIGURE E - TWO-POINT PERSPECTIVE

reference photo (vc2_LTL example.jpg)

eideticism

Diagram Diaries 1.indd 1

2/28/2014 11:09:56 PM

physicality

fig. D - Hand Drawn Content

fig. E - Two-Point Perspective

criticality

Derrick Freske / ARCH 1223 - Visual Communications 2 - Wetzel / Lawrence Technological University / spring semester 2014

p. 7

TOOLING : ILLUSTRATION EXERCISE

tooling

METADATA TOOLS USED DIGITAL rhino illustrator

REFERENCES PROJECTS querini stampalia foundation

ARCHITECTS

QUERINI STAMPALIA For this exercise, a .dxf file of a project was given. In the .dxf file were two elevations and one floor plan.

The purpose of the assignment was to take the CAD line work and organize it based on line weights and line types in Rhino. These drawings were then taken into Adobe Illustrator to adjust the line weights and line types accordingly. My project focused on the Querini Stampalia Foundation.

methodology

carlo scarpa

Project objectives:

IMAGES

reference images provided in dropbox

1.

To demonstrate comprehension and satisfactory mastery of editing line weights and line types.

2.

To understand the importance of line weight.

3.

To better understand the process used to adjust line weights and line types.

seeing

Lessons Learned: 1.

“The importance of line weight” - different line weights can imply different things. A thicker line can show up as more important than that of a think line.

2.

“Stand out” - in terms of line weight, areas that need to grav attention should be thick and dark.

eideticism

physicality

criticality

Derrick Freske / ARCH 1223 - Visual Communications 2 - Wetzel / Lawrence Technological University / spring semester 2014

p. 8

TOOLING : DETAIL EXERCISE

tooling

METADATA

2

1

TOOLS USED

3

4

DIGITAL rhino illustrator indesign

5

6

7

8

9

REFERENCES PROJECTS the new museum

THE NEW MUSEUM This exercise was meant to test our ability to draw clean 2D line work focused drawings. We reproduced a drawing that was in Detail magazine. The focus here was accuracy and understanding the detail we recreated. To do this, diagramming and referencing photographs of the project was useful.

methodology

ARCHITECTS SANNA/ kazuyo seijima

Project objectives:

IMAGES

1.

To demonstrate comprehension and satisfactory mastery of creating 2D line work in Rhino.

2.

To understand the basics of Adobe Illustrator by adjusting line weights, adding textures, and adjusting fills.

3.

To better understand the purpose of the detail that had been recreated.

kop tezuka (https://my.ltu.edu/ bbcswebdav/pid-635544dt-content-rid-2468449_1/ xid-2468449_1)

seeing

Lessons Learned:

10 2

Section through facade: windows, roof terrace scale 1:20

1

11 2

3 4 5 6

15 mm laminated safety glass: 3 layers of toughened flint glass double glazing: 2 x 6 mm flint glass + 13 mm cavity in aluminium frame fabric sunblind fabric curtain 2 mm sheet aluminium lining to upstand concrete laid to falls with sealing layer filter fabric

76 mm expanded polystyrene insulation neoprene seal leveling layer 7 aluminium cover grating 8 convector heater 9 20 mm poured epoxy-resin layer 159 mm reinforced concrete composite slab in 76 mm trapezoidal-section metal sheeting 10 sprinkler plant 11 3 mm sheet- aluminium window sill

1.

“Always use polyline” - in Rhino, using the polyline tool will automatically group an object together allowing for it to be easily edited.

2.

“Keys, keys, keys” - without a key, it’s hard to tell what we are looking at. It is always important to annotate any projects like this.

3.

“Research” - it is always important to research your project before you dive into it. Having a sense of what you are creating improves the production of the project overall.

eideticism

physicality

criticality

Derrick Freske / ARCH 1223 - Visual Communications 2 - Wetzel / Lawrence Technological University / spring semester 2014

p. 9

METHODOLOGY : MEDIA MATRIX

tooling

METADATA TOOLS USED ANALOG

pencil trace paper highlighter colored pencils cardboard

LOW RES STUDIES These diagrams are from the beginning stages of the Methodology assignment. We were asked to use a variety of mediums to produce a series of diagrams. To start off, a number of the diagrams were suppose to be low res. This means they are just simple tests and drawings that will eventually lead to the final project.

