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Course Project #1 “Wall, Column, and Space” in IARD 1035 Fundamental Design Skills in Summer 2024 Students Adkison, Anna Louise Bell, Ann Brainard, Genevieve Marie Charlene Calaway, Kellah Chavez-Razo, Marilyn Cochran, Mason Dell Crain, Jocilyn Rose Creed, Campbell Gayden Dickman, Jacob W Dudley, Lily Dula, Landry E Eargle, Haley Nicole Endom, Mary Jane Elizabeth Grafe, Kaylynn E Gunn, Bentley Noel Hampton, Adian Hemker, Jack William
Henry, Peyton E Hudgins, Anna-Claire E James, Addie S Johnson, Maddie Ciara Jordan, Ashley J Kline, Alyssa Taylor Lambeth, Jericha Lammers, London Jade Lopez, Young-Su Ying McAfee, Fiona M McCaig, Walker Miller, Kinleigh Paige Mutschler, Caroline Ruth Newell, Jeremiah Patterson, Ava Anezka Perez, Jaylin Millie Perez, Maribel Peters, Zadie Brooks
Reichl, Summer Rivera Estay, Lydia Catalina Satterwhite, Kaleigh L Schandua, Sydney Claire Schnelle, Jessica J Short, Gabrielle Layne Siebert, Forrest Slinkard, Kelsey Rebodos Smith, Olivia Rose Stinespring, Karena A Swain, Audrey Elizabeth Sylvester, Jordan A Tidwell, Nicholas I Waites, Meagan Michelle Wheeler, Lauren Grace Wutzke, Hannah Elizabeth Young, Ava Camille
Instructors Park, Jinoh (coordinator); Smith, Carl; Loftin, Lance; Park, Chung Publisher Park, Jinoh
*. There is no restriction on academic use of the contents of this book. *. The copyright of all design results contained in this book belongs to each (student) designer.
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PUBLISHER’S NOTE
Since the beginning of my teaching career in Korea, I have always wished that I had a book such as this one. This wish may have originated from my 6th grade teacher, who made a graduation workbook containing students’ writings, drawings, and photographs. After my graduation and before my undergraduate years, I was able to see my growth in ways of thinking and understanding as a result of reading the book. With my colleagues, I made a school book including all the graduate projects completed at Hanyang University in 2006. By reading the book, I had been able to cheer up and reenergize myself whenever I was exhausted and burnt out in practice. With these memories, it has been four years since I made the course books for the subjects I taught.
In my opinion, the curriculum in the first two years is typically more focused on visualizing ideas by converting them into visualized outputs that can be shared with others. In the second half, the focus is more on materialization aligned with the realities, such as building codes, social issues, etc. It is my hope that you will be able to improve your ability to visualize and sense scale before the second half.
During the process of creating this book, I learned something that I had never known before. I am gradually improving my skills as an instructor, learning what I have missed as an instructor, what I should remember when teaching next semester, which assignments to emphasize more, and what to emphasize less. Seeing the efforts and thoughts of the students that I had not yet discovered, I smiled at them and regretted that I had not been able to encourage them more.
I congratulate them on their successful completion.
As a final note, I would like to thank you for all the time I spent with you. Despite the fact that this design studio with you has ended, please feel free to contact me at any time. I will be glad to respond to your contact. It has been a pleasure having you with me this semester.
Jinoh Park, Instructor and Publisher
After receiving this book, each recipient may have a different reaction to it. In the past four years, it has been observed that it serves as a tangible teaching portfolio for instructors, a data bank for students in the event of unexpected laptop failures, and an educational experience that motivates students to create their own portfolios. What will be your reaction when you receive this book? In the future, when you are about to graduate, what will you think after reading this book? In keeping with this thought, I completed the process of making the book.
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CONTENTS
Adkison, Anna Louise
Cochran, Mason
Dula, Landry
Mas on Cochran Crain, Jocilyn
Eargle, Haley
An na Ad kison
Bell, Ann
Po r t fo lio
Lan dr y D u la Por t fol i o
Por t fol i o 1
1 1
Brainard, Genevieve An n Bel l
Haley Ear gle
Creed, J oc i l yCampbell n Cr ai n
Endom, Mary Jane Por t fol i o
1
Po rtfo lio
Po r t fo lio
1
1
Campbell Creed Por t fol i o
G e n ev ieve
Calaway, Kellah
M ar y Jane Endom
Dickman, Jacob
P o r tfo lio
1
Grafe, Kaylynn Por t fol i o
1
Ke l l ah C al aw ay
Chavez-Razo,Marilyn Port folio
1
1
Dudley, Lily
Gunn, Bentley Ka y ly n n G ra fe Port fo lio
Ja co b D i c k m a n
1
1
Po r t fo lio
Be nt ley Gu n n
Lily D u dley
M a rily n Cha vez Po r t fo lio
Por t fol i o
Por t fol i o
1 1
2
1
P o rtfo lio
A va Patte rso n
P o r tfl i o
1
1
Y oung - Su Y . L op ez Portfolio
1
A d i a n H a m pto n Por tfol i o
Ashley J .
Po r t fo l i o
Po r t fo lio
1
J aylin P erez
F io n a M cAfe e
1
J a ck H e m k e r
1
Por t fol i o
Por t fol i o 1
1
W alk e r
Alyssa K line
P ey ton H enr y
Po r t fo lio
M ar ib e l
Por t fol i o
1
1
Port fol i o
Por t fol i o
1
1
Anna -Cla ir e E . H udgins
K inleigh M iller
Por tfol i o
Por t fol i o
J e ri c ha L am b eth
1
Zadie Peters
Por t fol i o
1
Po r tfo l i o
1
1
S umme r Re ichl F I v e We e k S u m m e r S t u d i o
Car o lin e M u t sch le r
Lon d on La mme r s Po r t fo lio 1
Por t fol i o
1
Addie J am e s Po r t fo l i o
1
3
Lydia Rivera
Po r t fo l i o
F orrest S ieb ert
N ich o las T idwe ll
J o r dan Sylv e ste r
L an d s c ap e A rc h i tec tu re
Por t fol i o
P o rtf o li o
Por t fol i o
1
1
1
K alei g h Sa tte r white
Po r t fo l i o
K elsey Slink ard
O liv ia Sm it h
Po r t fo lio
1
Port folio 1
1
Sydney Scha ndua
Po r t fo l i o
1
à ¦ Ä ó ®ã Ý Portfolio
1
1
K arena
J E SSI C A SC H N E L L E
St in e s p r in g
Po r t fo l i o
L auren W heeler Por t fol i o
Port folio
1
1 1
Hannah Wutz ke
G a b rie lle AU D R E Y SW AI N
Po r t fo l i o
Sessio n O n e Po r t fo lio
4
1
Por t fol i o 1
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If I could talk to me before these five weeks, what would I like to share with me? Main Themes 1. Self-Discovery and Personal Growth - Self-Confidence and Potential - Students expressed surprise at their ability to push beyond their perceived limits and achieve more than expected. - Realization of inner strength and capabilities. - Resilience and Adaptability - Overcoming challenges, managing stress, and coping with unexpected difficulties. - Emphasis on the importance of perseverance and trust in the process.
accomplishments and the progress they made. - Joy and Enjoyment: Despite the hard work, students found enjoyment in the creative process and the outcomes. - Gratitude: Appreciation for the opportunity to learn and grow, as well as for the support received from peers and instructors. 2. Negative Emotions - Stress and Overwhelm: Initial feelings of being overwhelmed by the workload and the intensity of the course. - Doubt and Anxiety: Moments of doubt about their abilities and the feasibility of completing the tasks.
2. Importance of Time Management - Managing heavy workloads through effective time management. - Balancing productivity with good craftsmanship and attention to detail. - Recognizing the value of taking breaks to maintain mental health.
3. Mixed Emotions - Relief and Accomplishment: Relief at having completed the course and a sense of accomplishment. - Reflection and Insight: Mixed feelings about the difficulty of the course, balanced by the recognition of its value and impact.
3. Significance of Relationships and Support - Importance of building friendships and collaborating with peers. - Relying on classmates for support and encouragement during challenging times. - Instructors as valuable resources for guidance and learning.
1. Trust in the Process - Emphasizing the importance of trusting the process and believing in one’s abilities. - Encouragement to embrace challenges and learn from them.
4. Embracing Challenges and Learning Opportunities - Understanding that difficult experiences are integral to growth and learning. - Emphasis on the rewarding nature of overcoming obstacles. - Appreciation for the lessons learned and the skills acquired during the course. 5. Reflection on Stress and Workload - Acknowledgment of the initial overwhelming nature of the course. - Learning to manage stress and not overthink or complain excessively. - The importance of maintaining a positive mindset despite challenges. 6. Enjoyment and Fulfillment - Despite the challenges, students found joy and fulfillment in their work. - The sense of accomplishment and pride in completed projects. - The positive impact of enjoying the process and the work itself. Sentiments and Emotions 1. Positive Emotions - Pride and Satisfaction: Many students felt proud of their
Key Takeaways and Advice
2. Importance of Community - Highlighting the value of building relationships and seeking support from peers. - Advice to engage with classmates and instructors for a richer learning experience. 3. Balanced Approach - Advocating for a balance between hard work and self-care. - Importance of managing time effectively and taking breaks when needed. 4. Embrace Creativity and Risk - Encouragement to think outside the box and take creative risks. - Recognition that mistakes and messes are part of the learning process. 5. Positive Mindset - Advice to maintain a positive mindset and avoid unnecessary stress. - Encouragement to focus on the rewarding aspects of the work and the progress made. Overall, the reflections indicate a transformative experience for the students, characterized by personal growth, the development of resilience, and the acquisition of valuable skills. The recurring themes of self-discovery, the importance of time management, and the value of relationships underscore the holistic nature of their learning journey.
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PROJECT #1
Wall, Column, and Space Learning Objective Students will explore 59 abstract series of interior spaces and their emotional reactions to them. They will use the 59 abstract series of interior spaces as ingredients in their space cube projects.
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Key Themes: 1. Impact of Lighting on Space: - Students learned how lighting affects walls, spaces, and overall ambiance. - The importance of different lighting strategies and how they influence the feel and appearance of a space. 2. Emotional Influence of Architectural Elements: - How walls, columns, and their arrangements can evoke different emotions. - The relationship between spatial elements and human perception and emotion. 3. Technical Skills and Craftsmanship: - Skills in cutting, molding, and arranging materials. - The importance of clean and precise craftsmanship for creating visually appealing work. 4. Design and Composition: - Creating purposeful compositions using walls, columns, and space. - Understanding how the placement and sequence of architectural elements impact the overall design. 5. Iterative Process and Attention to Detail: - Learning the value of repetition and iteration in developing design skills. - Managing time, materials, and decision-making to produce consistent and detailed work. 6. Spatial Awareness and Perception: - Understanding the impact of spatial arrangements and how they affect human perception. - The significance of scaling and proportions in creating realistic and functional designs. 7. Foundational Knowledge in Architecture: - Basics of space, area, and lighting. - Introduction to architectural design principles and their application. Lessons Learned: 1. Lighting and Its Effects: - The critical role of lighting in changing the mood and appearance of a space. - Techniques for implementing effective lighting in design projects. 2. Emotional Impact of Design: - Designing spaces that evoke specific emotions by arranging walls and columns. - Considering the emotional responses of users when designing spaces. 3. Craftsmanship and Precision: - Developing skills in creating clean and precise architectural models. - The importance of detailed and high-quality craftsmanship. 4. Design Principles: - Creating intentional and purposeful designs. - Understanding the foundational elements of walls, columns, and space in architectural design. 5. Iterative Learning: - Iteration and practice are important in improving design skills. - Managing time and resources effectively to complete projects. 6. Spatial and Structural Understanding: - Gaining a deeper understanding of spatial relationships and structural elements. - Learning to visualize and create spaces that are both functional and aesthetically pleasing. 7. Introduction to Architecture: - Acquiring foundational knowledge and skills in architecture. - Preparing for more advanced projects and design challenges. Conclusion: The “Wall, Column, and Space” project provided students with a comprehensive introduction to architectural design. They learned about the importance of lighting, the emotional impact of spatial arrangements, and the technical skills required for precise craftsmanship. Through iterative practice and detailed attention to design principles, students developed a strong foundation for future architectural endeavors. 7
Anna Adkison Port foli o 8
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What I learned...
Project #1 “Wall, Column, and Space” - I learned how lighting effects walls and spaces. I also learned how wall, columns, and curved walls work together. Project #2 “Hand Drawing” - From this project I learned that drawing what you see can make you see more then what you thought you did. It also made me think about how we see the work in different perspectives. Project #3 “Power of Patience” - I learned that I really don’t have that much patience. After looking at a painting for 3 hours I did notice more things about the artwork then I did before. Project #4 “Space Cube” - Project four taught me a lot of different things. It taught me how to manage my time and do things right the first time. Project #5 “First Portfolio” - I learned that making a portfoili with all the projects that we did took a lot of work and made me happy to see them all together. Overall - These five weeks have been so stressful for me and has been nothing like anything I’ve done before. Although it was a stuggle with very long night it was very rewarding. If you could talk to you before these five weeks, what would you like to share with you? - One thing I would tell myself before the five weeks is that you can push yourself more then you think and you can do so much more then you think. You will lose a lot of sleep but this work is all your future and for you to do something you love.
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Category #1: Facing surface The photos show that the wall starts on the left side of the human figure and slowly moves in front of the human figure until it is fully in front of the human figure. As the wall moves, it makes the human figure look taller. The changes in the photos affect my emotions in a positive way. When the wall made it all the way in front of me, it made me happy to be looking at the wall and not just out in the open.
0 degree
10 degree
20 degree
30 degree
40 degree
50 degree
60 degree
70 degree
80 degree
90 degree 4 10
Category #2: Facing edge The photos show that the wall is beside the human figure and the wall goes ¼ around the human figure. As the wall moves, it makes the wall look longer and it makes the human figure look like it is getting closer to the wall was it goes around. When the wall got right in front of me, I felt trapped.
0 degree
10 degree
20 degree
30 degree
40 degree
50 degree
60 degree
70 degree
80 degree
90 degree 5 11
Category #3: Blocking wall The photos illustrate the wall moving from the left to right in front of the human figure and stops when it is all the way in front. As the wall changes, the human figure starts getting closer to the middle of the wall. I was able to move forward until the wall got in front making me not able to walk stand, I would have to go around.
Opened level 1
Opened level 2
Opened level 3
Opened level 4
Block level 1
Block level 2
Block level 3
Block level 4
Block level 5
Block level 6 6 12
Category #4: Passing the blocking wall The photos show the human figure walking towards the side of the wall until the human figure passes the wall. As the human figure passes the wall the human figure goes into a bit of a shadow. I felt free walking pass the wall like nothing was stopping me from leaving the room or space.
Passing level 1
Passing level 2
Passing level 3
Passing level 4
Passing level 5
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Category #5: Aligned Wall The photos show a wall getting closer to the human figure going from the left to the right but doesn’t make it right in front of the human figure. As the wall moves, the human figure becomes closer to wall, so close that the human figure can’t walk stand or the human figure will walk into the corner of the wall. As the wall got closer, I couldn’t walk stand without my shoulder hitting the wall and making me feel as if I had to walk a very straight line.
Closed level 1
Closed level 2
Closed level 4
Closed level 5
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Closed level 3
Category #6: Passing the aligned wall The photos show the human figure walking up to the wall and four of the photos show the human figure walking pass the wall. As the human figure walks past, the wall slowly goes out of the photos. As I walk pass the wall I felt good about not having to dodge anything and was just able to walk beside the wall.
Passing level 1
Passing level 2
Passing level 3
Passing level 4
Passing level 5
Passing level 6
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Category #7: Walls with different heights The photos show a wall getting taller as the photos continue. As the wall moves, it makes the human figure look smaller and smaller. At first, I felt like I could jump over the wall but as the wall got taller, I felt like I had nowhere to go.
Wall with 1ft
Wall with 2ft
Wall with 3ft
Wall with 4ft
Wall with 5ft
Wall with 6ft
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Category #8: Floating and faced Wall In the photos, it shows the wall starting to float up. At first the wall was blocking the human figure until the wall got high enough for the human figure to walk under. I thought I couldn’t move because of the wall blocking me but as the wall floats up, I could walk under the wall making me feel like I could move in any direction.
1ft high floating wall
2ft high floating wall
3ft high floating wall
4ft high floating wall
5ft high floating wall
6ft high floating wall
7ft high floating wall
8ft high floating wall
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Category #9: 8ft high floating and aligned wall The photos show that the wall is floating but the wall isn’t over the human figure. The wall starts moving closer to the human figure but still not over the human figure. As I walked forward, I was scared the wall was going to fall. I made me not want to walk any further.
Alignment level 1
Alignment level 4
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Alignment level 2
Alignment level 3
Category #10: 8ft high floating and faced wall The photos show a faced wall moving in from the left to the right as the human figure walks forward. As the wall moves, the wall becomes floating in front of the human figure. As I walked forward, I thought the wall would come down blocking me from continuing walking forward.
Overlap level 1
Overlap level 2
Overlap level 3
Overlap level 4
Overlap level 5
Overlap level 6
Overlap level 7
Overlap level 8
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Category #11: floating horizontal surface In the photos a floating horizontal surface moves out front of the walking human figure. Even though the floating surface is moving out in front of the human figure, the surface wouldn’t hit the human figure. As I walked forward and as the surface is moving, I felt safe like I was covered by the surface.
Overlap level 1
Overlap level 2
Overlap level 3
Overlap level 4
Overlap level 5
Overlap level 6
Overlap level 7
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Category #12: Horizontal surfaces with different heights The photos show a surface coming down behind the human figure and into the ground. As the surface moves downs, two more human figure come out from the ground or hole. Also, the figure that is standing out of ground moves to the left so there is a clearer view of the two other human figures. As the surface goes down and into the ground two other human figure appear. With them appearing it made me think about how they got there and how they will get out or if I will end up in the ground too.
8ft high horizontal surface
7ft high horizontal surface
6ft high horizontal surface
5ft high horizontal surface
4ft high horizontal surface
3ft high horizontal surface
2ft high horizontal surface
1ft high horizontal surface
-1ft high horizontal surface
-2ft high horizontal surface
-3ft high horizontal surface
-4ft high horizontal surface 15 21
Category #13: Wall surface with an incline The photos show that as a human figure is walking a wall surface starts moving over the human figure. As the human figure walks and the wall starts moving above the human figure, making a shadow appear over the human figure. As I was walking a shadow slowly started coming over me. I was frightened by how sudden the shadow appeared over me.
10 degree
20 degree
30 degree
40 degree
50 degree
60 degree
70 degree
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Category #14: Inclined wall The photos show a human figure standing by a wall that was laying on the side. The wall starts moving up towards the human figure. As the wall moves, the wall is getting closer the human figure. By the wall moving I felt like I was being trapped in on my left only allowing me to move forward or to the right.
Inclined level 1
Inclined level 2
Inclined level 3
Inclined level 4
Inclined level 5
Inclined level 6
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Category #15: Floating wall surface facing edge with an incline The photos show a horizontal floating wall moving up and over the human figure. As the wall moves on the left side of the human figure, the human figure appears to get getting closer to the wall. I felt as if the wall was trying to block me but the wall was too high to block me from walking.
Inclined level 1
Inclined level 2
Inclined level 3
Inclined level 4
Inclined level 5
Inclined level 6
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Category #16: Inclined surface to a facing wall In the photos it shows a wall inclining from the end that is facing the human figure. As the wall moves up, the human figure is walking away from the wall making the human figure look shorter. As I walked away from the wall, it kept moving up making me feel like I was being chased, just waiting for the wall the fall.
10 degree
20 degree
30 degree
40 degree
50 degree
60 degree
70 degree
80 degree
90 degree
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Category: #17 Inclined ramp to facing wall The photos show a wall inclining from the far side of the human figure. At first it looks the human figure could walk up the ramp but the move the wall goes up to harder to looks from the human figure to walk up it. It also makes the human figure look smaller as the wall rises. I thought I would be able to walk up the ramp until the wall kept getting higher and higher making me feel like I couldn’t walk up the ramp anymore.
10 degree
20 degree
30 degree
40 degree
50 degree
60 degree
70 degree
80 degree
90 degree
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Category: #18 One Column The two photos show a human figure walking towards a column. One of the pictures show the human figure from the front and the other picture shows the human figure walk to the column from the side. I was walking towards the column knowing it wouldn’t move so I was free to walk.
Front
Side
Category: #19 Two Columns The two photos show a human figure walking towards two columns. One photo shows the human figure walking towards two columns and passing by them. The other photo shows the human figure walking in between the two columns. As I walk through the columns, I felt like I was entering somewhere special
Vertical
Horizontal
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Category: #20 Three Columns The photos show a human figure walking towards three columns. One of the pictures has all three columns on one side. In the other photo there is one column of the left, then one on the right, then the last column on the left. As I walked pasted the columns, nothing was stopping me, there was nothing blocking my way.
Vertical
Horizontal
Category: #21 Four Columns The two pictures show four columns with two human figures. One of the photos is a wide angle of the columns in a rectangular shape. The other photo one out of the two human figures are there but the rectangle is narrow. I was standing there with one other person. They just leave me there as the columns go narrow leaving me feeling trapped and alone.
Wide
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Narrow
Category: #22 One Wall and One Column The eight photos show a wall, a column, and a human figure. The column starts far from the human figure and the human figure is between the wall and the column. As the photos progress, the column gets closer to the human figure but also further from the wall. Two photos from the eight show the column moving to in between the wall the human figure. I felt lost as the columns got closer like they were trying to keep me from moving and I didn’t know where to go next.
Condition 1
Condition 2
Condition 3
Condition 4
Condition 5
Condition 6
Condition 7
Condition 8
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Category: #23 One Wall and two Columns The photos show one wall and two columns. The wall starts beside the vertically aligned columns. The next photo shows the wall between the two columns but off to the side. The last photo shows a facing wall with horizontal aligned columns. In all the photos a human figure is walking pass the wall and columns. As the columns moved, I still had a space to walk but then the wall moved and I had to walk more to the left.
Condition 1: aligned wall and vertically aligned columns
Condition 2: facing wall and vertically aligned columns
Condition 3: facing wall and horizontally aligned columns
Category: #24 Two Walls and two Columns The two photos show two walls and two columns with two human figures. One of the photos has the columns aligned vertically with perpendicular walls. In that first photo there is one human figure walking past both walls while one human figure stands in front of one of the walls. The second photo is more focused on the second human figure standing in front of the wall. As I walked pasted the columns and the wall, I felt like I was leaving the room that the other human figure was in.
Columns aligned vertically with perpendicular walls
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Columns aligned horizontally with perpendicular walls
Category: #25 Two Walls and two Columns with two lighting conditions_01 The six photos show the change in lighting and where the columns are placed. In three of the six photos the light is shining on the human figure. The other three photos show the light on the other side of wall, leaving the human figure in the dark. I was walking in light towards the exit of the space, then I was walking in the dark to the light. I was curious about what was in the light on the other side of the wall.
Walking between vertically aligned columns and perpendicular walls with lighting behind Figure
Walking between vertically aligned columns and perpendicular walls with lighting behind wall
Walking beside vertically aligned columns and perpendicular walls with lighting behind Figure
Walking beside vertically aligned columns and perpendicular walls with lighting behind wall
Walking beside vertically aligned columns and extended perpendicular walls with lighting behind Figure
Walking beside vertically aligned columns and extended perpendicular walls with lighting behind wall
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Category: #26 Two Walls and two Columns with two lighting conditions_02 There are four photos and out of the four two of them are in the light and the other two have the light coming through the space between the walls. The human figure is passing through horizontally aligned columns in the light. In that same layout the human figure is walking but the light is coming through the space between the walls. The next two photos have vertical aligned columns with two walls. The human figure is walking in the light towards the space between the walls. The other photo is also the same layout but the light is coming from the space between the walls. I felt safe walking in the light towards the space between the walls but them walking in the dark towards the light left sad and helpless.
Passing horizontally aligned columns to enter the space between two walls with lighting behind Figure
Passing vertically aligned columns to enter the space between two walls with lighting from the inside space
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Passing horizontally aligned columns to enter the space between two walls with lighting from the inside space
Passing vertically aligned columns to enter the space between two walls with lighting behind Figure
Category: #27 Two Walls and two Columns with two lighting conditions_03 There are six photos that show a human figure walking with twos walls and two columns. As the light changes the direction of the human figure seems to change. Also, as the walls and columns change, it changes where the human figure is walking. The lighting also changes where the human figure is walking like if he is heading into or out of a space. I felt like I was walking room to room and the lights were leading me, there was nothing in my way to go where I wanted to go.
Passing vertically aligned columns to pass a narrow opening between two walls with lighting behind Figure
Passing vertically aligned columns to pass a narrow opening between two walls with lighting from the inside space
Passing vertically aligned columns to pass an intermediate opening between two walls with lighting behind Figure
Passing vertically aligned columns to pass an intermediate opening between two walls with lighting from the inside space
Passing horizontally aligned columns to pass a wide opening between two walls with lighting behind Figure
Passing horizontally aligned columns to pass a wide opening between two walls with lighting from the inside space
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Category: #28 Vertically aligned Two Walls and two Columns The two photos show the human figure walking between two wall and two columns with the light coming in from behind one of the walls. As the human figure walks the angle of the photo changes and the human figure comes more into the light. I was walking thinking the column was in my way but then I turn the corn seeing there was an opening for me to walk through.
Between walls, walking
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Between columns, walking
Category: #29 Space composed with 5+ columns and 2 walls The photos show two perpendicular walls with four columns, two on both ends of the walls, and one column out to the side of the walls on the right. There are two human figures in the photos. One of the human figures start on the outside of the walls in the light then walks around the one wall into the shadow of that wall. The other human figure is sitting by the wall are the other human figure passes and goes back in front of the first wall into the light. I was walking around the wall and see someone sitting in the shadow, I continue to walk around back into the light.
Top view of the space composed
Sequence phase #1
Sequence phase #2
Sequence phase #3
Sequence phase #4
Sequence phase #5
Sequence phase #6
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Category: #30 Faced wall with Connected wall The photos show the walls touching starting at a 90-degree angle and moves all the way to a 270-degree angle. There are two human figures standing in front of the wall and they don’t move as the wall moves. At first, I wasn’t able to walk because of the 90-degree angle but then as the wall opens up the 270-degree I was able to walk around the walls.
90 degree
100 degree
110 degree
120 degree
130 degree
140 degree
150 degree
160 degree
170 degree
180 degree
190 degree
200 degree
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210 degree
220 degree
230 degree
240 degree
250 degree
260 degree
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Category: #31 Aligned wall with Connected wall The photos show the walls touching starting at a 10-degree angle and moves all the way to a 170-degree angle. There are two human figures standing in front of the wall and they don’t move as the wall moves. At first, I wasn’t able to walk because of the 10-degree angle but then as the wall opens up t0 170-degree I was able to walk straight past the wall.
10 degree
20 degree
30 degree
40 degree
50 degree
60 degree
70 degree
80 degree
90 degree
100 degree
110 degree
120 degree
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130 degree
140 degree
150 degree
160 degree
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Category: #32 Facing the connected edge of two walls The photos show a human figure facing the edge of two wall that started at a 10-degree angle then it opens up to a 170-degree angle. At first the human figure was facing the edge of the walls unable to move but as the walls open, he has more room to move. I was looking at the edge of two walls unable to walk forward but them the wall moves all the way open making it able for me to turn to the left a little was walk pass the wall.
10 degree
20 degree
30 degree
40 degree
50 degree
60 degree
70 degree
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130 degree
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35 41
Category: #33 Three connected walls There are six photos, three of the six show a wide-facing wall with two wings the other three show a narrow-facing wall with two wings. As the wall moves in the first three pictures the space is getting bigger. As the walls in the other three pictures the space is getting smaller. I felt like I had a lot more room to move and I was able to walk in every direction when the walls were moving out but when the walls got narrow, I felt trapped and wasn’t able to walk in such a big space like before.
Wide-facing wall with two wings
Narrow-facing wall with two wings
Category: #34 Curved wall inside The photos show three different curved walls. Two of the three are the same height and the last one is taller. As the wall changes is changes the way the human figure looks. The bigger the wall gets the small the human figure looks and the longer the wall gets the more open the space looks. I was standing in the curved wall and the bigger it got the more the shadows were prominent. I felt like I was in a spot light making me feel important like a piece of art.
Small-curved and 8ft height
Large-curved and 16ft height 36 42
Small-curved and 16ft height
Large-curved and 8ft height
Category: #35 Curved wall outside The photos show a human figure standing in front of a curved wall and walking around the walls. The walls were different heights and the change in the height of the wall and the placement of the human figure changed where the shadows hit the human figure. I felt scared as I faced the wall having to walk around. The shadows that were made by the wall made it feel spooky.
Facing Small-curved and 8ft height
Passing Small-curved and 8ft height
Facing Small-curved and 16ft height
Passing Small-curved and 16ft height
Facing Large-curved and 8ft height
Passing Large-curved and 8ft height
Facing Large-curved and 16ft height
Passing Large-curved and 16ft height
37 43
Category: #36 Curved Walls and Flat Walls The photos show a flat wall with a curved wall as a human figure stands in the curved wall and another human figure walks around the curved wall. As the photos change the human figure comes in sight but the human figure that is walking around the wall is shown in all photos. Also, the lighting stays the same. I was following the light around the curved wall and as I come around the wall, I see a lady standing there making me feel bad for her. She seemed lonely.
Facing a flat wall (8fh height) while passing a curved wall (8fh height)
Entering a space between a flat wall (8fh height) and an opened-curved wall (8fh height)
38 44
Entering a space between a flat wall (8fh height) and a closed-curved wall (8fh height)
Entering a space between a flat wall (8fh height) and a half opened-curved wall (8fh height)
Category: #37 Entering into a space between Parallel Curved Walls The photos show two parallel curved walls and two human figures. The light is coming from the front of the curved walls so as the photos change it shows one of the human figures from be hide the wall walking to the light. The other human figure is standing in the light in front of the curved walls. I walk turns the light and through the walls as I make my way through, I see a lady standing on her own. She seemed lonely as I turn back around and walk away.
Small-curved and 8ft high outside
Small-curved and 16ft high outside
Large-curved and 8ft high outside
Large-curved and 16ft high outside
Small-curved and 8ft high inside
Small-curved and 16ft high inside
Large-curved and 8ft high inside
Large-curved and 16ft high inside
39 45
Category: #38 Entering a space between curved mirror walls_01 The photos show a space between curved mirrored walls. The walls are different heights so as the wall gets bigger it made the shadows bigger but the human figure stayed in the same light. It was dark as walking in between to curved walls and it was scary not knowing what was on the other side of the walls.
Small-curved and 8ft height
Large-curved and 16ft height
40 46
Small-curved and 16ft height
Large-curved and 8ft height
Category: #39 Entering a space between curved mirror walls_02 The photos show a space between two curved walls but at an angle so you can’t see the space between the walls but light is coming through the space. The photos show the change in lighting on the human figure as he gets closer the space between the wall where the light is coming from making the human figure not be in the shadow of the walls. I was walking in the shadow of the wall and when I came into the light, I felt safe.
