F o D R
oundations
f
esign
epresentation
PORTfolio Zhuohui (Joyce) Huang 870604 Studio 8 - Camilo Cruz
1
CONTENT
M1 - How to draw a croissant?
P4
M2 - Flatness vs. Projection
P10
M3 - Pattern vs. Surface
P16
M4 - Frame vs. Field
P24
Reflection
P33
MEASURED DRAWING OF A CROISSANT How to measure a Croissant? In this exercise, I set up a home photo stage with white paper and shoot with iPhone camera. To achieve the best outcome, I adjust lens correction to eliminate its distortion and foreshortening. However, as the camera cannot be placed perfectly horizontal or vertical in alignment with the object, inconsistency is still inevitable. An optical camera would give a much better result. In terms of sketching, I break down the appearance of croissant into texture and light and shade. First outline the obvious texture pattern with very fine pencil line sketching, then define critical shadow line with hatching using a soft pencil. After that, carefully draw out the rest in small parts with shading using the appropriate type of pencil and hand pressure. I think paying attention to the light and shade caused by overall form and structure is very important, I did an extra layer of shadow to enhance the volume of the croissant.
4
Plain Croissant 19:36
05/03/2018
Botica Cafe@Emporium
5
Original scan and photography The pictures set up in an orthogonal drawing layout helps the audience to visualise the form and shape of the croissant via a planar media. The scans of cross-sections reveal the internal organic structure of the target.
6
7
Cross-section drawing Exact measurements were taken manually to produce an axonometric drawing. In this process, I gained a greater understanding of the transformation between planar and spatial communications, at the same time familiarise myself with the non-human-eyes perspective.
8
Axonometric drawing
9
NEW MARIO WORLD The making of new Mario world. This sections of Mario world provided portrays a natural earthy prairie site with accumulated clouds covering nearly half of the page. In order to reveal the hidden space under the sky, I converted the clouds into illuminating ribbons, with the shapes of natural streamline to mimic the appearance of clouds. I gained my inspiration from my childhood toy --- Perplexus Original. It is an excellent example of agravic architecture complex, in which by changing the viewing angles, all the constructs seamlessly connect together although they are placed in a physically impossible way. Many fragments of the columns are put in an explosion way to reveal the channel to other columns. I deliberately shaded the middle region and mini staircase extra dark to increase its depth in space, also it implies an undiscovered tunnel to the other end of the world.
10
World: 8 - 18 Mario elevations
11
CIVARGA Line Sketch
12
AGRAVIC Colored illustration
13
I started off with converting the 2D section drawings to a 2D site plan, this enables me to carefully design the composition of each column, and to ensure the coherence of the space.
I used two grid rulers instead of T-square. They are handy to measure out the dimension while drawing parallel lines.
14
My first draft depicts a Mario World which is on the edge of collapse. I was unsatisfied with it because its focus was on the character but not the architecture
I used a compass to carefully draft out the hills and manipulate the arrangement based on the spatial relationship.
From sketch to structure
15
PAPER LANDSCAPE The making of new landscape This was the most challenging task in this subject. I could hardly managed to accomplish it in a very short timeframe. In here I would like to show my respect to the paper artist Matt Shlian who inspires me all the way along in my architecture study. Inspired by his idea of folding geometry to create a biomimetic model where you consider every module as a growing dynamic cell. I wished to use the paper model as a mean to represent some natural discipline as well. I​n this model, I tried to visualise the fundamental physics element -- field -- with paper. Just like electric field, magnetic field and gravitational field, this particular field is also invisible but essential to our daily life. It is so complex that it is unable to simplify it down to a function, so a directional field is the best way to represent them. I also inverted the middle part of the model to symbolise singularity point in a field where particles behave oddly under external distortion.
16
Terrain Part of Tasmania landscape
17
18
Model with a cyan lighting
19
20
Top view The topography of the panalised landscape follows the natural terrain flow. I am trying to visualise the invisible field in here. Just like a tornado, natural phenomenas are complex to summarise into a mathematical function. So scientists use directional field to represent them. In addition, I deliberatedly inverted the middle four modules to represent the singularity point in a field at the same time adding undulation to vertical height.