DIGITAL

sketchup photoshop illustrator fig. 1 - 3D digital diagram, Sketchup

fig. 2 - 3D/2D digital diagram, Sketchup/Photoshop

fig. 3 - 2D analog diagram, hand sketched

fig. 4 - 2D analog diagram, hand sketched

Project objectives:

REFERENCES

1.

3D digital diagram, Sketchup

READINGS

2.

3D/2D digital diagram, Sketchup/Photoshop

van berkel + trummer “between ideogram and image-diagram”

3.

2D analog diagram, hand sketched

4.

2D analog diagram, hand sketched

clark + pause “precedents in architecture”

5.

2D analog/digital diagram, hand sketched/ Photoshop

6.

3D digital diagram, Sketchup

7.

2D digital diagram, Rhino/Illustrator

8.

3D analog diagram, hand crafted

9.

3D analog diagram, hand crafted

OMA “diagramming the contemporary” gausa “diagrams as a battle map”

OTHER

fig. 5 - 2D analog/digital diagram, hand sketched/Photoshop

fig. 6 - 3D digital diagram, Sketchup

fig. 7 - 2D digital diagram, Rhino/ Illustrator

fig. 8 - 3D analog diagram, hand crafted

methodology

seeing

eideticism

10. 3D digital diagram, Sketchup

site visit, april 10

This means of production helped spark up ideas for the final product. I began with the idea of public versus private spaces in Cranbrook. After creating these low res diagrams, the idea expanded into how the nature surrounding Cranbrook acts as a form of natural privacy. The relationship is also directly related to how the buildings are massed together. There are moments in Cranbrook when nature is the focus and there are moments when buildings are the focus. At the end of the day, there is no doubt that the entire campus is screened by the natural aspects of the landscape.

fig. 9 - 3D analog diagram, hand crafted

fig. 10 - 3D digital diagram, Sketchup

Derrick Freske / ARCH 1223 - Visual Communications 2 - Wetzel / Lawrence Technological University / spring semester 2014

physicality

criticality

p. 10

METHODOLOGY : MEDIA MATRIX

tooling

METADATA TOOLS USED ANALOG

bristol board glue

HIGH RES STUDIES Following up from our low res studies, these couple of diagrams will be complete and thoughtful ideas. These diagrams will relate to the final topic. These diagrams were created after visiting Cranbrook and when a final idea was in place. The relationship between Cranbrook and it’s natural screening capabilities can be seen on the left. As you get deeper and deeper into Cranbrook, the buildings begin to space and begin to be surrounded by nature.

DIGITAL

rhino photoshop illustrator

REFERENCES READINGS

van berkel + trummer “between ideogram and image-diagram”

Project objectives: 1.

Figure 1 shows a site analysis of Cranbrook. The colored spiral represents how as you get further and further into Cranbrook, the natural screening density increases.

2.

Figure 2 shows how as you get deeper and deeper into Cranbrook, the massing of buidlings starts to disperse and natural screening prevails.

3.

Figure 3 shows a programmatic zoning map of the different forms of densities at Cranbrook. In relation to Figure 1, this diagram zooms in on the individually colored areas and shows how natural screening effects the surrounding buildings.

clark + pause “precedents in architecture” OMA “diagramming the contemporary”

methodology

fig. 1 - Site Analysis

fig. 2 - Public versus Private relation

gausa “diagrams as a battle map”

PROJECTS

cranbrook educational community

4.

OTHER site visit, april 10

eideticism

Figure 4 shows a 3D anlaog diagram crafted out of bristol board. The diagram represents how natural screening effects the privacy of Cranbrook. The interior is being shielded by the chaos that is on the exterior.