Small-curved and 8ft high with inside lighting
Small-curved and 8ft high with outside lighting
Small-curved and 16ft high with inside lighting
Small-curved and 16ft high with outside lighting
Large-curved and 8ft high with inside lighting
Large-curved and 8ft high with outside lighting
Large-curved and 16ft high with inside lighting
Large-curved and 16ft high with outside lighting
41 47
Category: #40 One curved wall and one column The two photos show one curved wall and one column. In one of the photos the human figure is walking on the outside of the curved wall with a column to the left. The other photo shows the human figure walking on the inside on the curved wall with the column to the right. As I was walking on the inside of the curved wall, there was light making me happy to not in the dark or in a shadow.
Entering a space between a column and curved wall outside
Entering a space between a column and curved wall inside
Category: #41 One curved wall and two columns The three photos show one curved wall and two columns. One of the photos show a lady standing in front of the curved wall with a column on the left and right. The second photo shows the same but the columns are further apart with one human figure walking on the left side in between the column and wall. The last photo shows the back side of the curved wall at the side angle with the columns vertical and the human figure is walking between the wall and the columns. I was walking around the wall while the light shined down making me cheerful being in the light.
Entering a space between a column of two horizontally aligned and curved wall outside
42 48
Facing the outside of a curved wall with two horizontally aligned columns with insufficient space between them
Entering a space between a column of two vertically aligned and a curved wall outside
Category: #42 Role of a column between Curved and flat walls The four photos show a human figure walking past a flat wall/curved wall with a column on the right and walking past a flat wall/curved wall with a column on the left. As the photos change the human figure comes into the light that is coming from inside the walls. I felt good walking around the curved wall due to the light coming from inside.
Entering a space between two parallel curved walls, with a column in front of the outer curved wall
Entering a space between a faced flat wall and a curved wall, with a column in front of the flat wall
Entering a space between two parallel curved walls, with a column in front of the inner curved wall
Entering a space between a parallel flat wall and a curved wall, with a column in front of the flat wall
43 49
Category: #43 Curved connection The four photos show a human figure standing by a wall that slowly opens up. The change in the photos show the wall starting at 60-degrees and opens up to 150-degrees. At first, I thought I couldn’t walk straight because the wall was blocking me but it slowly started to open clearing my path.
Follow two flat walls that are connected at an angle of 60 degrees smoothly
Follow two flat walls that are connected at an angle of 150 degrees smoothly
44 50
Follow two flat walls that are connected at an angle of 90 degrees smoothly
Follow two flat walls that are connected at an angle of 120 degrees smoothly
Category: #44 Curved wall and S-curve wall The photos show curved walls and an s-curve wall. The walls change heights as the photos continue making the human figure that is walking through the walls look smaller. I was walking in a tight space between the tall walls making me nervous and scared.
Curved wall and S-curve wall 8ft high with inside lighting
Curved wall and S-curve wall 8ft high with outside lighting
Curved wall and S-curve wall 16ft high with inside lighting
Curved wall and S-curve wall 16ft high with outside lighting
45 51
Category: #45 1 point perspective pictures: Void on the upside The photos show a void above a human figure. The photos have different shapes for the void but the lighting stays the same where the human figure is standing right in the light. I didn’t like being in the light with everything around me dark.
A 4’x4’ square void with a height of 8ft
A 8’ diameter void with a height of 8ft
46 52
A 8’x8’ square void with a height of 8ft
A 4’ diameter void with a height of 8ft
Category: #46 Void on the upside with columns or walls The photos show a void above walls and columns. The photos show the different angle of the human figure walking toward the void so the human figure is in the shadows. I was walking pass the walls and columns towards the light coming from the void I felt like I needed to get to the light fast.
A 8’x8’ square void with columns
A 8’x8’ square void with a facing wall
A 8’x8’ square void with a passing wall
View for A 4’x4’ square void with a flat wall aligned with one side and two columns aligned with the opposite side
47 53
Category: #47 Void on the downside with columns or walls The photos show a void on the downside with walls and light coming through the void. In the photos there is human figure standing on the edge of the void and depending on where the human figure is standing the light its him different. In some of the photos the human figure is in the light and in the others he’s in the shadows. I was standing on the edge of a void looking down while light was coming in. I felt like I was watching over someone, like I was there to protect them.
A 8’x8’ square void with a facing wall and light from upper floor
A 8’x8’ square void with a facing wall and light from side
A 8’x8’ square void with a facing wall and light from lower floor
A 8’x8’ square void with a passing wall and light from side
A 8’x8’ square void with a passing wall and light from lower floor
A 8’ diameter void with light from lower floor
48 54
Category: #48 Void on the upside with combinations of columns or walls The photo shows a void with six columns and a short wall in the middle where the light from the void is coming from. The human figure is standing to the side of the void out of the light. I felt safe standing under the void with the columns. It felt like I was in a house and I was protected.
Scene #1
Scene #2
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Scene #10 49 55
Category: #49 Void between Floating Surfaces The photos two floating surfaces with three human figures and a void. As the photos change the placement of the human figures change making them in different lighting and shadows. I was standing on the top surface looking down on the two men wondering what they were doing and it made me feel lonely since I was alone on the top level.
Scene #1
Scene #2
Scene #4
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Scene #3
Category: #50 Void between curve-linear Surfaces The photos show a void with one human figure under the void and one on the top surface of the void. The human figure under the void is in the shadows while the human figure on the top surface is in the light. I was under the void but in the shadows while the other person was in the light making me jealous that I was under the surface and not on top.
Scene #1 50 56
Scene #2
Category: #51 Void with a combination of The photos show four curved walls at all different heights beside the two in the back. The back curved walls are the tallest and they are positioned in a half circle. There are also three columns, one tall column and two shorter columns. Sitting on top of the half circle curved walls is a void that is shaped in a circle as well. The human figure is standing in the middle with the light from the void coming down on him. As I stood in the light around the curved walls, I felt important with the light coming down on me like I was the center piece.
Scene #1
Scene #2
Category: #52 Curved vertical surface The photos show a curved vertical surface. The human figure is walking towards the curved surface and in the light. I felt like I could walk up some of the curved surface but it curved more than I thought it did so I knew I had nowhere to go.
A 4’wide
A 8’wide 51 57
Category: #53 Curved vertical surface with an upper floor The photo shows a curved vertical surface with an upper floor and a curved wall to the right of a human figure. The human figure is looking out towards the curved surface and he’s in the light with the shadow of the upper floor casting on the curved surface. I was standing on the edge of the upper floor looking out and the curved surface. It was curved so much that I thought it was going to crash into me like a wave.
Scene #1
Scene #2
Scene #4
Scene #5
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Scene #3
Category: #54 Curved vertical surface with a void The curved vertical surface in this image smoothly connects the upper and lower level. With involving the two human figures, one on each floor, it continues to convey the transition between the two levels. I stood on the upper level looking down at the other person, I felt happy because I was able to feel connected to my partner on the lower level.
Scene #1
Scene #2
Scene #3
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Scene #5
Category: #55 Facing Curved vertical surface This image includes a curved vertical surface bent outward from above and curves inward on the bottom allows for freedom of movement. The human figure stands staring at the curve showing the different direction it can take. I feel carefree because of the space allowed to travel within.
Scene #1
Scene #2 53 59
Category: #56 Hanging curved surfaces The photo shows a human figure standing under a hanging curved surface. The human figure is in the shadow of the hanging surface. I was standing there and it felt like I was under a rainbow. I felt at peace when standing there.
Scene #1
Scene #2
Scene #3
Scene #5
Category: #57 Surfaces with convexities and concavities In the photo it shows a human figure standing in the middle of a concave. The human figure is in the light as he walks towards the concave. I was walking towards two spheres but I had to walk in between them and had to dodge the sides of the spheres. Having to dodge the sides made me feel fearful that I would run into them.
Scene #1 54 60
Scene #2
Category: #58 A sphere with a strong center and centripetal force The photo shows a sphere and human figure standing beside it. The human is looking at the sphere just right outside of the shadow that the sphere makes. I was standing there looking at the sphere like it was a piece of art making me feel at peace.
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Category: #59 Surfaces that are twisted and free The photo shows a surface that is twisted with a human figure. The human figure is sitting on the twisted surface. I felt calm and free as I sat there even though the surface
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Scene #3
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Ann Bell Port foli o 62
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What I learned...
Project #1 “Wall, Column, and Space” Project #2 “Hand Drawing” Project #3 “Power of Patience” Project #4 “Space Cube” Project #5 “First Portfolio” Overall If you could talk to you before these five weeks, what would you like to share with you? This course, while extremely important and useful, will seem convoluted at the beginning. The instructions and amount of time spent in the studio are daunting, but looking back, the completion of the tasks at hand was the most important aspect of the class. Completion, as Jinoh stated at the beginning of class, is ninety percent of the grade and something to be proud of. The times that I experienced doubt in this class, as to whether I should continue, were valid. But thanks to Mr. Carl, I now know that this class was much more geared towards interior design than anything else. Landscape, while not entirely different, asks for different aspects of architecture than what you are currently doing. While the class was more aimed towards interior architecture, the lessons and projects are still important and useful for your degree. Building models, learning how to use software tools, and submitting assignments in a timely and orderly fashion are all skills you will need to have leading into the next five weeks, and in your life in general. So, it’s important to remember that in the end, completing this course with your best foot forward is the goal of these five weeks. Be sure to look ahead at what is required of you and do your best to be punctual to class and pin-ups. There will be moments of angst and doubt, but the moments of joy and completion of things you enjoy far surpass those. Enjoy it.
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Category #1: Facing surface This set of ten images follows the human figure as the wall shifts from a left-forward pointing position to a horizontal position. As the wall shifts, the figure becomes enveloped in light. This causes a calming an contemplative sense of discovery, with the obstruction of the viewer becoming the obstruction of the view.
0 degree
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90 degree 4 64
Category #2: Facing edge This set of ten images stays fixed on the human figure as the lateral wall shifts from the left to the center of the image. As the wall shifts, the figure is enveloped in light but becomes obstructed again when the wall is completely in line with the figure. This brings about a sense of unease in myself with the shadow following the figure. A presence, while sometimes delightful, is not usually sought after.
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90 degree 5 65
Category #3: Blocking wall This set of eleven images stays fixed on the human figure as the wall moves in a horizontally slanted motion from a leftmost position in the frame to a point closer to the figure on the right. The movement of the wall does not affect the figure in terms of shadow but does block the extended background from the viewer. This movement of the wall does not cause any definite emotion in me. Due to the lack of shadow movement, I am not compelled to feel any particular emotion.
Opened level 1
Opened level 2
Opened level 3
Opened level 4
Block level 1
Block level 2
Block level 3
Block level 4
Block level 5
Block level 6
Block level 7
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Category #4: Passing the blocking wall This set of five images stays fixed on the human figure as the wall moves from behind the figure to in front of the figure to such an extreme degree that it obstructs the lens of the camera. The figure is enveloped in light as the wall moves closer to the camera and is left behind in open space as the wall obstructs the camera. This creates a sense of renewal in me as the light is once again in the hands of the figure, leading them to see the world without a wall of obstruction..
Passing level 1
Passing level 2
Passing level 3
Passing level 4
Passing level 5
7 67
Category #5: Aligned Wall This set of six images stays fixed on the human figure as the wall moves from a slightly slanted angle to the left of the figure to behind the figure. This causes an interesting reaction of light on the figure, leading to a deeper shadow when fully in front of the wall. The movement of the wall shows a sense of perpetual stillness in the figure. This feeling could cause a range of emotions, but it causes me joy as I believe it’s important to appreciate the movement of the world around us.
Closed level 1
Closed level 2
Closed level 4
Closed level 5
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Closed level 3
Category #6: Passing the aligned wall This set of six images stays fixed on the human figure as the wall moves in a slanted position frombehind the figure to in front of the figure and then disappears. This causes a significant change in ambient light around the figure without changing the shadow or light reflected on the figure. This creates a sense of release as the wall disappears into the left-hand corner, even though the figure remains in darkness.
Passing level 1
Passing level 2
Passing level 3
Passing level 4
Passing level 5
Passing level 6
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Category #7: Walls with different heights This set of seven images stays fixed on the human figure as the wall is situated behind them and moves up in a straight line, caused by the increasing wall sizes. This creates a fully illuminated scene with the figure standing in the center in the light as the wall behind them grows. This was probably my favorite image set, as the figure expresses so much confidence by not looking behind them as a monumental shift in the space occurs. Remianign still and looking forward adds to this sense of confidence.
Wall with 1ft
Wall with 2ft
Wall with 3ft
Wall with 4ft
Wall with 5ft
Wall with 6ft
Wall with 7ft
10 70
Category #8: Floating and faced Wall This set of six images stays fixed on the human figure in the center as the wall is situated behind them and lifts from the floor towards the ceiling. This causes an increase of shadow on the wall as it moves further from the figure, and an increase in light on the figure. This causes anxiety as the confident figure from before may not have been expecting the rise of the wall, as can be seen by the darkness increasing on the wall.
1ft high floating wall
2ft high floating wall
3ft high floating wall
4ft high floating wall
5ft high floating wall
6ft high floating wall
11 71
Category #9: 8ft high floating and aligned wall This set of six images stays fixed on the human figure in the center as the wall is situated behindthem and lifts from the floor towards the ceiling. This causes an increase of shadow on the wall as it moves further from the figure, and an increase in light on the figure. This causes anxiety as the confident figure from before may not have been expecting the rise of the wall, as can be seen by the darkness increasing on the wall.
Alignment level 1
Alignment level 4
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Alignment level 2
Alignment level 3
Category #10: 8ft high floating and faced wall This set of eight images stays fixed on the human figure with the wall standing horizontally in an elevated position above the figure and moving from the left to the right of the lens. The movement to the right causes a lack of light on the figure and an increase of light on the ground. This movement feels too much like a close call for me to enjoy it. It causes me to be anxious about what is holding up the wall.
Overlap level 1
Overlap level 2
Overlap level 3
Overlap level 4
Overlap level 5
Overlap level 6
Overlap level 7
Overlap level 8
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Category #11: floating horizontal surface This set of six images follows the human figure as the wall lying flat moves horizontally behind the figure from the left of the screen to the right. This causes a decrease of light on the figure as the wall moves to the right, and an increase in light on the ground. I do not like the pendulum movement of this set of images as it seems, once again, like a close call instead of an interesting feature.
Overlap level 1
Overlap level 2
Overlap level 3
Overlap level 4
Overlap level 5
Overlap level 6
14 74
Category #12: Horizontal surfaces with different heights This set of twelve images follows the human figure as the wall lying flat moves from an elevated position behind the figure to submerged under the floor. This causes a hole of shadow behind the figure, while bringing more light to the figure as the wall submerges. This was one of my favorite aspects of the project as it was the only one I would be excited to try. The elevated movement and the other figures simply disappearing like a glass elevator was really quite interesting.
8ft high horizontal surface
7ft high horizontal surface
6ft high horizontal surface
5ft high horizontal surface
4ft high horizontal surface
3ft high horizontal surface
2ft high horizontal surface
1ft high horizontal surface
-1ft high horizontal surface
-2ft high horizontal surface
-3ft high horizontal surface 15 75
Category #13: Wall surface with an incline This set of eight images follows the human figure as the wall goes from a standing, laterally slanted position to a flat position above the figure’s head. The light on the figure decreases as the figure is shielded from the light source by the wall acting as a ceiling. I do not like the feeling exhibited from this set of images as it causes me to think of an unwanted eclipse, or one I did not know was happening, which would be frightening.
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Category #14: Inclined wall This set of six images follows the human figure as the wall goes from a slanted, standing lateral position to a standing position to the left of the figure. This causes a refraction of light by the wall onto the figure, causing the figure to become much more covered in light as the wall becomes straighter. I like this set of images as it makes me happy due to the increased light and resemblance to a garage door
Inclined level 1
Inclined level 2
Inclined level 3
Inclined level 4
Inclined level 5
Inclined level 6
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Category #15: Floating wall surface facing edge with an incline This final set of six images follows the human figure as the wall goes from a flat horizontal position on the left to a higher slanted position, becoming more lateral. This causes the figure and the ground to lose light as the wall deflects more of the light. I do not feel happy when viewing this due to the increase of darkness in the images and the precarious position of the wall.
Inclined level 1
Inclined level 2
Inclined level 3
Inclined level 4
Inclined level 5
Inclined level 6
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Category #16: Inclined surface to a facing wall This set of nine images follows the human figure as the wall goes from the ground behind the figure and slowly lifts at an angle away from the figure. This leads to an explosion of light as the wall is no longer blocking the light from the figure and the floor, while the wall creates an interesting shadow on the wall behind it. This set of images gives me an inspired feeling, with the increase of light and the new shadows formed by the final pose. It leads someone to feel curious and very inspired.
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90 degree
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Category: #17 Inclined ramp to facing wall This set of nine images follows the figure as the wall goes from the ground behind the figure and slowly lifts at an angle towards the figure. This causes the light to reflect off the white wall’s surface and onto the figure, leading to an interesting highlight on the back of the figure while the dark front of the figure is still in frame. This set of images lends a sense of opening or achievement, leading to a positive feeling within the photos.
10 degree
20 degree
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40 degree
50 degree
60 degree
70 degree
80 degree
90 degree
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Category: #18 One Column This set of two images follows the human figure and their relationship to a pillar to their right. The figure is already enveloped in light, and this does not change as the images shift perspective. While the space feels large in the front, the lighting makes the space feel confined from both the front and sides.
Front
Side
Category: #19 Two Columns This set of two images follows the human figure and their relationship to a pillar to their right. The figure is already enveloped in light, and this does not change as the images shift perspective. While the space feels large in the front, the lighting makes the space feel confined from both the front and sides.
Vertical
Horizontal
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Category: #20 Three Columns This set of two images follows the movement of the figure alongside and apart from three pillars. The light does not change between the two images in relation to the figure but does illuminate the pillars as they move positions. I felt unease as I walked between the horizontal pillars and vertical pillars due to the revealing of the pillars from the dark.
Vertical
Horizontal
Category: #21 Four Columns This set of two images follows the movement of the figure alongside and apart from three pillars. The light does not change between the two images in relation to the figure but does illuminate the pillars as they move positions. I felt unease as I walked between the horizontal pillars and vertical pillars due to the revealing of the pillars from the dark.
Wide
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Narrow
Category: #22 One Wall and One Column This set of eight images follows a singular figure as it moves through a walkway lined with a single wall to the left and a moving pillar placing itself on the right or left. The light obstructs the back of the figure, causing a large shadow to envelop and create a large shadow, which melts with the dark background. I felt unease in all but condition 2, and felt unwilling to walk forward in conditions 1 through 4, but would have been happy to walk forward through the other conditions.
Condition 1
Condition 2
Condition 3
Condition 4
Condition 5
Condition 6
Condition 7
Condition 8
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Category: #23 One Wall and two Columns This set of three images follows the figure once again in relation to the moving wall and columns which revolve around the figure. The lighting of condition 3 was darker than the rest, while conditions 2 and 1 were relatively well lit. I felt apprehension in condition 3 and felt that I did not want to continue forward, whereas in conditions 1 and 2 I felt that I had to walk between the wall and pillars.
Condition 1: aligned wall and vertically aligned columns
Condition 2: facing wall and vertically aligned columns
Condition 3: facing wall and horizontally aligned columns
Category: #24 Two Walls and two Columns This set of three images follows the figure once again in relation to the moving wall and columns which revolve around the figure. The lighting of condition 3 was darker than the rest, while conditions 2 and 1 were relatively well lit. I felt apprehension in condition 3 and felt that I did not want to continue forward, whereas in conditions 1 and 2 I felt that I had to walk between the wall and pillars
Columns aligned vertically with perpendicular walls
24 84
Columns aligned horizontally with perpendicular walls
Category: #25 Two Walls and two Columns with two lighting conditions_01 This set of six images follows one figure as they walk perpendicularly alongside a wall to the right and in front, and two columns revolving around the figure. The lighting between the light coming from behind and in front of the right wall changes the mood drastically. The amount of light made me anxious in images 1, 3, and 4, with the pillars in 3, 4, 5, and 6 leading me to walk away from the wall, while 1 and 2 led me to walk closer and alongside the right wall. The pillars and front wall lead you to turn right at the end of the right wall.
Walking between vertically aligned columns and perpendicular walls with lighting behind Figure
Walking between vertically aligned columns and perpendicular walls with lighting behind wall
Walking beside vertically aligned columns and perpendicular walls with lighting behind Figure
Walking beside vertically aligned columns and perpendicular walls with lighting behind wall
Walking beside vertically aligned columns and extended perpendicular walls with lighting behind Figure
Walking beside vertically aligned columns and extended perpendicular walls with lighting behind wall
25 85
Category: #26 Two Walls and two Columns with two lighting conditions_02 This set of four images follows a singular figure as they move through a space consisting of two standing horizontal walls and two columns moving throughout the space. The lighting difference as the light moves from in front of the walls to the back of the walls is very distinct and obvious, creating an interesting shadow across the figure. I felt the first and fourth spaces were unorganized as I was unsure whether to go through the walls or to the left. The second and third images led me to feel I knew where to go, which is reassuring.
Passing horizontally aligned columns to enter the space between two walls with lighting behind Figure
Passing vertically aligned columns to enter the space between two walls with lighting from the inside space
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Passing horizontally aligned columns to enter the space between two walls with lighting from the inside space
Passing vertically aligned columns to enter the space between two walls with lighting behind Figure
Category: #27 Two Walls and two Columns with two lighting conditions_03 This set of six images follows a singular figure as they move between two standing horizontal walls and moving pillars. The light following the figure versus the light cast on the front of the figure causes a large difference in the appearance and mood of the figure as they walk through this space through the addition or shadow. I felt the first and second images did not lend me enough space to walk between the walls to the next room, while the others show exactly where to go. The fifth and sixth images create a sense of unease.
Passing vertically aligned columns to pass a narrow opening between two walls with lighting behind Figure
Passing vertically aligned columns to pass a narrow opening between two walls with lighting from the inside space
Passing vertically aligned columns to pass an intermediate opening between two walls with lighting behind Figure
Passing vertically aligned columns to pass an intermediate opening between two walls with lighting from the inside space
Passing horizontally aligned columns to pass a wide opening between two walls with lighting behind Figure
Passing horizontally aligned columns to pass a wide opening between two walls with lighting from the inside space
27 87
Category: #28 Vertically aligned Two Walls and two Columns This set of two images follows a singular figure as they walk through two laterally standing walls with two moving pillars. The sense of space is drastically shifted as the light is increased on the figure and the pillars are moved, causing a sense of growth. The space between the walls lends a sense of confinement that is aided by the use of light, while the space between the columns causes a sense of openness and light as the light and walls are removed from shadow.
Between walls, walking
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Between columns, walking
Category: #29 Space composed with 5+ columns and 2 walls This set of seven images follows a figure as they move amongst a set of pillars in a horizontal position boxed in by two walls. This lends an interesting shadow with the figure walking in and through the pillars with the light moving behind and in front of the walls causing a large difference in lighting. This causes a sense of contemplation as the pillars line the space horizontally (phase 2) but leave the space open in an inviting way even though it is closed in by walls and shadow (phase 1).
Top view of the space composed
Sequence phase #1
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Category: #30 Faced wall with Connected wall This set of nineteen images follows two figures with a set of interconnected walls as the wall moves from a position creating a ninety-degree angle with the interior facing towards the figures, to a ninety-degree angle with the figures outside of the angle. The lighting on the two figures shifts as the walls shift to become lighter on the center figure and darker on the figure off to the left. The space was very appealing at the beginning of the positions (90 degrees); it felt very spacious.
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Category: #31 Aligned wall with Connected wall This set of twelve images follows a singular figure in relation to an increasing 45 to 180- degree angle. The shadows are impressive, to say the least, with the movement of the walls bringing light to a very dark figure. I felt calm in the original space (10 degrees) feeling I could no longer move forward but the light not causing me to want to, and felt much more out of place in the larger, more lit room (150 degrees) since there was nothing to relate myself to but bright white. nothing to relate myself to but bright white.
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Category: #32 Facing the connected edge of two walls This set of eleven images follows a singular figure standing outside the focal point to an increasing 45 to 180-degree angle. The light as the angle opens causes an otherwise white image to gain light and depth. I felt out of place in the 10-degree space and felt most comfortable in the 100-degree space, but as the angle reached 180 degrees I found that I was the only pillar or component of the room.
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Category: #33 Three connected walls This set of two images follows a singular figure as it stands in relation to three walls which are narrow or wide facing. The light is directly pointed towards the wall causing the figure to be outlined in shadow. I felt more encapsulated in the image as the furthest wall became smaller (image three) and felt the most comfortable in image five as the lighting and spatial arrangement lent an air of calm.
Wide-facing wall with two wings
Narrow-facing wall with two wings
Category: #34 Curved wall inside This set of three images follows a singular figure as the curved wall behind them lengthens, rises, and shortens as the images progress. The lighting remains the same, coming from an overhead source throughout the images. I did not like any of the spaces, as the lighting and size of the spaces compared to me were neither interesting nor calming.
Small-curved and 8ft height
Large-curved and 16ft height 36 96
Small-curved and 16ft height
Large-curved and 8ft height
Category: #35 Curved wall outside This set of six images follows a singular figure as the circular wall behind them lengthens, shortens, and rises while the lighting remains the same. As I mentioned, the lighting does not significantly impact the scenes. I did not like these spaces as the lighting and the sense of smallness made me feel isolated and alone
Facing Small-curved and 8ft height
Passing Small-curved and 8ft height
Facing Small-curved and 16ft height
Passing Small-curved and 16ft height
Facing Large-curved and 8ft height
Passing Large-curved and 8ft height
Facing Large-curved and 16ft height
Passing Large-curved and 16ft height
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Category: #36 Curved Walls and Flat Walls This set of four images follows two figures as they move among a flat and curved wall. The lighting and tone remain the same except for the second photo, where the lighting is dramatically adjusted to create a silhouette and less of a spotlight effect. I did not like these spaces as their grandness and emptiness caused me anxiety, especially in images three and four.
Facing a flat wall (8fh height) while passing a curved wall (8fh height)
Entering a space between a flat wall (8fh height) and a closed-curved wall (8fh height)
Entering a space between a flat wall (8fh height) and an opened-curved wall (8fh height)
Your coordination in height and openness.
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Entering a space between a flat wall (8fh height) and a half opened-curved wall (8fh height)
Category: #37 Entering into a space between Parallel Curved Walls This set of four images follows two figures as they move among two curved surfaces, increasing and decreasing in size. The lighting is intriguing as it changes sources with every photo, creating silhouettes and spotlights for all the figures. However, I still feel that the spaces with curved walls make me feel small and lost, like a maze, especially in the first and last images. Overall, I do not like these spaces.
Small-curved and 8ft high outside
Small-curved and 16ft high outside
Small-curved and 8ft high inside
Small-curved and 16ft high inside
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Category: #38 Entering a space between curved mirror walls_01 This set of four images is intriguing as it follows a singular figure between two curved walls with a decreasing and increasing space between the two half circles and varying heights. The light behind the walls was incredibly interesting and created an intriguing silhouette of the figure. Despite making me feel small, I liked this space. The lighting coming from behind the semicircles was incredibly relaxing and interesting to view, especially in the fourth image.
Small-curved and 8ft height
Large-curved and 16ft height
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Small-curved and 16ft height
Large-curved and 8ft height
Category: #39 Entering a space between curved mirror walls_02 This set of fiveimages follows two curved walls of differing sizes as they increase in height compared to a singular figure. The lighting behind and in front of the walls changes the entire mood of the scene. I like these spaces due to the difference in height and interesting background. The variation in height and lighting in the fifth and sixth images is extremely interesting and much nicer to be in than the first four.
Small-curved and 16ft high with inside lighting
Large-curved and 16ft high with inside lighting
Large-curved and 8ft high with outside lighting
Large-curved and 8ft high with inside lighting
Large-curved and 16ft high with outside lighting
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Category: #40 One curved wall and one column This set of two images follows a singular figure as they move into and out of a curved wall ranging in size with a singular pillar. The lighting changes drastically between the two images as the wall lengthens and shortens, causing the light to reflect off the figure differently. I did not like either of these spaces, especially the first space, as it was so large in comparison to my size.
Entering a space between a column and curved wall outside
Entering a space between a column and curved wall inside
Category: #41 One curved wall and two columns This set of three images follows two figures with a singular curved wall and two pillars. The lighting between the two figures changes drastically due to the position of the figures, as the light reflects off the wall and onto their silhouettes. I liked being in this space, especially the second space, as I felt right at home situated between the two pillars.
Entering a space between a column of two horizontally aligned and curved wall outside
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Facing the outside of a curved wall with two horizontally aligned columns with insufficient space between them
Entering a space between a column of two vertically aligned and a curved wall outside
Category: #42 Role of a column between Curved and flat walls This set of four images follows a singular figure between two curved walls and a singular pillar. The lighting behind the two walls and the reflection off the wall creates an interesting silhouette. I enjoyed this space as it felt inviting, with the pillar marking the entrance of the space and the lighting creating a warm glow to enter into.
Entering a space between two parallel curved walls, with a column in front of the outer curved wall
Entering a space between a faced flat wall and a curved wall, with a column in front of the flat wall
Entering a space between two parallel curved walls, with a column in front of the inner curved wall
Entering a space between a parallel flat wall and a curved wall, with a column in front of the flat wall
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Category: #43 Curved connection This set of four images creates an interesting silhouette with a singular circular wall and a bent wall. The lighting stays the same in all of the images, creating a dark silhouette. I liked looking at the curved spaces much more than the bent ones, as they created a much more appealing ambiance to the scene and did not cast the same shadow as the last two spaces.
Follow two flat walls that are connected at an angle of 60 degrees smoothly
Follow two flat walls that are connected at an angle of 150 degrees smoothly
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Follow two flat walls that are connected at an angle of 90 degrees smoothly
Follow two flat walls that are connected at an angle of 120 degrees smoothly
Category: #44 Curved wall and S-curve wall This set of four images follows two sets of increasing and decreasing sized circular walls with a singular figure amongst them. The shadows created by the backlit walls create a wonderful interplay of shadow and light in the spaces between the circular walls, resulting in a remarkable scene. I loved this space because even though it was well-lit, I still felt that the shadows created a sense of calm circulating through me.
Curved wall and S-curve wall 8ft high with inside lighting
Curved wall and S-curve wall 8ft high with outside lighting
Curved wall and S-curve wall 16ft high with inside lighting
Curved wall and S-curve wall 16ft high with outside lighting
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Category: #45 1 point perspective pictures: Void on the upside This set of four images follows a singular figure as they move throughout two spaces with a circular skylight and a square skylight. The lighting changes dramatically and in a planned manner throughout the images as the direction of the light, the position of the figure, and the reflection of the walls create various moods and scenes. I liked this space as I enjoyed standing in the center of the skylights; standing to the side seemed too menacing to me in images four and six.
A 4’x4’ square void with a height of 8ft
A 8’ diameter void with a height of 8ft
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A 8’x8’ square void with a height of 8ft
A 4’ diameter void with a height of 8ft
Category: #46 Void on the upside with columns or walls This set of four images follows a singular figure as they move throughout multiple spaces consisting of numerous or no pillars and a square or rectangular skylight. The lighting changes drastically between each scene but creates a uniformed mood throughout all images except for image five due to the silhouette created by the figure. I like the fourth and sixth images but not the others as much. The other images create too much space to explore, except for the fifth image, as it divides the space in an unflattering way.an unflattering way.
