ARC1301 DRAWING D BIACSI by kbia0001

E S C A L A T E

CONTENTS

B: Three dimensional representation

4 16

C: documenting temporality

C: revised work

D: drawing book Bibliography

40 44 45

A: COLLAGE

colophon

â&#x20AC;&#x153;For me, collages manage to - it satisfies all of my madness ... I dont know what they mean to other people, but in my mind, they have a strong particular resonance; theres sort of a powerâ&#x20AC;? - Wangechi Mutu

collage

Laszlo Moholy-Nagy, Light Play- Black White Grey 1930

Task A1: Photoshop tutorial Photoshop tutorial series exploring masking, altering colours and exposures. Exploring preliminary skills that will be developed further throughout the semester.

Hannah Hoch - Dada Artist https://www.moma.org/artists/2675#works ● ● ● ● ● ● ●

Collage - appropriating and recombining media to critique pop culture and gender norms Dada- male dominated group of artists who satirised german society post ww1 Pioneered the photomontage movement Denied professional recognition from male peers Used magazines, journals, illustrations, fashion publications to create collage Famous for critique of “new woman” stereotype Continued social criticism after the dada group disbanded, even though she was banned from exhibiting work during nazi regime

Artist: Hannah Hoch Title: Indian Dancer Year: 1930 Combined images of cameroonian mask and face of silent film actress and kitchen implements: traditional african mask, iconic female celeb and reference to domesticity = symbollic feminist references

Artist: Hannah Hoch Title: Untitled Year: 1945 Cut and paste paper, printed and watercolour, layered

Task A2: precedent research Initial research into Hannah Hoch and her work pioneering collages, particularly within the brief but influential Dada movement.

Artist: Hannah Hoch Title: Collage 2 Year: 1925 Cut and paste paper, printed and painted, layered

initial Collage iterations

Experimental Jetset. 2011. Statement and Counter Statement. Graphic Poster. Walk Art Centre.

Constantino Nivola. Interiors v.100 n.7 Feb 1941, 30.

James Lambeth. Architectural Record. Dec 1972, 103

Precedents

Researching precedents of collage, some with limited pallettes and more architectural, some more abstract and bold.

Moriana // Intial Collage Exploration

Exploring the duality of Moriana (Invisible Cities: Italo Calvino) with darker, matte textures and greyscale pallette for the â&#x20AC;&#x153;rustyâ&#x20AC;? face of Moriana, with marbled, metallic and organic forms to imply the prosperous face of Moriana.

Moriana A2 // Final Collage Series

octavia

Final collage to represent the Italo Calvinos: Invisible Cities ‘Moriana’. Keeping a consistent colour theme throughout the series, annotated with information on each design decision.

A2 // Final Collage Series

Final collage to represent the Italo Calvinos: Invisible Cities ‘Octavia. Keeping a consistent colour theme throughout the Octavia series, annotated with information on each design decision.

Moriana

I chose to focus primarily on the beauty of Moriana’s initial face, to allow for a sense of foreboding and danger (communicated through Medusa’s transparent face) to lie just underneath the surface of light, feminine and delicate imagery. This is the atmosphere that I resonated with upon first reading Calvino’s description of Moriana.

I have elected to use a variety of organic shapes with different textures, made by-hand. I have chosen these soft, organic forms to emulate the imagery of the beautiful face of Moriana, echoing the sense of “sunlight”, with materials chosen to reflect the “glass”, “silvery scales”, “alabaster” and “coral columns” described in Calvino’s text. As such, a lighter colour scheme felt appropriate, including marble textures (and using them to connote the wealth, affluence and beauty associated with the antiquity, where white marble was extremely popular) and semi-transparent tracing paper (to explore a sense of lightness, and sunlight and the way in which light can be manipulated through glass and other transparent materials). The focal form in the centre has been crafted from textured aluminium foil, to again explore the way in which light is represented within Calvino’s writing, as I believe it is the sparkling, ever moving, refraction of light and sunlight that is most engaging about the way the beautiful face of Moriana is described. This sense of movement and light is represented in the multi-faced crushed metallic foil texture, kept in an organic form to ensure there is a sense of softness and playfullness.