This batch of diagrams was especially useful when creating the eidetic image. It gave me a clear understanding of what I wanted to focus on throughout the rest of the process.

fig. 3 - Programmatic Zoning

seeing

physicality

fig. 4 - Natural screening mechanics

criticality

student name / ARCH 1223 - Visual Communications 2 - Wetzel / Lawrence Technological University / spring semester 2014

p. 11

METHODOLOGY : DIAGRAM DIARY

tooling

METADATA TOOLS USED ANALOG

pencil trace paper colored pencis flair pens

DIAGRAM DIARY Image Annotation: ( 1 ) existing house

( 2 ) added inserts

( 3 ) repackaged house

DIGITAL

rhino photoshop illustrator

REFERENCES

fig. 1 - Nakahouse by XTEN Architecture

fig. 2 - Great Fen Visitor Centre by Denisen Works

fig. 3 - Vitrahaus by Herzog & de Meuron

fig. 4 - The Foldone Table by Novae Architecture

READINGS

van berkel + trummer “between ideogram and image-diagram” clark + pause “precedents in architecture”

2.

Great Fen Visitor Centre by Denisen Works

3.

Vitrahaus by Herzog & de Meuron

4.

The Foldone Table by Novae Architecture

5.

Ordos 100 #43 by Tatiana Bilbao

6.

Social Interaction Space in the 8House

7.

Big Pin gives visitors a view of the landscape

8.

Social Interaction space in the Denmark Pavillion

9.

Inclusion of Greenland in the Global Economy

methodology

seeing

11. GYRE talk by BIG Architects 12. Loop City: Interlocking Denmark & Sweden

gausa “diagrams as a battle map”

gyre: recent works by BIG “https://www.youtube.com/ watch?v=qdrK3G1nU3A”

Nakahouse by XTEN Architecture

10. Public Interaction in Greenland’s National Art Museum

OMA “diagramming the contemporary”

VIDEOS

1.

fig. 5 - Ordos 100 #43 by Tatiana Bilbao

fig. 6 - Social Interaction Space in the 8House

fig. 7 - Big Pin gives visitors a view of the landscape

fig. 8 - Social Interaction Space in the Denmark Pavillion

In this batch of diagrams, I explored and recreated existing diagrams (Figures 1-5) as well as how public interaction was a key factor in BIG Architects projects (FIgures 6-12).

eideticism

physicality

fig. 9 - Inclusion of Greenland in the Global Economy

fig. 10 - Public Interaction in Greenland’s National Art Museum

fig. 11 - GYRE talk by BIG Architects

Derrick Freske / ARCH 1223 - Visual Communications 2 - Wetzel / Lawrence Technological University / spring semester 2014

fig. 12 - Loop City: Interlocking Denmark & Sweden

criticality

p. 12

METHODOLOGY : DIAGRAM DIARY

tooling

METADATA TOOLS USED a

ANALOG

b 1

pencil vellum french curves plaster

3

4

b 4

6

2 a

7 Ground Floor

Second Floor

DIAGRAM DIARY

Sixth Floor

Image Annotation: 8

4 5

DIGITAL

8 Basement

First Floor

Fifth Floor

rhino photoshop illustrator

REFERENCES

fig. 1 - Kimball Art Museum greets visitors from all directions

fig. 2 - Vancouver House greets visitors and residents

fig. 3 - New Museum by SANNA floor plans

fig. 4 - 3D Model Underlay

READINGS

van berkel + trummer “between ideogram and image-diagram”

1.

Kimball Art Museum greets visitors from all directions

2.

Vancouver House greets visitors and residents

3.

New Museum by SANNA floor plans

4.

3D Model Underlay

5.

Two-Point Perspective

6.

Basic Geometry

7.

Hand Drawn Content

8.

Photoshop Content

methodology

seeing

clark + pause “precedents in architecture”

These diagrams were included in three different projects.

Figures 1-2 were on how public interaction was a key factor in BIG Architects projects. Figure 3 was to better understand the layering in the New Museum by SANNA. Figures 4-8 were then from the Mixed Media assignment to show the different layers that were included in the final product.

OMA “diagramming the contemporary” gausa “diagrams as a battle map”

VIDEOS

gyre: recent works by BIG “https://www.youtube.com/ watch?v=qdrK3G1nU3A”

fig. 5 - Two-Point Perspective

fig. 6 - Basic Geometry

fig. 7 - Hand Drawn Content

eideticism

fig. 8 - Photoshop Content

physicality

criticality

Derrick Freske / ARCH 1223 - Visual Communications 2 - Wetzel / Lawrence Technological University / spring semester 2014

p. 13

SEEING : CRANBROOK SITE ANALYSIS

tooling

METADATA TOOLS USED ANALOG

pencil vellum french curves plaster

SITE ANALYSIS Before visiting the site, I didn’t understand what Cranbrook actually looked or felt like. I began generating low res diagrams from my basic understanding of it from class discussions. After visiting Cranbrook, I had a better sense of what it was. The main aspect I took away from the site visit was how spacious it is and how nature is a dominant factor.