A 8’x8’ square void with columns
A 8’x8’ square void with a facing wall
A 8’x8’ square void with a passing wall
View for A 4’x4’ square void with a flat wall aligned with one side and two columns aligned with the opposite side
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Category: #47 Void on the downside with columns or walls This set of six images follows a singular figure as they move throughout a space with a skylight, hole in the floor, and a wall intersecting the two. The lighting changes as the wall between the two floors moves and reflects the light differently. This reminded me immensely of a waterfall, especially in figures three and four, as the interacting wall is reflected in an interesting way, creating an almost watery reflection on the wall.
A 8’x8’ square void with a facing wall and light from upper floor
A 8’x8’ square void with a facing wall and light from side
A 8’x8’ square void with a facing wall and light from lower floor
A 8’x8’ square void with a passing wall and light from side
A 8’x8’ square void with a passing wall and light from lower floor
A 8’ diameter void with light from lower floor
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Category: #48 Void on the upside with combinations of columns or walls This set of ten images follows a singular figure as they move throughout a space consisting of multiple walls, including one that intersects the two floors and a circular one, with one to three pillars always present. The light changes as the direction of the source, walls, and figure positio changes, but adds to the sixth and third images due to the spotlight causing a glowing effect on the figure. I liked how organized these rooms were and enjoyed the space being quartered into multiple parts.
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Category: #49 Void between Floating Surfaces This set of five images follows three figures as they move between levels of a room with a statue in the center. The lighting in relation to the statue is important because depending on where the light fell, the figure would block or reflect the light onto the figures, as can be seen in image one. I enjoyed this space because it allowed an interesting look at the statue from multiple angles and made the space feel very sectional and well-utilized.
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Category: #50 Void between curve-linear Surfaces This set of four images follows three figures as they assess a hole between two other floors consisting of right and acute angles, and its relationship with the light coming from the two skylights above them. The lighting differs between each figure and images due to the hole creating interesting shadows with the shades created by the skylights. I enjoyed this space as the skylights would often illuminate the furthest floor, such as in image three, creating a very cool view of the space
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Category: #52 Curved vertical surface This set of two images follows a singular figure as they stand in front of a slightlycurved surface and move through a second surface. The lighting in the first twophotos is significantly darker than in the last two due to the light coming from aboveand not reflecting off a surface to illuminate the figure. I felt out of place in theseimages as my sense of light and belonging within the space was off due to the movement of the curved surface.
A 4’wide
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Category: #53 Curved vertical surface with an upper floor This set of four images follows two figures in a subway-like structure with multiple curved ceilings and walkways on various levels. The lighting is consistent across all four photos. I felt interested in this scene as the ceiling creates a cathedral-like space, while the multi-story walkways create a sense of dimension that is interesting to view.This set of four images follows a singular figure between two curved walls and a singular pillar. The lighting behind the two walls and the reflection off the wall creates an interesting
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Category: #54 Curved vertical surface with a void This set of four images follows a singular figure as they move between sets of curved walls with multiple light sources. The interesting lighting creates a unique scheme, with the shadows being much more prominent than the light in the second and fourth images. I felt very comfortable in all of these spaces as they were warm and not overly cramped or large.
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Category: #56 Hanging curved surfaces : In four images I will be illustrating the effects that hanging curved surfaces have on the shape of the human figure. The area alters the human figure as the shapes around the figure changes. In the image with the hanging arch the human seems small and it feels like an item in an art museam.
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Category: #57 Surfaces with convexities and concavities This set of two images follows two figures as they explore two spaces littered with half and full spheres at various points in the room. The lighting between each photo is significantly different, but the first image is particularly interesting with a spotlight effect coming through a circular window. I felt very invigorated throughout the space, with the circular shapes creating new and exciting places to look at. I especially enjoyed the second.
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Category: #58 A sphere with a strong center and centripetal force This set of four images follows a singular figure as they move between sets of curved walls with multiple light sources. The interesting lighting creates a unique scheme, with the shadows being much more prominent than the light in the second and fourth images. I felt very comfortable in all of these spaces as they were warm and not overly cramped or large.
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Category: #59 Surfaces that are twisted and free
This set of images shows multiple curved surfaces with a singular circular window and multiple figures lit from various directions. The lighting with the circular window was incredibly interesting, but the other images were less so. I felt extremely interested in the first image as the setting and light created an intriguing scene, but the following three images were less exciting as the lighting and height of the space were unsettling.
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G enevieve Portfol i o 116
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What I learned...
Project #1 “Wall, Column, and Space” - I learned how walls, columns, and space can affect your emotions based on the type of walls, their sequence and their placement. Project #2 “Hand Drawing” - I learned that it is important to practice drawing what you see versus what you think you see, learned how to draw in 2-point perspective, and learned how color can affect emotions. Project #3 “Power of Patience” - I learned that there is more than what meets the eye about paintings, especially abstract ones. Project #4 “Space Cube” - I learned that iteration plays a critical role into a successful model, and failure can lead to accomplishment. Project #5 “First Portfolio” - I learned how to use AI in an acceptable manner so as to not diminish the human experience and creativity. Overall - I learned the basics of design school and how to think more about the placement and meanings behind everyday objects. If you could talk to you before these five weeks, what would you like to share with you? - I would tell her that no matter what you think you are getting into, you have no idea what’s coming. Everyone is creative in their own way, and comparison is normal in the process, but don’t put yourself down just because someone has a different idea to yours because someone could be thinking the exact same thing.
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Category #1: Facing surface In these 10 pictures, the wall gradually changes in angle until it completely faces the human figure at 90 degrees. With the changing angles of the wall, the human figure becomes obstructed the larger the angle gets. From 0 to 20 degrees, the human is barely obstructed of its view which made me feel more free and happier, but as the wall gets closer to 30 and 40 degrees, I feel more uncomfortable because of the odd angles the walls are in, while 50 to 90 degrees makes the human figure look trapped behind the wall.
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Category #2: Facing edge In these 10 pictures, the angle the edge of the wall progressively changes until the wall edge is directly in front of the human figure. From 0 to 20 degrees I feel uncomfortable because of the harshness of the walls edge in the face of the human figure, from 30 to 50 degrees I feel more fearful because of the odd angle that the wall is positioned in, and from 60 to 90 degrees I feel happy because of the openness beyond the wall.
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Category #3: Blocking wall These 11 photos depict the wall at different distances that either create an open or blocked space. In the first four images, the wall is further away from the human figure, allowing the human figure to have an open path while the other seven images depict the wall blocking the human figure from any open plains. The first four images feels more welcoming and inviting because I feel like the figure has more freedom and isn’t restricted by any boundaries, but the first three blocked images feels trapped because it feels as though the wall is trying to block the human figure but isn’t succeeding, while the last three images feel sad and lonely because the human figure is completely blocked.
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Category #4: Passing the blocking wall In these 5 photos, the wall differs in distance to create the illusion of the human figure walking passed a wall. The wall gradually gets closer to the camera while it gets farther and farther away from the human figure. These 5 photos make me feel kind of aggravated because the closer the wall gets to the human figure the more of an obstacle the walls become.
Passing level 1
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Category #5: Aligned Wall In these 5 photos, the edge of the wall faces the human figure at different distances that eventually end up in front of the figure. It gradually tightens the open space available to the human figure until the figure is directly placed at the edge of the wall. The first three image feel very welcoming because of the amount of open space, the fourth and fifth images feel more aggressive because of how the wall not only impedes on the space but acts as a very direct obstacle that kind of challenges the human figure.
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Category #6: Passing the aligned wall These 6 images demonstrate a wall edge getting increasingly closer to the camera until the other end. Put together, the images illustrate the human figure walking towards the wall and then passing it with little obstruction. These images are inviting but also very guiding because of how the human figure still has an abundance of space available to him outside of the wall and is given the choice to walk forward with the wall.
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Category #7: Walls with different heights These 8 images show walls at different heights by feet in comparison to the human figure. With each image, the height of the wall gradually gets larger until it is taller than the figure. At first when the walls are only a few feet tall, the space feels very adventurous and playful because of how the walls feel like an obstacle that can be climbed, but as the wall gets taller it feels more serious because of how the walls begin to obstruct the figure more and more.
Wall with 1ft
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Wall with 7ft
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Category #8: Floating and faced Wall These 8 images demonstrate a wall facing the human figure floating at different heights above the ground. The wall progressively gets higher and higher until it appears to be a foot above the human figure. All of these images make me feel very unsafe, scared, and trapped because having floating walls that still obstruct your path but eventually get high out of reach is kind of nerve wracking.
1ft high floating wall
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5ft high floating wall
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7ft high floating wall
8ft high floating wall
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Category #9: 8ft high floating and aligned wall These 4 images demonstrate a floating wall edge getting at different distances above the human figure. As the images continue, the wall gets increasingly closer to the focal point of the image and above the figure. The first three images of the floating wall edge remind me of a flag which feels very freeing, seeing as the human figure is not obstructed by the wall, but the fourth image feels very anxious because of how the human figure is simply standing underneath a large unsupported wall.
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Category #10: 8ft high floating and faced wall These 8 images demonstrate a floating wall panel gradually getting closer to the human figure. As the walls move, the human figure gets closer to the center of the floating wall. The first three images feel isolating because it feels like the wall is leaving the figure alone while images 4 through 7 are confusing because I don’t understand the intention of the walls placement, but the eighth picture is very satisfying because of how perfectly centered the wall is in comparison to the figure.
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Category #11: floating horizontal surface These 8 images show a floating horizontal surface at different distances to the left of the human figure. After each image, the surface increasingly gets closer to the center where the human figure resides. The first two images are very eerie to me because the angles of each photograph make the floating plain look unstable and ominous and as the floating surface gets closer to the center in images 3 through 5, the object begins to look more safe like a little shelter, and the sixth through eighth images demonstrate how the figure could comfortably fit underneath the surface if need be, which is comforting to know that security is available.
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Category #12: Horizontal surfaces with different heights These 12 images represent a floating horizontal surface at different heights both above and below the human figure. As each image progresses, the horizontal surface acts like more of an obstacle for the human figure as it descends. The 1ft and 2ft images make me feel whimsical because the elevated plains remind me of my childhood trampoline, the 3ft through 6ft make feel very confining and I feel almost trapped because of how it obstructs the figure from doing anything regarding the horizontal surface, the 7ft, 8ft, and -1ft through -3ft make me feel secure because the 7 and 8ft plains again act as a shelter while the -1 to -3ft plain feels like there is space for rest, and the -4ft plain is very frightening because of how deep it is.
8ft high horizontal surface
7ft high horizontal surface
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Category #13: Wall surface with an incline Through these 8 images, there are 8 different angles of a wall surface to demonstrate different inclines. With each image, the surface becomes less like a horizontal plain above the human figure and acts more like a wall to constrict the figure. The 10 to 40 degree angles of the surface make me feel secure because they remind me of one half of a house’s roof which provides shelter, the 50 and 60 degree angles are kind of frightening because of the weird and abstract uses of the surface with no clear outline of their intentions, and the 70 and 80 degree feel constricting because they are closer to a wall than the other angles.
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Category #14: Inclined wall These 6 photos demonstrate a wall at different angles that begin horizontally and end almost vertically. The inclined walls at first are a minor obstacle in comparison to the human figure but as the incline rises more, it becomes more of an obstruction. The first two images remind me of slides you would find on a playground which makes me feel happy about the fact that this human figure has a fun obstacle to accompany him while the last four images remind me of a privacy screen which makes me feel secure because it feels like the figure is protected.
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Category #15: Floating wall surface facing edge with an incline These 6 images demonstrate a floating plain gradually ascending above the human figure and becoming a wall. The first three images obstruct the human figure from being able to move freely while the last three hover over him and create additional shadows. Because the first three inclines allow him to see what is on the other side of the wall but do not allow him to pass which feels like some kind of temptation, and the last three images make me feel uncomfortable because of their placement in regard to the human figure as they are not efficient places of shelter.
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Category #16: Inclined surface to a facing wall These 9 images demonstrate a wall at different inclines while the human figure is facing it. The lower inclines heavily obstruct the human figure but the larger they get, the less of an obstruction the wall becomes. The first two inclines feel like an obstacle that needs to be challenged or climbed which is more adventurous, the 30 and 40 degree inclines are ascending out of the human figures reach which is saddening as it appears as though they are abandoning him, and the 50 to 90 degree inclines remind me of looking up at a tall building in awe of its mass size.
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Category: #17 Inclined ramp to facing wall These 9 photos demonstrate a ramp increasing in incline with each picture. The ramp does not act as an obstacle at first but rather becomes an additional plain that the human figure has access too that loses its accessibility the larger the incline becomes. The 10 to 30 degree images feel more welcoming and inviting because of their soft incline, the 40 through 60 degree walls feels more like an obstacle that wants to be climbed, and the 70 to 90 degree walls make the ramp look so tall which feels very overwhelming with its large size.
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Category: #18 One Column These 2 images depict a column placement from two distinct angles. Between the two pictures the column appears to be the same distance from the human figure from a vertical and horizontal viewpoint. The first image feels kind of inspiring because of the placement of the column how it’s just a few inches in front of the human figure that makes it feel like something that’s worth admiring, but the second image, however, feels more standoffish because the focal point is in between the human figure and the column.
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Category: #19 Two Columns These 2 images depict two columns that are horizontally and vertically aligned in front of a human figure. Between both of these photographs, the columns change from an uneven distance from the human figure to an equal one. The first angle reminds me more of Greek and Roman architecture and the grand look of columns while the second image feels more united because of the symmetry between the two columns and the human figure being placed directly in between them.
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Category: #20 Three Columns In these 2 images there are three columns that are either aligned or sporadically displaced throughout the image. Like the previous two categories one of these images includes the aligned columns that are vertically facing the human figure which causes them to increase in distance while the other photograph lacks any sort of symmetry or pattern in relation to the human figure. The horizontal style of this photograph makes me feel confused because of the lack of reasoning behind the column’s placement because it feels as though there isn’t any intention behind them while the vertical image also reminds me of Greek and Roman architecture and the beauty in that just history.
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Category: #21 Four Columns In these 2 images, there are four columns that are evenly aligned with each other in two rows but very in width apart. In relation to the human figure the columns vary in distance because of either their narrow or wide structure. The first image makes me feel more constrained because of how narrow the columns of rows are while the wider image has a more open and inviting feeling in comparison.
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Category: #22 One Wall and One Column In these 8 images the column varies in distance from the wall and the human figure. In some of the images the column acts as what appears to be some kind of additional boundary with the wall and in others it acts as an obstacle to move around. The first four images, as well as images 7 and 8, remind me of a hallway because the wall and the column seems very structured and direct about their function while images 5 and 6 feel very obstructive of the path set by the wall which feels kind of harsh or unwelcoming.
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Category: #23 One Wall and two Columns In these 3 images there is one wall and two columns that are aligned either vertically or horizontally while the either appears through an edge or the face. Within all of the images the columns are evenly distributed around the human figure while the wall is slightly off to the side in front of the human figure. The first image where the wall edge is facing the human figure while the columns are on either side of the figure also feels structurally sound because of the hallway like feeling of it, but in the second and third images the walls and columns are placed in awkward spots which feels very confusing and creates a lack of unity because of where the wall is placed in comparison to where the columns are.
Condition 1: aligned wall and vertically aligned columns
Condition 2: facing wall and vertically aligned columns
Condition 3: facing wall and horizontally aligned columns
Category: #24 Two Walls and two Columns In these 2 images there are two walls placed perpendicular to each other and two columns that are either horizontally or vertically aligned. Between these two pictures, the two human figures change in distance between the columns as they are aligned differently. In the picture where the columns are horizontal to the human figures, it feels more open and inviting but is subtly blocking out outsiders from this space because of how the columns are placed more closely to the camera, and in the second image where the columns are vertical and closer to the sidewall, the space feels more private because of the indirect boundary that is set with the two columns and their placement between the two human figures.
Columns aligned vertically with perpendicular walls
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Columns aligned horizontally with perpendicular walls
Category: #25 Two Walls and two Columns with two lighting conditions_01 In these 6 images the lighting is displaced to create more dimension within this space In addition to the two walls and two columns that get moved throughout each photograph. In relation to the human figure the lighting is either in front of or behind the figure while the walls remain perpendicular to each other and the columns remain vertically aligned. In the three images where the lighting comes from behind the human figure the space in front of the two walls feels more inviting however the two images where the columns are closer to the wall feel more like obstacles to get around that kind of feel awkward, but in the three images where the lighting is coming from behind the two walls, there is a more eerie feel to the space and the columns placement in my opinion goes unnoticed because of the darker vibe to this space.
Walking between vertically aligned columns and perpendicular walls with lighting behind Figure
Walking between vertically aligned columns and perpendicular walls with lighting behind wall
Walking beside vertically aligned columns and perpendicular walls with lighting behind Figure
Walking beside vertically aligned columns and perpendicular walls with lighting behind wall
Walking beside vertically aligned columns and extended perpendicular walls with lighting behind Figure
Walking beside vertically aligned columns and extended perpendicular walls with lighting behind wall
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Category: #26 Two Walls and two Columns with two lighting conditions_02 In these 4 photographs the lighting, columns, and walls are all changing in each image. Depending on the placement of the lighting it either illuminates the human figure or cast a darker shadow while the walls and columns affect the openness of the space. In the two images where the light is coming from behind the human figure, it feels more eerie because of the shadows casted through the columns and the human figure while in the two images where the light is placed behind the walls, I believe it creates a cozier feeling with the dimness and softer shadows the space has.
Passing horizontally aligned columns to enter the space between two walls with lighting behind Figure
Passing vertically aligned columns to enter the space between two walls with lighting from the inside space
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Passing horizontally aligned columns to enter the space between two walls with lighting from the inside space
Passing vertically aligned columns to enter the space between two walls with lighting behind Figure
Category: #27 Two Walls and two Columns with two lighting conditions_03 In these 6 images the lighting and columns have the most drastic changes in the environment while the walls only make minor differences. The human figure is either illuminated or darkened while the changes in the column alignment affect the unity of the space. In the images where the light is coming from behind the human figure, the space feels brighter and more joyful. In the three images where the light is coming from in front of the two walls, it creates a more creepy and spooky feel to the environment because of the shadows, while in the other three images, the light coming from behind the walls illuminates the space very well and gives it a more welcoming feel.
Passing vertically aligned columns to pass a narrow opening between two walls with lighting behind Figure
Passing vertically aligned columns to pass a narrow opening between two walls with lighting from the inside space
Passing vertically aligned columns to pass an intermediate opening between two walls with lighting behind Figure
Passing vertically aligned columns to pass an intermediate opening between two walls with lighting from the inside space
Passing horizontally aligned columns to pass a wide opening between two walls with lighting behind Figure
Passing horizontally aligned columns to pass a wide opening between two walls with lighting from the inside space
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Category: #28 Vertically aligned Two Walls and two Columns In these 2 images, the walls remain perpendicularly aligned while the columns change in distance to the human figure. The columns get farther away from the human figure because of their change from vertical alignment to what appears to be a random layout. In the first image where the figure is walking in between the walls and the columns are vertically aligned, it feels very guiding and direct because of their unity, but in the image where the figure is stationed between the columns and the walls, it feels confusing because of the weird layout between the two structures, and even a little standoffish or clashing to look at because of the disconformity.
Between walls, walking
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Between columns, walking
Category: #29 Space composed with 5+ columns and 2 walls In these 7 of the space that I composed, a light is coming from the right side of the environment, the walls are place perpendicularly, and the columns are aligned on either side of the larger wall. The human figure in between the two walls adds to the unity of the aerial view of the space in that the entire environment looks conformed. The lighting coming from the right of the environment while a wall divides the space into two sections creates a contrast of light and dark between the environments, while on the lighter side, the space feels more open and appealing while the darker side is unnerving and almost confining in a way that the shadows of the wall create an additional barrier to be followed.
Top view of the space composed
Sequence phase #1
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Category: #30 Faced wall with Connected wall In these 17 images, the wall gradually opens up until it is eventually inverted from its original form. The human figure in the first few images is confined to the two walls but as the degree of the walls increases, is increasingly blocked outside by the walls. In the 90 to 160 degree images the space is very comforting because it is the closest we have gotten to creating a private space or room even, from 170 degrees to 220 degrees the human figure becomes trapped and isolated because of the fence-like structure that is forming, and from 230 to 270 degrees, there’s a very isolating feel to the environment because of how the human figure is casted like an outsider behind the newfound walls.
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Category: #31 Aligned wall with Connected wall In these 17 photographs, corner created by the two walls increasingly grows as the degree changes between each image. Because of this, the human figure gradually gets more space and no longer has a small confined space. In the 10 to 40 degree images the human figure feels more trapped and it looks like he is in timeout, from 50 to 110 degrees it again feels like a more comfortable environment like a room because of the now open space and privacy given by the two walls, and from 120 to 170 degrees the walls join to become one large wall, or fence if you will, and intentionally prevents the human figure from entering the other side.
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Category: #32 Facing the connected edge of two walls In these 17 images, the wall is gradually getting larger as the angle increases. The human figure becomes increasingly congested as the wall angle gets larger. From 10 to 60 degrees it feels like there are two paths that the human figure could follow which I personally enjoy the given choices, from 70 to 110 the wall becomes like a room that the human figure is not allowed in which feels like its detached from the inside of the room, and from 120 to 170 degrees the human figure is repeatedly forced into isolation from the larger angles the wall is put into.
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Category: #33 Three connected walls In these 2 pictures, the walls vary in width to affect the openness of the room while the wings allow for a more spacious feeling. The human figure either has space or is more confined depending on the narrowness or wideness of the facing wall. In the narrow image, I feel like the space is more united because the size of each wall appears to be roughly the same which I believe is pleasing to look at an seems to be a cozy space, but the wider wall feels more spacious but the openness of the room with the help of the wings feels very boring and a little isolating from the lack of any additional movement.
Wide-facing wall with two wings
Narrow-facing wall with two wings
Category: #34 Curved wall inside These 4 photos depict how the different lengths and heights of curved walls can affect the atmosphere. The human figure is gradually forced into boundaries as the walls get longer and taller. The 16ft wall looks very daunting in both lengths and feels kind of like a trap where you look up and don’t see an end, while the 8ft tall curves looks more inviting and softer in a way because of the lack of an overbearingly tall structure.
Small-curved and 8ft height
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Small-curved and 16ft height
Large-curved and 8ft height
Category: #35 Curved wall outside In these 8 pictures, the curved walls face outward and the human figure begins to pass them. Now that the curve faces the other direction, the wall is less obstructive towards the human figure and rather acts as an obstacle to be passed. In the images with the taller walls, it feels very intimidating with its height like its trying to prevent the human figure from entering, while the shorter walls feel more cozy because they remind me of a simple fence.
Facing Small-curved and 8ft height
Passing Small-curved and 8ft height
Facing Small-curved and 16ft height
Passing Small-curved and 16ft height
Facing Large-curved and 8ft height
Passing Large-curved and 8ft height
Facing Large-curved and 16ft height
Passing Large-curved and 16ft height
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Category: #36 Curved Walls and Flat Walls In these 5 pictures, the curved walls are on opposite the opposite side of flat walls, with both types of walls changing in directions. The human figure walks in between the two types of walls and is either passing by or walking into the curved space. In the images where the curved wall is facing outside it feels like a small hallway that opening up into a grander space which feels exciting to be moving onto something new, while the image where the wall is curved inward feels claustrophobic but the wall edge blocks the other side of the hallway which sparks the imagination into play.
Facing a flat wall (8fh height) while passing a curved wall (8fh height)
Entering a space between a flat wall (8fh height) and a closed-curved wall (8fh height)
Entering a space between a flat wall (8fh height) and an opened-curved wall (8fh height)
Your coordination in height and openness.
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Entering a space between a flat wall (8fh height) and a half opened-curved wall (8fh height)
Category: #37 Entering into a space between Parallel Curved Walls In these 8 images, there are two parallel curved walls that get larger in length and height. The human figure is no longer obstructed but guided down the paths that are created using the parallel walls. In the images where the walls are taller, it feels more stale and lonely because of the blankness and emptiness while the 8ft tall walls feel more like a spiral path that kind of makes you dizzy.
Small-curved and 8ft high outside
Small-curved and 16ft high outside
Large-curved and 8ft high outside
Large-curved and 16ft high outside
Small-curved and 8ft high inside
Small-curved and 16ft high inside
Large-curved and 8ft high inside
Large-curved and 16ft high inside
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Category: #38 Entering a space between curved mirror walls_01 In these 4 photos, the curved walls are mirrored and gradually increase in size and height. These mirrored walls are kind of like arrows that point towards the small path that they create for the human figure to follow. In the images where the walls are only 8ft tall, it feels underwhelming because they allow more light into the space, while the 16ft walls create a feeling of amusement because the figure is being forced to walk down a path with only a small sliver of light showing through which is kind of surprising and exciting.
Small-curved and 8ft height
Large-curved and 16ft height
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Small-curved and 16ft height
Large-curved and 8ft height
Category: #39 Entering a space between curved mirror walls_02 In these 8 pictures, the walls appeared to be mirrored but the angle in which the human figure walks changes to create a different scene while the angle of the lighting changes. The human figure is still guided through the arrow like shape that the walls form down a lighted or dark path. The pictures in which the light comes from inside the walls, it feels more exciting because it appears like there’s something that’s going to appear from the other side, while the images where the lighting is on the outside of the walls feel kind of boring like normal ceiling lights and the path feels less exciting and more welcoming because of the blandness.
Small-curved and 8ft high with inside lighting
Small-curved and 8ft high with outside lighting
Small-curved and 16ft high with inside lighting
Small-curved and 16ft high with outside lighting
Large-curved and 8ft high with inside lighting
Large-curved and 8ft high with outside lighting
Large-curved and 16ft high with inside lighting
Large-curved and 16ft high with outside lighting
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Category: #40 One curved wall and one column In these two images, a column is added and changes placements with the curved wall in the pictures. The human figure is either walking passed a wall while the column acts as an indirect hallway lining, or the human figure is guided down a curved walkway as the column influences walking down the curve instead of straight. I like the image with the wall on the left side guiding the human figure in a curve because it feels more fun and immersive as you walk in a curve and interact with the architecture, while the image with the column on the left kind of narrows down your path a little with the walkway being slightly obstructed by the curve.
Entering a space between a column and curved wall outside
Entering a space between a column and curved wall inside
Category: #41 One curved wall and two columns In these 3 pictures, there are two columns that are horizontally placed in front of an outward facing curve that we see from different perspectives. The human figure in two of these is obstructed while the other acts as an imagined hallway with the columns indirectly guiding the figure. I hate the first two images, the columns act like obstacles and in the second one a second human figure is present to demonstrate how terrible and inefficient the design of the columns are, but the third image is more inviting because the columns guide the human figure towards the other side of the curved wall.
Entering a space between a column of two horizontally aligned and curved wall outside
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Facing the outside of a curved wall with two horizontally aligned columns with insufficient space between them
Entering a space between a column of two vertically aligned and a curved wall outside
Category: #42 Role of a column between Curved and flat walls In these 4 pictures, the use of flat walls, curved walls, and columns are all interchanged throughout each picture. The human figure is being guided into a pathway either directly through the curved walls or indirectly with the column’s placement. In the two images where the column is closest to the wall aggravates me because the column looks like it serves no purpose other than to act as an obstacle, while the other two images feel more welcoming and inviting because the column is at least a nice decorative touch.
Entering a space between two parallel curved walls, with a column in front of the outer curved wall
Entering a space between a faced flat wall and a curved wall, with a column in front of the flat wall
Entering a space between two parallel curved walls, with a column in front of the inner curved wall
Entering a space between a parallel flat wall and a curved wall, with a column in front of the flat wall
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Category: #43 Curved connection In these 4 images, the walls gradually become more open as the angle gets larger. The human figure becomes increasingly less obstructed because of how the walls are opening up. The 60 and 90 degree images feel cozy because they’re at considerably normal angles for a room to be in, so it’s not too claustrophobic but it’s just obstructive enough to feel like a cozy corner, while the 120 and 150 degree angles feel more rigid because the wall isn’t completely straight which makes me feel kind of productive because the walls are direct and to the point.
Follow two flat walls that are connected at an angle of 60 degrees smoothly
Follow two flat walls that are connected at an angle of 150 degrees smoothly
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Follow two flat walls that are connected at an angle of 90 degrees smoothly
Follow two flat walls that are connected at an angle of 120 degrees smoothly
Category: #44 Curved wall and S-curve wall These 4 images include different height walls in an s-curve with lighting either inside or outside of the wall. The shadows illuminate either the paths made by the curved walls or illuminate the path opening for the human figure to follow. The images where the light is coming from the inside of the walls feels very ominous but intriguing because of the uncertainty of what is behind the s-curved walls, while in the images where the light comes from outside the feel bland and boring because of the lack of excitement that the light from inside the walls provides.
Curved wall and S-curve wall 8ft high with inside lighting
Curved wall and S-curve wall 8ft high with outside lighting
Curved wall and S-curve wall 16ft high with inside lighting
Curved wall and S-curve wall 16ft high with outside lighting
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Category: #45 1 point perspective pictures: Void on the upside These 4 images depict the change of void in shape and size used in the ceiling. This affects the amount lighting casted onto the space and onto the human figure that changes the feeling of openness. In the images where there are smaller shapes, the human figure appears to be put into a spotlight which creates the feeling of nervousness because of how confined the space feels and how the focus is on the human figure, compared to the larger shapes where the more light gives a grand and ballroom feel.
A 4’x4’ square void with a height of 8ft
A 8’ diameter void with a height of 8ft
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A 8’x8’ square void with a height of 8ft
A 4’ diameter void with a height of 8ft
Category: #46 Void on the upside with columns or walls In these 4 images, the shape of the void changes in size and changes in how the structure is held through a facing or passing wall and the use of columns. The human figure becomes obstructed when the passing and facing walls are used to hold up the larger square voids because of how much more space they take up than the columns. In the first three images, the mood feels very serene because of the amount of lighting and space that is available to the human figure, while the image with the two columns and passing wall feels more claustrophobic because of how little light is being let in through the void and the obstruction of the wall.
A 8’x8’ square void with columns
A 8’x8’ square void with a facing wall
A 8’x8’ square void with a passing wall
View for A 4’x4’ square void with a flat wall aligned with one side and two columns aligned with the opposite side
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Category: #47 Void on the downside with columns or walls In these images, the void is on the floor with a ceiling being held up by a passing or facing wall with lighting coming from underneath or above. The lighting affects how open the space feels and the void acts as an obstruction for the human figure to avoid. In the images where the lighting comes from beneath the void, the environment feels better illuminated because of how central it is, while in the photos where the lighting comes from outside of the space it feels kind of creepy because of how much dimmer it is.
A 8’x8’ square void with a facing wall and light from upper floor
A 8’x8’ square void with a facing wall and light from side
A 8’x8’ square void with a facing wall and light from lower floor
A 8’x8’ square void with a passing wall and light from side
A 8’x8’ square void with a passing wall and light from lower floor
A 8’ diameter void with light from lower floor
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Category: #48 Void on the upside with combinations of columns or walls In these 10 images, there is a combination of columns, different types of walls, and void ceilings to demonstrate the changes that can be made in one environment. The human figure is either obstructed with curved walls in front of it or given more open space with simple structure holding the void ceilings. In the two image where the curved wall is directly in front of the human figure, it feels like the figure is being trapped, while in the other images with no obstructions, the lighting from the void makes the environment feel inspirational because of how the light peers into the space from the top.
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Category: #49 Void between Floating Surfaces In these 5 pictures, there are various floating surfaces at different heights with different lighting conditions. The human figure floats on one surface while another is above or beneath it. These images are very frightening to me because the shadows that are casted using the floating surfaces create a spooky ambiance, as well as the illusion of the lack of structure for these floating surfaces.