Digital Imagery: an image of marble Medusa Rondanini, edited and overlayed through photoshop. I have included this image to draw on the imagery found throughout Italo Calvino’s text written on Moriana and the pervasive sense of duality; “[the city] consists only of a face and an obverse...woth a figure on either side, which can neither be seperated nor look at each other”. Calvino discusses the duality of Moriana much like two sides of the same coin; little to no substance between them, not one without the other, but unable to see one another. The Medusa Rondanini, and the legend of Medusa in general, elevates this sense of disconnect between two ‘faces’ of the same reality, with the statues eyes resting blank and unseeing. This of course relates to the Greek legend of Medusa and her ability to turn threatening men to stone; rendering them empty and disconnected from reality, much as the extravagent face of Moriana is disconnected from it’s own destitute flip-side.

I chose to use flowers throughout all three pieces of this series of collages, to communicate a myriad of ideas. Here, I have used them to communicate the sense of natural, blossoming beauty of one side of Moriana.

This asymmetrically balanced composition is designed to explore the initial impression left by Moriana; the playful, soft, feminine and affluent face of a beautiful city. The darker, crueller, blank eyed, staring, and destitute flip-side of the city is simply alluded to through the digital addition of Medusa Rondonini, manipulated to be partially obscured and transparent to hint at a darker reality for Moriana. Medusa, referenced within Calvino’s text, alludes to the beautiful yet terrible nature of the Ancient Grecian totem. An exceptionally gorgeous woman who turns any man who looks her in the eye to stone, rendering them empty and souless; this tale works as a significant metaphor for the city of Moriana. A beautiful, intoxicating city of glittering sunlight that has a deadly, empty and cruel obverse reality.

Imagery of medusa and curveliniarity is seen throughout the text, to describe the wealthy and bountiful dimension of Moriana; “serpentine”, “dancing girls”, “silvery scales”, “medusa shaped chandeliers”. This imagery prompted me to choose to show this shadow of the blind-staring Medusa Rondanini, kept semi-transparent allude to the darker ‘face’ of the city. Just as Medusa is thought to be the dark force hidden behind a mass of writhing, curling, glittering snakes; so too is the ‘dark’ side of the Moriana simply a stony face hidden behind a mass of glittering “serpentine” imagery of wealth.

Moriana

I chose to focus primarily on the tension between the “chasm” and the fragility of the city, Octavia. This sense of something being ‘poised’ and at the point of falling, or tipping is an atmosphere felt throughout Calvino’s text. This sense is heigtened by a sense of precariousness and suspension that I have attempted to replicate visually here.

The collage’s use of foil texture and marble texture aim to simulatenously tie in with the series of collage responses as a whole, while blocking out parts of the image to create a sense of a “chasm”. This is intended to contrast the vast use of white space, with the heavier blocking of the textured shapes to create contrast and therefore a sense of claustrphobia, as the shapes seem to ‘loom’ and are composed in such a dynamic way to suggest movement, as if the two shapes are moving closer to crush the subject and create a sense of urgency for the viewer. I chose to use flowers throughout all three pieces of this series of collages, to communicate a myriad of ideas. Here, I have used them to communicate the sense of fragility, preciousness and ‘life’; representing to the viewer a sense of something of value and that needs protection, being ‘at stake’. This mirrors the sense of life that is at stake within Calvino’s Octavia text.

Digital Imagery: an image lifted from NIK Schulte’s photography for the Ignant.com article on Tomas Saraceno’s project; Algo-r(h)i(y)thms. This image has been manipulated in photoshop to isolate one of the string like threads, and lift the opacity to create a sense of shadow. This ‘thread’ motif is apparent throughout Calvino’s Octavia text, discribing Octavia as “the spider-web city”, with “ropes and chains and catwalks”, “hempen strands”, likening the city itself to “a net which serves as passage and support”. This motif is echoed in the digital image, with threads and knots leading to a focal point. The focal point (the dried flowers) are otherwise suspended in space, much like the city is “hung below”, with the thread image creating a sense of delicate suspension in an otherwise empty “void”.