DIGITAL

rhino photoshop illustrator

REFERENCES

Diagram Descriptions:

READINGS

1.

van berkel + trummer “between ideogram and image-diagram” clark + pause “precedents in architecture”

fig. 1 - 2D analog/digital diagram, hand sketched/Photoshop

fig. 2 - Site Analysis, Photoshop

OMA “diagramming the contemporary” gausa “diagrams as a battle map”

VIDEOS

Figure 1 shows a series of individually drawn rectilinear forms. It expresses the idea that as you get further and further into the nature of Cranbrook, the buildings tend to space out and become shielded by nature.

2.

Figure 2 shows a site analysis of Cranbrook. The colored spiral represents how as you get further and further into Cranbrook, the natural screening density increases.

3.

Figure 3 is a joiner of the dormitories near the Kingswood High School.

4.

Figure 4 is a joiner of the Kingswood Girls Middle School.

methodology

seeing

eideticism

david hockney joiners “https://www.youtube.com/ watch?v=cGtraVb_0vY

PROJECTS

cranbrook educational community

OTHER

physicality

site visit, april 10

fig. A - Joiner of the Kingswood Girls dormitories

fig. A - Joiner of the Kingswood Girls Middle School

criticality

Derrick Freske / ARCH 1223 - Visual Communications 2 - Wetzel / Lawrence Technological University / spring semester 2014

p. 14

SEEING : CRANBROOK SITE PLAN

tooling

METADATA TOOLS USED DIGITAL rhino illustrator

REFERENCES PROJECTS

cranbrook educational community

OTHER

site visit, april 10 provided base map of Cranbrook

SITE PLAN In this area of the site, there is a clear division between the buildings and nature of Cranbrook. I choose this site for this aspect to show how the topography, bodies of water, and forestation increases the privacy of the buildings. Nature acts as a natural privacy shield in this case. From the site plan, it is hard to visualize the vastness of the bountiful nature. During the site visit, it became clear that the structures are indeed surrounding by large forests, winding streams, and hilly landscapes.

The drawing’s beginning stages began in Rhino. After selecting a site, I cropped this area and began working with it in Adobe Illustrator. In Illustrator, I put emphasis on the buildings by adjusting the line weights. The other lines were then of smaller, various line weights so it wouldn’t take away from the main concept of the drawing.

Overall, the site plan was very influential on the context of my idea. Before visiting the site, the base map was all I had as a visual. As it relates to the eidetic image, the site played a key role. The clear division between the natural and man made aspects supported my idea that nature played as a natural screening mechanism.

methodology

seeing

eideticism

physicality

criticality

Derrick Freske / ARCH 1223 - Visual Communications 2 - Wetzel / Lawrence Technological University / spring semester 2014

p. 15

SEEING : CRANBROOK SITE SECTION

tooling

METADATA TOOLS USED DIGITAL rhino illustrator

REFERENCES PROJECTS

cranbrook educational community

WEBSITES

constructing a topographic profile “http://serc.carleton.edu/ mathyouneed/slope/ topoprofile.html” OTHER site visit, april 10

SITE SECTION Like the site plan, the site section played a key role in my understanding of Cranbrook. From the site section I got a basic understanding of how the topography was on the site. As it relates to my topic of natural screening, it supported the idea that the topography played a key role in Cranbrook’s privacy.

