Foundations of Design : Representation Sem 1, 2017 PORTFOLIO Megan Corbett
914475 Studio 27 - Anastasia Sklavakis
MEASURED DRAWING OF A CROISSANT.
How to measure a Croissant? To illustrate the difficulties that arise whilst accurately representing even the most basic of objects, I made my first attempt at creating a set of technical drawings in the form of a croissant. They show a croissant from every angle one could wish for, including: x2 elevations, a plan view and a shot from above. Both photos and sketches as well as three sections cut along the nots in the croissants build are included.
Section B.
#1 - Elevation.
Section C.
Section A.
Plan View.
159 mm.
108 mm.
108 mm. Top View.
#2 - Elevation.
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68 mm.
ORTHOGRAPHIC DRAWING OF A CROISSANT.
Croissant Segments.
Croissant Axonometric. Combining these 2-Dimensional images into a 3-D orthographic drawing of a croissant segment. After gridding the sections in 10 by 10 millimetres, they were projected at 45 degrees to construct an axonometric segment of the savoury French pastry.
10 x 10 mm Grid.
0,0
Segment Projection.
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Section A
Section B
Section C
NEW MARIO WORLD. The making of new Mario world. As freedom was granted to design the space created between the two elevations this axonometric is based off of, I decided to create a playable section of a theoretical Mario level. While playing Mario, all the gamer knows is the characters’ movement along a 2D plane, but I wanted to present a window into the trials Mario had to go through to complete levels. Mario starts in the upper level after hearing Peach call for help at the top of the boss tower, he can either go down and enter the tower through the lower level, or travel through a secret pathway initially blocked off from his view. To manifest this story line in the axo, I dispersed the components to form pathways as empty spaces through the map. This allowed me to attain a balance between the game and the dimensions necessary in the axo. I incorporated a tower to connect my world - this is the only addition different to the elevations given – and it helps create depth, along with the use of colour and pattern to turn the flat 64bit world section into a more tangible, to-scale drawing.
Back Elevation.
Front Elevation.
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DRAWING PROCESS.
Exploded Axo. This exploded version of the full drawing shows the completed background of the bottom lvl.
Axonometric Drawing. The completed axo shows the basic layout of the Mario world as well as the connecting tower, which intersects both levels and the cloud bank.
256 mm.
200 mm.
200 mm.
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Digital Rendering. With clean scans as templates, colours and textures add further 3- dimensionality to the Mario world.
Projection 2. Drafts copied with clearer lines for better transfer into illustrator.
Projection 1. Basic plans were turned into scaled drawings of the axonometric projection.
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PAPER LANDSCAPE.
The making of new landscape As my terrain’s main feature was a rise in the landscape that moved diagonally across the frame in a slight curve, I wanted to express this in my model. To capture this effect, I variated panels diagonally across the surface to create movement from corner to corner, and created an offset grid that emphasised the terrain’s shape and simplified it into a swirl-like shape. Movement is created along to swirl by the coiling 3D panel shapes. For the 2D pattern I decided on a combined Box and Wave pattern to use as a base. The shape the folds create around individual 3D panel form a mirror of the swirling cross design of the extrusions themselves. To further express the dynamics of the terrain, perforations of gradually variating scales spread across the 2D panels.
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TERRAIN CONSTRUCTION.
Grid Setup. The grid point groups and curves were prepared in the neccesary forms to generate the swirl 3D and 2D panels.
Unrolled Panels. To efficiently print out the skeleton of the terrain model, it was separated into parts that would allow for movement within the fabricated landscape when constructed.
3D Shapes. Visual comparison between the protype and final 3D shapes used in the panels.
Variable 3D Pattern. The panels were made over two grid point groups: one manually offset over the other, with the extrusions curve attracted to a corner, making the three 3D extrusions disperse, twisting along the diagonal.
Reversed Model. The view from beneth reveals the fold lines and connected tabs that shape the fabricated terrain.
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Cities & Desire 5: ZobeiDe
Key Dream Perspective Room View
Woman
The key theme of this story and the focus of my model is the transition from an envisioned space to a more realistic one. Through perspectives, I also wanted to convey a mysterious and dark atmosphere, due to how the story shifts into a ‘reality’ wherein the city is not as beautiful as the dream suggested; it has become a mechanism through which the men want to ensnare the women in an “ugly” trap.