This ‘thread’ motif is echoed in inclusion of string, curled loosely around the focal point, without ever touching it and creating a sense that it is a nearby frail excuse for support that does not actually hold any substance. This fragility aims to replicate Calvino’s description of the unsupported frailty of the city of Octavia.

This narrative tension in Octavia, between the “void” and the ‘spider-web’ leaves the reader with a sense of aching space. The collage’s use of extensive white space aims to emulate this sense of not just a void but also a sense of danger; the threat of the fall. This sense of looming vastness replicated visually in the white space of the collage, is alluded to throughout the text; describing the city “on the precipice...over the void”,, where the threat of falling prompts inhabitants to “cling” and to be “careful” when navigating the threads of their city, for there is “nothing [below] for hundreds and hundreds of feet”.

Octavia

Armilla A2 // Final Collage Series Armilla

Final collage to represent the Italo Calvinos: Invisible Cities ‘Armilla. Keeping a consistent colour theme throughout the series, annotated with information on each design decision.

I chose to focus primarily on the sense of frivolity, joy and hyper-femininity, juxtaposed with an atmosphere of abandonment and the relationship between these two concepts, as explored in Armilla.

Digital Imagery: an image lifted from Frederic Forest’s nude linework (found on Ignant.com); manipulated through photoshop to be laid over a crumpled aluminium foil texture so that the texture comes through. The original artwork is shown below for reference. This introduction of Forest’s work with femininity and form, aims to echoe the sense of freeflowing, light ‘nymph’ and feminine imagery, evident throughout Calvino’s text; Armilla. There is a lot of imagery throughout the text that creates an atmosphere of magical, intoxicating, feminine frivolity and playfulness; “enchantment”, “whim”, “youn women”, “slender”, “maidens”. These young women are sexualised in typically domestic activity, particularly connoting carefree vanity through grooming practices; “luxuriating in bathtubs”, “arching their backs under the showers”, “perfuming themselves”, “singing [ in the morning]”, or “combing their long hair at the mirror”. This language inspires an atmosphere of carefree, leisurely joy for the reader. This inclusion of Forest’s nude intends to replicate that sense of fertility, pleasure, and cheerful delight; as these are often associated with art depictingnude feminine bodies stretched and curved out out in relaxation or ecstacy. I have included Forest’s work to intentionally manipulate and hijack our western, cultural reading of pose, the nudity and associated femininity, to communicate the atmosphere described by Calvino in the city of Armilla.

I have liberally employed the use white space to communicate the sense of “unfinished”-ness and “desertedness” that pervades throughout the atmosphere of the Calvino’s city; Armilla. Described as “unfinished”, or perhaps “demolished”; Calvino even suggests that perhaps the landscape was as result of some natural devastation. This sense of emptiness and uncertain “abaondonement”, is suggested in the use of white space throughout the collage. I chose to use flowers throughout all three pieces of this series of collages, to communicate a myriad of ideas. Here, I have used them to further communicate liveliness, spirit and femininity described throughout Calvino’s Armillatext.. I have chosen to include an arrangement of glittering, transparent and organic forms that seem to “spurt” from the surface below. I have selected to use organic forms and lines to create the feminine, playful atmosphere that pervades the text, and emulate the sense of “spurting”, “splashing” and “bursting from...fountains” that Calvino’s water imagery creates. These elements have been composed in a way that floats above a theoretical ‘surface’; helping to communicate the playful atmosphere Calvino describes with “the sponges suds” and the “jets of the taps”. These elements have been positioned in a way to communicate movement and energy, much like that described with the movement of water and light throughout the text. I have chosen to include crumpled foil texture in a variety of ways to help capture and visually represent the “glistening” of the water in the “sunlight” that Calvino describes, and the way light is represented in such an inconcrete and playful way; much like aluminium foil refracts light.

Armilla

â&#x20AC;&#x153;Different angles reveal different worldsâ&#x20AC;? - Bronnie Ware

three dimensional representation

Ok.Sipp. “Illustrarch.” Instagram, 2019.

Lindboe, Diana. “Et forløb ved Vadehavet.” KADK (blog), 2016

Macfarlane, Zean. “Replenish.” Zean Mair-Macfarlane (blog). Date unknown.