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Category: #50 Void between curve-linear Surfaces In these 3 photos, an abstract shape is used as a void with a combination of curved walls, flat walls, additional voids, lighting, and columns. The human figure on top of the platform is confined to the shape of the platform and in one instance confined by the abstract void, while the human figure beneath the platform has the obstacles to avoid but lots of space. In combination 1, the lighting from the circular void to the right makes the environment looks like it’s in the moonlight which gives a very serene feel, while combination 2 feels stale and kind of boring with the lack of dramatic lighting, and combination 3 has lots of contrast from a man underneath the spotlight to a casual gathering area on top with the difference in lighting.
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Category: #51 Void with a combination of In these 2 images, there is a combined use of walls, columns, voids, and lighting that create boundaries within the space as well as cast shadows. Because of how many types of walls are used in the images, the human figure is obstructed by 3 walls and an additional fourth facing wall within the void. These images make me feel trapped but because of the amount of movement and interest within the environment, I kind of feel adventurous and am itching to explore more of the spaces potential.
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Category: #52 Curved vertical surface In these two images, there is a curved vertical surface that gets larger in width. The human is gradually obstructed as the vertical surface width increases. These images make me feel relaxed because of the free-flowing vertical surfaces and the amount of open space that is available even outside of the obstructive surfaces.
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Category: #53 Curved vertical surface with an upper floor In these 5 pictures, a curved surface is evident on the upper floor of a structure. The human is obstructed by the curvature of the wall and the shortness of the platform, but also the height of the vertical surface curve that adds an additional ceiling to the platform. These images feel very calming because of the soft shape that gently hovers over the platform and the light peering in through the right side of the arch shape.
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Category: #54 Curved vertical surface with a void In these 5 pictures, there is a curved vertical abstract shape that appears in the middle of a void. The two human figures are slightly obstructed with the two sides of the curved vertical surface. These scenes have a playful energy to them because of the abstract shape used to make the curved vertical surfaces.
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Category: #55 Facing Curved vertical surface In these 2 images, there is a curved vertical surface appearing out of a small void on a facing wall. The human figure is slightly obstructed at the curved vertical surface but it could also be interpreted as a ramp to be taken through the void. These images also give me a playful vibe because they remind of a slide from a playground, but also because of the free flowing nature of the vertical curved surface and the light peering through the void.
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Category: #56 Hanging curved surfaces In these 2 images, there are hanging curved vertical surfaces that interact with lighting coming from in front of the human figure. The human figure is forced into this small pathway that occurs in between the two hanging surfaces, but is not as obstructed because of the fact that these are hanging surfaces. These images are a mix of lively and terrifying because these are hanging walls that are naturally curvy but they are also unpredictable in how they curve and hang.
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Category: #57 Surfaces with convexities and concavities In these 3 pictures, there are two vertical curved surfaces that convex and concave. The human figure is guided down the pathway that these two surfaces create and is slightly obstructed by the dramatic curvature of these surfaces. These two images make me feel peaceful because of their almost parallel formatting with one surface that is gentle while the other is more theatrical.
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Category: #58 A sphere with a strong center and centripetal force In these 5 images, there is a spherical shape that appears in the center of a platformed void. The sphere does not obstruct the human figures path but rather the void that’s present in the surface. These images make me feel adventurous and energetic because the shape of the sphere feels dynamic in comparison to the structure.
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Category: #59 Surfaces that are twisted and free In these 4 images, there is a twisted structure surrounded by 4 differently heighted curved walls. The four passing curved walls guide the human figure towards the twisted surface that acts as an obstacle for the human figure to pass. These images make me feel like lost because the twisted surface feels like a puzzle or an obstacle to be solved while the walls trap the human figure in the space.
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Port fol i o 1
What I learned...
Project #1 “Wall, Column, and Space” - Throughout this project, I learned how to create purposeful compositions utilizing walls, columns, and space. This assignment gave me the opportunity to develop skills in creating intentional spaces with consideration of the environment and those utilizing the space. Project #2 “Hand Drawing” - Throughout this project, I learned a lot about different drawing perspectives and styles. This gave me the opportunity to further develop my drawing skills and to better understand my models and the spaces around me. Project #3 “Power of Patience” - This project allowed me to dive deep into interpreting art and understanding intentions of others’ work. The assignment gave me the opportunity to gain a new experience and discover the deeper meanings within my assigned painting. Project #4 “Space Cube” - This project taught me how to compose and continuously develop models of my own. It gave me the opportuniy to create my own intentions within a model and challeneged me to keep those intentions throughout a variety of assignments. Throughout this project I was able to further develop my critical thinking and problem solving skills. Project #5 “First Portfolio” - Throughout this project, I learned a lot about AI programs and gained experience in a new form of technology. I faced many challenges throughout these assignments but it allowed me to further my problem solving and computer skills. Overall - Throughout this course, I have gained a variety of experiences and skills by completing and analyzing design work. New concepts and ways of thinking were introduced throughout the course which greatly furthered my understanding of design as well as the depths of my work. If you could talk to you before these five weeks, what would you like to share with you? - I would share how important it is to understand the purposes and concepts of design while activley thinking outside the box. Along with that, I would tell myself to be confident in my ideas and work and to not stress because even during long, hard nights in the studio, life is always good when you get to do something you enjoy.
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Category #1: Facing surface Throughout the photographs, the wall becomes more angled and gradually moves from beside to behind the human figure. As the wall moves around the figure, it becomes obstructed and gradually moves until the human figure faces the wall head on. I had significant open space which felt inviting (0-30 degrees) until it began to close in which made me want to move backwards and retreat (40-60 degrees). As the wall continued to close in (70-90 degrees) I felt blocked and restricted with no sense of welcoming.
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Category #2: Facing edge Throughout the images, the wall rotates around the human figure as the edge stays facing the figure. The wall is visible during most of the rotation, however, the figure ultimatley obstructs the wall. The wall was mostly out of view and out of the way (0-20 degrees) allowing for freedom of the space until it entered the line of vision and became a narrow obstacle, dividing the space and causing restrictions (30-60 degrees). As the wall moved to be infront of me, I lost the ability to move directly forward and would have to choose a side of the divided space (70-90 degrees).
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Category #3: Blocking wall Throughout the images, the wall moves horizontally to be positioned from the left diagonal of the human figure to directly in front. The figure gradually obstructs the wall as it shifts behind our view of the figure. I was able to move freely despite the wall (open level 1-4) until it began to block significant space to the left (block level 1-4) making me want to shift to the right to compensate. Eventually, not only was space to the left blocked, but straight ahead as well (block level 5-7) causing the wall to be greatly restricting.
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Category #4: Passing the blocking wall The images illustrate a change in perspective as the figure moves, relative to the wall and without obstruction. The human figure begins behind the wall and as it gradually moves past, distance is created, and the wall appears closer to our view. I initially felt a bit restricted (passing level 1-2) as the left was blocked by the wall, but after approaching and passing the wall (passing level 3-5) I had full freedom of the space ahead as the wall was out of view.
Passing level 1
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Category #5: Aligned Wall Throughout the photos, the aligned wall shifts from the left to the center without rotation. The wall gradually approaches the human figure until it is directly in front of the figure’s view and becomes obstructed. The wall initially felt guiding and nonrestrictive (closed level 1-2) until it approached the center (closed level 3-5) causing it to feel like a narrow obstacle as it divides the space ahead.
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Category #6: Passing the aligned wall The images illustrate an aligned wall moving closer to our view as the position gradually changes from diagonally ahead of the figure to diagonally behind. The figure starts behind and moves past the right of the wall without obstruction. Initially, despite the wall blocking space (passing level 1-4), it gives a feeling of guidance, similar to a hallway, and feels natural to walk past. After passing the wall (passing level 5-6) there is more freedom for movement as it is out of view and no longer restricting any space ahead.
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Category #7: Walls with different heights Throughout the images, the wall ahead of the human figure gradually increases in height and becomes obstructed by the figure. As the wall becomes taller, it further restricts the figure and eventually conquers its height. Initially, (1ft-2ft wall) the wall is only a small obstacle as it is quite easy to move past. As the wall continues to grow (3ft-5ft wall), it becomes more restricting, but is not difficult to see past. Once the wall conquers our eyeline (6ft-7ft wall), it divides us from the space ahead much more significantly and causes me to want to retreat from facing the wall directly.
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Category #8: Floating and faced Wall Throughout the photographs, the faced wall rises gradually and floats in front of the figure as the figure obstructs the wall. The human figure is blocked in view and movement by the wall directly ahead but lessens as the wall rises. Initially, (1ft-2ft floating wall) the wall is a significant and direct obstacle, causing me to want back up, but as the wall rises further, (2ft-3ft floating wall) the space behind the wall is more accessible and less restricted. The wall eventually rises quite high (4ft-8ft floating wall) and would be very easy, though a bit inconvenient, to duck below, limbo, or simply walk beneath it to access the space beyond the wall.
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Category #9: 8ft high floating and aligned wall The photos illustrate an aligned wall floating well above the height of the human figure and shifting from left to center. The figure begins to the right of the wall and gradually becomes directly underneath, without obstruction. Initially, (alignment level 1-2) I do not feel threatened or in danger by the floating wall, but as it shifts to become directly above (alignment level 3-4), I would become afraid of the wall hanging over me and would move out of the way.
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Category #10: 8ft high floating and faced wall Throughout the photos, a consistent, faced wall floats high above the human figure. The wall starts on the left of the figure and shifts right, eventually hovering over the figure without obstruction. Initially, (overlap level 1-3) I do not find the wall to be restricting or threatening as the space remains open and the wall is mostly out of view. As the wall continues to shift to the right (overlap level 4-8), I would feel threaened by the wall lingering above me and certainly move out from under it.
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Category #11: floating horizontal surface These photographs illustrate a horizontal surface floating up high and shifting from left to center. As the surface shifts, it makes its way directly infront of the figure, without obstruction. Initially, (overlap level 1-3) the surface is not restrictive and is easy to view from a diagonal position. As the surface moves directly in front of and above (overlap level 4-6) the surface casts down more on the figure and is a bit daunting, especially as you would have to look directly up to view the surface. I would shift back to an overlap 1 position to view the surface better and avoid being directly under it.
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Category #12: Horizontal surfaces with different heights Throughout the photographs, a horizontal surface floats at different heights above and below it’s place in the ground. It begins floating high above the figure and gradually lowers down and through the floor. The first human figure is not obstructed, but as the surface floats negativley past the floor, the second human figure is obstructed by our perspective of the hole. Initially, (4ft-8ft high horizontal surface) I would be focused on the hole in the ground and avoid it alltogether. I would move much further back as well as the surface floats quite high over the head of the figure. After the surface lowered (1ft-3ft high horizontal surface) I would feel much more comfortable to move forward towards it and examine. As the surface lowers past the ground (-1ft - -4ft), I would want to carefully approach it it peer inside the hole and examine the surface.
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7ft high horizontal surface
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Category #13: Wall surface with an incline Throughout the images, a floating surface inclines further to rotate from the left side of the human figure to above. The figure and surface both remain unobstructed as the surface moves to ultimately end up directly above the figure. The surface initially feels restricting to space and movement to the left (10-20 degrees), but as the surface continues to incline (30-50 degrees), the space is opened up allowing for movement to either side. Continuing to incline (60-80 degrees), the surface takes more of a position above, which does not restrict, but is daunting, especially with the odd angle of the surface.
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Category #14: Inclined wall Throughout these photos, an inclined wall gradually becomes steeper and it’s proportion to the human figure significantly changes. There is no obstruction, however, the human figure loses a great amount of spaces due to the increasing incline. At first, (incline level 1-2) the wall seems to be inferior to the figure, however, the more it rises, (incline level 3-6) the wall overpowers the figure and becomes in a way intimidating. It is also restricts and blocks movement and sight to the left.
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Category #15: Floating wall surface facing edge with an incline These images illustrate changes in angles and inclines of a floating wall surface with an edge facing the human figure. There is no obstruction of the wall or figure, however, these changes in angles and inclines drastically change the perspective from the human figure. Initially, (inclined level 1-4) the wall does pose some inconvenience as it restricts movement to the left and takes up significant floor space without touching the ground. As it continues to incline, (inclined level 5-6) it begins to feel a bit threatening because as the edge stays facing the figure, it gives a sense of pointing or targeting.
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Category #16: Inclined surface to a facing wall Throughout the photos, the incline of the surface increased to gradually become a facing wall. The surface begins elevated towards the human figure and the figure partially obstructs it throughout the photos. At first, (10-40 degrees) the wall restricts most movement forwards and makes the space very inaccessible. As the incline continues to increase, (50-90 degrees) space is taken up vertically rather than through floor space allowing for freedom of movement in any direction. The wall gradually becomes almost a part of the background and much less significant in the view of the figure.
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Category: #17 Inclined ramp to facing wall Throughout the images, the ramp’s incline increases as it gradually becomes a facing wall. The human figure is located at the base of the ramp and the wall forms directly in front of the figure. The wall is obstructed throughout the photos by the figure. At first, (10-20 degrees) the ramp has potential to be guiding and inviting, however, as the slope increases, (30-60 degrees), it is no longer inviting and blocks any movement or view directly forward. As the wall forms (70-90 degrees), considering its close proximity to the figure, it becomes very restricting and a bit threatening, causing me to want to back away.
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Category: #18 One Column In these two images, there is a change in the perspective of the human figure and column as the view shifts from a vertical alignment to a horizontal alignment. The distance between the column and the figure appears to be larger in the horizontal alignment, however the distance between them stays consistent, and there is no obstruction. The front view sparks an emotion of interest as it acts almost as a center piece that everything else revolves around. The side view makes me think of intellectual reflection as the angle of the photo gives a sense of facing something and traveling into deep thought and analysis.
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Category: #19 Two Columns These two photos illustrate a change in perspective of approaching aligned columns from the front and from the side. The vertically aligned columns are partially obstructed by the human figure, but the horizontally aligned columns are not. Approaching the columns from the front gives the feeling of an obstacle and forces you to step aside and out of the way in order to move forward. Approaching the columns from the side gives a welcoming feeling similar to a gateway or an entrance.
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Category: #20 Three Columns These two images depict a change in column position from being aligned to disbursed. The columns shift from being next to, to around the human figure, with partial obstruction of the column. The columns aligned to the right give a sense of guidance and uniform, making it feel natural to move forward. The columns disbursed give a sense of an obstacle that must be navigated through, however, you are more immersed into the columns and a part of the environment rather than being divided from it.
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Category: #21 Four Columns The two photographs illustrate a narrowing of space between a series of four columns. One human figure is nearly aligned with the front columns while another human figure shows depth as it stands beyond them. In the wide view, the area inside the perimeter of the columns makes the space feel more inhabitable, similar to a room, while in the narrow view, the space feels more like a pass way, similar to a hallway with a destination at the end.
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Category: #22 One Wall and One Column Throughout these images, there are changes in the positions of the wall and column relative to the human figure including horizontal and vertical movements across the base. As the objects move around the human figure, there is partial obstruction as space is narrowed down. In more enclosed positions (condition 1-3) the column and wall feel as if they contradict each other as the wall is guiding movement forward, but the column obstructs the path. As the space opens up (condition 4-8), there is increased freedom of movement despite the column’s positions, however, when the column gets too close to the wall (condition 5-6) the wall becomes less guiding and inviting.
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Category: #23 One Wall and two Columns These photographs depict shifts in the orientation and position of a wall as well as a shift from vertical alignment to horizontal alignment of two columns. The human figure is immersed in with the objects but there is no obstruction of or by the figure. Initially, the columns and walls work together to welcome movement forward, but as the wall shifts to a faced position, there is a sense of restriction, especially because it is perpendicular to the vertical alignment of the columns. As the columns shift to be horizontally aligned, there is still a sense of restriction, however, it is not as significant because the columns and walls still flow in the same horizontal direction.
Condition 1: aligned wall and vertically aligned columns
Condition 2: facing wall and vertically aligned columns
Category: #24 Two Walls and two Columns
Condition 3: facing wall and horizontally aligned columns
These two images depict a change in perspective, allowing for a different view of a series of two walls and two columns. One figure stands between the aligned wall and right column with no obstructions while the other stands directly in front of the facing wall, causing partial obstruction. As the figure in the first photo, despite the wide gap, I would not feel invited to move forward as the perpendicular walls form a partial border, suggesting that the area within it is what should be inhabited instead. As the figure in the second photo, I would be quite content as there is freedom of movement ahead and a good view of the space, however, any movement backward would be completely restricted.
Columns aligned vertically with perpendicular walls
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Columns aligned horizontally with perpendicular walls
Category: #25 Two Walls and two Columns with two lighting conditions_01 The images depict shifts in the positions of vertically aligned columns and a facing wall as well as a shift in lighting from behind the figure to inside the space. The human figures is immersed within the columns and walls and partially obstructs the facing wall. With the lighting behind the figure, the space feels open and habitable, however, when the figure stands between the aligned wall and columns, the space narrows and feels more similar to a hallway that must be passed through. With the lighting coming from inside the space, I would feel a need to follow the light and enter through the gap in the perpendicular walls.
Walking between vertically aligned columns and perpendicular walls with lighting behind Figure
Walking between vertically aligned columns and perpendicular walls with lighting behind wall
Walking beside vertically aligned columns and perpendicular walls with lighting behind Figure
Walking beside vertically aligned columns and perpendicular walls with lighting behind wall
Walking beside vertically aligned columns and extended perpendicular walls with lighting behind Figure
Walking beside vertically aligned columns and extended perpendicular walls with lighting behind wall
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Category: #26 Two Walls and two Columns with two lighting conditions_02
The images illustrate a shift from horizontally aligned to vertically aligned columns with a shift in lighting from behind the figure to inside the space. As the columns shift in relation to the human figure, though the angle of view is consistent, focus is drawn to the figure as it is centered between the horizontally aligned columns, but is partially taken away as they shift to vertical alignment to the left of the figure and add depth. With the vertically aligned columns, I would feel the need to follow along the facing wall toward the back, but would be forced to turn right and enter through the walls as the column acts as an obstacle to the left. As for the horizontally aligned columns, the columns feel somewhat like a gateway into a less obvious entrance, guiding you to move through the space between the walls.
Passing horizontally aligned columns to enter the space between two walls with lighting behind Figure
Passing vertically aligned columns to enter the space between two walls with lighting from the inside space
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Passing horizontally aligned columns to enter the space between two walls with lighting from the inside space
Passing vertically aligned columns to enter the space between two walls with lighting behind Figure
Category: #27 Two Walls and two Columns with two lighting conditions_03
These images illustrate a widening gap by facing walls gradually shifting further to either side. There is also a shift from vertically aligned columns to horizontally aligned columns and a change in lighting from behind the figure to inside the space. The human figure is immersed within these shapes and causes partial obstruction which lessens as the gap between the walls widen. The narrow gap gives a feeling of restriction, especially with lighting behind the figure, however, as it widens to its next position, it becomes a welcoming and guiding structure inviting you to move forward. As it widens to the furthest position, it loses the feeling of a pass way or a space to move through because the space is opened significantly, and brings more attention to the space the figure is in rather than what may be beyond the wall.
Passing vertically aligned columns to pass a narrow opening between two walls with lighting behind Figure
Passing vertically aligned columns to pass a narrow opening between two walls with lighting from the inside space
Passing vertically aligned columns to pass an intermediate opening between two walls with lighting behind Figure
Passing vertically aligned columns to pass an intermediate opening between two walls with lighting from the inside space
Passing horizontally aligned columns to pass a wide opening between two walls with lighting behind Figure
Passing horizontally aligned columns to pass a wide opening between two walls with lighting from the inside space
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Category: #28 Vertically aligned Two Walls and two Columns In these two images, there is a shift in the alignment of the columns that stand between two vertically aligned walls. The human figure shifts as well from walking between the walls to walking between the columns, with no obstruction of either. Walking between the walls, I would be tempted to continue along the path vertically as it guides movement forward, however, walking between the columns, I would be tempted to walk horizontally past the walls, as the space is opened up and movement can be guided beyond the walls and to the right.
Between walls, walking
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Between columns, walking
Category: #29 Space composed with 5+ columns and 2 walls Throughout these photographs, the elements stay consistent while there is a shift in perspective from within the structure of columns and walls. The human figure is shown standing throughout the different pathways in the structure, showing the versatility and efficient use of the space. This composition would spark a feeling of exploration for me as there are various paths to travel through and many different perspectives of the space to view. I would be tempted to follow along the walls, as the design is intended, however the columns allow for the ability to violate the intention and cut to different pathways.
Top view of the space composed
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Category: #30 Faced wall with Connected wall Throughout the images, there is a gradual shift in the angle of the connected wall which is connected to a consistent facing wall. As the wall shifts, the perspective of where the human figure is in relation to the structure changes in the way that the human is seen to be outside of the structure, and as the wall moves around it, it appears to be within the structure. At first, I would be tempted to move in a right direction, along the aligned wall, but as the wall shifts closer to a 180-degree angle, movement forward is blocked. As the wall closes in, closer to a 90-degree angle, I would be tempted to proceed along the perimeter.
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Category: #31 Aligned wall with Connected wall Throughout the photographs, there is a gradual shift in the connected wall as it moves from a 10-degree to a 170-degree angle. As the wall shifts, the space available to the human figure between the walls increases until the space forward is opened almost completely. Initially, the tight space is not inviting and I would avoid it, however, as it begins to open up, it becomes more welcoming as there is more space to move forward as it becomes more natural to proceed along the wall.
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Category: #32 Facing the connected edge of two walls Throughout the photographs, a gradual shift takes place between two connected walls as they begin connected at a 10-degree angle and move through to a 170-degree angle. As the human figure stands in front of the widening structure, obstructing the walls, the ability to move past the structure on either side becomes increasingly difficult. I would be tempted to travel past the narrow structure, but the more it widens, the ability to move forward is restricted, and I would have to change directions to move past the wall and continue forward.
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Category: #33 Three connected walls These two images depict a change in the angle of two connected walls attached to either side of a facing wall, narrowing the area within the structure. As the human figure stands within the structure, obstructing the facing wall, freedom of movement is restricted as the space narrows. In the wide angle, I would be tempted to explore along all the walls, as the structure setup is at an angle for somewhat of a presentation for the figure to view, but as it narrows, the focus changes to the facing wall only.
Wide-facing wall with two wings
Narrow-facing wall with two wings
Category: #34 Curved wall inside In each of these images, there is a change in the height and/or length of a curved wall viewed from the inside. As the human figure stands in front of the curved wall, with partial obstruction, the difference in dimensions causes significant changes in size ratios, altering our perspective of the figure. With the 16ft walls towering high, I would feel inferior and almost intimidated by them. With the 8ft walls, I would not feel inferior, and with a less dramatic divider, would feel comfortable to travel around the space.
Small-curved and 8ft height
Large-curved and 16ft height
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Small-curved and 16ft height
Large-curved and 8ft height
Category: #35 Curved wall outside These photographs depict changes in the height and/or length, and view of the outside of curved walls. The human figure shifts with each variation of curved wall from standing in front, causing obstruction, to passing to the left of the wall. I find the 8ft curved walls to act somewhat as a fence, which are natural to move along, however, the 16ft curved walls are more intimidating and give a feeling that something is purposefully blocked off, causing me to be more avoidant to follow, especially as a view of the other side of the wall is completely obstructed.
Facing Small-curved and 8ft height
Passing Small-curved and 8ft height
Facing Small-curved and 16ft height
Passing Small-curved and 16ft height
Facing Large-curved and 8ft height
Passing Large-curved and 8ft height
Facing Large-curved and 16ft height
Passing Large-curved and 16ft height
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Category: #36 Curved Walls and Flat Walls These photographs illustrate changes in the position of a curved wall relative to a flat wall as well as a change in perspective of the structure. The human figure shifts from facing the flat wall, which causes obstruction, to facing past it as it takes an aligned position. The curved wall acts as a guide through the pathway between the walls, and I would be tempted to follow the outside of the curved wall rather than go out of my way to follow along the inside.
Facing a flat wall (8fh height) while passing a curved wall (8fh height)
Entering a space between a flat wall (8fh height) and a closed-curved wall (8fh height)
Entering a space between a flat wall (8fh height) and an opened-curved wall (8fh height)
Your coordination in height and openness.
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Entering a space between a flat wall (8fh height) and a half opened-curved wall (8fh height)
Category: #37 Entering into a space between Parallel Curved Walls These images illustrate different sizes of parallel curved walls viewed from both the inside and the outside. The human figure is shown entering into the spaces between the parallel walls, causing obstruction, and leading focus to the pathway between the walls, beyond what can be seen. The pathway between the 8ft walls is less intimidating than the 16ft walls that tower overhead, however the 16ft walls feel much more enclosed and give a greater sense of separation from the outside space.
Small-curved and 8ft high outside
Small-curved and 16ft high outside
Large-curved and 8ft high outside
Large-curved and 16ft high outside
Small-curved and 8ft high inside
Small-curved and 16ft high inside
Large-curved and 8ft high inside
Large-curved and 16ft high inside
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Category: #38 Entering a space between curved mirror walls_01 These images illustrate a pathway between two symmetrical, curved walls with different heights and/or lengths. The human figure, standing between the walls, causes no obstruction and contributes to the presentation of depth through the pathway. The 8ft curved walls do guide movement through the pathway, however, the 16ft curved walls are more effective as they are significantly more prominent.
Small-curved and 8ft height
Large-curved and 16ft height
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Small-curved and 16ft height
Large-curved and 8ft height
Category: #39 Entering a space between curved mirror walls_02 These images illustrate an entrance between curved walls with variations in height, length, and lighting, which shifts from behind the figure to inside the pathway. The figure, standing before the pathway, obstructs the furthest wall and draws attention to the entrance. At this side angle, I find the outside lighting to be much more effective as it draws the eye to the entrance and brings curiosity to what may be beyond the wall, making me more drawn to entering through the pathway.
Small-curved and 8ft high with inside lighting
Small-curved and 8ft high with outside lighting
Small-curved and 16ft high with inside lighting
Small-curved and 16ft high with outside lighting
Large-curved and 8ft high with inside lighting
Large-curved and 8ft high with outside lighting
Large-curved and 16ft high with inside lighting
Large-curved and 16ft high with outside lighting
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Category: #40 One curved wall and one column These photos illustrate two different configurations of one curved wall, utilizing both the inside and outside, and one column. The human figure, passing through an entrance between the two elements, causes obstruction to the inside of the curved wall. The path between the outside of the wall and the column is much more inviting than the path between the inside wall as the space for the inside path is narrow and inconvenient.
Entering a space between a column and curved wall outside
Entering a space between a column and curved wall inside
Category: #41 One curved wall and two columns These photos illustrate various configurations of two columns and one curved wall by changing the alignment of the columns as well as distance between the columns and wall. One figure is shown passing through the column(s) and the wall as the other figure stands in front, obstructing the curved wall. The vertically aligned columns are the best configuration for guiding movement forward through the path as the horizontal alignment does not draw as much attention to the pathway.
Entering a space between a column of two horizontally aligned and curved wall outside
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Facing the outside of a curved wall with two horizontally aligned columns with insufficient space between them
Entering a space between a column of two vertically aligned and a curved wall outside
Category: #42 Role of a column between Curved and flat walls These photographs depict a column with variations of 2 walls, either flat or curved, and different distances between the aligned wall and column. As the human figure passes the column, the furthest wall is partially obstructed. I find the column to pose an inconvenience as it takes up unnecessary space in the already narrow paths and may need to be dodged in order to follow an intended path.
Entering a space between two parallel curved walls, with a column in front of the outer curved wall
Entering a space between a faced flat wall and a curved wall, with a column in front of the flat wall
Entering a space between two parallel curved walls, with a column in front of the inner curved wall
Entering a space between a parallel flat wall and a curved wall, with a column in front of the flat wall
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Category: #43 Curved connection These images depict an aligned flat wall smoothly connected to a curved wall, gradually increasing in angle and opening up more space forward. As the figure stands to the right of the aligned wall, it partially obstructs the inside of the curved wall. The curved connection of flat walls is softer and more welcoming than sharp corners as they would draw me towards the curve to seek comfortability, especially with smaller angles where the curve can act somewhat as a nook.
Follow two flat walls that are connected at an angle of 60 degrees smoothly
Follow two flat walls that are connected at an angle of 150 degrees smoothly
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Follow two flat walls that are connected at an angle of 90 degrees smoothly
Follow two flat walls that are connected at an angle of 120 degrees smoothly
Category: #44 Curved wall and S-curve wall These images illustrate a pathway between an s-curved wall and a curved wall with variations of wall height and lighting angles. As the human figure stands between the walls before the entrance, it obstructs an inverted section of the s-curve. The s-curve wall paired with the curved wall gives a sense of a maze, guiding movement in and creating interest, especially with inside lighting angles which bring more focus to beyond the pathway.
Curved wall and S-curve wall 8ft high with inside lighting
Curved wall and S-curve wall 8ft high with outside lighting
Curved wall and S-curve wall 16ft high with inside lighting
Curved wall and S-curve wall 16ft high with outside lighting
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Category: #45 1 point perspective pictures: Void on the upside These photographs depict variations of the shape and size of a ceiling void, which causes changes in the shape and dimension of lighting cast through the void on the level below. The human figure, standing beneath the void on the level below, causes no obstructions, and becomes a focus of the photo as the lighting spotlights on the figure. The intense lighting gives a sense of attention to the figure and the shape it’s standing in, which may bring about feelings such as importance, interrogation, or nervousness.
A 4’x4’ square void with a height of 8ft
A 8’ diameter void with a height of 8ft
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A 8’x8’ square void with a height of 8ft
A 4’ diameter void with a height of 8ft
Category: #46 Void on the upside with columns or walls These photographs illustrate a square void on the upside with variations of columns and walls with lighting from above, projecting down through the void. As the human figure stands beneath the void, causing obstruction of facing walls, the spotlight is shined upon the figure. With columns connecting the two levels, it provides a sense of comfort and structure similar to a cabana, however, when the columns are not present and the walls stretch up through the void, it gives a feeling of being stuck in a hole of some sort causing feelings of intimidation.
A 8’x8’ square void with columns
A 8’x8’ square void with a facing wall
A 8’x8’ square void with a passing wall
View for A 4’x4’ square void with a flat wall aligned with one side and two columns aligned with the opposite side
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Category: #47 Void on the downside with columns or walls Throughout these photographs, there are variations in the shape of a downside void, either a square or circle, as well as alignment of walls coming through the void and lighting angles. The figure, standing before the void, partially obstructs the void as well as the facing walls. The lighting angles play a big role in how the orientation feels, as the origins of the light bring focus and attention to what is beyond the void in the direction of the light, bringing about feelings of curiosity and isolation.
A 8’x8’ square void with a facing wall and light from upper floor
A 8’x8’ square void with a facing wall and light from side
A 8’x8’ square void with a facing wall and light from lower floor
A 8’x8’ square void with a passing wall and light from side
A 8’x8’ square void with a passing wall and light from lower floor
A 8’ diameter void with light from lower floor
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Category: #48 Void on the upside with combinations of columns or walls Throughout these photographs, there are various combinations and compositions of columns and/or walls including a void on the upside in each. The human figure is depicted standing in different positions under the void and within the structures, obstructing many of the facing walls. In the photos with parallel elements, it is clear where movement is directed, however, with the complexities of diagonals, corners, and the void above, movement is not clearly guided in many of the compositions. Unclear pathways combined with dramatic lighting from the void above may inflict feelings of intimidation and isolation.
