Fodr portfolio kleeson june 2017

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FOUNDATIONS OF DESIGN : REPRESENTATION, SEM 1, 2017 PORTFOLIO Katherine Leeson 915576

Studio 08 - Nina Tory - Henderson

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HOW TO DRAW A CROISSANT To ensure the croissant remained in scale when drawing the elevations of the croissant were first

Examination and representation of a croissant using traditional hand drawing techniques

01 Scan of croissant elevations

photographed and the base was scanned. All images were adjusted for lighting and image clarity,

02 Scan of croissant sections

before being traced in pencil on transparent paper. A pen render was then applied to communicate the

03 Axonometric drawing

form by changing line weight and shading, then dimensions and appropriate notations were added. The process for drawing the sections was very similar however half the croissant was cut in three and the faces of each section were scanned. Varying weights of pencil was used to communicate depth.

04 Pen rendered elevations 05 Pencil rendered sections

Learnings from this task included the basic principles of orthographic drawing and ways in which an object can be described, and the benefits of putting in effort to take good initial photographs, in turn makes later tasks easier. Also, the importance of reviewing work from a distance, as one can lose perspective when working only closely on a drawing.

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46MM

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165MM

SECTION A

SCALE 1:1

SCALE 1:1

SECTION B SCALE 1:1

98MM

98MM

SIDE SCALE 1:1

C

165MM

B

46MM

A

98MM

FRONT

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PLAN

SECTION C

SCALE 1:1

SCALE 1:1

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FLATNESS VS PROJECTION Creating a new Mario world and exploring hidden space with axonomet09

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06 Final new Mario world: Mario’s Nursery Rhyme

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07 Original image - Back view 08 Original image - Front view 09 Detail of shading with flat colour and gradient 10 Detail of pattern and gradient 11 Detail of gradient and shading with gradations of colour

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12 Construction drawings - Back view

13 Construction drawings - Front view

Drawings were completed in stages in order to capture all the details and keep the drawings measured and clear. The back view was broken up into a ground drawing and a sky drawing. The clouds are projected up from three different planes inorder to ensure they did not create too much of a solid block in the sky.

The front view was divided into a mountain/ tree drawing and a blocks / sky drawing. This enabled the trees, clouds, coins and teeth shaped cloud details to be included. The mountains were developed with pointed bases so that in play Mario could jump across each one but would also have the risk of sliding down them to the garden below.

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In developing the new Mario World, I aimed to achieve a cohesive, balanced drawing that could easily fit into the game. The concept developed, Mario’s Nursery Rhyme expanded on the flowers, tree and shrub theme that was already very present in the images provided. Part of the exploration of space involved looking at how someone would play the game in the new world, how Mario would move up, down, along and through the space, collecting coins, climbing vines or even missing a jump. This lead to more of a floating space which not only seemed playable but was also less dense and balanced out the detail of the top half of the world. Putting oneself in shoes of the player to develop concept was useful to develop the visual solution.

14 Complete axonometric drawing of combined views and imagined Mario World.

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PATTERN VS SURFACE Creating a patterned developable surface

The concept for the terrain was to create a surface that both represented the undulating landscape and one that could wrap over and around an organic rounded form. The geometries were chosen to also achieve a reptilian, scale like effect, so that the spikes appear to grow as they go over the top of the landscape mirroring the provided surface.

To achieve this effect four different triangles were chosen to create a fluid look. The pattern went over more that 50% of the surface as too many flat panels looked odd and interrupted the effect. A diagonal curve attractor in Rhino panelling went across the terrain to ensure the pattern peaked in the right areas.

The final panelised landscape is successful when the terrain is curved and viewed around a shape, however it doesn’t translate in the same way when viewed flat or in plan.

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15 - 17 Final panelised landscape

18 Original Terrain Created using Sketchup and Google Maps. (Provided)

19 Scales Created in Rhino, the first point is directly above the corner of the base square, the following are cut at the quarter intervals

20 Panelised surface - Plan view Flat faces added have been added to enable multiple pieces to be unrolled together and selected to ensure the surface remains fluid.