Precedents

Research into existing precedents applying digital collage techniques to architectural sections.

B1 // Orthographic Drawings

Othographic geometry exercises and tutorial; consequently reimagined as a three-dimensional space as a section.

Pholiota House B2 // Filtered Natural Light

Photographing Pholiota model house within a variety of lighting conditions and examine the way in which these affect the way the model reads.

First In Architecture. â&#x20AC;&#x153;Architectural Model Making Guideâ&#x20AC;?. First In Architecture (blog).

Pratt Arch-523B (Pratt Institute School of Architecture). Subsurface Exercise. Tumblr. October 2012.

Bandau, Joachim (Head Draft). Bunker IV. Tumblr. August 2010.

Precedents

Exploring photographs of architectural models in a variety of light conditions.

B2 // Fluroescent Artificial Light

Photographing Pholiota model house within a variety of lighting conditions and examine the way in which these affect the way the model reads.

B2 // Bright Natural Light

Photographing Pholiota model house within a variety of lighting conditions and examine the way in which these affect the way the model reads.

andan Hamta Andan is an abstract, 3D model-making kit designed specifically for the COVID-19 Melbourne lockdown environment. Marketed toward women aged between 25-35, most likely with young children and excessive time to fill during home-schooling/working from home and social distancing. Hamta Andan (swedish: “catch my breath”, “to breath”) has been designed as a mindfulness activity for customers to ‘catch their breath’ and use the assembly process as time to focus on a simple creative, tactile outlet amid all the pandemic chaos. Hamta Andan follows a minimalist, abstract design and lightweight packaging (convenient for low-cost shipping for online orders and postage, as is essential during the lockdown) with a ‘natural’, minimalist aesthetic that appeals strongly to the target customer ‘Ella’. The nature of the flatpack, print out design allows customers to access the kit via blogs, instagram, pinterest or similar homewares orientated spaces. Hamta Andan could also be stocked in local stores, targeting key market’s preference for local shopping, as well keeping her limited movement during the lockdown laws. If stocked in local small businesses (Eg bookstores, gift stores, and homewares stores), Hamta Andan can be therefore accessed by ‘Ella’ during her daily walks or morning coffee rituals, even throughout lockdown.

Model making kit B3 // Packaging

Exploring a flatpacked, printable model making kit, including instructions, drawings, target market and the packaging design.

hämta andan

images

Location: inner-city suburbs, close access to open-air shopping strip (eg Glenferrie Rd Hawthorn, High St Northcote, Smith St Collingwood, Errol St North Melbourne). Shops At: Local bookstores, small cafes, bulk food stores (eg The Source Bulk Foods).

Model making kit B3 // Target Market

Detailing a target customer profile and the aesthetic this customer gravitates toward, their habits, income, values etc. as well as a potential sample stockist for the product.

Target Target Market Market Profile Profile ‘Ella’ ‘Ella’ Age: Age:25-35 25-35 Gender: Gender:Female Female Occupation: Occupation: Due Due to to COVID-19 COVID-19 lockdown, lockdown, employment employment currently currently on on hold. hold. Due Due to to circumstance, circumstance, spending spending unprecedented unprecedented amount amount of of time time at at home home (with (with partner, partner, housemates housemates or or young youngchildren). children). Income: Income: Ordinarily Ordinarily mid-high mid-high income. income. High High level level of of disposable disposableincome. income. Interests: Interests: Heavily Heavily invested invested in in the the‘shop-local’ ‘shop-local’ movement, movement, thrives thrives on on the the ritual ritual of of buying buying from from small small boutiques boutiques and and local local cafes. cafes. Ordinarily Ordinarily spends spends free free time time at at farmers farmers markets, markets, brunch, brunch, using using pinterest/instagram, pinterest/instagram, frequenting frequenting local local shops, shops,making making‘raw ‘rawtreats’ treats’at athome homewith withyoung youngchildren children etc. etc.Highly Highlyvalues values‘natural’ ‘natural’, ,‘soft’ ‘soft’, ,‘beach’ ‘beach’aesthetics aestheticspopupopularised larisedby byByron ByronBay. Bay. Personality: Personality: Highly Highly values values‘natural’ ‘natural’, ,‘soft’ ‘soft’, ,‘beach’ ‘beach’aesthetics aesthetics popularpopularised ised by by Byron Byron Bay. Bay. Prefers Prefers to to feel feel‘organised’ ‘organised’, , especially especially when when specific specific to to an an aesthetic. aesthetic. Very Very house-proud. house-proud. Creative Creativestreak. streak. Location: Location: inner-city inner-city suburbs, suburbs, close close access access to to open-air open-air shopping shopping strip strip (eg (eg Glenferrie Glenferrie Rd Rd Hawthorn, Hawthorn, High High St St Northcote, Northcote, Smith Smith St St Collingwood, Collingwood, Errol Errol St St North North Melbourne). Melbourne). Shops ShopsAt: At: Local Local bookstores, bookstores, small small cafes, cafes, bulk bulk food food stores stores (eg (egThe The Source SourceBulk BulkFoods). Foods).