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Category: #49 Void between Floating Surfaces In these images, there is a composition of three levels with two floating surfaces, creating voids between them and adding significant layers to the photos. Four human figures are present and each level has at least one figure. With dramatic gaps between levels, figures become obstructed with different angles of view. Certain photos inflict feelings of power, hierarchy, and dominance caused by these gaps, while others bring of feelings of inferiority and intimidation.
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Category: #50 Void between curve-linear Surfaces These two images illustrate an abstract shaped void, comprised of both straight and curved lines as well as corners, shown from angles both above and below. Multiple human figures are shown utilizing both the upper and lower levels as well as the inside edge of the void, with little to no obstruction of both the void and the figures. The irregular shape has the ability to be utilized in many ways, especially as narrow areas of the void may be able to be stepped across. The longer, rectangular shape guides movement forward to the edge of the void, and movement can either be halted or continued over the narrow gap.
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Category: #51 Void with a combination of This photograph illustrates a circular void with a combination of curved walls with different heights, a flat wall, a floating surface, and columns, some of which hang from the bottom of a floating surface. The figure is depicted standing in front of these structures, causing partial obstruction of a curved wall and directing focus to a pathway created by a strip of light cast on the ground. Movement is directed along the path of lighting, as well as through the flat and curved walls. This structure brings about feelings of exploration and curiosity as the complex structure has various elements and pathways to explore.
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Category: #52 Curved vertical surface These two photographs illustrate a narrow and a wide curved vertical surface, sloping upwards at an incline. The human figure, standing at the base of the slope, causes partial obstruction to a lower portion of the surface. The slope causes restriction towards forward movement and inflicts feelings of inferiority due to the dramatic height of the surface and its connection to the base of the figure.
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Category: #53 Curved vertical surface with an upper floor These images demonstrate various angles of an upper floor with a curved vertical surface connected to a second curved surface leading to the lower floor. The human figure is shown in various positions in front of, within, and beyond the structure while obstructing portions of the curved surface. Enclosed areas of the curves direct movement through them, similar to a tunnel, and bring about feelings of exploration as well as comfort, specifically in snug portions of the curves.
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Category: #54 Curved vertical surface with a void This series of photographs illustrates a curved vertical surface going through an upper floor with a circular void. The human figure is shown standing in different positions around the structure including the lower floor, upper floor, and under the curved vertical surface. Mimicking a sort of tunnel or arch, the curved vertical surface provides an enclosed area while still allowing for significant space and view of the other elements and areas of the structure, allowing for feelings of openness and exploration.
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Category: #55 Facing Curved vertical surface These two photographs illustrate a scene comprised of a curved vertical surface accompanied by a curved wall, a curved bridge, and a tall facing wall. The human figure, shown standing before the structure, obstructs portions of the elements including the curved vertical surface, bridge, and curved wall. This composition provides little to no pathways for movement, resulting in an uninviting and restricting structur, however, moving horizontally past it, the bridge can be utilized allowing for some human use of the structure.
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Category: #56 Hanging curved surfaces These photographs demonstrate curved surfaces, hanging down from above, incorporating various elements including voids, in both the ceiling and wall, and curved walls. The human figure, utilizing both levels of the structure, stands before the hanging curved surfaces, partially obstructing them. On the lower floor, with the hanging surface acting as somewhat of a center piece, movement is guided along the inside of the curved walls. As the surfaces lead into other areas of the structure, it provides a sense that there is more beyond the view, causing emotions such as curiosity and interest.
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Category: #57 Surfaces with convexities and concavities In these photographs, a single element, surfaces with convexities and concavities, is demonstrated as three surfaces, each with multiple curves, stand intertwined in each other. The human figure is shown standing before and within the structure, partially obstructing the view of the curved surfaces. At certain angles, movement is guided towards pathways between the base of the surfaces, however, at other angles, pathways are not as easily accessible and movement is not guided through. This structure brings about emotions of exploration, curiosity, and playfulness due to the freeform-like composition.
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Category: #58 A sphere with a strong center and centripetal force These photographs illustrate the strong focal point of a sphere hovering overtop a square void with variations of lighting. The human figure stands at various angles facing the sphere including in front of it, causing partial obstruction of the sphere and the void. The different angles of lighting greatly affect the presentation of the sphere in how the shadows are cast on the sphere itself and the surface below. A dark presentation of the sphere appears mysterious, uninviting, and may evoke feelings such as inferiority.
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Category: #59 Surfaces that are twisted and free These photographs illustrate freeform surfaces that are twisted and free, incorporated with other elements including a wall with a circular void and a tall, curved wall. The human figure, standing before and within different areas of the structure, obstructs portions of a freeform surface, the facing wall, and the curved wall. The twisted surfaces, especially the isolated one, give a sense of playfulness to the structure, similar to a playground. There are not significant pathways of travel, however movement can be guided along the curved wall, flat wall, or even through the isolated twisted surface.
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Ma rilyn Chavez Port foli o 224
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What I learned...
Project #1 “Wall, Column, and Space” - Project one taught me how the mood of a room changes with the rearrangement of walls, columns, and space. This prokect helped me focus on envoking emotion through a space I made and to be more attentive on how a space feels. Especially when these elements are implemented in real life. Project #2 “Hand Drawing” - Hand drawing taught me patience and attention to detail due to the concentration needed when drawing or using my hands to put projects together. Project #3 “Power of Patience” - Observing a painting for a rigorous amount of time taught me how one’s perceptions can change over an extent of time. This excercise requires a strong time to be able to focus for a long extent of time but the result was the ability to truly understand the art piece to a deeper level. Project #4 “Space Cube” - A continuation of “Wall, Column, and Space”, this project continued to focus on envoking emotion in a space but aswell as proritizing teaching me to able to support my ideas throught models. Project #5 “First Portfolio” - I learned new software and digital techniques that will continue to help me in my career. Overall - Creating my portfolio allowed for reflection on the projects I made through out the semester and I am able to say I not only learned some fundemental design elements but I learned I am capable of more than I thought coming in 5 weeks ago. If you could talk to you before these five weeks, what would you like to share with you? - I would tell myself that this is not 5 weeks of perfectionalism and to embrace new ideas. Embrace messes and mistakes. I would add to ask for help and bounce ideas off others.
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Category #1: Facing surface
Paragraph: These ten images of the wall shifting angles, while the human figure stays in relatively the same area, show the wall change affecting the figure. As the wall takes on different angles it almost seems the figure changes height while staying the same area. As I moved the angles of the wall it changed the perspective, for example, as I started with smaller angles (0-20 degrees) it seemed like the only options of moving were vertical due to the narrowness the walls created. As the angles shifted to 30-60 degrees it seemed like there was minimal to no room for movement, and got more restricted as the angles reached 90 degrees. Overall, it made me feel like I was being trapped.
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Category #2: Facing edge Paragraph: The next set of images shows a wall changing angles from the left side to reveal its width towards the human figure. As the wall swings from angle to angle it gives the illusion of a door that swings open outward. When moving the walls, it gave the feeling of freedom as the wall increased to a 90 degree angle due to the openness it created.
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Category #3: Blocking wall Paragraph: These eleven photos show the wall sliding from the left to the right until the human figure is in the center. As the wall moves to the right without the position of the human figure moving makes the figure be in the center of the wall. This gave an eerie figure as the wall slowly moves to the right making it seem like it is creeping in on the human figure until it traps it when it reaches block level 7.
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Category #4: Passing the blocking wall Paragraph: These next five images show how the walls’ positioning can change the perspective. When the walls come closer to the camera and the human figure makes small changes in its positioning it makes it seem as if it is going through a dark hallway. As the figure seemed to pass the wall a mysterious feeling rose within me as the figure moved further into an empty space.
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Category #5: Aligned Wall Paragraph: The following six images demonstrate how the wall changing angles and positions can change the functionality of the room. As the wall moves the closed level 5 aligning with the human figure makes the human figure have a decision on which way of way to continue. This raised the feeling of confusion as there is a choice to be made but all lead to an empty solid colored space.
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Category #6: Passing the aligned wall Paragraph: The six images show how the positioning of the walls allows for change in perspective. As the wall come closer the human figure seems to be further as it passes through. With the movement of walls it allows the figures to be given this movement without one moving them only the walls. This gives an ominous feeling because of the questions that arise, where is the figure going, why is the wall close and how the figure is given the look of walking slowly through these phases.
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Category #7: Walls with different heights Paragraph: Here nine photos are shown to show the importance of wall height to human scale. The figure in the images seems to change heights but in reality it is the walls. This gives a sad feeling because it looks as if a barrier is placed in front of the human figure.
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Category #8: Floating and faced Wall Paragraph: The eight photos show how a floating wall will change an area, especially with a human scale for reference. The height of a wall is demonstrated to show that it can also change the space. When the wall is lower it is almost the same as a non-floating wall but as it lifts it feels almost convenient due to the need to lift the head to observe it.
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Category #9: 8ft high floating and aligned wall Paragraph: : Only four photos are given to show the power of floating walls. They act almost as a guide for the human figure to follow. The way the human figure is position towards the floating wall has a brave feeling as it seems to the be taking the area on towards the wall
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Category #10: 8ft high floating and faced wall Paragraph: the series of floating walls continue with the next eight images. The wall slowly comes to the front of the human figure. This feels like a trap due to the wall centering in front of the human figure not allowing the forward motion.
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Category #11: floating horizontal surface Paragraph: six images are presented with a horizontal floating wall. The wall acts almost as a ceiling rather then a wall. This gives off an intimidating feeling due to the surface being slanted in a creating a pathway that seems unwelcoming.
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Category #12: Horizontal surfaces with different heights Paragraph: The largest set of photos is these 12 photos that show the significance the height of the surface has on the viewer. As the surface lowers it allows the human figure look as if it had been revealed to later reveal two more figures. This has a wholesome feeling as it seems the figure is reassuring the figures to join the worlds again.
8ft high horizontal surface
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Category #13: Wall surface with an incline Paragraph: The way the walls are moved in these eight photo changes the space around the human figure. When the angles change so does the space for example as it lifts above the figure the space is now narrow ad small and as it furthers away and opens out it creates more room. All together the variation of angles gives an immersive experience. This creates a welcoming feeling as the angles of the wall invite you in.
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Category #14: Inclined wall Paragraph The images show a variation of angles within a short wall. The wall changes angles to show the height of the wall and how it effects the space. It gives a sophisticated feeling to the space do mainly due to the human figure but overall because of the sharp and meaningful angles.
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Category #15: Floating wall surface facing edge with an incline Paragraph: The way the floating surface is placed in these six images demonstrates the change in angles created by different lighting to the space. The surface makes the figure seem smaller. The way the angle starts to point downward makes me feel unsafe and gives the area a dangerous aura as the surface starts to steeply point down towards the human figure.
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Category #16: Inclined surface to a facing wall Paragraph: This set of images how the change in the height in the wall can emphasize the figures in the area. As the angle changes it allows for more or less light. The positioning of both the wall and figure makes me feel strong as the wall gives the allusion of bearing its weight.
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Category: #17 Inclined ramp to facing wall Paragraph: As the wall lifts to a 90 degree angle the center of the area is emphasized. With the figure in the center it allows for focus on it. As the wall lifts it creates a feeling of solitude as the figure is now alone in the center.
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Category: #18 One Column Paragraph: The two images of the one column takes all the attention away from the environment. The human figure shows the relationship a person would have with a column. An example of this is the Marcus Aurelius Column in Rome. The environment around the column bring attention to it especially in these images with empty space. The space between one and the column allows for reflection and makes me feel respect and admiration.
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Category: #19 Two Columns Paragraph: The next two images show two aligned columns both horizontally and vertically. As the columns are shifted it gives an new perspective by changing the view points. The column act as a directive guide as it persuades the movement of the figure. This makes me feel supported as columns can act as support but also fascinated.
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Category: #20 Three Columns Paragraph: the columns in these images act as a barrier to the scene. Seeming as they push you to stay on one side. They restrict the movements of the figures and they surround the area to act as walls. The figure by itself helps represent the enclosed relationship between it and the columns. I felt forced to refrain from moving beyond the barriers.
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Category: #21 Four Columns
Paragraph: These two images representing a traditional way four columns are usually aligned. They are relatively aligned to make a square like shape. This allows for the space to feel secluded and this is shown by the placing of the human figure. The space allows room for it to fit but not much more room than for the count of figures. Due to the small space it makes me feel warm and comfortable as it creates a sense of privacy.
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Category: #22 One Wall and One Column Paragraph: This set of images starts with including a wall that is changed with the different positions the column takes on. When the column changes positions it allows for different spacing between it and the wall which is show with the movement of the figure. The figure is moved to emphasize that spacing. This makes me feel confused as the column moves around it leaves me feeling lost.
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Category: #23 One Wall and two Columns Paragraph: The wall and column surround the space, when the human figure comes into the image it is as it is hidden. The column further off out into the area still feels connected to the other column and wall. The placement of the second column being aligned draws a line that allows for it to feel included. This makes me feel protected in the space in between.
Condition 1: aligned wall and vertically aligned columns
Condition 2: facing wall and vertically aligned columns
Condition 3: facing wall and horizontally aligned columns
Category: #24 Two Walls and two Columns Paragraph: A second wall is included in these images allowing for the ability to imagine a real scenario where something like this could be seen. The extra wall demonstrates the distance and separateness between the two figures. I feel tension in the space from the space between the two which is also represented within the two columns as well.
Columns aligned vertically with perpendicular walls
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Columns aligned horizontally with perpendicular walls
Category: #25 Two Walls and two Columns with two lighting conditions_01 Paragraph: The lighting in the room shows how the positioning of walls can change the energy in the room based on the light that is allowed in. The figure stands in the light but is surrounded by darkness. This makes me feel scared not being able to see anything in the darkness.
Walking between vertically aligned columns and perpendicular walls with lighting behind Figure
Walking between vertically aligned columns and perpendicular walls with lighting behind wall
Walking beside vertically aligned columns and perpendicular walls with lighting behind Figure
Walking beside vertically aligned columns and perpendicular walls with lighting behind wall
Walking beside vertically aligned columns and extended perpendicular walls with lighting behind Figure
Walking beside vertically aligned columns and extended perpendicular walls with lighting behind wall
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Category: #26 Two Walls and two Columns with two lighting conditions_02 Paragraph: The way the positions of the walls and columns make the area feel small. When the human figure is placed, it seems there is not much room to move. The ominous lighting shinning brighter from behind the wall makes me feel concerned and fearful continuing down the hall.
Passing horizontally aligned columns to enter the space between two walls with lighting behind Figure
Passing vertically aligned columns to enter the space between two walls with lighting from the inside space
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Passing horizontally aligned columns to enter the space between two walls with lighting from the inside space
Passing vertically aligned columns to enter the space between two walls with lighting behind Figure
Category: #27 Two Walls and two Columns with two lighting conditions_03 Paragraph: The space between walls allows for an opening in the area as an illusion of continuation with nothing beyond the bounds. The columns align with the walls to dramatize the space. The person is placed with the intent of going with in the gap. This makes me feel excited to see way is beyond the area.
Passing vertically aligned columns to pass a narrow opening between two walls with lighting behind Figure
Passing vertically aligned columns to pass a narrow opening between two walls with lighting from the inside space
Passing vertically aligned columns to pass an intermediate opening between two walls with lighting behind Figure
Passing vertically aligned columns to pass an intermediate opening between two walls with lighting from the inside space
Passing horizontally aligned columns to pass a wide opening between two walls with lighting behind Figure
Passing horizontally aligned columns to pass a wide opening between two walls with lighting from the inside space
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Category: #28 Vertically aligned Two Walls and two Columns Paragraph: The positioning of the columns makes almost a stage for the space between them. The figure is strategically placed to show this space left empty. This is similar to the Abraham Lincoln memorial or cliff top buildings that have an outdoor walking way lined with columns. This makes me feel tranquility of the possible view that may lay between the empty space.
Between walls, walking
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Between columns, walking
Category: #29 Space composed with 5+ columns and 2 walls
Paragraph: This set of images are a space that guides one through the space with no more than the two walls. With the two walls in a narrow perpendicular angle it all space for the human figure to feel welcome to make its way to the end of the hall or pathway. The single column in the end out of line with the others but still guides one to one direction without forcing it with a straight line all the way through. The columns allow for light to pass through during the duration of the day. Leaving the space behind the columns empty allows for mystery and possible use for small exhibitions. This space made me feel calm as the columns allowed the light of the environment to shift the lighting. This makes the feeling peaceful as you make you’re way through.
Top view of the space composed
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Category: #30 Faced wall with Connected wall Paragraph: The right wall moves degrees to create different environments. The angles shift slowly to show the different moods within the slight change. The two figures start almost in front of one another to further away. This makes me feel intimidated due to the isolation within both of the figures, worrying me of a possible confrontation.
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Category: #31 Aligned wall with Connected wall Paragraph: The walls in these images start with an acute angle and slowly increasing the degree to a straight line. The human staying in the center shows the difference a shift a wall makes for different feelings. The feeling this gives off is curiosity due to the similarity of museum walls, as one observes they question the reasoning.
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Category: #32 Facing the connected edge of two walls Paragraph: The wall shifts allowing the wall to take dominance in the space. The human figure seems vulnerable yet gives a feeling of superiority the way the human figure remain in the same area yet the walls movement.
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Category: #33 Three connected walls Paragraph: The three connected walls in these images trap the area inside. The human figures trapped in shows in the different angles show the use of room within the walls. The left figure remains facing the one in the back even though the other turns away. This makes me feel upset because I feel the tension of a fight within the area.
Wide-facing wall with two wings
Narrow-facing wall with two wings
Category: #34 Curved wall inside Paragraph: The wall’s different sizes change the area on their own. They surround the human figure but alter the height and space within the curve as they change sizes. When the wall is at 8ft height I feel claustrophobic but as they change to 16ft although the walls allow for more room it seems like I’ve hit a dead end leaving me feeling lost.
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Small-curved and 16ft height
Large-curved and 8ft height
Category: #35 Curved wall outside Paragraph: The curved wall stands in the space alone bringing the attention to it. As it changed heights it not only makes the human figure to look smaller but changes the situation in which the figure could be in. The smaller 8 and 16-foot walls could separate rooms, allowing the two spaces to smooth transition. The longer walls could act as walls to an area creating a room-like space to separate and distinguish purpose in an open area. As I stood in the center of the smaller walls, I felt burdened to choose which direction of the wall to follow. When the walls changed to longer walls, they seemed to be hiding something within them so I felt curious to know what was on the other side.
Facing Small-curved and 8ft height
Passing Small-curved and 8ft height
Facing Small-curved and 16ft height
Passing Small-curved and 16ft height
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Passing Large-curved and 8ft height
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Passing Large-curved and 16ft height
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Category: #36 Curved Walls and Flat Walls Paragraph: The curved wall combined with a flat one allows for a clear path, especially when the curved wall is closed but opens the space up as it goes from close to open. The figure seems to have just enough room to walk along the closed curve and is given more space as the curve opens allowing for more use of the area rather than simply a pathway. When I leisurely walk the area the smoothness of the curves create a calm sensation.
Facing a flat wall (8fh height) while passing a curved wall (8fh height)
Entering a space between a flat wall (8fh height) and a closed-curved wall (8fh height)
Entering a space between a flat wall (8fh height) and an opened-curved wall (8fh height)
Your coordination in height and openness.
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Entering a space between a flat wall (8fh height) and a half opened-curved wall (8fh height)
Category: #37 Entering into a space between Parallel Curved Walls Paragraph: They create their own room or confined area between them with two parallel curves. When the human figure is within the wall’s curves, the space has versatile uses due to more space between the walls. When the figure stands outside the curves they seem smaller and isolate him. When I stand between the walls I imagine a gallery standing before me the environment leaves me amazed by the space and possibility of different uses. I feel alone when I stand outside the walls, like an outsider standing apart.
Small-curved and 8ft high outside
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Large-curved and 16ft high outside
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Category: #38 Entering a space between curved mirror walls_01 Paragraph: The curved mirror walls symmetry brings to light the path made in between. When a human figure is placed to reflect on the space it he changes height depending on the wall size. This makes the scene look bigger or smaller as well. When standing between the curves at 8ft it feels small like the walls are closing in but when they are 16ft they make me feel small and helpless as the walls tower over me.
Small-curved and 8ft height
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Small-curved and 16ft height
Large-curved and 8ft height
Category: #39 Entering a space between curved mirror walls_02 Paragraph: Again two curved mirrored walls create an opening within but separate the space within themselves. The curves separate the space. When placing the human figure between with the choice on the path to take it shows the separation with two choices it can make. Left to choose which curve to explore I feel conflicted on which to journey to.
Small-curved and 8ft high with inside lighting
Small-curved and 8ft high with outside lighting
Small-curved and 16ft high with inside lighting
Small-curved and 16ft high with outside lighting
Large-curved and 8ft high with inside lighting
Large-curved and 8ft high with outside lighting
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Large-curved and 16ft high with outside lighting
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Category: #40 One curved wall and one column Paragraph: The curved wall surrounds the column bringing attention to the columns presence. The human figure facing the column further shows its importance. When standing in the space I feel drawn in to the column because it is the only thing that stands in the center of the area.
Entering a space between a column and curved wall outside
Entering a space between a column and curved wall inside
Category: #41 One curved wall and two columns Paragraph: two columns in this image stand on the outskirts of the curved wall centered between the columns. When the woman stands in the center of the curve, the curve pushes her outwards. As I stand in the woman’s position, I feel small and alone. The columns trap me in place.
Entering a space between a column of two horizontally aligned and curved wall outside
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Facing the outside of a curved wall with two horizontally aligned columns with insufficient space between them
Entering a space between a column of two vertically aligned and a curved wall outside
Category: #42 Role of a column between Curved and flat walls Paragraph: The columns stands near one of the curved walls but between both. They act to almost deflect walking against the wall. The human figure follows the curve and seems to stay far from the far curved wall. Standing in this space makes me feel confused of the columns as I keep bumping into them.
Entering a space between two parallel curved walls, with a column in front of the outer curved wall
Entering a space between a faced flat wall and a curved wall, with a column in front of the flat wall
Entering a space between two parallel curved walls, with a column in front of the inner curved wall
Entering a space between a parallel flat wall and a curved wall, with a column in front of the flat wall
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Category: #43 Curved connection Paragraph: The curved walls connecting creates a boundary by coming around to enclose the space. By having the human figure stand in the same position it shows how the open curve becomes close to the human and stops the possibility of moving forward. When I stand facing the connected wall I feel as if the wall is pushing me back.
Follow two flat walls that are connected at an angle of 60 degrees smoothly
Follow two flat walls that are connected at an angle of 150 degrees smoothly
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Follow two flat walls that are connected at an angle of 90 degrees smoothly
Follow two flat walls that are connected at an angle of 120 degrees smoothly
Category: #44 Curved wall and S-curve wall Paragraph: Both the curved and S-curve walls create an opening making the space ahead of them tunnel in. When the human figure stands in the center of the frame the walls not only tunnel the attention between the walls but to him. Standing in his shoes I am pushed to the end of the tunnel. I feel drawn to follow what may lay ahead.
Curved wall and S-curve wall 8ft high with inside lighting
Curved wall and S-curve wall 8ft high with outside lighting
Curved wall and S-curve wall 16ft high with inside lighting
Curved wall and S-curve wall 16ft high with outside lighting
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Category: #45 1 point perspective pictures: Void on the upside Paragraph: The handing void from above adds space as it creates the possibility of more to in the space. The man standing in the center of the void shows its solitary but with the use of lighting it helps further emphasize the loneliness. Standing alone at the bottom of the void makes me feel sorrow especially when a spotlight is placed upon me to only remind me of the lack of company. Almost feeling depleted.
A 4’x4’ square void with a height of 8ft
A 8’ diameter void with a height of 8ft
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A 8’x8’ square void with a height of 8ft
A 4’ diameter void with a height of 8ft
Category: #46 Void on the upside with columns or walls Paragraph: The upside-down void creates a spotlight shadow when the light shines through. Emphasizing the shadows even more the columns elevate the void to create a more define shadow. The wall within the void expands the room and causes the viewer to undeniable acknowledge it as it draws your eyes up. The man helps show the space the combination of these create, specifically the space created by the lighting shinning through the void and the continuous space the wall makes. Placed in the room I am drawn to see where the wall leads to.
A 8’x8’ square void with columns
A 8’x8’ square void with a facing wall
A 8’x8’ square void with a passing wall
View for A 4’x4’ square void with a flat wall aligned with one side and two columns aligned with the opposite side
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Category: #47 Void on the downside with columns or walls Paragraph: The void at the bottom of the scene allows the light to travel upward. Having the wall in the center of the void further causes the light to travel up and light up the room. The man is placed in the center of the wall piercing through the void showing the light carrying up and lighting him up. Standing where he does the room is brightened up by the light when placed on the bottom. This makes me happy as the light always finds a place to shine through.
A 8’x8’ square void with a facing wall and light from upper floor
A 8’x8’ square void with a facing wall and light from side
A 8’x8’ square void with a facing wall and light from lower floor
A 8’x8’ square void with a passing wall and light from side
A 8’x8’ square void with a passing wall and light from lower floor
A 8’ diameter void with light from lower floor
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Category: #48 Void on the upside with combinations of columns or walls Paragraph: Not only does having an upside down void allow the flow of light but combining it with walls and columns it helps control where specifically where it shines. The man is lit up in the center of the area due to the void and walls directing it to the center. The walls are dark but I feel warm from the light shining on me. This creates a calm space.
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Category: #49 Void between Floating Surfaces Paragraph: The distance between the two levels is not connected making the levels impossible to move from one to another. The man and woman help show the inability to come together. With the void behind the woman, it creates a dangerous situation. As I face away from the woman on the higher level, I feel disappointed in not being able to join her.
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Category: #50 Void between curve-linear Surfaces Paragraph: The void in the center of the space makes it almost impossible to reach the other side. The light traveling from below dramatizes the space as it lights it up to make it the main focus of the space. The human figures in the space show how the figures are blocked from the man figure by the void. This creates a negative mood. Being unable to reach the man as he leaves, makes me feel sad and defeated.
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Scene #2
Category: #51 Void with a combination of Paragraph: The void at the bottom of the scene allows the light to travel upward. Having the wall in the center of the void further causes the light to travel up and light up the room. The man is placed in the center of the wall piercing through the void showing the light carrying up and lighting him up. Standing where he does the room is brightened up by the light when placed on the bottom. This makes me happy as the light always finds a place to shine through.
Scene #1
Scene #2
Category: #52 Curved vertical surface Paragraph: The curved vertical surface allows for a tunnel like dimension to the area. It allows there to be another perspective to be experienced in the room. The man shows the different angles that can be walked through. Being placed within the curved vertical surface makes me feel scare and wanting to escape the dark area and go into the lit up space on the outside.
A 4’wide
A 8’wide 51 273
Category: #53 Curved vertical surface with an upper floor Paragraph: The curved vertical place already allows for a different perspective within the area but an upper floor specifically one with a void allows for the illusion to a taller ceiling. Having the people placed in multiple possible positions allows for multiple perspectives to be seen. Being placed on the upper floor I am able to see the floor below I feel superior due to being able to look down on the people who seem to look miniature.
Scene #1
Scene #2
Scene #4
Scene #5
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Scene #3
Category: #54 Curved vertical surface with a void Paragraph: The curved vertical surface facing the curved creates a unique space. The curved surface aligns with the corner of the void. The vertical curved wall extends the area upward towards the void. With the human placed between both allows the eyes to focus on the void. Guided by the s-curved wall and my eyes following the vertical curve I am drawn to the square void.
Scene #1
Scene #2
Scene #3
Scene #4
Scene #5
Category: #55 Facing Curved vertical surface Paragraph: The simplicity of this scene shows the connection the curved paper has with the top and floor. By adding the man facing the curve he faces this connection between surfaces. Standing in his shoes I feel the need to reach where the curve leads to. I feel alone hoping company is on the other side.
Scene #1
Scene #2 53 275
Category: #56 Hanging curved surfaces Paragraph: the curved hanging surface holds the light within it rather than letting it slide down. Having the curved surface hand block the light setting a dark scene. The human is placed on the wall to show the light only being absorbed from above. I feel scared in the dark when I am on top of the wall seeking light I the feeling is more emphasized with now the added fear of falling.
Scene #1
Scene #2
Scene #3
Scene #5
Category: #57 Surfaces with convexities and concavities Paragraph: Two simple opposing curves intertwine to create a complex structure. These curves make the space feel dark and complex. Having two people face each other from the different entrance points shows how the space between them seems long due to the darkness creating the hall to look longer than it is. Standing far from the other person makes me feel a sad and unable to reach them. Which ever path we take we get lost in the tunnels.
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Scene #1
54
Scene #2
Category: #58 A sphere with a strong center and centripetal force Paragraph: the sphere stands above a s-curved vertical wall. It shows its defiance as it should not be able to float above the wall. The human is placed below the wall to show the contrast in size in the ball and the human. Being on the curved wall and even at the bottom makes me feel scared of the ball falling down onto me. The curve creates a path to make it roll towards me.
Scene #1
Scene #2
Scene #3
Scene #5
Category: #59 Surfaces that are twisted and free Paragraph: This structure is constructed of many different curves and waves. The other paths the curves create, create a maze-like infrastructure. The man is placed in various spaced options, allowing for more detailed close-ups. Walking around the space I feel dizzy and the curves and twists continue. When I reach the top I feel accomplished by seeing what I have overcome.
Scene #1
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CONTENTS
01 What I learned...
02 Project #1 “Wall, Column, and Space” 04 Category #1 05 Category #2 06 Category #3 07 Category #4 08 Category #5 09 Category #6 10 Category #7 11 Category #8 12 Category #9 13 Category #10 14 Category #11 15 Category #12 16 Category #13 17 Category #14 18 Category #15 19 Category #16 20 Category #17 21 Category #18 21 Category #19 22 Category #20 22 Category #21 23 Category #22 24 Category #23 24 Category #24 25 Category #25 26 Category #26 27 Category #27 28 Category #28 29 Category #29 30 Category #30 32 Category #31 34 Category #33 34 Category #34 35 Category #35 36 Category #36 37 Category #37 38 Category #38 39 Category #39 40 Category #40 40 Category #41 41 Category #42 42 Category #43 43 Category #44 44 Category #45
54 Project #2 “Hand Drawing”
45 Category #46 46 Category #47 47 Category #48 48 Category #49 48 Category #50 49 Category #51 49 Category #52 50 Category #53 51 Category #54 51 Category #55 52 Category #56 52 Category #57 53 Category #59 53 Category #59
56 Blind Contour 58 Dancing Lines 60 My Window View 62 Color relations 66 Shaving Cream Marbling 80 Values in 2 Point Perspective 82 Outdoor Sketch
84 Project #3 “Power of Patience”
86 First Report 88 Observation 90 Second Report
92 Project #4 “Space Cube”
94 Sequence of Wall, Column, and Space 96 Space Cube (9” x 9” x 9”) 106 Floor Plans, Elevations, Sections, and Axonometric 118 Casting Models
124 Project #5 “First Portfolio”
126 AI Exploration
Mason Coc hran Port foli o
© The copyright of design outcomes contained in this book belongs to the student. 2 278
1
What I learned...