21
Stage 1
Stage 2
Stage 3
I used a curve attractor to change all the direction of the pyramids to represent the swirl. It turned out like the balmy summer wind breezed over the verdant meadows
I modified the previous model to make it more dynamic by rotating the second panelling grid, This applies an overall shearing transformation to every pyramid. This idea reminded me of the looping magnetic field in physics. I wanted to use this idea as my driving base to further develop my design.
This panelling grid shows the glass breaking moment of the middle cube, I wanted to capture the flow of surrounding airstream through the medium of paper. However, this idea was not recognised by my tutor as it is highly symmetrical.
22
Final design I used a swirling curve attractor to offset my points and rotated it by a small amount. Then I subdivided the 59.4 by 59.4 spans into two pyramids and let them pointing in opposite direction as if they are two mutually inclusive parts of the same field, explaining physics terms, the positive and negative, each corresponding to attraction and repulsion. When I did the panelling on the terrain, I used the same curve again but as a vector attractor with direction, it again gave an extra dimension to the model.
23
INVISIBLE CITY Hidden Cities 5 They say Italo Calvino never describes a pictorial city to the readers, instead, he constructed a field inviting the readers to fill in gaps between lines of literature with their imagination based on their personal experiences. In this city, I have seen the refelctions from both current and ancient world, from western to the oriental world. I wish there is an idea of liquidus time and space in my world, allowing the different spacetimes to coexist. My world is designed to be an epitome of thousands of worlds within a three dimensioanl grid. As the constructive grid goes infinitely, people in the world would never know which party (just/unjust) is dominating and neither does the audience would know. The only certain thing is the evidence of their existence, is it just, unjust or totally vanished after the fierce fight?
24
“But what I wanted to warn you about is something else: all the future Berenices are already present in this instant. wrapped one within the other, confined, crammed and inextricable.” “This seed ferments in bitterness, rivalry, resentment; and the natural desire of revenge on the: unjust is colored by a yearning to be in their place and to act as they do.”
Hidden Cities 5 Invisible Cities by Italo Calvino
25
Quad Perspective 1 Symmetry is always regarded as a symbol of perfection in classical art painting. Here, I used symmetry to indicate that this is a seemingly just world. Windows are remained unseen in this perspective, and so does the tunnel to another world. By only leaving the presence of window frame, the idea of “hidden cities“ is conveyed. The lighting is sourced from a distant vanishing point, drawing the audience attention to the depth of field. In this perspective, human activity becomes subordinated to the construct of architecture.
26
Perspective Scene 1
27
Quad Perspective 2 In this scene, all the windows are fully observable allowing to showcase more characters’ interactions as well as part of the world behind. I kept the symmetry from perspective 1 to make a connection of two scene. The lightings remain unchanged because I really like its dramatic effect, but the overall brightness will be adjusted in later stages to render different tensions. This is not a conventional composition. I tried to simulate a dynamic scene as seen by a mobile viewer.
28
Perspective Scene 2
29
Zhuohui (Joyce) Huang, 870604
Symbols Symbols Transition of
Space / Thresholds LookingSymbols Symbols
Movement
Viewing, Facing & Movement
Transition of
Viewing, Facing &
Space / Thresholds Looking Key Movement Transition of Viewing, Facing & Space / Thresholds Looking Symbols SymbolsFacing Transition of Viewing, & Movement Stare
Stare
Movement Use spacing and size to describe the movement speed, direction etc.
Movement
Symbols Symbols Symbols
/ Thresholds LookingViewing, FacingSpace Transition of & Stare Glance
Glance
Use spacing and size to describe the movement speed, direction etc.
Movement
Use curves to descripe thresholds.
as interior/exterior. Use curves Use toSuch descripe thresholds. the Illustrator template to Such as interior/exterior. select correct line style.