Sample Stockist Happy Valley Shop

(book, record, gift and homewares store, Smith St Collingwood)

Happy Valley Shop is a boutique book store in the open air shopping strip along Smith St, Collingwood. This store is an example of the kind of boutique that this product could be sold in. The inner-city suburban location appeals to the target market’s (’Ella’s’) locality, as well as her ritualistic enjoyment in shopping locally. The store stocks a range of quirky books, knic knacks, luxury gifts, handmade homewares and records. This range of stock is perfect for this product, and is exactly where one might find an unusual design-based gift or activity.

Age: 25-35 Gender: Female Occupation: Due to COVID-19 lockdown, employment currently on hold. Due to circumstance, spending unprecedented amount of time at home (with partner, housemates or young children). Income: Ordinarily mid-high income. High level of disposable income. Interests: Heavily invested in the ‘shop-local’ movement, thrives on the ritual of buying from small boutiques and local cafes. Ordinarily spends free time at farmers markets, brunch, using pinterest/instagram, frequenting local shops, making ‘raw treats’ at home with young children etc. Highly values ‘natural’, ‘soft’, ‘beach’ aesthetics popularised by Byron Bay. Personality: Highly values ‘natural’, ‘soft’, ‘beach’ aesthetics popularised by Byron Bay. Prefers to feel ‘organised’, especially when specific to an aesthetic. Very house-proud. Creative streak. Location: inner-city suburbs, close access to open-air shopping strip (eg Glenferrie Rd Hawthorn, High St Northcote, Smith St Collingwood, Errol St North Melbourne). Shops At: Local bookstores, small cafes, bulk food stores (eg The Source Bulk Foods).

Sample Stockist Happy Valley Shop

(book, record, gift and homewares store, Smith St Collingwood)

Instructions To Prepare:

1. Cut out ALL PIECES (A, B, C, D, CORE PIECE) along the continous outline. 2. Ensure access to hot glue gun (turn on and heat up for 10 minutes before gluing).

model

Step 1:

Fold [A] in half, along the dotted line, away from you. Use hot glue to attach the spine of the fold in [A] to the centreline of the [CORE PIECE]. Be sure to hold [A] at a 45 degree angle to the fold, while the glue dries and cools. This will ensure [A] wont lie directly on top of the [CORE PIECE].

Model making kit

B3 // Instructions, Contents, Model

Fold [D] in half, along the dotted line, away from you. Use hot glue to attach the spine of the fold in [D] to the centreline of the [CORE PIECE], flush against the spine of previously glued [A]. Be sure to hold [D] at a 45 degree angle to the fold, while the glue dries and cools. This will ensure [D] wont lie directly on top of the [CORE PIECE], and will mirror the

model

angle of [A].

drawings Step 3:

Fold [B] in half, along the dotted line, toward you. Use hot glue to attach the spine of the fold in [B] to the centreline of the [CORE PIECE], on the opposite face to [A/D]. Be sure to hold [B] at a 45 degree angle to the fold, while the glue dries and cools. This will ensure [B] wont lie directly on top of the [CORE PIECE], and will mirror the angle of [A], but on the alternate face of the [CORE PIECE].

contents

Step 2:

CORE PIECE

PIECE A

PIECE C

Step 4:

Fold [C] in half, along the dotted line, toward you. Use hot glue to attach the spine of the fold in [C] to the centreline of the [CORE PIECE], flush against the spine of previously glued [B]. Be sure to hold [C] at a 45 degree angle to the fold, while the glue dries and cools. This will ensure [C] wont lie directly on top of the [CORE PIECE], and will mirror the angle of [D], but on the opposing face of the [CORE PIECE].