Project #1 “Wall, Column, and Space” - I learned how walls and columns relate to space and emotion. How they can impact people and thier thoughts on a space. Project #2 “Hand Drawing” - I learned how to ilistrate my ideas in both traditional and abstract ways, as well as how to draw diagrams of a 3d space. Ie elevations, sections, and 3d views. Project #3 “Power of Patience” - I learned how to view an image with a designers eye. Disecting the artistic and design elements used to create a painting. Project #4 “Space Cube” - I learned how to create a space in a limited area that can be used to express or envoke an emotion. I also learned how to simplifie elemnts in order to express the same emotion in a smaller space. Project #5 “First Portfolio” - I learned how to utilize Ai in order to render my images into an example of what they would look like in person. Overall - I learned how to express emotion and ideas through the manipulation of positive and negative elements, as well as how to understand what those elements are in understanding of artistic and design elements. If you could talk to you before these five weeks, what would you like to share with you? - You can make it. It wont be easy but it will be fun, and you will love everything that you will do.
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Category #1: Facing surface Paragraph Over the course of 10 photos, the wall slowly pivots, going from 0 to 90 degrees and blocking the figure. As the wall turns the figure is slowly blocked or obstructed. This movement caused me to go from feeling grounded with my environment to a state of feeling lost and alone. With nothing but the blockade ahead that once felt protective, but now felt constrictive.
0 degree
10 degree
20 degree
30 degree
40 degree
50 degree
60 degree
70 degree
80 degree
90 degree 4 280
Category #2: Facing edge Throughout 10 photos a wall spins on its edge around a figure, going from a 0 degree angle to an obstructive 90 degree angle. The wall slowly spins on an axis to block the figure with its edge faced toward them. I feel that my path has been blocked in an aggressive way. That I feel afraid from what is to come next with the wall pointed at me rather than facing me.
0 degree
10 degree
20 degree
30 degree
40 degree
50 degree
60 degree
70 degree
80 degree
5 281
Category #3: Blocking wall Through the 12 photos a wall moves from the left to the right. This gradual movement blocks the figure cutting it off from forward movement. When blocked off I feel sad. That i have been rejected and am to be left alone. Cut off from who I’m meant to be.
Opened level 1
Opened level 2
Opened level 3
Opened level 4
Block level 1
Block level 2
Block level 3
Block level 4
Block level 5
Block level 6
Block level 7
6 282
Category #4: Passing the blocking wall Over the course of 6 photos a wall that appears stationary is passed by a figure. This passing removes the blockage of the wall. With this passage I feel a sense of freedom and joy. That my opportunity’s are now more open for a broader and more free choices.
Passing level 1
Passing level 2
Passing level 3
Passing level 4
Passing level 5
7 283
Category #5: Aligned Wall Over 6 photos a adjacent wall moves in line with a figure. As the wall is moved the figure is slowly obstructed. With this movement I first felt the need to rush and move away from the wall, but as its movement continued I felt a sense of satisfaction with the alignment and stopping of the wall.
Closed level 1
Closed level 2
Closed level 4
Closed level 5
8 284
Closed level 3
Category #6: Passing the aligned wall Through 6 photos the figure passes the aligned wall, leaving it behind. The figures “moves” past the wall that previously obstructed it. This abandoning of something that brought satisfaction does not encourage a sense of sadness or joy, rather it brings on a state of placidness. A great feeling of absence.
Passing level 1
Passing level 2
Passing level 3
Passing level 4
Passing level 5
Passing level 6
9 285
Category #7: Walls with different heights Throughout the 9 photos a wall is shown to grow in Hight (1 to 8ft). The rising wall blocks the figure from further progression. This change in Hight makes me feel as though I can rise such as the wall has. Rather than being intimidated by the rising wall I am intrigued and feel a sense of hope.
Wall with 1ft
Wall with 2ft
Wall with 3ft
Wall with 4ft
Wall with 5ft
Wall with 6ft
Wall with 7ft
Wall with 7ft
10 286
Category #8: Floating and faced Wall Over the 8 photos a wall rises in the air like a door (1 to 8ft). The rise of the wall removes the obstacle blocking the figure. This rise gives way to a feeling of distaste. It is unnatural and wrong. It brings out a feeling of disgust in me.
1ft high floating wall
2ft high floating wall
3ft high floating wall
4ft high floating wall
5ft high floating wall
6ft high floating wall
7ft high floating wall
8ft high floating wall
11 287
Category #9: 8ft high floating and aligned wall Through the 4 photos a wall is shown above a figure moving from left to right centering over the figure. The wall centers over the figure shadowing the figure. This movement made me first want to look around the wall, to understand it. However, when its movement ceased I was curious and intrigued in the wall.
Alignment level 1
Alignment level 4
12 288
Alignment level 2
Alignment level 3
Category #10: 8ft high floating and faced wall Over 9 photos a floating wall facing a figure moves to the left. The figure is close to the alignment of the wall becoming its center. The movement of the wall brings me a sense of power and control. With the wall moving closer to me in the central area.
Overlap level 1
Overlap level 2
Overlap level 3
Overlap level 4
Overlap level 5
Overlap level 6
Overlap level 7
Overlap level 8
13 289
Category #11: floating horizontal surface Through 10 photos a floating horizontal wall or ceiling moves over a figure. The surface moves just above the figure. The movement of the surface makes me feel safe and protected. I feel at peace.
Overlap level 1
Overlap level 2
Overlap level 3
Overlap level 4
Overlap level 5
Overlap level 6
Overlap level 7
Overlap level 8
14 290
Category #12: Horizontal surfaces with different heights Over 7 photos a surface move from above a figure to below it. The figure is obstruced fist by a hole, then for a brief moment it is given a path, only to then be given a hole again. I feel unclear as the surface descends and as it dips below the figure I am filled with a sense of dread.
8ft high horizontal surface
2ft high horizontal surface
6ft high horizontal surface
4ft high horizontal surface
-1ft high horizontal surface
-2ft high horizontal surface
-4ft high horizontal surface
15 291
Category #13: Wall surface with an incline Over 9 photos a wall moved from a near vertical position to a near horizontal one. The figure is center by the wall and surrounded by its path of motion. Initially I wanted to get as far as I could from the wall but as it shifted I felt a bit of hope and protection as it lifted above me.
10 degree
20 degree
30 degree
40 degree
50 degree
60 degree
70 degree
80 degree
16 292
Category #14: Inclined wall Through the 6 photos a surface goes from a low angle (10 degrees) to a steep one next to a figure. The figure is secluded by the forming wall. As the surface gradually rose to a wall I felt scared as it felt intimidating and powerful.
Inclined level 1
Inclined level 2
Inclined level 3
Inclined level 4
Inclined level 5
Inclined level 6
17 293
Category #15: Floating wall surface facing edge with an incline Over 6 photos a floating wall circles a figure at an angle. The figure is circled in a way by the wall with its edge facing the figure. I am made uncomfortable by the unnatural state of the wall. Feeling entrapped by the half circle motion of the wall.
Inclined level 1
Inclined level 2
Inclined level 3
Inclined level 4
Inclined level 5
Inclined level 6
18 294
Category #16: Inclined surface to a facing wall Over 9 photos a ramp goes from a 10 degree angle to a 90 degree angle obstructing a figure. The figure is obstructed by the rising ramp. While the ramp was low I felt trapped and confined but as it rose I felt happy and free like a building being fixed and made right again.
10 degree
20 degree
30 degree
40 degree
50 degree
60 degree
70 degree
80 degree
90 degree
19 295
Category: #17 Inclined ramp to facing wall Over the course of 13 photos a ramp moves on a hinge to create a wall in front of a figure. The figure is obstructed by the wall created by the moving ramp. When the ramp was still down I wanted to climb it but as it rose I felt stifled in my endeavors. An anger at the idea of being sabotaged.
10 degree
20 degree
30 degree
40 degree
50 degree
60 degree
70 degree
80 degree
90 degree
20 296
Category: #18 One Column In 2 pictures a column is shown to be stationary near a figure. The figure is stood near the column partially obstructed by it. When looking at the column I feel a sense of concern and a little fear. I want to walk away from it but its Mear presence prevents me from doing so.
Front
Side
Category: #19 Two Columns Over two pictures two columns shift from a vertical alignment to a horizontal alignment around a figure. The figure is initially traveling between the two columns but as they shift the figure move to a parallel path to the columns. Initially the placement of the columns made me feel welcomed and expected, but with the shift I felt denied and lost without reason.
Vertical
Horizontal
21 297
Category: #20 Three Columns Through 2 pictures three columns move from a vertical alignment to a horizontal alignment Infront of a figure. The figure was initially in a path going past the columns, however with the movement the figure became surrounded by the three columns. Before the movement I felt a sense of placid satisfaction, but with the moment of the columns I felt surrounded and entrapped. That I was being contained by the columns.
Vertical
Horizontal
Category: #21 Four Columns Over the course of 2 photos a series of 4 columns go from a wide arrangement to a narrow arrangement around a figure. Of the two figures one is on the outskirts looking toward another figure surrounded by the four columns. The columns bring me a feeling of interest and even a little sorrow. That I am viewing something of elegance and importance.
Wide
22 298
Narrow
Category: #22 One Wall and One Column In 8 photos a column is shown to move in a somewhat erratic pattern next to a stationary wall vertically aligned with a figure. The figure is placed in a path parallel to the wall while occasionally being blocked by the column. Immediately I feel angry with the movement and its unpredictability. Feeling annoyance with the columns movements.
Condition 1
Condition 2
Condition 3
Condition 4
Condition 5
Condition 6
Condition 7
Condition 8
23 299
Category: #23 One Wall and two Columns Through 3 photos a wall and two columns shift moving from vertically allied placements to horizontally aligned placements. As the walls and columns shift the figure is partially obstructed. As the walls and columns shift As the walls and columns shift I feel intrigued and attracted to the movement. Bringing forth a sense of joy.
Condition 1: aligned wall and vertically aligned columns
Condition 2: facing wall and vertically aligned columns
Condition 3: facing wall and horizontally aligned columns
Category: #24 Two Walls and two Columns Through 2 photos there are two walls and columns that are surrounding two figures. The figures are encircled by the walls and columns with one of the figures having an opening between the walls. I immediately want to avoid the space, however as I continue looking I feel more curious about the space, even enjoying the placement.
Columns aligned vertically with perpendicular walls
24 300
Columns aligned horizontally with perpendicular walls
Category: #25 Two Walls and two Columns with two lighting conditions_01 Over 6 photos two columns shift in alignment while a wall slowly spreads into an opening, all while the lighting is being shifted from light to dark. The figure is immediately obstructed by the wall, being given an opening by the moving wall. As the wall and columns move I feel that I have lost control. That I am no longer where I want to be. I feel lost and concerned.
Walking between vertically aligned columns and perpendicular walls with lighting behind Figure
Walking between vertically aligned columns and perpendicular walls with lighting behind wall
Walking beside vertically aligned columns and perpendicular walls with lighting behind Figure
Walking beside vertically aligned columns and perpendicular walls with lighting behind wall
Walking beside vertically aligned columns and extended perpendicular walls with lighting behind Figure
Walking beside vertically aligned columns and extended perpendicular walls with lighting behind wall
25 301
Category: #26 Two Walls and two Columns with two lighting conditions_02 Over 2 photos two columns shift from vertical to horizontal alignment Infront of two overlapping walls. The figure is obstructed by the front overlapping walls, while being given a small opening to an angle of the figure. The change in both column placement and lighting causes me to feel as though I am surrounded. It makes me fearful and scared of continuing.
Passing horizontally aligned columns to enter the space between two walls with lighting behind Figure
Passing vertically aligned columns to enter the space between two walls with lighting from the inside space
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Passing horizontally aligned columns to enter the space between two walls with lighting from the inside space
Passing vertically aligned columns to enter the space between two walls with lighting behind Figure
Category: #27 Two Walls and two Columns with two lighting conditions_03 Throughout 6 photos two walls separate to form a wide opening while two columns shift from a vertical alignment to a horizontal alignment. The figure is obstructed by the walls but is given an opening as they spread into a wide opening. As the walls shift I am made to feel grand and of importance.
Passing vertically aligned columns to pass a narrow opening between two walls with lighting behind Figure
Passing vertically aligned columns to pass a narrow opening between two walls with lighting from the inside space
Passing vertically aligned columns to pass an intermediate opening between two walls with lighting behind Figure
Passing vertically aligned columns to pass an intermediate opening between two walls with lighting from the inside space
Passing horizontally aligned columns to pass a wide opening between two walls with lighting behind Figure
Passing horizontally aligned columns to pass a wide opening between two walls with lighting from the inside space
27 303
Category: #28 Vertically aligned Two Walls and two Columns Over 2 photos a figure is shown to go from walking between two walls to two ajacent columns. The figure ‘moves’ between the wide openings created by both the walls and the columns. I feel strong and full of joy and energy while passing the entrance with the wide opening making way for me.
Between walls, walking
28 304
Between columns, walking
Category: #29 Space composed with 5+ columns and 2 walls Over 7 photos a figure traverses a composed space of two walls and 5 columns. The figure ‘moves’ through the shaded area created by the wall following the path made by the environment. When walking through the shadow I feel cold and depressed, but as I reach the light and open are I feel free and full of joy.
Top view of the space composed
Sequence phase #1
Sequence phase #2
Sequence phase #3
Sequence phase #4
Sequence phase #5
Sequence phase #6
29 305
Category: #30 Faced wall with Connected wall Over 7 photos a figure traverses a composed space of two walls and 5 columns. The figure ‘moves’ through the shaded area created by the wall following the path made by the environment. When walking through the shadow I feel cold and depressed, but as I reach the light and open are I feel free and full of joy.
90 degree
100 degree
110 degree
120 degree
130 degree
140 degree
150 degree
160 degree
170 degree
180 degree
190 degree
200 degree
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210 degree
220 degree
230 degree
240 degree
250 degree
260 degree
270 degree
31 307
Category: #31 Aligned wall with Connected wall Over 7 photos a figure traverses a composed space of two walls and 5 columns. The figure ‘moves’ through the shaded area created by the wall following the path made by the environment. When walking through the shadow I feel cold and depressed, but as I reach the light and open are I feel free and full of joy.
10 degree
20 degree
30 degree
40 degree
50 degree
60 degree
70 degree
80 degree
90 degree
100 degree
110 degree
120 degree
32 308
130 degree
140 degree
150 degree
33 309
Category: #32 Facing the connected edge of two walls Throughout 15 photos two walls with a connected edge open from a 10 degree angle to a 170 degree angle. This opening motion obstructs the figure as the angle of the walls increase. When first seeing this motion of the wall I wanted to run towards the wall, trying to beat it before it fully opened. However, as it continued to open I felt as though it was impenetrable. Making me feel as though I have been pushed out an away.
10 degree
20 degree
30 degree
40 degree
50 degree
60 degree
70 degree
80 degree
90 degree
100 degree
110 degree
120 degree
34 310
130 degree
140 degree
150 degree
35 311
Category: #33 Three connected walls Over 2 photos a wall with wings goes from a wide opening to a narrow one. The figure is directly obstructed by the enclosing wall. As the passage narrows I feel slowed and impeded. A feeling of overwhelming fear as the wall narrows with the enclosing wings.
Wide-facing wall with two wings
Narrow-facing wall with two wings
Category: #34 Curved wall inside Through 2 photos a curved wall pointed towards a figure grows in both Hight and length. The figure is shaded by the curved wall with it laying behind the figure. As the wall grows I feel small and almost insignificant in comparison. It gives off an uncomfortable aura, as it feels as though it is trying to contain me.
Small-curved and 8ft height
Large-curved and 16ft height 36 312
Small-curved and 16ft height
Large-curved and 8ft height
Category: #35 Curved wall outside Through a series of 4 photos a curved wall is shown to grow in height with a figure moving past it. Initially the figure is obstructed by the wall, how ever the figure is then shown bypassing the imposing wall. The wall is cumbersome and imposing with both its placement and Hight. It feels intimidating and as though it is to inspire fear in the viewer.
Facing Small-curved and 8ft height
Passing Small-curved and 8ft height
Facing Small-curved and 16ft height
Passing Small-curved and 16ft height
Facing Large-curved and 8ft height
Passing Large-curved and 8ft height
Facing Large-curved and 16ft height
Passing Large-curved and 16ft height
37 313
Category: #36 Curved Walls and Flat Walls Over 4 photos a wall is show to move from back position to a parallel alignment with a curved wall. The figure is surrounded on both side by a flat wall and a curved wall, creating a pseudo hall. When looking at the composed space I feel a want to follow the curved wall with the flat wall acting as a further guide to this path.
Facing a flat wall (8fh height) while passing a curved wall (8fh height)
Entering a space between a flat wall (8fh height) and an opened-curved wall (8fh height)
38 314
Entering a space between a flat wall (8fh height) and a closed-curved wall (8fh height)
Entering a space between a flat wall (8fh height) and a half opened-curved wall (8fh height)
Category: #37 Entering into a space between Parallel Curved Walls Over 4 photos a figure is shown entering between two parallel curved walls and standing in an area created by the curved walls. The figure is obstructed by the walls, being forced into a specific path by their alignment. When walking between the curved walls it feels as thought the area is clouded. Feeling claustrophobic and tight. A long journey with an unseen end, but as I enter the room created by the walls I feel free and ready to explore.
Small-curved and 8ft high outside
Small-curved and 16ft high outside
Large-curved and 8ft high outside
Large-curved and 16ft high outside
39 315
Category: #38 Entering a space between curved mirror walls_01 Through 4 images a figure is shown entering a space between two curved walls of varying height. The figure moves between the two monoliths of curved walls. As I enter between the two wall I am filled with a sense of awe. A feeling that I am in a place of importance, as denoted by both the shear size and placement of the curved walls.
Small-curved and 8ft height
Large-curved and 16ft height
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Small-curved and 16ft height
Large-curved and 8ft height
Category: #39 Entering a space between curved mirror walls_02 Across 8 photos a figure is shown entering a space between two curved walls. The figure is almost guided by the placement of the walls, following their curvature through the gap. As I enter I feel a sense of dread or fear. Like what I am doing feels wrong and unnatural. But as the light turns on at the other side of the wall I feel more compelled to follow it, to reach the light at the end of the tunnel.
Small-curved and 8ft high with inside lighting
Small-curved and 8ft high with outside lighting
Small-curved and 16ft high with inside lighting
Small-curved and 16ft high with outside lighting
Large-curved and 8ft high with inside lighting
Large-curved and 8ft high with outside lighting
Large-curved and 16ft high with inside lighting
Large-curved and 16ft high with outside lighting
41 317
Category: #40 One curved wall and one column Through 2 photos A figure is shown standing near a curved wall and a column, the wall who has shifted from having its curve facing the figure to having it face away from the figure. The figure is placed between both the column and the wall, and as the wall turns the figure is partially obstructed. My first reaction was to rush past the column following the curve of the wall, treating it as an invitation. However, as the wall shifted I felt a need to slow down and be calm. Like being placed in a soundproof room.
Entering a space between a column and curved wall outside
Entering a space between a column and curved wall inside
Category: #41 One curved wall and two columns Through a series of 3 photos a figure moves past another figure standing in front of a curved wall with two columns on either side. As the figure moves past the walls it is almost guided to change paths, moving between the columns and the wall. As I look at this I feel almost a need to show respect, as thought what I am looking at is of some higher importance.
Entering a space between a column of two horizontally aligned and curved wall outside
42 318
Facing the outside of a curved wall with two horizontally aligned columns with insufficient space between them
Entering a space between a column of two vertically aligned and a curved wall outside
Category: #42 Role of a column between Curved and flat walls
Over 4 photos a figure enters between a column and a curved wall towards a flat wall, but it then shifts to two curved walls in a parallel alignment. The figure is initially obscured by the flat wall, but as it shifts into a curved wall it is lead on a path created by the two curved walls. At first I simply wanted to enter the space between the column and the curved wall, but as the flat wall shifted into a curved wall I felt some hesitation with the lose of the freedom of the previous amount of empty space beyond the column.
Entering a space between two parallel curved walls, with a column in front of the outer curved wall
Entering a space between a faced flat wall and a curved wall, with a column in front of the flat wall
Entering a space between two parallel curved walls, with a column in front of the inner curved wall
Entering a space between a parallel flat wall and a curved wall, with a column in front of the flat wall
43 319
Category: #43 Curved connection Over 4 photos two walls with a connected edge gradually open into a wider angle Infront of a figure. The figure is obstructed by the wall but as it slowly open the figure is given passage past. I feel comfort and a bit cozy at first, but as the wall slowly opened more I felt exposed and out in the open. Feeling cold and alone.
Follow two flat walls that are connected at an angle of 60 degrees smoothly
Follow two flat walls that are connected at an angle of 150 degrees smoothly
44 320
Follow two flat walls that are connected at an angle of 90 degrees smoothly
Follow two flat walls that are connected at an angle of 120 degrees smoothly
Category: #44 Curved wall and S-curve wall Throughout 4 photos a figure moves through an area between a wall with an s-curve and a normal curved wall, both of which grow in height. The figure is very directly lead by the path created by the two walls curvature. In this area I feel a sense of fear, like an eerie aura has crept into the area. But as the light came in from outside the walls my fear turned to curiosity.
Curved wall and S-curve wall 8ft high with inside lighting
Curved wall and S-curve wall 8ft high with outside lighting
Curved wall and S-curve wall 16ft high with inside lighting
Curved wall and S-curve wall 16ft high with outside lighting
45 321
Category: #45 1 point perspective pictures: Void on the upside Over 4 photos a void in the roof expands and changes shape above a figure. The figures light and ability to see is dictated by the void above it. The light cast by the void brings a feeling of importance to the scene, so that I feel the need to be respectful and even a little mournful of the scene.
A 4’x4’ square void with a height of 8ft
A 8’ diameter void with a height of 8ft
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A 8’x8’ square void with a height of 8ft
A 4’ diameter void with a height of 8ft
Category: #46 Void on the upside with columns or walls Over 4 photos a roof with a void is supported by four columns, a face wall, a passing wall, and both a passing wall and two columns surrounding a figure. The figure is placed centrally to the light coming from the void and is obstructed by the facing wall, later it is passing between the passing wall and columns. The space makes me feel empty like it is. Like I have had everything sucked out of me, but as the walls are added I want to add more. Make more and fill the void.
A 8’x8’ square void with columns
A 8’x8’ square void with a facing wall
A 8’x8’ square void with a passing wall
View for A 4’x4’ square void with a flat wall aligned with one side and two columns aligned with the opposite side
47 323
Category: #47 Void on the downside with columns or walls Through a series of 6 photos a wall can be seen protruding from a square void and shifting from face to passing while the lighting slowly lowers. The figure is overlooking the obstructive void, preventing it from moving forward. As I look at this special configuration I want to simply move past the void, but as the light moves down and the wall reflects the light I feel entranced and want to continue watching it.
A 8’x8’ square void with a facing wall and light from upper floor
A 8’x8’ square void with a facing wall and light from side
A 8’x8’ square void with a facing wall and light from lower floor
A 8’x8’ square void with a passing wall and light from side
A 8’x8’ square void with a passing wall and light from lower floor
A 8’ diameter void with light from lower floor
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Category: #48 Void on the upside with combinations of columns or walls Over the course of 6 photos a figure moves through a space surrounded by two tall curved walls with two columns placed centrally under a void. The figure is surrounded by columns and walls placed under the light of the void. The figure then continues moving past the columns to the back wall and exiting between the gap in the two walls. Immediately I get a sense of importance from the spatial arrangement, but as I continue the room seems to shape more into a place of solemn quiet, a place of respect.
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Category: #49 Void between Floating Surfaces Within 3 photos three figures are shown at varying elevations on floating surfaces with a circular void. The figures are up lifted by the floating platforms creating a large separation between them. When viewing the platforms I feel a sense of mystique and fantastical wonder. A want to explore and see with unwavering joy.
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Category: #50 Void between curve-linear Surfaces Through 3 images 2 figures are shown surrounded by two curved walls surrounding an organic void in the floor outpouring light. The figures are placed apart from one and other, separated by the void but ‘protected and shielded by the curved walls surrounding them. Whilst viewing the environment I am entranced by the void and the reflection of the light from the curved walls. Filled with a morbid curiosity of the surrounding environment.
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Category: #51 Void with a combination of Over 3 photos multiple view of two curved walls and a platform supported by 3 columns surrounding a circular void can be seen. The figures of this scene are separated by elevations with one figure sitting lower on the floor, while the other is up on the supported platform. Viewing the environment I get a feeling of respect and importance. That this environment is of a higher class. That being here makes me feel lesser and unimportant.
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Category: #52 Curved vertical surface Through 2 photos a figure is placed Infront of a large curved, vertical surface. The figure is both obstructed and beckoned by the curved surface. While looking at the environment I feel enamored by the curved surface and its imposing presents.
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Category: #53 Curved vertical surface with an upper floor Within 3 photos a figure is show exploring a scene with a floating platform surrounded by a vertical curved surface. The figure is often put at a disconnect with the rest of the environment whilst standing on the floating platform. When viewing this I get a feeling of parting with the contrast between the platform and the curved surface.
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Category: #54 Curved vertical surface with a void Over 5 images a figure explores a flouting void with an attached curved surface traveling through the void. The figure is shown moving from low positions next to the curved surface to the area of the floating platform where the curved surface exits the void of the floating surface. When looking at the photos I feel an inkling of anger at the discomfort I feel when looking at the created environment.
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Category: #55 Facing Curved vertical surface Through 2 photos a vertical void with a bent curved surface extruding from it is shown obstructing a figure. The figure is shown moving closer to the projected light of the void like a moth to a light. As I look at this environment I get a feeling of divinity. That this is a place of extreme importance.
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Category: #56 Hanging curved surfaces A figure is shown traversing a scene of a curved surface creating a tunnel with an upside-down curve at the end reflecting light. The figure is shown to be placed on a premade path, following it to the end of the tunnel. Viewing this I get a feeling of fear. Fear of what is to come at the end of the tunnel.
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Category: #57 Surfaces with convexities and concavities Througout 3 photos a figure is shown moving through a cavity created by two curved surfaces. The figue is show to be moving from the closest and darkest side of the cavity to the lighter side on the furthest side of the cavity. Upon looking at these movments I feel as though I were on an exploration. A feeling of joy and wonder finding that which I have not yet found.
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Category: #58 A sphere with a strong center and centripetal force Over 5 images a half sphere is show to move down a wall over a circular void. The figure is show to be placed in a central location directly in line with the path of the half sphere on the wall. Looking at this I fell a feeling of wonder, as though viewing something truly magical.
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Category: #59 Surfaces that are twisted and free Over 4 images figures are shown exploring a mass of twisted surfaces center around a curved surface creating a archway. The figures are shown moving throughout the twisted surfaces entering the areas of shade and light. When looking at this I am filled with joy. Seeing the chaotic mass of curves and walls brings forth and almost unnatural sense of happiness.
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What I learned... In the Wall Coulumn and Design I learned a lot about createing images that convey feelings and use angles and lighting to do it. In the hand drawing excersise I learned to apply my five senses to drawing what I see and feel into a tangible image. In the Power of Patience section I obvisly learned pateince but i also learned to dig deeper into art and understand the why behind designers choices. The space cube taught me the imprtance of scale and being able to convey the same feeling through multiple different models The process of making a portfolio is very rewarding and nice to see all of your work come together in one space. I also learned to get bettter at documenting my work in order to showcase the time i spent on it.
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Category #1: Facing surface Category one uses a long wall that gradually angles closer to the figure. reminds me of a closed opportunity. Something tangible I wanted but let go because of pride or laziness. A feeling of loneliness after you realize too late to get it back.
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Category #2: Facing edge Category two uses a long wall that the figure faces vertically and gradually angels away from the figure. These photos gives me flashed of a near death experience. The numbness of looking it in the eyes, and the gut relief when it does not come.
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Category #3: Blocking wall Category three uses a long wall that gradually blocks the figure. They feel exhilarating like a passing train car by my childhood home that my dad would take us to see every so often. Where we would lay coins on the track and reveal the molds created after the train passed.
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Category #4: Passing the blocking wall Category four shows the figure walking past a blocking wall. These pictures feel tiresome. The feeling when I go on a run and go a little too far only to realize I also have to run back to where I started.
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Category #5: Aligned Wall Category five uses a wall that gradually aligns with the figure. These pixtures somehow reminds me of a closing book that is so good I don’t want to finish and I flip to the very last page eager for there to be more behind it.
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Category #6: Passing the aligned wall Category six shows the figure walking past a long wall. These pictures evoke feelings of nervousness and adrenaline. Much like when I am walking home alone at night or through campus and have to walk through unlit close quarter paths. Racing my steps to reach the open light.
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Category #7: Walls with different heights Category seven show a wall gradually rising above the figure. These pictures remind me of the stagnate feeling of being stuck where I am when all my friends are growing and maturing. Meanwhile my feet are planted and I seem to be shrinking.
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Category #8: Floating and faced Wall Category eight uses a wall the rises above the figure. These pictures shine light on what feels like prying open things I want before they are presented to me. Trying to squeeze myself where I don’t belong yet.
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4ft high floating wall
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8ft high floating wall
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Category #9: 8ft high floating and aligned wall Category nine uses an elevated wall that aligns with the figure. These pictues feel like patience or lack there of. Waiting for something that normally fuels my instant gratification creating snappy, deep anger.
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Category #10: 8ft high floating and faced wall Category ten uses a floating square that gradually blocks the figure. The pictures reflect me jumping to conclusions when I hear a small part of a not so big problem. That turns out to be simple to fix once I take a step back to view the full picture.
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Category #11: floating horizontal surface Category eleven uses a floating surface that gradually covers the figure. These pictures feel like the rush of running for cover when it starts raining and I’ve just washed my hair, or I’m wearing new shoes. Then the sigh of relief when I finally make it to shelter.
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Category #12: Horizontal surfaces with different heights Category twelve uses a floating surface that gradually lowers below the figure. These pictures represent the feeling of “three is a crowd.” The drifting feeling when I introduce a friend to another and they end up moving on without me. The gut wrenching pain when they slowly start forming their own inside jokes and bonds.
8ft high horizontal surface
7ft high horizontal surface
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Category #13: Wall surface with an incline Category thirteen uses a floating wall that gradually rotates above the figure. This reminds me of procrastination always a reason to not do something. Then all of a sudden the anxiety sets in that it is too late to finish strong.
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Category #14: Inclined wall Category fourteen uses an inclined wall at different angles. These pictures feel like a helping hand. The comfort of a shoulder to lean on and the warmth of a new friendship that came out of nowhere.
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Category #15: Floating wall surface facing edge with an incline Category fifteen uses a floating inclined surface. These photos seem like passing time, boredom, on lazy days when I have nothing to do but lay around and think about how bored I am.
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Category #16: Inclined surface to a facing wall Category sixteen uses a long inclined wall. These photos feel like weight lifted off my shoulders. That feeling when I finally close all my tabs on my computer for the day, or light a candle after cleaning a daunting put-off task.
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Category: #17 Inclined ramp to facing wall Category seventeen is an inclined surface facing the figure. These photos feel strong and accomplished. Much like I just finished a workout. The affirming words from someone I look up too after I’ve done something difficult.
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Category: #18 One Column Category eighteen uses one column. They feel empty. Much like the feeling of being the last one in the classroom struggling on a test.
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Category: #19 Two Columns Category nineteen uses two columns. These remind me of entering a new era. A fresh start on something new.
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Category: #20 Three Columns Category twenty uses three columns. These pictures feel like an obstacle. Having to doge bullets and hard times coming my way.