As for the production of the drawing, it began after the site plan was finished. In Rhino i chose where I wanted to cut into the site. It was mandatory to have a kink in the cut, so I cut in a way so the section would go through a body of water. Doing this allowed for a large drop in topography. After the cut was selected, I drew a line perpendicular to the cut every time the cut crossed a topographic line. Once all the lines were drawn, I used the numbers on the topographic lines for reference when creating the final section cut. The final product can be seen at the bottom of the image on the left.

methodology

seeing

eideticism

physicality

criticality

Derrick Freske / ARCH 1223 - Visual Communications 2 - Wetzel / Lawrence Technological University / spring semester 2014

p. 16

SEEING : JOINER

tooling

METADATA TOOLS USED ANALOG DSLR camera

DIGITAL photoshop

REFERENCES READINGS

david hockney “10 points on joiners”

WEBSITES joiner polaroid collages “http://www.shootingfilm. net/2013/01/joiners-polaroidcollages-by-david.html” david hockney “http://www.hockneypictures. com/photos/photos_ collages_06.php”

VIDEOS

david hockney joiners “https://www.youtube.com/ watch?v=cGtraVb_0vY”

SITE JOINER David Hockney is an English painter, draughtsman, printmaker, stage designer, and photographer. In his opinion, photography was not the best medium to work in. He, however, wanted to change this because he was not satisfied with traditional photographs.

Unlike drawings and paintings, photographs didn’t have a sense of life to them because they lacked time.

Instead, there was only a fraction of a second frozen in time which is nowhere near enough time to show a fully developed story. To expand the time length of the scene, Hockney builds up the scene through a series of photographs that he combines together to form one large picture. Through this technique, he has the power to add more detail and forget some detail. For example, movement is very important in his photos. To show this, he would emphasis the person’s movement by layering different shots of the same motion on top of one another. Hockney calls this end product a joiner.

In the 1980’s, only film cameras were available. Film is typically for candid shots, portraits, and landscapes— nothing too exciting. Without the technology and software we have today, photos were difficult to manipulate in order to tell a story. It was simply just a twodimensional photograph that, in the art world, was irrelevant to everyone else. Today, many artists can tell stories through conceptual photographs they have created. To make do of what he had, Hockney allowed for more space and time in his images by creating these joiners.

Working in this way allowed me to expand upon a single image and start to tell as story. When I began piecing together my images, it transformed from one single image with little context into a series of images that tell a story. It was very eye opening and I hope to work like this again.

methodology

seeing

eideticism

physicality

criticality

Derrick Freske / ARCH 1223 - Visual Communications 2 - Wetzel / Lawrence Technological University / spring semester 2014

p. 17

EIDETICISM : THE EIDETIC IMAGE

tooling

METADATA TOOLS USED ANALOG

pencil vellum yarn thread leaves cardstock trace paper paint samples

DIGITAL

rhino photoshop illustrator

REFERENCES READINGS

james corner “eidetic operations” mcluhan “the medium is the massage” kulper “Drawing architecture”

ARCHITECTS james corner

THE EIDETIC IMAGE The eidetic can be defined as a normal subjective visual image experienced with noticeable vividness whether evoked by an actual external object or not. The eidetic image is not dependent on any prior experience, condition, state, or event. The eidetic image is “seen” within the mind or literally seen externally. In seeing an eidetic image, definite somatic events as well as a feeling of meaning are also present. In a sense, the eidetic image is a collage of relevant ideas that begin to tell a story.

The process was both digitally and physically. Every individual piece of the image was separately produced.

As for the digital portion of the eidetic image, the site plan, site section, and tree graphic were printed on vellum. After the image was printed, the physical aspect of the production began. There are many different images and ways of visually communicating that went into this final image. A few photos were constructed digitally and then printed so that they could be taped on. In the upper right hand corner I have one of my joiners and an image I created that shows something man made merging with nature. The red yarn shows the section cut line while the green thread shows the division between nature and manmade buildings. The last part of the image that is taped to the front are leaves gathered from Cranbrook. Adding aspects of the site only helped emphasize my overall idea of natural screening. On the back of the image, paint swatches and sketches can be found. The colors chosen were relevant to the site and strategically placed so they made sense as in relation to the content.

When first looking at an eidetic image you are most likely confused by what is going on (since there is so much going on). The role of ambiguity and clarity as a way to communicate is prevalent in this type of image. Once you dig deeper and deeper into the image, everything starts to become clearer. The relationship becomes clearer, the idea becomes clearer, and the sole purpose becomes clearer.