PIECE A

PIECE B

PIECE C

PIECE D

PIECE B

â&#x20AC;&#x153;Clever design converts and changes according to need.â&#x20AC;? - Amanda Talbot

documenting temporality

Lorem ipsum doloihnacnjdncewonfcnnodsncodnocnad Couldnt text

Tutorials

C1 // Rhino & Illustrator

Preliminary development of graphic drawing skills through Rhino and Adobe Illustrator, particularly to develop a plan and section of the crash site.

Dr Edgerton, Harold. 1954, Back Dive, gelatin silver print.

Dr Edgerton, Harold. 1936, Milk Drop Sequence, gelatin silver print.

Documenting the crash sequence with photographic stills, to then convert it into line drawing sequence using RHINO. Exploring a variety of ways to capture temporarlity of an event.

C2 // Photographs

Crash sequence

Hockney, David. Untitled. photo collage.

Precedents

Imagery / Numerical Data Included (in original form)

Section Drawings of the Capsule Fragments

Diagram communicating Acceleration of Gravity

Image Communicating Precariousness of Site

Crash MAP

C3 // Mixed Mode Map

0.9

0.6

0.8

Crash Site Contour Map

0.9

Documenting the crash sequence with illustrator, collage, linework and photoshop skills developed throughout previous assessments. Working to capture the temporality, atmosphere and acurate plans and sections of the site and fragments.

Broader Context Contour Map

Line Drawing to Communicate the Temporal Quality of the Fall

Composition

Image Communicating Precariousness of Site

Diagram communicating Acceleration of Gravity

Broader Context Contour Map

0.9

0.6 0.8

Crash Site Contour Map

C3 // Complete Crash Map

Key Precedent:

Samantha Lee - â&#x20AC;&#x2DC;Sacred Anomalies: Infiltrating Landscape Surveysâ&#x20AC;&#x2122;

0.9

Line Drawing to Communicate the Temporal Quality of the Fall

Section Drawings of the Capsule Fragments

Directions: 1. Mapping used to ground the work, as a focal point for the drawing to branch off from 2. Using diagonal lines diverging from the key site to clearly indicate the deeper exploration of a specific site 3. Repetition of forms to explore temporal movements through air 4. High horizon line, to give a sense of being lifted into the air to better communicate the vulnerable atmosphere of falling for the crash 5. Mostly greyscale to build the sense of fragility of falling and no sense of â&#x20AC;&#x2DC;groundingâ&#x20AC;&#x2122; use of colour.

1ments.

Crash MAP

Section A

C3 // Revised

Based on tutor feedback, C3 has been revised to improve the clarity of communication.

Section B

2ments.

100km

80km

Direction 2: Inclusion of both section lines and corresponding labels to the section drawings, to clarify the orientation and location of the drawings in relation to the 1:20 plan.

0km

10km

20km

35km

45km

50km

60km

Direction 1: Adding colour blocking and shading to the linework to give the viewer a clearer understanding of the continuity of parts; making them easier to identify as they tumble through the air. Solidifying this component ensures the temporal process is easier to immediately understand.

3ments.

Direction 3: Removing the gravity diagram and substituting instead for more relevant graphic data that describes the specifity of the crash. Alternative selected is an annotation of the height above crash, descnedning alongside the illustration of the capsule falling. This gives more precise data related to the crash itself, and visually mirrors the fall and crash location.

revised work

“I describe the design process as like the tip of the iceberg. What you don’t see is the long haul.” - Norman Foster

drawing book process

Pholiota House Scale Model 1:50

Pholiota House

Scale Model 1:50

Pholiota House Scale Model 1:50

Pholiota House

Scale Model 1:50 / South Elevation

Contents Page / Organisation Options

Title Page Precedents and Response Options Pholiota House

Pholiota House

Scale Model 1:50

Scale Model 1:50 / Aerial View

Pholiota House Scale Model 1:50

Pholiota House

Scale Model 1:50 / Harsh Light Exploration

1. 2. 3. 4. 5. 6.