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Category: #21 Four Columns Category twenty one uses four columns. These pictures make me feel like I am in trouble. Reminds me of skipping class in high school then running into a teacher.
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Category: #22 One Wall and One Column Category twenty two uses a wall and a column. These pictures feel confusing. Trying to achieve something that just keeps moving out of reach.
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Category: #23 One Wall and two Columns Category twenty three uses one wall and two columns. These pictures feel like a friend switching up on me. When we were once on each others side and now they stand against me
Condition 1: aligned wall and vertically aligned columns
Condition 2: facing wall and vertically aligned columns
Condition 3: facing wall and horizontally aligned columns
Category: #24 Two Walls and two Columns Category twenty four uses two walls and two columns while playing with lighting to produce different outcomes. These pictures feel like reinvention. Those moments in my life that I did a full three sixt
Columns aligned vertically with perpendicular walls
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Columns aligned horizontally with perpendicular walls
Category: #25 Two Walls and two Columns with two lighting conditions_01 . Category twenty five reminds me of angels and demons on my shoulders. One giving good advice and the other playing the devils advocate whispering in my ear.
Walking between vertically aligned columns and perpendicular walls with lighting behind Figure
Walking between vertically aligned columns and perpendicular walls with lighting behind wall
Walking beside vertically aligned columns and perpendicular walls with lighting behind Figure
Walking beside vertically aligned columns and perpendicular walls with lighting behind wall
Walking beside vertically aligned columns and extended perpendicular walls with lighting behind Figure
Walking beside vertically aligned columns and extended perpendicular walls with lighting behind wall
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Category: #26 Two Walls and two Columns with two lighting conditions_02 Category twenty six feels like a sunny, hot day, when a cloud covers over me and relives me of exhaustion.
Passing horizontally aligned columns to enter the space between two walls with lighting behind Figure
Passing vertically aligned columns to enter the space between two walls with lighting from the inside space
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Passing horizontally aligned columns to enter the space between two walls with lighting from the inside space
Passing vertically aligned columns to enter the space between two walls with lighting behind Figure
Category: #27 Two Walls and two Columns with two lighting conditions_03 Category twenty seven feels like I am slipping through the cracks. Hiding away after I have done something sneaky and got away with it.
Passing vertically aligned columns to pass a narrow opening between two walls with lighting behind Figure
Passing vertically aligned columns to pass a narrow opening between two walls with lighting from the inside space
Passing vertically aligned columns to pass an intermediate opening between two walls with lighting behind Figure
Passing vertically aligned columns to pass an intermediate opening between two walls with lighting from the inside space
Passing horizontally aligned columns to pass a wide opening between two walls with lighting behind Figure
Passing horizontally aligned columns to pass a wide opening between two walls with lighting from the inside space
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Category: #28 Vertically aligned Two Walls and two Columns Category twenty eight feels new- refreshing. Almost like a deep breath of air once I have gotten over a stressful situation.
Between walls, walking
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Between columns, walking
Category: #29 Space composed with 5+ columns and 2 walls Category twenty nine feels intricate. More like a teetering stage that I have to fight to stay on top of problem solving how to come out on top.
Top view of the space composed
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Category: #30 Faced wall with Connected wall Category thirty reminds me of me of slow changes. The kinds of change you do not recognize until they have happened.
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Category: #31 Aligned wall with Connected wall Category thirty one feels constricted like a snake wrapped around me. Fighting and fighting until the restraints break free.
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Category: #32 Facing the connected edge of two walls Category thirty two reminds me of situations where I have two choices and I confidently pick without thinking then quickly come to the conclusion that it was the wrong one.
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Category: #33 Three connected walls Category thirty three feels empty. When I am alone with my thoughts and that one friend who knows the insides and outs of my brain just understands what I am going through without asking me.
Wide-facing wall with two wings
Narrow-facing wall with two wings
Category: #34 Curved wall inside The four photos using the curved at varying heights illustrates how changing the height can change to perception of the figure. The eight foot height makes the figure look bigger and the sixteen foot wall makes the figure look smaller. These photos made me feel like I was in the spotlight and out in the open- fresh.
Small-curved and 8ft height
Large-curved and 16ft height
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Small-curved and 16ft height
Large-curved and 8ft height
Category: #35 Curved wall outside Category thirty five used fully curved walls facing outward. When using the eight foot small curve the figure looks bigger, and the sixteen foot big curve the figure looks tiny. These photos make me feel like I am trapped outside and isolated.
Facing Small-curved and 8ft height
Passing Small-curved and 8ft height
Facing Small-curved and 16ft height
Passing Small-curved and 16ft height
Facing Large-curved and 8ft height
Passing Large-curved and 8ft height
Facing Large-curved and 16ft height
Passing Large-curved and 16ft height
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Category: #36 Curved Walls and Flat Walls Category thirty six uses an eight foot straight wall and inward and outward curved walls at different. When the figure is positioned outside of the curved wall it looks small and distance.
Facing a flat wall (8fh height) while passing a curved wall (8fh height)
Entering a space between a flat wall (8fh height) and a closed-curved wall (8fh height)
Entering a space between a flat wall (8fh height) and an opened-curved wall (8fh height)
Your coordination in height and openness.
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Entering a space between a flat wall (8fh height) and a half opened-curved wall (8fh height)
Category: #37 Entering into a space between Parallel Curved Walls Category thirty seven uses two curved wall parallel to each other. When using the eight foot curved walls with lighting on the inside the figure looks darker and larger and when using the sixteen foot curved walls with light on the outside the figure looks smaller and brighter. These pictures feel inviting and happy.
Small-curved and 8ft high outside
Small-curved and 16ft high outside
Large-curved and 8ft high outside
Large-curved and 16ft high outside
Small-curved and 8ft high inside
Small-curved and 16ft high inside
Large-curved and 8ft high inside
Large-curved and 16ft high inside
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Category: #38 Entering a space between curved mirror walls_01 Category thirty eight uses two curved walls facing each other. When using the small eight foot wall the figure looks bigger and closer then when using the larger sixteen foot wall the figure looks smaller and further away. These pictures feel claustrophobic and scary.
Small-curved and 8ft height
Large-curved and 16ft height
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Small-curved and 16ft height
Large-curved and 8ft height
Category: #39 Entering a space between curved mirror walls_02 Category thirty nine uses two curved walls at an angle facing each other. When using the small curve eight foot wall with light on the inside the figure looks darker and larger. When using the large sixteen foot wall with light on the outside the figure looks smaller and brighter. These photos look like there is something exciting waiting to happen like opening a treasure chest.
Small-curved and 8ft high with inside lighting
Small-curved and 8ft high with outside lighting
Small-curved and 16ft high with inside lighting
Small-curved and 16ft high with outside lighting
Large-curved and 8ft high with inside lighting
Large-curved and 8ft high with outside lighting
Large-curved and 16ft high with inside lighting
Large-curved and 16ft high with outside lighting
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Category: #40 One curved wall and one column Category forty utilizes both an outward and inward curved wall and a collum. The picture with the collum on the outside of the outward curved wall looks darker and the figure is more shaded. The picture with the collum on the inside of an inward curved wall is brighter and the figure is more prominent. These pictures remind me of walking on a spooky night.
Entering a space between a column and curved wall outside
Entering a space between a column and curved wall inside
Category: #41 One curved wall and two columns Category forty one uses two collums and curved walls. The picture using the horizontally placed collums and a small curved wall in between them makes the figures look bigger and closer together. Then the vertically placed collums with a curved wall beside them creates a small space that makes the figure look contained. These pictures look homey and happy.
Entering a space between a column of two horizontally aligned and curved wall outside
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Facing the outside of a curved wall with two horizontally aligned columns with insufficient space between them
Entering a space between a column of two vertically aligned and a curved wall outside
Category: #42 Role of a column between Curved and flat walls Category forty two uses two curved walls parallel to each other and one collum inside of them and a flat wall. The picture using the curved walls and a collum with light coming from inside make the figure look shaded and larger. The flat wall elongates the picture and makes the figure look larger. These pictures make me feel eerie.
Entering a space between two parallel curved walls, with a column in front of the outer curved wall
Entering a space between a faced flat wall and a curved wall, with a column in front of the flat wall
Entering a space between two parallel curved walls, with a column in front of the inner curved wall
Entering a space between a parallel flat wall and a curved wall, with a column in front of the flat wall
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Category: #43 Curved connection Category forty three uses two flat walls at varying angles. When the flat walls are at an 90 degree angle the figure had a darker shadow and looks the same height as the walls and as the degree gets larger the figure gets brighter. These pictures feel refreshing and open.
Follow two flat walls that are connected at an angle of 60 degrees smoothly
Follow two flat walls that are connected at an angle of 150 degrees smoothly
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Follow two flat walls that are connected at an angle of 90 degrees smoothly
Follow two flat walls that are connected at an angle of 120 degrees smoothly
Category: #44 Curved wall and S-curve wall Category uses an S curved wall and another outward curved wall parallel to it. When the light is shining inside the figure is darker and larger and when shining the light on the outside the figure is bigger and brighter.
Curved wall and S-curve wall 8ft high with inside lighting
Curved wall and S-curve wall 8ft high with outside lighting
Curved wall and S-curve wall 16ft high with inside lighting
Curved wall and S-curve wall 16ft high with outside lighting
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Category: #45 1 point perspective pictures: Void on the upside Category forty five uses a void above the figure. The light shining above makes the figure look small but also illuminates the figure creating a spotlight that mimics the shape of the void. These pictures feel open and refreshing.
A 4’x4’ square void with a height of 8ft
A 8’ diameter void with a height of 8ft
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A 8’x8’ square void with a height of 8ft
A 4’ diameter void with a height of 8ft
Category: #46 Void on the upside with columns or walls Category forty six uses a void, flat walls, and columns. When the person is directly under the void and walking past the Collums it looks smaller. The space gets smaller the more of the void is taken up by the flat walls. These pictures remind me of loneliness.
A 8’x8’ square void with columns
A 8’x8’ square void with a facing wall
A 8’x8’ square void with a passing wall
View for A 4’x4’ square void with a flat wall aligned with one side and two columns aligned with the opposite side
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Category: #47 Void on the downside with columns or walls Category forty seven uses a void on the bottom and a flat wall. When the void is on the bottom is makes the picture look close together and the figure looks bigger compared to the flat wall. These pictures are very interesting and capture a confusing feeling.
A 8’x8’ square void with a facing wall and light from upper floor
A 8’x8’ square void with a facing wall and light from side
A 8’x8’ square void with a facing wall and light from lower floor
A 8’x8’ square void with a passing wall and light from side
A 8’x8’ square void with a passing wall and light from lower floor
A 8’ diameter void with light from lower floor
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Category: #48 Void on the upside with combinations of columns or walls Category forty eight uses curved walls and upwards void and Collums. Each of my pictures follows a sequence of incorporating more figures and Collums to showcase how different heights make the figure look smaller and the way the light reflects off of the inner curved walls creates shadows that make the space feels smaller. These pictures make me feel like there are endless opportunities and driven.
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Category: #49 Void between Floating Surfaces Category forty nine uses elevated surfaces and curved walls. This creates different perspectives and levels to my pictures this makes the figure look small and places it in the background. These photos make me feel happy like I am in a community of people.
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Category: #50 Void between curve-linear Surfaces Category fifty uses an abstract void to showcase an aerial view and a view from below the void. The figures look bigger and shaded from below and look smaller and distant from above.
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Category: #51 Void with a combination of Category fifty one is a creative abstract scene that I created using voided walls, flat walls, and Collums. I created a scene of people under a void using two perpendicular walls and create a room and Collums to break out the space. These photos remind me of a playground. A happy, joyful space
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Category: #52 Curved vertical surface Category fifty two uses a curved paper wall. In these pictures the figure standing in front of the small vertical curved wall looks larger and the figure in front of the big vertical curved wall takes up less space and looks smaller. These photos remind me of feeling strong and accomplished.
A 4’wide
A 8’wide
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Category: #53 Curved vertical surface with an upper floor Category fifty three uses a vertical paper curved wall, a flat wall, and an elevated surface. These pictures have a lot of depth to them the elevated surface creates a shadow and the vertical wall largens the room.
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Category: #54 Curved vertical surface with a void Category fifty four uses a curved vertical paper and a void. Using different angles to make the figure appear bigger or smaller as well as playing with the lighting to create different shadows
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Category: #55 Facing Curved vertical surface Category fifty five uses ramps and curved vertical walls with a void above. These photos use above lighting to create an open invited environment. I feel driven by these photos.
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Category: #56 Hanging curved surfaces Category fifty six uses a circle void and curved surfaces. These photos are very different from the others and create an eye catching view using shadows and light to make the figures look like they’re interacting with the space. These photos make me feel excited.
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Category: #57 Surfaces with convexities and concavities Category fifty seven uses a circle void and paper walls. Playing with the lighting and the void makes the figure look like it is entering the void and walking underneath the platform. These pictures make me feel like i am watching someone from a birds eye view like a spectator.
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Category: #58 A sphere with a strong center and centripetal force Category fifty eight uses a sphere and a void. The circles working together make the figure look it is moving around and adds depth to the pictures. These pictures make me feel like I am outside of my body and floating.
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Category: #59 Surfaces that are twisted and free Category fifty nine uses crumpled up paper to create a texture for the figure to walk on and circle voids to make the picture look like a mirrored scene or as if I am looking through a window. These pictures make me feel indifferent almost isolated.
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What I learned...
Project #1 “Wall, Column, and Space” - Throughout the process of Project 1 I learned a lot about myself within the craftmanship area. When first beginning I was not sure of how to create specifc pieces while keeping them visually aesthetic. With practice of cutting and molding I was able to make clean work. I learnd that practice and itteration is key to creating precise art. Project #2 “Hand Drawing” - When entering Studio, I lacked confidence in the drawing/sketchign field. I can now confidently say that I feel much better about my skill set that I gradually created this 5 weeks. For some of us, it’s difficult to stear away from creating perfct work, and I mean slipping into a sort of abstract work. I heavily put my focus into whether or not my lines were straigt and so on and so forth. But what studio has taught me is that art is completely subjective, you have the creative freedom to illustrate your own thoughts and idea. So over the course of project 2, I began to loosen up slightly and let my mind get into a sort of flow. Project #3 “Power of Patience” - At first, I truly thought this project would lack in serving purpose toward my new skill set of interior deisgn knowledge, but sitting here today I know now that patience within art is one of the most key concepts towards understanding the meaning behind art. After visitng Crystak Bridges, I was astonished by the amount of details I had noticed after standing infront of a painting for 3 hours. With a group of people each giving individual feedback, it opens up so many new topics that reach greater than the eye can see. I have learned to enhance my time with work and delve deep into the significance of each stroke and decision made. Project #4 “Space Cube” - The space cube drawing was by far the most strenuious yet rewarding project I completed in these 5 weeks. When first gievn the task of creating a large sequence phase, I found it somehwat easy and entertaining to have free range over my model. But as we progressesed to building smaller space cube models, I learned that I am able to convey so many new emotions and messages through my work. As I recreated each scene, my narratives or stories for each phase would be become more and more detailed. Project #5 “First Portfolio” - AI is becoming a large part of the desgn work extremely fast. When asked to take our own work and create AI images, I was hesitant to follow through. I was scared of the fact that my work would be completely construed and alrtered based off a software. But after seeign the creations I was surpised to see that although my work had been completely changed it was not negative in any sort. It opened up my eyes to the hundreds of possibilites that are to come. AI is not a danger but more of a addition to creativity. Overall - Overall, I had an amazing experince over these past 5 weeks. I have never in my life learned so many new skills and yet so much about myself all at the same time. This program is mentally challenging but so rewarding which continues to push me to create bigger and better projects. If you could talk to you before these five weeks, what would you like to share with you? - If I could talk to myself before these 5 weeks, I would tell myself that It will all workout although you outcome may not be what you anticipated. Change is difficult for you in such a quick time frame but you will mold to the specificty of each task. I am extremely proud of how resilant you have become!
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Category #1: Facing surface Over the evolution of these ten images, the wall shifts increasingly toward the human figure, causing the wall to completely cover the figure from the front by the end of the evolution. As the wall shifts, the human figure is in place of fully blocking the wall. I had a chance of escaping the moving wall before it blocked me (0-20 degrees), but as it continued to close in, I began to feel entrapped/claustrophobic (30-60 degrees), and once the wall was completely in front of me (70-90 degrees), I had no other option than to stay still and in place.
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Category #2: Facing edge Over the course of these ten images, the wall shifts in a rounding manner away from the human figure, but by completion the wall stands directly to the left in line with the figure. As the wall curves outward away from the figure, it stands directly to the left in line with the figure. As the wall stood straight in front of me (0-20 degrees), I knew I had an opening to possibly slip by and move forward, and as the wall continued to move outward toward my left, I could move somewhat freely (3 left I was able to walk forward (70-90 degrees).
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Category #3: Blocking wall These 11 images illustrate the movement of the wall from its moving position onstage from left to right, where it then fully obstructs the human figure. As the wall moves, the human figure becomes fully blocked. I noticed a wall beginning to come in view (open level 1-4), but acknowledged the room left for me to escape, soon enough the wall became to block my movement even farther (block level 1-4) where now I am not able to escape or move forward since the wall has fully obstructed my view (block level 5-7).
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Category #4: Passing the blocking wall These 5 images demonstrate the movement of the human figure as it passes the still wall to the left. As the human figure moves forward, the wall takes a new position behind the figure.As I began to move forward (level 1-3), I was on my way to surpassing the wall, allowing me to cease the opportunity and move fully forward and in front of the wall (level 4-6).
Passing level 1
Passing level 2
Passing level 3
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Category #5: Aligned Wall 5 images illustrate how the change in wall effects the view of the human figure which ends in being full frontal before the figure. As the wall shifts vertically, it blocks the human figure. As the wall began to come closer vertically (level 1-3), I still had room to swerve around the wall, but as time went on I had become blocked by the sliver of wall, leaving me in an uneasy position to maneuver (level 3-6).
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Category #6: Passing the aligned wall These 6 images depict how the movement of the human figure passing the wall changes the angle shown of the wall. As the human figure moves forward, the view of the wall changes. While approaching the wall (level 1-3), I noticed I was able to freely pass with no blockage, once I had made my way halfway past the wall to my left (level 4) I could carry on with no blockage and with little to no view of the wall furthermore (level 5-6).
Passing level 1
Passing level 2
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Passing level 5
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Category #7: Walls with different heights These 9 images illustrate a wall that progressively gets taller using a variety of heights, affecting the view of the human figure. As the wall heights raise, the view of the human figure becomes more obstructed. As I stood before the wall (1-5ft) I could still see clearly, but felt the urge to possibly jump over or around the wall In hopes of dodging the blocking view, but as I began the wall rose even higher, (6-8ft) leaving no choice but to stay grounded and become blocked by the wall.
Wall with 1ft
Wall with 2ft
Wall with 3ft
Wall with 4ft
Wall with 5ft
Wall with 6ft
Wall with 7ft
Wall with 7ft
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Category #8: Floating and faced Wall These 8 images help depict how the movement of a horizontally moving wall can change the angle in which a human figure can become unobstructed. As the wall moves upward, the human figure regains a clear view of the area in front. While standing front of the wall as it hangs merely above the ground right above my feet (1-2ft floating, I consider my options of sliding under the wall to regain a full view, but as the wall is moving consistently upward (3-5ft), I realize there is now an opportunity for me to safely move under the wall and regain my view that was once obstructed (6-8 ft).
1ft high floating wall
2ft high floating wall
3ft high floating wall
4ft high floating wall
5ft high floating wall
6ft high floating wall
7ft high floating wall
8ft high floating wall
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Category #9: 8ft high floating and aligned wall These 4 images illustrate how the changes in the floating wall effect the obscured view of the human figure. As the wall moves in from the left side, the human figure has a slightly less clear view of their upper surroundings in the sky. Although the wall dangling to the left of me (level 1) did not strike an immediate threat over me, I began to feel less safe and slightly unsettled when the towering wall began to hang closer over me (level 2-3), I began to stunned to move when the cloud like object completely obstructed my area above (level 4).
Alignment level 1
Alignment level 4
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Category #10: 8ft high floating and faced wall These 8 photos illustrate the amount of coverage and movement made by the hanging wall area, resulting in a hindered area for the human figure. As the wall has movement, the human figures area becomes hindered. I began apparent of the wall when I noticed it out of the corner of my eye, creeping in steadily (level 1-3), It was in route to become much larger and I felt optimistic in the fact that I would be able to move with leisure (level 4-5), surely enough the wall did not fully obstruct my view but merely hang in front (level 5-8).
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Category #11: floating horizontal surface 6 photos illustrate how the movement of the wall gradually changes while moving over the human figure, blocking the upward view of the figure. As the wall gradually moves closer, it creates a somewhat blocking view to the human figure from above. The hovering movement of the wall above me felt endangering, (level 1-3), although I still had room to escape the shadow so I tried to walk forward (level 4-5), but ended in me falling directly under the wall above me and I was no longer comfortable to move (level 6).
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Category #12: Horizontal surfaces with different heights These 12 images illustrate how the movement of a floating wall moves from above to below ground affect the arear surrounding the human figure. As the floating wall moves down, it partially obstructs the view of the human figure at moments. As the floating wall came downward (8-6 ft), I felt entrapped, knowing I felt a great darkness above me which lead me to stand still as the alien like figure casted its shadow (5-1 ft) only for it to then sink into the ground, ( level-1—3 ft) creating a new fear in itself of falling through.
8ft high horizontal surface
7ft high horizontal surface
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Category #13: Wall surface with an incline 8 images depict how the angle of the wall facing the human change over time, resulting in a more open space for the human figure. As the angle of the wall changes from above, the human figures space becomes less restricting. When the wall maintained a steady decline to my left (10-40 degrees), I was able to move forward with no hesitation (50-70 degrees), feeling free and breezy past the wall (80 degree).
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Category #14: Inclined wall Thes 6 images illustrate how the change of an incline of the wall can affect the space of a human figure. As the incline level of the wall increases, the human figures space become increasingly more tight and suffocating. The slightly inclined wall to the left of me originally posed little threat (level 1-2) but as the wall increases further forward (level 3-4) I began to feel claustrophobic given the lack of space, so I move forward at the last minute in angst (level 5).
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Category #15: Floating wall surface facing edge with an incline 6 photos illustrate how the incline of the floating wall affects the space of the human figure but obstructing its path of movement. As the floating wall increases its incline levels, the human figure becomes more crowded within its space leading to an obstructed path of movement. With the table at my hip, I felt as though I could more forward since there was no posing threat (level 1-3), but as the wall began to hover above me as the incline increase I no longer felt comfortable to continue on as the wall was now hanging above me (level 4-6).
Inclined level 1
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Inclined level 5
Inclined level 6
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Category #16: Inclined surface to a facing wall These 9 images help illustrate how the angle of the wall facing the figure increasing become more obstructive to the human figure. As the wall becomes increasingly more inclined, the human figure has nowhere left to move as it has been fully obstructed. With the wall slowly becoming more inclined (10-30 degrees), I knew I would not be able to maneuver or jump over the wall, but possibly maybe go around, but the object became intimidating and powerful as it rose above me (40-70 degrees) leaving me no choice but to stay in my position with a full-scale wall in front (80-90 degrees).
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Category: #17 Inclined ramp to facing wall These 9 images illustrate how the angle of inclined ramp wall can affect the area and movement of a human figure, resulting in blockage. As the ramp slowly begins to form into a large-scale wall, the human figure is limited to options of moving up or around this obstruction. As a bridge looking ramp stood before me I knew I still could take the opportunity to cross this bridge looking object (10-20 degrees) but as the walls inclined continued (30-50 degrees) I would be in danger of moving forward, so I remained still and watched as the once bridge became a full wall completely obstructing my view (60-90 degrees).
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Category: #18 One Column Two photographs illustrate the change in angle where we see a human approaching a wall and column. First, we are able to see a human approaching between a wall and column but then as we switch the human is approaching these two objects horizontally. I feel somewhat suffocated as I approach the wall and column in a forward manner given the lack of space, but become optimistic once I am given a larger area of walking room from the second angle.
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Category: #19 Two Columns These two photographs illustrate the visual differences between columns that are horizontally placed verses vertically spaced. As the columns change from horizontal to vertical, there is an adjustment in the walking path of the human figure. In image 1 I feel a dark and ominous set of emotions since their is a dark area ahead, while in the second photo I am able to see a second column which reassures me of the darkness.
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Category: #20 Three Columns These 3 images depict a set of columns in each, while one photograph is aligned in a vertical line and the other being horizontal. As the columns change from horizontal to vertical, there is a great deal of differences in space as well as new obstacles being created for the human figure. I feel a sort of clean and organized emotion when walking through the vertical set of columns knowing the exact positions of these obstacles, while with the horizontal columns I feel scattered and overwhelmed by the somewhat random placement.
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Category: #21 Four Columns 2 photographs illustrate the differences in space of the columns by varying distance. As the wide image allows room for more than one figure, the narrow photograph depicts a slim and isolated comparison with less visual space. In the wide image I feel warm and open as I am able to interact with another figure freely, while in the narrow column area I am cold and isolated with no one but myself.
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Category: #22 One Wall and One Column These 6 photos illustrate one wall and one column moving from to different areas which overall allows for new sequences of the human figure. As the wall and column move the human figure adjust its position of walking but remain constant in the direction. When the column is placed farther in the distance I feel very sophisticated and orderly as I approach this door looking set up, but am underwhelmed and confused when said column is placed very closed in proximity to the wall, I’m not sure what the advantage is here.
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Category: #23 One Wall and two Columns These 3 photographs illustrate the movement of one wall and two poles being moved horizontally and vertically. As the wall placement is adjusted the space completely changes as well as the poles altering the path of the human figure. I was pleasantly surprised with emotion in the first image with the organized structure of the vertical pose but then felt restrained or suffocated with the wall placed horizontally.
Condition 1: aligned wall and vertically aligned columns
Condition 2: facing wall and vertically aligned columns
Condition 3: facing wall and horizontally aligned columns
Category: #24 Two Walls and two Columns These two images illustrate different angles of the room when columns are placed either horizontally or vertically in a room with two figures. As the columns are aligned vertically we see only a small amount of the area but when placed horizontally we are opened up to see the arial view of the surrounding image. I feel sad when the barrier of columns ids held up blocking the two sets of humans from interaction, but hopeful when they are placed horizontally allowing for opportunity.
Columns aligned vertically with perpendicular walls
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Columns aligned horizontally with perpendicular walls
Category: #25 Two Walls and two Columns with two lighting conditions_01 These 6 images illustrate how the lighting and placement of columns can affect the impression of a room. As the human has lighting behind its figure we are able to view the area overall but when the source of light is pouring out from a smaller window there are shadows created. I feel stressed with the lighting coming from behind the figure, as though I am on stage for everyone to watch, But when the columns are placed vertically with light pouring out of a small vessel I feel hopeful and some sort of clarity.
Walking between vertically aligned columns and perpendicular walls with lighting behind Figure
Walking between vertically aligned columns and perpendicular walls with lighting behind wall
Walking beside vertically aligned columns and perpendicular walls with lighting behind Figure
Walking beside vertically aligned columns and perpendicular walls with lighting behind wall
Walking beside vertically aligned columns and extended perpendicular walls with lighting behind Figure
Walking beside vertically aligned columns and extended perpendicular walls with lighting behind wall
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Category: #26 Two Walls and two Columns with two lighting conditions_02 These 4 images illustrate how lighting conditions affect the shadows created when moving columns and walls. As the source of light changes directions, different shadows are casted from the figure and columns. I feel haunted, as if I am in a scary house and must follow the light to view my outcome with no reassurance.
Passing horizontally aligned columns to enter the space between two walls with lighting behind Figure
Passing vertically aligned columns to enter the space between two walls with lighting from the inside space
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Passing horizontally aligned columns to enter the space between two walls with lighting from the inside space
Passing vertically aligned columns to enter the space between two walls with lighting behind Figure
Category: #27 Two Walls and two Columns with two lighting conditions_03 These 6 images show the distance of two walls and columns changing distance/position while the human figure remains still. As the lighting and placement of objects change the area becomes more or less crowded to the eye as well as allowing for new shadows. I feel either eager or relived from these images, as though I am either approaching an audition or have just completed one.
Passing vertically aligned columns to pass a narrow opening between two walls with lighting behind Figure
Passing vertically aligned columns to pass a narrow opening between two walls with lighting from the inside space
Passing vertically aligned columns to pass an intermediate opening between two walls with lighting behind Figure
Passing vertically aligned columns to pass an intermediate opening between two walls with lighting from the inside space
Passing horizontally aligned columns to pass a wide opening between two walls with lighting behind Figure
Passing horizontally aligned columns to pass a wide opening between two walls with lighting from the inside space
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Category: #28 Vertically aligned Two Walls and two Columns These two images depict the change in walls and columns angling towards each other while allowing for the human figure to walk in-between both. As the wall anc columen placement differ, so does the walking path of the human figure. I feel safe when walking through the columns but organized as I walk alongside them.
Between walls, walking
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Between columns, walking
Category: #29 Space composed with 5+ columns and 2 walls These 7 images show the overall surrounding od an area and illustrate the passage of a human figure navigating different areas as well as altered lighting. As the human figure makes it way through an area we discover new angles of the room and experience new sorts of shadows. I feel calm knowing the arial room of the view and clean with the sophisticated and organized layout.
Top view of the space composed
Sequence phase #1
Sequence phase #2
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Sequence phase #6
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Category: #30 Faced wall with Connected wall 19 images illustrate the changes of a connected wall changing angels which affects the positions of our two human figures. As the connecting wall becomes more straight the room opens up turning into a what looks like an edge of a wall. I am satisfied with the outcome of a connecting wall conforming into a new creation.
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Category: #31 Aligned wall with Connected wall These 17 images illustrate two walls that have been formed together to make a corner that continuously open up wider with greater degree values. As the degrees increase larger the potion of one human figure changes allowing for new optics to be recognized. I felt disconnected and claustrophobic when cornered to such a small degree but as those increased I began to become at ease.
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Category: #32 Facing the connected edge of two walls These 17 images illustrate two walls that have been cornered together and made into a point as it widens with degrees making the outer wall become more visual. As the degrees increase the position of the human figure remains the same but the outside walls become more clear and apparent. I feel underwhelmed and alone from these images given the lack of action or change in light.
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Category: #33 Three connected walls These 6 phots illustrate how the angle of a room’s walls can affect an area. As the walls change from narrow-facing to wide-facing, there is a shift in light as well as openness. I feel comfortable and conversational in the wide facing room, yet cold and depressed in such a rigid and narrow room.
Wide-facing wall with two wings
Narrow-facing wall with two wings
Category: #34 Curved wall inside These two images illustrate how the height of a curved wall have differentiating on the the area surrounding. As the height of the curved wall enlarges, the human figure changes postion and creates new shadows. When looking at these photos I feel misunderstood and small as the height changes.
Small-curved and 8ft height
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Small-curved and 16ft height
Large-curved and 8ft height
Category: #35 Curved wall outside The 8 images show how as a variation of heights are created for curved walls, the shape and shadows of the surrounding area vary. As the human figure walks to different spots, with new heights, there are all sorts of shadows and light spaces created. These photos make me feel slightly crazy as I am walking around a continuosly walk aeound a circule figure with no end in sight.