This was probably the most fun and stressful images to produce in the class. I learned how to compose an eidetic image in order to tell a story. In future projects, this may be a useful way to explore and communicate ideas. It is a tactical way to mass a load of information in one image by maintaining ambiguity and clarity.

Derrick Freske / ARCH 1223 - Visual Communications 2 - Wetzel / Lawrence Technological University / spring semester 2014

methodology

seeing

eideticism

physicality

criticality

p. 18

PHYSICALITY : PROUN

tooling

METADATA TOOLS USED ANALOG cardboard xacto knife tacky glue

REFERENCES WEBSITES

ed lissitzky “http://en.wikipedia.org/wiki/ El_Lissitzky”

PROJECTS

cranbook educational community

PROUN A proun is essentially Lissitzky’s exploration of the visual language of suprematism with spatial elements.

During this process he made sure that he was effectively utilizing shifting axes and multiple perspectives Using only one material allowed us to think of new ways to manipulate the material in order to produce a compelling image. Our material that we were told to use was cardboard. Utilizing the corrugation and the natural layering aspects of cardboard, we were able to create unique images.

When I first experienced the greatness that is Cranbrook, it felt like I was entering a whole new world.

In the heart of Bloomfield Hills is the site tucked away in nature. Winding roads eventually lead you deeper and deeper into Cranbrook which leads you deeper and deeper into nature. What interested me about Cranbrook was how nature acted as a privacy shield.

The whole site is surrounded by vast forests, hilly topography, and winding streams and lakes. As you get further into Cranbrook and away from public roads, the density of natural screening intensifies (I conveyed this idea in a couple of corresponding diagrams). These natural forms of privacy is what I explored in my project.

The proun consists of four sides all expressing different ideas of natural privacy. In the center of the model is a mass of “buildings” that represents Cranbrook.

These “buildings are then surrounded by four unique sides to portray the different forms of privacy present at Cranbrook. The sides are, respectively, man-made screening, bodies of water, topography, and forestation.

Different techniques of cardboard cutting were used to complete each side.

To represent man-made screening I utilized the corrugation of the cardboard by layering it on top of one another until it made a transparent screen. The trees, then, were made out of evenly spaced slices of cardboard that balanced upward. For the water, I ripped off only one layer of cardboard and curled it to give it a wispy, yet watery, effect. Lastly, the topography was made out of a planar piece of Cardboard that was cut in a way to have a slope.

Derrick Freske / ARCH 1223 - Visual Communications 2 - Wetzel / Lawrence Technological University / spring semester 2014

methodology

seeing

eideticism

physicality

criticality

p. 19

PHYSICALITY : CONSTRUCT

tooling

METADATA TOOLS USED ANALOG cardboard xacto knife tacky glue sticks cardstock

REFERENCES IMAGES

construct images in the dropbox

ARCHITECTS joseph cornell

CONSTRUCT A construct is to build or assemble something by putting together separate parts in an ordered way. This type of diagram is useful since we are able to incorporate many mediums and techniques into one finished product.

For my construct, I was exploring the different forms of privacy screenings at Cranbrook. The construct is composed of four different layers to express this idea. The first layer is representing a body of water surrounding the Cranbrook. The second layer is composed of sticks gathered from Cranbrook to represent the forestation that surrounds the site. On the top layer, manmade screening and topography is shown. At the end of the day, Cranbrook is at the top and is shielded by these different forms of privacy.

This shows how protected it is since it is literally within nature.

methodology

seeing

The materials I chose to work with in my construct were cardboard, sticks, and cardstock. Breaking away from only using cardboard allowed me to add color and natural aspects to the finished product. eideticism

physicality

criticality

Derrick Freske / ARCH 1223 - Visual Communications 2 - Wetzel / Lawrence Technological University / spring semester 2014

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PHYSICALITY : CONSTRUCT + CORNELL BOX

tooling

METADATA TOOLS USED ANALOG cardboard sticks tacky glue cardstock xacto knife

+ CORNELL BOX For our Cornell box, we were asked to include objects we found on our site visit in the construct. Cornell made boxes about things we cannot see: ideas, memories, fantasies, and dreams. He wanted these memories to live on forever. By putting relevant objects together in a box it begins to tell a story.