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21 Panelised surface - Isometric view This shows the scales as they grow over the landscape to create the reptilian effect. We can also see the density of the scales and contrast with flat panels which were scored in final piece to give added texture.

22 Basic unrolled pieces Whilst many were joined together in rows, this shows the four scales sizes unrolled

23 Old Quad in Isometric with notations

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Key

New City

FRAME VS FIELD

Light Mood Heavy Mood Movement to next city

Italo Calvino’s Invisible Cities represented through notation and perspective

Passage of Time Perspective 1

Eutropia

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Eutropia is a city of repetition and renewal, a somewhat tedious and vapid life as everyone moves cities when they are tired and bored of the old one. This has been interpreted as a lifecycle which keeps repeating and is demonstrated as such in the isometric notations. The circular notations show the beginning of a new city, the lightness as the new city, new lifestyle, new landscape is enjoyed, overtime the mood darkens as the ‘grip of weariness’ sets in, they grow tired of the city and move smoothly onto the next one. In this constant state of flux Marco Polo can enter and exit at any time in the cycle and move through each city as the people of Eutropia do.

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Perspective 2

24 A Tedious Life This scene depicts the theme in the story that all people are merely pieces on a chess board going through the same set of restricted motions. The castle signifies the new city and new job acquired as the knight moves from city to city. The queens represent the new wife, new lifestyle, new gossip inherited at with move. Porcelain chess figures also represent as sense of commonality and the fragility of life. The brightly lit frontal view highlights the repetition as new cities stretch back to emphasis the tedious nature of the story.

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25 Mercury at Play This scene depicts the notion of the fickle and the uncanny, as referred to in the text as Mercury, the god of the fickle at work. The scene is similar to the first and at a second glance we see that it is strangely odd. All characters are similar but not the same as in the previous scene, the text mentions there will be a new wife for each man at each city and so here the women are deformed figurines and not waiting for the men. Rather a king falls over to the left of the scene like check mate in a game of chess and the knight in the far right is oblivious to the world around. The lighting is darker and the textures are enhanced to subtly change the mood.

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Throughout the semester each of the modules was effective in both demonstrating and providing opportunity for exploration in varying forms of representation in design that can assist with problem solving and understanding information. It was interesting to learn both two dimension methods such as notation, orthographic and axonometric drawing that architects and designers can use to communicate and represent their ideas, concepts and research findings. Lectures with Donald Bates and Achim Menges were helpful is demonstrating the relevance and importance geometry in design during module three. They were also effective in demonstrating the evolving nature digital fabrication and the role of the architect in the design process.

Overall the course was effective in illustrating the need for designers to have a tool kit of ways to communicate ideas and work, including basic relevant software as well as traditional representation techniques such as pen and pencil drawings. Furthermore, it established how varying forms of representation can help us to find alternative solutions to problems we otherwise might not In additional to the techniques practiced as required for the modules, and programs taught in the workshops other personal skills were developed. These included understanding the importance of establishing a clear workflow of the project at the beginning, to lessen the need to have to go back and repeat steps as well as to assist with development of the project from the outset. Also, to be meticulous about completing each step before moving on to the next, and/ or know which steps can be easily changed in a work flow. And lastly, among other things, the importance of documentation!

Module review M1 - Have made slight amendments to the croissant rendering/ shading on plan view so that form can be better read from a distance M2 -Overall probably the most successful of the modules, it is not weighed down by solid block shapes and the details are balanced. However perhaps there could be more variation of surface texture, explored more spaces behind objects. Not sure if this would be interesting or cluttering.

M3 –Review of physical construction so that it is put together over an undulating surface rather than on a flat table, and with the plan laid out, perhaps even starting from the inside square out, could also change the direction of the scoring on ž scale piece to go along lengthways from point to point rather that across from point to point and would look at the way the surface s panelled and patterned to get more surfaces joined together before the unrolling stage in Rhino.

M4 – This is the least successful module, perhaps needed to explore the world of Italo Calvino more, or have experimented with different types of collage first, such as making two dimensional copies with traditional cut and paste collage, would have given more ideas of how the city could have been

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explored digitally.

Have made a few changes to both perspectives to give greater contrast between the two scenes.

REFLECTION Learnings and module review 13