Marco Polo’s Position Dream Spaces Threshold Changes Transition and Movement. Warping of Subjective View
2: Constructed Realm.
1m
2.5m
Desire 5: Zobeide. Zobeide is a city constructed from numerous peoples dreams of chasing a woman through an enchanting white city. However, in both their waking and sleeping lives she was neither captured nor seen again.
Direction of vision
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INVISIBLE CITY
5m
In the Isonometric on the left, key characters like Marco Polo and the woman are featured, as well as arrows denoting the direction of their vison. Additionally, the tunnelled vision - present in perspective one - that pulses towards the woman’s silhouette is represented by a Key twisted form of triangles. Two types of linier markings describe the characteristics the space. The variating dashed lines show a change of Dream of Perspective thresholds from the enclosed cage to the open area for the characters to move Room View around, and again marks an opening from the constructed city to the dream spaces. The second type is the irregular shaped lines marking the space where the Direction of vision dream spaces enter the quad. The transitions that Marco Polo experiences in Zobeide are Woman shown through the circle moving towards Marco’s second position as a square. The gradually Marco Polo’s into Position morphing shapes indicate the changes from dream reality, from night into day, and from two different positions. The transition is imperative to the stories meaning, as it is through a comparison of the dream city and Dream Spaces Zobeide that Marco Polo grows to un-romanticise the constructed space. Threshold Changes Transition and Movement. Warping of Subjective View
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ZOBEIDE PERSPECTIVE 1.
Dream Scene. I approached the way I set out my perspectives by thinking of them as scenes taken from the story. So, in my first perspective, I chose a view point that is looking straight down though the colonnade at the open wall recess to show a very focused scene with a centralised convergence point. The scene contains only two characters to portray the dream that led people to Zobeide. The silhouette has a sense of mystery as the woman is set against the full moon with fog drifting under her, while the warped view and the large outstretched hand show the intense desire the dreamer has to reach the running figure.
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ZOBEIDE PERSPECTIVE 2.
Constructed Realm. Following the story, as the city is built it becomes increasingly more twisted and dark in nature as people tried to trap the woman. With this in mind, I built a cage in the centre of the space which is not seen in the first perspective as it is the dreamers’ attempt to capture her after waking from the dream. Contrasting the first scene, the second has three figures, all looking out of frame. They are all dressed in typical outfits that are worn during the Venetian Carnival, adding another layer of intrigue to their unsettling gaze. On top of this, I placed a white outline of a figure within the cage, suggesting that they are still searching and waiting for the women to appear again. The arches connect the two perspectives, as they lead to dream spaces that twist unnaturally from the central space. this draws on the specific architectural structures mentioned in the story, as well as how the room is my interpretation of the point where all the versions of her disappear, inspired by the interdimensional doors in Monster Inc.  
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REFLECTION The name of this course sets the tone for what I have experienced through this semester. Lectures revealed a number of ways in which representation is present in design fields and how they all - to differing extents - cannot achieve complete accuracy in either form or concept. However, from the orthographic means of axonometric projection to the more abstract methods such as pattern and notations, it became clear that they were all intrinsically useful to the design world, as the act of transferring ideas person to person is the most important part of any project. This formed the main issue I faced in the studio and my projects. As part of the cohort, I gained foundation skills in all the forms of representation mentioned above. In addition, I explored my own understandings of projects with how others approached their tasks differently, incorporating their own interpretations. I found this most apparent during the fourth Module where some people shared a city like I did. Our pieces included similar elements in the characters we chose, as well as in the imagery of entrapment by using cage or fence imagery. The overall treatment of the scenarios we constructed differed in style and intent. Considering this, I found these projects immensely enjoyable, but in terms of where I think I benefit from improvement, I believe a more constant attention to detail throughout my work from the beginning would benefit me a lot. In the course of completing the projects, in many cases I had not attempted anything like it before, meaning that I had to simultaneously learn the skills required and construct said piece. Due to this, I had to redo a lot of my initial work because of small mistakes I overlooked. They became progressively worse as I continued. Some I was able to fix in later parts of the design but others, such as the miss-scaling of the croissant elements, negatively affected the axo. Luckily, most of the work was done with the aid of digital technologies, which are significantly more flexible. Through the next years, I want to continue to develop my skills alongside my knowledge of design and the experiences I gain through the constructive feedback of studio presentations.
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