Large typeface Capitalised Font Minimalist design Lots of Blank Space Page Numbers to orientate the reader Black and White pallette - very simple

1. 2. 3. 4. 5. 6.

Medium typeface SentenceCaps Font Positioned toward the bottom of the page, lots of blank space at the top Inclusion of colour-heavy image on the opposite page Colour motif carried throughout with inclusion of simple graphic Page Numbers to orientate the reader

Typeface Sampling

Pholiota House

Scale Model 1:50 / South Elevation

Pholiota House

Scale Model 1:50 / South Elevation

Colour Palette Sampling

Heading 1 Heading 1 Heading 1 Heading 1

Pholiota House

Scale Model 1:50 / Soft Light Exploration

1. 2. 3. 4. 5. 6.

Large typeface Capitalised Font Minimalist design Lots of Blank Space Vertical Text Coloured Text in Block Colour

1. 2. 3. 4.

Large typeface Diagonal Text Coloured Text in Block Colour Semi-transparent text

1. 2. 3. 4. 5.

Smaller typeface Vertical Text White Text Block Colour Background fill All Capitalised

Key Theme: Green

Pholiota House

Scale Model 1:50 / Soft Light Exploration

Key Theme: Purple

Heading 2 Heading 2 Heading 2 Heading 2

Body Paragraph Body Paragraph Body Paragraph Body Paragraph

Pholiota House

Scale Model 1:50 / Harsh Light Exploration

Key Theme: Earth-toned Neutral

Pholiota House

Scale Model 1:50 / Light Exploration Series

DRAWING A Constantino Nivola. Interiors v.100 n.7 Feb 1941, 30. https://rndrd.com/n/1032 James Lambeth. Architectural Record. Dec 1972, 103. https://rndrd.com/n/1680 Experimental Jetset. 2011. Statement and Counter Statement. Graphic Poster. Walk Art Centre. http://socks-studio. com/2015/05/25/statement-and-counter-statement-by-experimental-jet-set-2011/ Drawing B Pratt Arch-523B (Pratt Institute School of Architecture). Subsurface Exercise. Tumblr. October 2012. https://conceptmodel.tumblr.com/post/65254710346/prattug-parametricdesign-subsurface-exercise/amp First In Architecture. “Architectural Model Making Guide”. First In Architecture (blog). https://www.firstinarchitecture.co.uk/architectural-model-making-the-guide/ Bandau, Joachim (Head Draft). Bunker IV. Tumblr. August 2010. https://kopfdreck.tumblr.com/post/966167980/ joachim-bandau-bunker-iv Lindboe, Diana. “Et forløb ved Vadehavet.” KADK (blog), 2016. https://kadk.dk/en/project/et-forloeb-ved-vadehavet Macfarlane, Zean. “Replenish.” Zean Mair-Macfarlane (blog). Date unknown. https://zeanmacfarlane.tumblr.com/ post/176408868491/replenish-zean-macfarlane Ok.Sipp. “Illustrarch.” Instagram, 2019. https://www.instagram.com/p/B34SaoAAniG/ Drawing C Dr Edgerton, Harold. 1954, Back Dive, gelatin silver print. Courtesy of https://webmuseum.mit.edu/images/DIAmed/HEE-NC-54001.L.jpg Dr Edgerton, Harold. 1936, Milk Drop Sequence, gelatin silver print. Courtesy of https://www.mutualart.com/Artwork/-Milk-Drop-Sequence--/F3B6206059A612F3 Hockney, David. Untitled. photo collage. Courtesy of https://samfarrelly.wordpress.com/2011/01/03/david-hockney/amp/

bibliography

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Student Name // Kirsten Biacsi ID Number // 28623576 Tutor // Hanah Wexler Date // Semester 1, 2020

colophy