MODULE 1 HOW TO DRAW A CROISSANT Inspired by a study published, Enric Miralles, the first module of the unit involved the visual documentation and representation of a croissant. Once procured, the croissant is photographed and scanned from angles that correspond to the views neccessary for orthogonal projection. It is then cut in several places, with the locations of these cuts recorded, and the slices scanned . After adjusting these photos with Photoshop and arranging them orthogonally, various pencil grades and pen widths are used to trace, shade and hatch, to reproduce these images and convey particular information. Next, to construct an axonometric representation of the croissant, grids are drawn on the sectional drawings, with points plotted and then projected to form a new drawing. Throughout the entire, process, a 1:1 scale is maintained. This proved to be a vaualbe excerise that explored various mediums and styles used in hand drawing, simple Photoshop image editing and Illustrator layout skills. It showed how a complex 3D form can be recorded and represented using simple and straighforward methods.
1:1 SCALE 158 mm
CROSS SECTION A SKETCH
LONG ELEVATION SKETCH
112 mm
84 mm
CROSS SECTION B SKETCH
SHORT ELEVATION SKETCH C
B
A
CROSS SECTION C SKETCH
PLAN VIEW SKETCH
Orthogonal Drawings
AXONOMETRIC
LONG ELEVATION PHOTO
CROSS SECTION A SCAN
CROSS SECTION B SCAN
SHORT ELEVATION PHOTO
PLAN PHOTO
CROSS SECTION C SCAN
Orthogonal Photographs
PLAN SCAN
MODULE 2 FLATTNESS vs PROJECTION Module 2 expands and focuses on the practice of axonometric representation, although in this case, in a somewhat reversed order, with 2D images as the intitial basis rather than a 3D object. First a traditional hand drawn method for projecting two provided screen shots from Super Mario World into axonometric is used. Elements from each frame are and then combined into a single drawing and this is further improved to create a New Mario World. This New Mario World is then scanned, and Adobe illustrator is employed, with line, colour and characters added to realise a detailed scene. When the two worlds are combined, and even within the elements shown in each original frame, there is the implication of space that was not originally visible; this allows freedom of interpretation and additional design. This interpretation, and the notion of ‘filling in the gaps’ from the 2D images, that in turn become visible in the 3D axonometric view, is an excellent way of exploring the differences and interplay between flatness and projecton. While quite fantastical, the subject matter of the game still directily relfects the human built environment, with the limitations and advantages of these forms of representation, and an understandig of their core principles becoming quite clear.
Provided 2D Screenshots
Improved Mario World Drawing
Combined Mario World Drawing
Improved Mario World Drawing
New Super Mario World: MARIO vs WARIO
MODULE 3 PATTERN vs SURFACE This module provided a departure from strictly visual representation, and introduced both digital 3D modelling and physical model making. Starting with a parcel of Tasmanian land, dervied from Google earth, first a Rhinoceros 3D panelled interpretation of the landscape surface is produced. Using panelling tools and various modelling techniques, the contours of the terrain are transformed into a modular array of 100 units. These modules must be ‘developable’ as the final design will also be constructed from ivory card, a material which has certain properties and limits of manipulation. Within the way types of modules interact and the means by which they are composed provides the pattern element of the project. Various aspects of the terrain surface are able to be interpreted and represented by multiple elements or layers of pattern and module features, that are integrated into the final design. The entire process served as an interesting and effective means of introduction to the possibilities of modelling and fabrication while also illuminating and provoking thought into the potential of structural and geometric interpretations of curved and organic forms.
H1
H6 H10
H9
A8
C4
A5
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G10
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C10
H3
C1
H4
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G9
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H2
G1
G5 A2
A3
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B10
F10
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G8
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J5
0
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I4 B5
A1
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J10 C2
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C5 C8
J7
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B1 I6
D2
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I1
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D3 I10
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D10 I2
I3
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I8 J3
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F1
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Nested modules ready for laser cutting E9
E8
D1
F2
D4 D8
F5
E10
E4
F6
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E2
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D7
Rhino 3D model
MODULE 4 FRAME vs FIELD Wrapping up the unit is a module that encourages the utilisation of all three of the design applications that have been learnt throughout the semester. Beginning with Rhino to model a standard ‘blank canvas’ environment, for the illustrated perspective scenes and scene diagram to come. A combination of Rhino, Illustrator and Photoshop are then used to create a set of hybrid images that represent first-person snap-shots from a narrative that has been interpreted from the provided outake of Marco Polos adventures as described in the book Invisible Cities. The old quad serves as a backdrop, a setting for the scenario, and sourced images, surface texures and effects are used to create a set of two collaged images in perspective view. Complimenting these two perspective frames is a diagramatic image in isometric view, which by the use of notational symbols adds further depth of and understanding to the overall visual presentation of the narrative. This module was veryy effective in highlighting the way various softwhere and methods can be used in unison to create desired outcomes. The distinction between autographic and allographic practice, as they relate to architectural representation is demonstrated clealy. By presenting together, the two differnet, yet complimetary types of images, that are essentially depicting the same story, it’s easy to see how they relate; it becomes clear how a mixture of methods can be used to convey additional information.
Key
Movement- Faster/Slower Pace
Viewing/Looking: Stare
Viewing/Looking: Glance
Person
Interior/Exterior Threshold
Light/Dark
Passage of time - Narrative flow
Mood: Light
Mood: Heavy
Camera Position: Perspective 1
Camera Position: Perspective 2
Isometric Scene Diagram
Momemnt of Realisation
Perspective Frame 1
Perspective Frame 2
REFLECTION If the aim of this unit is to introduce and explore a variety of methods of design representation, and I know that it is, then that goal has certainly been fulfilled for me. I thouroughly enjoyed the subject, and was consistently impressed with the level of depth and thought that I could see had been put into developing the curriculum. I had somewhat of a head-start, as I’ve studied some university level industrial design and visual arts practice in the past; this course added to that, and extensively developed that knowledge and my design skillset. I found the lectures and recomended reading material to be be well planned, perfectly complimenting the studio sessions and corressponding project work. For me, the lecture content on axonometric projection and the unusual and creative applications of this form of representation was particularly interesting. The four modules were well paced, thoughtfully progressive and certainly, for me, fun enough to really encourage throurough engagement. Module 2, Mario, I found to be an especially enjoyable project, that resulted in creative, visually striking work which really lends itself to an exhibition setting. Overall, I’m very satisfied with my efforts for the semester, and think that as a first year architecture and design foundation subject, it is truely a very well put together, in-depth and engaging unit. My only real hassle came right towards the end, with a rather devestating tech failure that resulted in my having to entirely redo the 4th module. Lesson learnt, be extra vigilant with keeping multiple back-ups. To conclude, I’ve found this to be an invaluable learning eperience, taught by passionate, experienced people, who seem to understand that design representation can be and should be a fun endeavour; especially for first year uni students, who can be all too suseptable to being scared off by the demanding workload.