Use the Illustrator template to Transition Viewing, Facing & Space / Thresholds Looking of Glance select correct linetostyle. Use curves descripe thresholds. Space / Thresholds Looking Use spacing and size to describe Such as interior/exterior. Stare the movement speed, direction Use the Illustrator template to select correct line style. Mood or Feeling Lightetc./ Dark Passage of Time
Viewing Stare
Stare
Light / Dark
Movement Transition Facing && Movement Viewing, Transition ofof Facing Movement Light Transition of of Viewing, Facing & Space or Feeling /Viewing, Dark Mood or Feeling Light / Dark Glance Passage of Mood Time Passage Time Space Looking / Thresholds Thresholds Looking Use curves to descripe thresholds. Space / Thresholds Use spacing and sizeLooking to describe Such as interior/exterior. Glance
Use spacing and size to describe the movement speed, direction Glance etc.
Use spacing and size to describe the movement speed, direction etc. Stare Stare
the movement speed, direction etc. Stare
Glance
Use spacing and size to describe the movement speed, direction
etc. Use spacing and size to describe the movement speed, direction Use spacing and size to describe etc. the movement speed, direction etc.
Light / Dark Glance
Glance
Light / Dark
Use a curve and an offset curve
Light / Dark Passage of Time to descripe light and darkness. Use the Illustrator template to select correct lineandstyle. Use a curve an offset curve
Light / Dark Light / Dark
Passage of Time Passage of Time to descripe light and darkness. Use the Illustrator template to select correct line style.
Use a curve and an offset curve to descripe light and darkness. Use the Illustrator template to select correct line style.
0
1m
2.5m
Use curves to descripe a time jump/leap. Or a passage of time. Use the Illustrator template to select correct line style.
Crowds / People Use curves to descripe a time jump/leap. Or a passage of time. Use curves to descripe a time jump/leap. Use the Illustrator template to Or a passage of time. select correct line style. Use the Illustrator template to select correct line style.
Use a curve and an offset curve to descripe light and darkness. Use a curve and an offset curve Use the Illustrator template to to descripe light and darkness. select correct line style. Use the Illustrator template to select correct line style.
Use a curve and an/offset curve Crowds People to descripe light and darkness.
5m
CrowdsUse / People the Illustrator Camera template to Position select correct line style.
Perspective 1
Crowds / People Crowds / People
Camera Position Camera Position Perspective 2
Perspective 1 Perspective 1
Crowds / People Perspective 2
Perspective 2
Final Isometric Drawing I duplicated and rotated the old-quad to indicate the grid-like structure in this infinite world. They are all highly intertextured and each cell (oldquad) represents a subspace of the just / unjust world. All the movement and timeline are parallel to highlight the rigid and systematic ruling way of this world. Although the whole world spans infinitely in three dimensions, each cell (old-quad) is confined in its own thresholds as a loop.
30
Use curves to descripe thresholds. Such as interior/exterior. Use the Illustrator template to select correct line style.
Use curves to descripe thresholds. Such as interior/exterior. Use the Illustrator template to selecttocorrect linea style. Use curves descripe time jump/leap. Or a passage of time. Use the Illustrator template to select correct line style.
Use a curve and an offset curve to descripe light and darkness.
Use the Illustrator template to select correct line style.
ThresholdsMood or Feeling
Use the Illustrator template to select correct line style. Light / Dark
Passage of Time
Light
Heavy
Mood or Feeling Use curves to descripe a time jump/leap.
Passage of Time Use curves to descripe thresholds. Such as interior/exterior. Use Illustrator template to Use curves to descripe thresholds. Use athecurve and offset curve select correct linean style.
Or a passage of time. Use the Illustrator template to select correct line style.
Such as interior/exterior. descripe light and darkness. Useto curves to descripe thresholds. Use the Illustrator template to to Use template Suchthe as Illustrator interior/exterior. select correct line style. select correct line style. Use the Illustrator template to select correct line style.
Student Created Light Heavy
Crowds / People Camera Position Time Mood orSymbol Feeling Passage Mood or Feeling of Time Use curves to descripe a time Usejump/leap. curves to descripe a time jump/leap. passage of time. Or a passage of time. UseOrthea Illustrator template to select correct line style. Use the Illustrator template to Perspective 1 select correct line style. Use curves to descripe a time jump/leap. Use a curve and an offset curve to descripe light and darkness. Use the Illustrator template to select correct line style.