REFERENCES ARCHITECTS

methodology

I gathered many objects during my site visit, but only one was relevant to my construct. On the construct I placed sticks gathered from Cranbrook on one of the layers. I wanted to portray the idea that Cranbrook is mostly nature.

Joseph Cornell

Other items I found during the site visit that weren’t included in the construct/Cornell box were a pair of broken glasses and some pine cones. The pair of broken glasses was on a path near the Kingswood Girls Middle School. It started to make me think of how or why these glasses were there. You begin to think of different scenarios to this. This thought process is exactly what a Cornell box aimed to achieve.

The Cornell box allowed me to get a better feel of the site. Bringing objects home after the visit keeps the memories alive and spark new ideas. Gathering sticks made the idea for my construct come alive.

seeing

eideticism

On the left, Figure A shows a closeup of the water layer, while Figure B shows a closeup of the forest layer of the construct.

physicality

fig. A - Closeup of water layer

fig. B - Closeup of forest layer

criticality

Derrick Freske / ARCH 1223 - Visual Communications 2 - Wetzel / Lawrence Technological University / spring semester 2014

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CRITICALITY : NEW TRAJECTORIES

tooling

METADATA TOOLS USED ANALOG

bristol board glue

REFERENCES READINGS

van berkel + trummer “between ideogram and image-diagram” clark + pause “precedents in architecture” OMA “diagramming the contemporary” gausa “diagrams as a battle map”

PROJECTS

cranbrook educational community

OTHER site visit, april 10

COURSE CONCLUSIONS Visual Communications 2 was probably my most eye opening course I have had so far at Lawrence Tech. I’ve learned many physical and digital ways of producing. On top of that, I was able to twist my mindset into thinking differently and learn more about my own personal thought process. It made me think and do projects out of my comfort zone and challenged me to do my best work. When doing projects in the future, this is the one class I will mostly refer back to.

The macro-strategies include critical and creative thinking as well as problem solving, decision making, and information processing. The micro-strategies are used to process information within the macrostrategies. Meta thinking taking an abstraction from another concept, and use this idea to come up with a new concept. These ways of thinking were encouraged throughout the semester. In a way, this class brainwashed me into always thinking this way when working on projects now and in the future. There will always be that one big idea and then I will have to pick away at it until I aim towards a clearer concept.

This strategy is also useful because it leads to meta thinking. In this stage, new ideas begin to flourish from experimentation. All three forms of thinking will benefit me greatly in the future as I begin to tackle more complex situations.

When diagramming in this class, we were always ask to produce high resolution images as well as a series of low resolution images. We started off with low resolution images. These were just basic ideas that we just extract from our head. As a whole, these low res diagrams begin to generate new and more complex ideas that eventually form a series of high res diagrams. Working in low resolution is critical in the beginning of any project.

It is important to not necessarily dive right in to the final product because it takes many tests in order to get to it. The high resolution diagrams should be some of the final images that are contrived from the low resolution diagrams.

methodology

seeing

eideticism

physicality

criticality

Derrick Freske / ARCH 1223 - Visual Communications 2 - Wetzel / Lawrence Technological University / spring semester 2014

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CRITICALITY : NEW TRAJECTORIES

tooling

METADATA TOOLS USED ANALOG

pencil vellum yarn thread leaves cardstock trace paper paint samples

DIGITAL

rhino photoshop illustrator

REFERENCES READINGS

james corner “eidetic operations”

COURSE CONCLUSIONS What I can take away the most from this course is my refined visual communication skills. I now have a better understanding of how I work and what is needed to produce an effective image. Words are not always necessary when communicating. In some instances, visuals do a better job at communicating. Visual images also are more memorable making the impact more effective. As I continue with my college career, I will always look back at this course and reflect on the projects I completed. My future projects, thanks to this course, will be more clear and concise as a form of visual communications. I’d even like to think that our instructor pushed us enough to make us soar past our fellow peers. In all, the course was very effective and it will continue to leave an impact at me for the rest of my career.

methodology

seeing

mcluhan “the medium is the massage” kulper “Drawing architecture”

eideticism

ARCHITECTS james corner

physicality

criticality

Derrick Freske / ARCH 1223 - Visual Communications 2 - Wetzel / Lawrence Technological University / spring semester 2014