Mood or Feeling Mood or Feeling Or a passage of time. Use the Illustrator template to select correct line style.
Crowds / People Crowds / People Light
Heavy
Light
Light
Heavy
Heavy
Student Created
Camera Position Mood Symbol Student Created Camera Position Light
Heavy
Perspective 2
Perspective 1
Symbol
Student Created Camera Position Student Use curves to descripe a time jump/leap. SymbolPerspective Camera 2 Or a passage ofPosition time.
Crowds
Created Symbol
Perspective 1
Light Heavy Student Created Light Heavy Use the Illustrator template to Perspective 1 Symbol select correct line style.
Perspective 2
Camera
Light
Heavy
Student Created Perspective 1 Student Created Symbol Symbol Perspective 2
Trend Student Created Camera Position Symbol Perspective 2
Perspective 1
Perspective 2
Designer’s explanation In perpective 1, the background image is symmetrical in a horizontal plane. The repetition of columns elements is designed to lead the audience to image infinite old-quad behind this scene. All the light beams are emitted from the centre of the scene, again accentuating the symmetry. The traffic is hinted by the presence of old style elevator and train, this also explains how Macro Polo views the world. I included a scene from Phryne before the Areopagus in the middle of the field -- Phryne the defendant has to reveal her body to be acquitted of a charge. This reflects the flaws in the ancient law systems just as the world has absolute polarity of just and unjust side. A minor character from the “unjust“ world in the left corner connects two scenes together. In this world, there is no notion of time. A woman dressed in a more contemporary style is about to get on board of the train indicating that she is a spacetime traveller from a distant cell. A serpent is placed in the front ground as a symbol of lust. In perpective 2, most of the characters are from the theme of Divine Comedy. I really like the figures in this collection of painting as they depict the most fundamental human nature -- beastliness. All humans are naked because they returned to the brute state of barbarism. Just and unjust parties battle bloodily to win the autonomy of this world. I centred my characters around windows to produce a tight composition and to show the high relevance of the present world and neighbour worlds. Then I filled the space with fire to show the fierce contest, also it can be interpreted as hell-fire. By glancing into the window, piles of dead bodies and body parts are shown in the shade, this is a sarcasm device to express that all will reach the same end despite their virtue or clanger. A man is leaning on the window on the wall as there is an emerging war as well.
31
32
REFLECTION In FoDR, I explored the key design element through a series of tasks, namely they are flatness and projection, pattern and surface, frame and field. In this sequence, I learnt the process of producing a complete architecture model from 2D thinking to 3D modelling, or even extend the representation with respect to time flow. The transformation from one media to one another is critical, as designers, we have to ensure the consistent information is conveyed to the audience via various communication format. Craftmanship is another crucial quality for designers, especially in model making. Every detail is worth paying attention to, as any minor flaw would be magnified and becomes the most visually dominant. Throughout the four modules, I have challenged my design skill as well as design thinking. The readings and lectures provide me with many new concepts such as developable surface, Cavalier projection and gaseous perception. All these theoretical studies built a solid framework that I can apply my design on, with the fabric of a consistent logic, my design work then can blossom lively in this field. I designed a geometry to symbolise this process (figure on the right). Originated from a grid, this geometry is then fluidly reshaped into its original forms in different sizes, meaning the design itself can be developed further as long as the rules are clear. I believe each of my work could have been further developed, such as the vague threshold between the central platform and the edge in module 2; the technical issue of joint with a significantly increased number of component in module 3 and the not holistic lighting on each character in module 3. I have given my best effort to make improvements on these problems in the given timeframe. I believe the reasons for these imperfections are not just behind the manual work but also in the design workflow and thinking. In the future, I would plan and visualise the process before executing, in this way I could spot the potential source of flaws in advance at the same time optimise the productivity.
The Cube Complex. Designed by Zhuohui (Joyce) Huang
33