Facing Small-curved and 8ft height
Passing Small-curved and 8ft height
Facing Small-curved and 16ft height
Passing Small-curved and 16ft height
Facing Large-curved and 8ft height
Passing Large-curved and 8ft height
Facing Large-curved and 16ft height
Passing Large-curved and 16ft height
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Category: #36 Curved Walls and Flat Walls These 5 images show a sequence of a human figure entering a new area while the half curve wall changes position as well. As the human figure moves, it not only is moving but so are the other walls and figures around. I feel a positive sense of reality since this is a very surreal life-like image.
Facing a flat wall (8fh height) while passing a curved wall (8fh height)
Entering a space between a flat wall (8fh height) and a closed-curved wall (8fh height)
Entering a space between a flat wall (8fh height) and an opened-curved wall (8fh height)
Your coordination in height and openness.
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Entering a space between a flat wall (8fh height) and a half opened-curved wall (8fh height)
Category: #37 Entering into a space between Parallel Curved Walls These 8 images show different heights and views of parallel curved walls, inside and out the figure as a whole. As the human figure walks towards the light he is entering the curved walls, once inside we see another figure and the new layout with differentiating heights. I feel a sense of fear as I fist enter the room, not knowing what is behind the wall, only to find my partner which when I realize this I feel joyful and relieved.
Small-curved and 8ft high outside
Small-curved and 16ft high outside
Large-curved and 8ft high outside
Large-curved and 16ft high outside
Small-curved and 8ft high inside
Small-curved and 16ft high inside
Large-curved and 8ft high inside
Large-curved and 16ft high inside
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Category: #38 Entering a space between curved mirror walls_01 These 4 images show how varying heights effect the wall space created as well as the lighting. As the wall increases in height we are able to see less light shining through and a more narrow walking path. I feel tired and restless, these images indicate an end to a long day with my figure slowly going farther away into decreasing light.
Small-curved and 8ft height
Large-curved and 16ft height
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Small-curved and 16ft height
Large-curved and 8ft height
Category: #39 Entering a space between curved mirror walls_02 These 8 images illustrate the movement of a figure between curved mirroring walls as the light switches from inside to outside. As the scale and lighting of the walls changes, the human figure becomes enlarged or shrinks when traveling toward the crevice of the walls. I feel optimistic and excited when looing at these images, the human figure is setting out to embark on their adventure with confidence.
Small-curved and 8ft high with inside lighting
Small-curved and 8ft high with outside lighting
Small-curved and 16ft high with inside lighting
Small-curved and 16ft high with outside lighting
Large-curved and 8ft high with inside lighting
Large-curved and 8ft high with outside lighting
Large-curved and 16ft high with inside lighting
Large-curved and 16ft high with outside lighting
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Category: #40 One curved wall and one column These two images illustrate how lighting changes when a wall is placed behind or in front of a light source. As the human switches side of the column, the area becomes brighter and more open. These images make me feel progressive and consistent, although they are different formations of figures and walls the same message is protrayed.
Entering a space between a column and curved wall outside
Entering a space between a column and curved wall inside
Category: #41 One curved wall and two columns These 3 images show the movement of a figure around a curved wall and two columns. As the first figure walks around and between the columns and curved wall we can see the point in which he reaches his destination. I feel a sense of love and warmth, I know there is a story between these tow figures as one seeks the other.
Entering a space between a column of two horizontally aligned and curved wall outside
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Facing the outside of a curved wall with two horizontally aligned columns with insufficient space between them
Entering a space between a column of two vertically aligned and a curved wall outside
Category: #42 Role of a column between Curved and flat walls These 4 images illustrate the changes of a column between curved and flat walls. As the pole changes from left and right of the figure, the shadows are altered, and with the curved walls versus flat there is a change in direction. I feel prepared and firey as I enter this room with strong intentions.
Entering a space between two parallel curved walls, with a column in front of the outer curved wall
Entering a space between a faced flat wall and a curved wall, with a column in front of the flat wall
Entering a space between two parallel curved walls, with a column in front of the inner curved wall
Entering a space between a parallel flat wall and a curved wall, with a column in front of the flat wall
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Category: #43 Curved connection These 4 images illustrate the difference of space between a curved wall and human figure. As the angle of the wall changes, the room begins to feel more open. I feel eager and optimistic as the room widens, I feel like I can breathe again.
Follow two flat walls that are connected at an angle of 60 degrees smoothly
Follow two flat walls that are connected at an angle of 150 degrees smoothly
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Follow two flat walls that are connected at an angle of 90 degrees smoothly
Follow two flat walls that are connected at an angle of 120 degrees smoothly
Category: #44 Curved wall and S-curve wall These 4 images show how a curved wall when connected at different angles can effect the width of a room. As the degrees increase, the room becomes stretched with more dark space. I feel bored from these images since they are so reptile and dragged out.
Curved wall and S-curve wall 8ft high with inside lighting
Curved wall and S-curve wall 8ft high with outside lighting
Curved wall and S-curve wall 16ft high with inside lighting
Curved wall and S-curve wall 16ft high with outside lighting
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Category: #45 1 point perspective pictures: Void on the upside These 4 images show how when a curved and s-curved wall are arranged parallel from each other a new shape is created for the path of light, as well as varying heights giving the illusion of a smaller human figure. As the light changes the shadows differ, and when height of walls are increased an enclosed hall is created. These images make me feel bipolar. Not being able to decide if I am confident or belittled.
A 4’x4’ square void with a height of 8ft
A 8’ diameter void with a height of 8ft
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A 8’x8’ square void with a height of 8ft
A 4’ diameter void with a height of 8ft
Category: #46 Void on the upside with columns or walls These images depict different perspectives of lighting from a void on the upside. As the shape or size of the void changes, the shadow sizes react. I feel isolated and sheltered, being singled out in the spotlight.
A 8’x8’ square void with columns
A 8’x8’ square void with a facing wall
A 8’x8’ square void with a passing wall
View for A 4’x4’ square void with a flat wall aligned with one side and two columns aligned with the opposite side
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Category: #47 Void on the downside with columns or walls These images illustrate the different formations and combinations of columns and walls with a varying voids and lighting. As the shapes of the voids change as well as the angle of lighting, there are different shadows created with the human figure. When looking at these photos I feel a sense of uncertainty, as I become closer to the void I am not able to fully view what is below me.
A 8’x8’ square void with a facing wall and light from upper floor
A 8’x8’ square void with a facing wall and light from side
A 8’x8’ square void with a facing wall and light from lower floor
A 8’x8’ square void with a passing wall and light from side
A 8’x8’ square void with a passing wall and light from lower floor
A 8’ diameter void with light from lower floor
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Category: #48 Void on the upside with combinations of columns or walls These 10 photographs illustrate the movement of a human figure as he travels toward an upside void with configurations of walls or columns on either side. As the figure moves, we are able to discover different walls or figures that may not have been noticeable before. I feel a sense of promise an hope when I walk toward the void of light.
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Category: #49 Void between Floating Surfaces These images show a curved floating wall with a void below, with human figures looking up towards the curved surface almost admiring the object. As angle changes of the objects and figures we are able to see opposing point of views. I feel admirable when viewing these images, they each give different insight from different figures.
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Category: #50 Void between curve-linear Surfaces These two images illustrate a large figure with a light source from behind which creates a morphed shadow onto the back wall, and steps leading up to said shadow. A figure sitting in a curved outlook on the wall cattycorner to stairs creates a combined shadow with the morphed shadow. As the angle taken of the image changes from an overall view to a side view, we are able to see a more vertical angle with height and dimension. I feel like I am in sort of a dream when looking at these images, the large light bulb figure makes me feel hopeful for my future.
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Category: #51 Void with a combination of These 2 images illustrate my past shadow which has now been turned into a void of light, as well as a curved had circle serving as a seat and fireplace. The void creates a new layered shadow on the ground, As the light shines down, it creates a conversational piece between the two figures. I feel calm looking at this creation, as the two figures hold a conversation including the shadow being casted on the ground.
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Category: #52 Curved vertical surface These images illustrate a figure in front of a, first 2’ curved surface vertically from above then a 4’ curved surface. As the width of these curved surfaces changes we can see a difference in the appearance of the figure as well as the steepness of the walls. I feel resilient and somewhat nervous as I stand before these curved walls, considering if I will be able to take them on.
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Category: #53 Curved vertical surface with an upper floor These images depict the emotions and stages of grief as our human figures watches other figures lives from different points of views, always being blocked by some configuration of a curved surface. As the stages go on, we can see a noticeable difference in the space created between the figures. I feel a sort of melancholy and resentment when looking at the other figures who seem happy and at peace.
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Category: #54 Curved vertical surface with a void These images show an illustration a human figure traveling through different floors by a curved vertical surface, observing the people and things along the way. As the figure is guided through this home, we explore passing curved walls and new voids creating original shadows, leading the figure to another figure at the end. I feel curious when traveling through the home, not knowing wat may be behind each corner I turn or wall I scale.
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Category: #55 Facing Curved vertical surface 2 Images illustrate a figure who is first facing a curved vertical surface on a sort of seat block with parallel curved walls on each side of him. As the figure moves from the sitting block to a standing position, the character is no longer standing in the light nor facing the curved wall. I feel anxious as I Know I need to travel up the curves surface but do not feel as though I am prepared, leading me to step away.
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Category: #56 Hanging curved surfaces These illustrations illustrate a human figure who is at first underneath a curved surface looking toward two columns spaced evenly apart. As the figure moves toward the columns, they turn right around the left column but ending in between the spaced columns looking forward at they’re past self. I feel introspective, facing my past self as I travel to see things from the opposing point of view.
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Category: #57 Surfaces with convexities and concavities These images show a human figure in front of the layering relationship between two curved convex walls, creating different light paths depending on the tightness of the circle. As we get closer to the circular convex figures, we are able to notice the depth and darkness created. These illustrations make me feel ominous, with a dark passage behind me, dwindling more and more.
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Category: #58 A sphere with a strong center and centripetal force These images show a figure standing before a large circular ball like object, casting a shadow Infront of them. As the light source from behind is changed the human figure begins no get farther and farther from the shadow without actually moving itself. I feel excluded and saddened to become less involved within the shadow.
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Category: #59 Surfaces that are twisted and free These images depict a spiritic opening of fringe with a figure sitting below and a circular hole of light shining down onto the figure. As the figure sees the light, they begin to walk over and climbing inside the light source. I feel addicted as I notice the crisp clear circle almost calling me to come inside and step away from my tapered and messy home.
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What I learned... Project #1 “Wall, Column, and Space” - This project taught me how to manage not only time and material, but also ideas and decision making. Throughout this project, I learned how to properly execute detailed and consistent model building with high craftsmenship. In addition to the craftsmanship and skills that this project taught me, I now have a much better understanding of lighting conditions and the way that they affect a space. Project #2 “Hand Drawing” - Hand Drawing was a seven series project including everything from blind drawing, to examining the sights outside of your window. These subsects of this project taught me all about my drawing style, and the way that I can shade, outline, and depict different real-world objects. Specifically, in the color section of this project, we were able to explore how color affects the world around us, and what we can do as designers to bend the boundaries. Project #3 “Power of Patience” - In this Project, I learned the valuable lesson of attention and patience. After watching and interacting with the same piece of artwork for three hours straight, there were many things that I learned. Generally, I learned that there are so many different reasons for an artist or designer to add something into their piece. Moving forward this observation will be helpful to be able to decifer design styles and see what they are trying to do to a space. Project #4 “Space Cube” - Within this Space Cube project, there were many different phases and models that were made to get the idea across to the viewers. This project specifically taught us how to iterate with the same idea. Moving from orginal photography, to sequence modeling, to prototyping modeling, and then finally finishing our final model allowed for us as designers to learn how to come againt adversity. All in all, this project allowed me to learn a higher level of crafstmenship and also taught me the skills I needed to be able to design a space based off of an emotion or idea. Project #5 “First Portfolio” - In this piece of the studio course allowed us to explore the ideas and images that can be created through artificial intelligence. Through this study, we were able to see what AI can do in the design world, as well as learning how as designers we can utilize this tool to create amazing designs. Overall - Overall, this course taught me some amazing lessons about design education and the true hands-on approach that is needed. From the first day of studio, this course requires you to dive into your work and immediately find your personal design style. Weaving through projects day in day out aided in taking in so much information about every facet of how to start a design journey. After moving through all of these projects and having to reflect on the course, this cours taught me how to manage time, generate ideas, and materialize those ideas into something tangible. If you could talk to you before these five weeks, what would you like to share with you? - If I could talk to me before embarking on this journey, I would tell myself that you need to trust the process. Most days will seem that the work is impossible, but truly at the end of the day when all of your work is layed out in front of you, there is not a better feeling.
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Category #1: Facing surface These 10 photos communicate how when gradually angling a wall facing a human figure can slowly impede the view of the human figure. As the wall gradually moves, the view of the human figure continues to be slightly obstructed. I felt that I was able to move freely until the wall started to angularly shift and my path was gradually blocked making me feel as if I had no where else to go.
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Category #2: Facing edge These 10 photographs illustrate how a wall moves from angle to angle slowly blocking a human figure’s view. As this wall moves in an angular motion, the view of the human figure is steadily covered. I felt that I was completely able to walk forward until the wall to my left started to angle toward me, making me feel that there was no other path forward.
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Category #3: Blocking wall In these 11 photos, there is a conveyance that there is a wall gradually moving into the complete horizontal view of a human figure. When the wall moves perpendicularly to the human figure, this blocks their view. I felt that I had a complete and open view until a wall started to move from my left to my right blocking my path making me feel boxed into my one standing position.
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Category #4: Passing the blocking wall These 5 photos allow the viewer to see a human figure walking past a wall to their left-hand side. As the wall moves toward the camera’s perspective, the human figure seems to move past the wall. I felt that even though there was a wall in the distance, I had enough room to move freely while walking past it.
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Category #5: Aligned Wall In these 5 photographs, there is an illustration of a wall gradually moving horizontally across a human figure’s vantage point. As the wall moves through the figure’s viewpoint, it continuously blocks the human figure’s path. I felt that I was able to walk forward without any issue, until the wall completely covered the human figure’s view and path.
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Category #6: Passing the aligned wall These 6 photos communicate how as a wall moves parallel with a human figure; the one-point perspective view of the wall continuously fades out of frame. As the wall gradually moves, the human figure continues its linear path. I felt that I was able to walk through this open space as the parallel wall moves toward the camera’s one-point perspective.
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Category #7: Walls with different heights In these 8 photographs, there is a conveyance that this looming wall growing in the forefront of a human figure’s vision. As the wall enlarges upward toward the top of the frame of view, the human figure loses complete sight of his foreground. I felt that I had the ability to see above the small, short retaining wall, however, when the wall becomes too large to see over, there is a looming feeling of despair and emptiness.
Wall with 1ft
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Category #8: Floating and faced Wall These 8 photos illustrate how a wall moves from the base of a wall up to the top of the viewing frame. As the wall moves up the wall, the human figure has a lesser view of the upper region of the wall. I felt as if the wall in front of me was mostly in view until the wall started to move into the upper region of the foreground, evoking a feeling of triumph and glory.
1ft high floating wall
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8ft high floating wall
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Category #9: 8ft high floating and aligned wall These 4 photos allow the viewer to see a human figure underneath a floating wall moving through the frame from left to right. As the wall moves, the human figure loses its ability to see anything above them. I felt as if I was able to see and reach above me until the wall gradually moved into my view directly above, causing me to gain a feeling of distress and feebleness.
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Category #10: 8ft high floating and faced wall In these 8 photos, there is an illustration of a perpendicular wall moving past a human figure overhead from the left to right sides of the frame. As the wall moves through the frame, the human figure loses sight straight forward. I felt a sense of looming loneliness and crushing defeat to have this oversized wall gradually blocking my forefront view.
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Category #11: floating horizontal surface These 8 photographs communicate how a floating horizontal surface affects the viewpoints of a human figure below. As the surface moves throughout the air, the human figure loses its ability to see above them, as well as the shadow that is cast upon them. I felt a cold sense of doom lurking as the shadow of this floating surface moved across the frame of view.
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Category #12: Horizontal surfaces with different heights These 12 photos convey a point of view where a human figure is watching as a floating horizontal surface floats down toward the ground. As the surface moves down into the frame of view, the human figure can see more and more of the entire field of view. I felt a sense of urgency and openness to experience as this horizontal surface unlocked a new part of my foreground view.
8ft high horizontal surface
7ft high horizontal surface
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Category #13: Wall surface with an incline These 8 photos illustrate an angled wall moving at a continuous pace to form a human figure’s visual frame. As the wall moves throughout the human figure’s frame of view, the human figure can see more of the understory of the rest of the room. I felt a sense of relief and rejuvenation as the wall moved over me and gives me more of an open viewpoint.
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Category #14: Inclined wall These 6 photographs communicate how an angled wall moves upright at an angle against a human figure. As the wall moves angularly against the human figure, the human figure no longer has a frame of view to their left. I felt that I could move to the left until the wall started to gradually move in an angular pattern, leaving me only the right side to see and move from.
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Category #15: Floating wall surface facing edge with an incline In these 6 photos, there is a conveyance that the wall gradually moving in a clockwise motion can impede a human figure’s view. As the wall moves clockwise at an angular pace, the human figure loses viewpoints from left to right. I felt that the angled wall moving clockwise restricted my viewpoint gifting me a feeling of entrapment and fear.
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Category #16: Inclined surface to a facing wall These 9 photos allow the viewer to see a human figure with an inclined wall directly in front of them. As the wall moves upward at an angle, the human figure has more space to move freely. I felt as if the wall was impeding my space and ability to move until it started to move upwards, causing me to feel a rush of joy and awe.
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Category: #17 Inclined ramp to facing wall These 9 photos illustrate how an inclined ramp facing a wall can impact a human figure’s view and movement. As the ramp inclines, the human figure can no longer move forward as easily. I felt as if when the ramp inclined, there was nowhere for me to move other than to each side, giving me feelings of despair and grief.
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Category: #18 One Column In these 2 photos, a column stands in the right-side viewpoint of a human figure. As seen in the two different perspectives, the human figure is blocked on their right side by the column. I felt a sense of divinity and solitude standing in the path of this single tall column.
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Category: #19 Two Columns These 2 photos convey a human figure between two horizontally and vertically aligned columns. As you move from photo to photo, the human figure seems to have more space to move. I felt as if the columns were giving me an archway to walk through until they were on the right side, which left me with a feeling of solidarity.
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Category: #20 Three Columns These 2 photographs illustrate three columns lining the way in the forefront of a human figure. As the columns go from one vertically aligned line, to a sporadic display, the human figure gradually has a more intricate pathway. I felt as if I was being forced to walk in a straight line, whereas when the columns were in a more sporadic display, there was more room for feelings of adventure and curiosity.
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Category: #21 Four Columns These 2 photographs show the movement of four columns surrounding a human figure. As the columns move closer toward the human figure, there is limited amount of space that the human figure can maneuver. I felt that when the columns were further away, there was space for imagination and wonder, whereas when the columns closed in on me, I felt suffocated and crushed even in a wide space.
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Category: #22 One Wall and One Column In these 8 photos, there is a myriad of different configurations of a column, a wall, and a human figure. As the photos progress, the human figure’s viewpoints are constantly changing. I felt that through every different positioning, there was either a feeling of liberation or entrapment with wall differing from an opened to a closed concept.
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Category: #23 One Wall and two Columns These 3 photos depict a human figure between and adjacent to two columns as well as a wall. As the photos progress, the human figure is hit with three differing light exposures as well as movement availability. I felt as if when the wall moves that there is a complete loss of view according to where that wall Is located, this fills me with an unsettling feeling that looms into my psyche.
Condition 1: aligned wall and vertically aligned columns
Condition 2: facing wall and vertically aligned columns
Condition 3: facing wall and horizontally aligned columns
Category: #24 Two Walls and two Columns These 2 photographs allow the viewer to see how human figures can interact in a space crowded with two columns and two walls. As the photos progress, the columns move from being vertically aligned to being horizontally aligned. I felt that with the vertically aligned columns there was a walkway for me perfectly laid out. Whereas with the horizontally aligned columns, there was more of a divide between the left wall and the right column, leaving me with a feeling of seclusion.
Columns aligned vertically with perpendicular walls
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Columns aligned horizontally with perpendicular walls
Category: #25 Two Walls and two Columns with two lighting conditions_01 In these 6 photos, there is an emphasis on light distribution and its effects on two columns, two walls, and a human figure. As the columns switch sides from left to right and the human figure gains different angles of light, there is limiting impact on the available space. I felt as if when the light was coming from in front of me there was more of a divine feeling, whereas whenever the lighting occurred from behind, there was more of a sense of security.
Walking between vertically aligned columns and perpendicular walls with lighting behind Figure
Walking between vertically aligned columns and perpendicular walls with lighting behind wall
Walking beside vertically aligned columns and perpendicular walls with lighting behind Figure
Walking beside vertically aligned columns and perpendicular walls with lighting behind wall
Walking beside vertically aligned columns and extended perpendicular walls with lighting behind Figure
Walking beside vertically aligned columns and extended perpendicular walls with lighting behind wall
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Category: #26 Two Walls and two Columns with two lighting conditions_02 These 4 photos illustrate two columns, 2 walls, different lighting styles, and their effects on a human figure. As the configurations change, the human figure gets more of a forward view. I felt as if there were gates opening in front of me as the walls spit and I could see more of the light shining through. This elegant expulsion of light filled me with joy and relief.
Passing horizontally aligned columns to enter the space between two walls with lighting behind Figure
Passing vertically aligned columns to enter the space between two walls with lighting from the inside space
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Passing horizontally aligned columns to enter the space between two walls with lighting from the inside space
Passing vertically aligned columns to enter the space between two walls with lighting behind Figure
Category: #27 Two Walls and two Columns with two lighting conditions_03 These 6 photos convey the movements of two columns, two walls, and a human figure in different light conditions. As the light conditions differ, there is more space for the human figure to move freely. I felt that the light protruding from behind the walls’ opening was of a divine status, filling me with desire and ambition.
Passing vertically aligned columns to pass a narrow opening between two walls with lighting behind Figure
Passing vertically aligned columns to pass a narrow opening between two walls with lighting from the inside space
Passing vertically aligned columns to pass an intermediate opening between two walls with lighting behind Figure
Passing vertically aligned columns to pass an intermediate opening between two walls with lighting from the inside space
Passing horizontally aligned columns to pass a wide opening between two walls with lighting behind Figure
Passing horizontally aligned columns to pass a wide opening between two walls with lighting from the inside space
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Category: #28 Vertically aligned Two Walls and two Columns These 2 photographs of a human figure, two walls, and two columns show the difference in placement throughout differing light conditions. As the walls and columns move, the human figure has more space to move about. I felt that after the walls and columns moved slightly apart and allowed the light to enter there was more available space to move about filling me with excitement and liberation.
Between walls, walking
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Between columns, walking
Category: #29 Space composed with 5+ columns and 2 walls These 7 photos evoke ideas through 5 columns, 2 walls, and 3 human figures. As the human figure moves around the fixed space, there are differing viewpoints and light conditions. I felt that there was an eerie sense to the room as I traversed an unknown and untouched space. This ever-changing light demonstration filled me with anxiety yet also filled with wonder for the journey ahead.
Top view of the space composed
Sequence phase #1
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Category: #30 Faced wall with Connected wall These 19 photos capture two perpendicular walls increasing the angle between them in the presence of a human figure. As the wall increases angularly, the human figure loses sight on their right side and gains the foreground view of the left side. I felt as if the world was moving around me as the wall in front of me increases its angle. This filled me with fear and intimidation with the severity of the angle.
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Category: #31 Aligned wall with Connected wall These 17 photos illustrate a human figure with a wall that’s angle increases with human figures inside of the small angle. As the wall’s angle increases the human figures have an increasingly larger space to move about. I felt that as the angle of the wall increased there was a vast plane of space for me to move about filling me with excitement and ambition.
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Category: #32 Facing the connected edge of two walls In these 17 photographs, there is a conveyance of two walls connected with a human figure in front. As the wall’s angle decreases onto the human figure, there is less space for the human figures to move. I felt that as the wall moved in on me there was less and less space for me to move about, giving me feelings of anxiety and fear.
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Category: #33 Three connected walls These 2 photos allow the viewer to see two human figures enclosed within wide and narrow surrounding walls. As the wall closes in around the human figures, there is much less space for them to move about. I felt as if the world was closing in around me filling me with fear and looming desperation.
Wide-facing wall with two wings
Narrow-facing wall with two wings
Category: #34 Curved wall inside In these 4 photos, there is an illustration of large and small curved walls as they pertain to a human figure. As the walls get bigger or smaller, constricted or widened, the human figure is either inhibited or allowed to move about. I felt as if there was an ever-changing amount of space for me to move around, gifting me feelings of high anxiety.
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Small-curved and 16ft height
Large-curved and 8ft height
Category: #35 Curved wall outside These 6 photos depict a curved wall in different positions around a human figure. As the walls start to differ in size and openness, the human figure has a lesser visual footprint. I felt that as the walls got larger in front of me that I was insignificant and frail.
Facing Small-curved and 8ft height
Passing Small-curved and 8ft height
Facing Small-curved and 16ft height
Passing Small-curved and 16ft height
Facing Large-curved and 8ft height
Passing Large-curved and 8ft height
Facing Large-curved and 16ft height
Passing Large-curved and 16ft height
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Category: #36 Curved Walls and Flat Walls These 5 photographs allow the viewer to see what light does to a space with a flat wall, curved wall, and a human figure. As the lighting conditions and wall configurations change, the human figure gains new viewpoints of the space including another human figure. I felt as if there was a heavenly light shining throughout space revealing this new human figure, filling me with awe.
Facing a flat wall (8fh height) while passing a curved wall (8fh height)
Entering a space between a flat wall (8fh height) and a closed-curved wall (8fh height)
Entering a space between a flat wall (8fh height) and an opened-curved wall (8fh height)
Your coordination in height and openness.
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Entering a space between a flat wall (8fh height) and a half opened-curved wall (8fh height)
Category: #37 Entering into a space between Parallel Curved Walls These 8 photos illustrate how the height of the inside or outside curved walls affect a human figure. As the walls change in height, the human figure experiences new lighting conditions as well as viewpoints. I felt that as the light crept through the taller walls there was an eerie and adventurous aspect to the space.
Small-curved and 8ft high outside
Small-curved and 16ft high outside
Large-curved and 8ft high outside
Large-curved and 16ft high outside
Small-curved and 8ft high inside
Small-curved and 16ft high inside
Large-curved and 8ft high inside
Large-curved and 16ft high inside
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Category: #38 Entering a space between curved mirror walls_01 These 4 photos allow the viewer to dive into the lighting conditions between different walls. As the walls and lights gradually change, the human figure experiences new viewpoints. I felt that with the taller walls, there was a larger sense of mystery, whereas the smaller walls give more of a feeling of security.
Small-curved and 8ft height
Large-curved and 16ft height
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Small-curved and 16ft height
Large-curved and 8ft height
Category: #39 Entering a space between curved mirror walls_02 In these 8 photos, there is a conveyance of emotion through two curved walls, and differing lighting conditions. As the walls and lights change, the human figure can see different pieces of the space. I felt that as the conditions of the space gradually changed, there was a sense of divinity in some lighting conditions, whereas in others, there was more of an aggression.
Small-curved and 8ft high with inside lighting
Small-curved and 8ft high with outside lighting
Small-curved and 16ft high with inside lighting
Small-curved and 16ft high with outside lighting
Large-curved and 8ft high with inside lighting
Large-curved and 8ft high with outside lighting
Large-curved and 16ft high with inside lighting
Large-curved and 16ft high with outside lighting
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Category: #40 One curved wall and one column These 2 photos explore the connection between a curved wall, column, and a human figure. As the configuration changes, the human figure is allowed to view the space from a different vantage point. I felt that as the configuration changed, it went from feeling daunting to being more of a safe and controlled space.
Entering a space between a column and curved wall outside
Entering a space between a column and curved wall inside
Category: #41 One curved wall and two columns These 3 photos allow the viewer to see what a space looks like accounting for two columns, a curved wall, and a human figure. As the configuration changes, the human figure can move about the space more freely. I felt that as the conditions gradually opened, I had more space to move about giving me a sense of relief.
Entering a space between a column of two horizontally aligned and curved wall outside
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Facing the outside of a curved wall with two horizontally aligned columns with insufficient space between them
Entering a space between a column of two vertically aligned and a curved wall outside
Category: #42 Role of a column between Curved and flat walls These 4 photos illustrate two parallel curved walls and their effect on a column and a human figure. As the photos progress, the human figure Is able to view more of the space from a different vantage point. I felt that as the column moved from side to side, it gave me more of an opening to move more freely making the space feel inviting.
Entering a space between two parallel curved walls, with a column in front of the outer curved wall
Entering a space between a faced flat wall and a curved wall, with a column in front of the flat wall
Entering a space between two parallel curved walls, with a column in front of the inner curved wall
Entering a space between a parallel flat wall and a curved wall, with a column in front of the flat wall
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Category: #43 Curved connection These 4 photos convey how slowly, and softly curving walls affect a human figure. As the angle of the walls increases, the human figure can see and move in more of the space. I felt as if the curving wall was asking me to follow it, giving the space a sense of ambition and interest.
Follow two flat walls that are connected at an angle of 60 degrees smoothly
Follow two flat walls that are connected at an angle of 150 degrees smoothly
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Follow two flat walls that are connected at an angle of 90 degrees smoothly
Follow two flat walls that are connected at an angle of 120 degrees smoothly
Category: #44 Curved wall and S-curve wall In these 4 photographs, the s-shaped curing wall allows the viewer to see what light and curvature does to a human figure. As the walls and lights moved around the space, the human figure generally had the same space to move about without an upper viewpoint. I felt that as the walls enlarged upwards, there was more of a divine presence since the walls were catching more light.
Curved wall and S-curve wall 8ft high with inside lighting
Curved wall and S-curve wall 8ft high with outside lighting
Curved wall and S-curve wall 16ft high with inside lighting
Curved wall and S-curve wall 16ft high with outside lighting
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Category: #45 1 point perspective pictures: Void on the upside These 4 photos allow the viewer to see what upper voids do to a human figure. As the voids changed in shape and size, there was always a differing energy in the space. I felt as if I was being abducted by aliens with this lighting condition, giving me a sense of wonder for what is to come next.
A 4’x4’ square void with a height of 8ft
A 8’ diameter void with a height of 8ft
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A 8’x8’ square void with a height of 8ft
A 4’ diameter void with a height of 8ft
Category: #46 Void on the upside with columns or walls These 4 photos convey an upside void with columns and walls and their effect on a human figure. As the walls and column configurations changed, there was an ever-changing perspective from the human figure. I felt that as the conditions changed, I had a different view of the space, sometimes enclosing me in, while at other times there was an openness to the space.
A 8’x8’ square void with columns
A 8’x8’ square void with a facing wall
A 8’x8’ square void with a passing wall
View for A 4’x4’ square void with a flat wall aligned with one side and two columns aligned with the opposite side
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Category: #47 Void on the downside with columns or walls In these 6 photos, there is an illustration of how downside voiding affects walls, columns, and a human figure. As the configuration changes, the human figure gains a different viewpoint for every condition. I felt as if with every viewpoint, there was an increasing feeling of discovery.
A 8’x8’ square void with a facing wall and light from upper floor
A 8’x8’ square void with a facing wall and light from side
A 8’x8’ square void with a facing wall and light from lower floor
A 8’x8’ square void with a passing wall and light from side
A 8’x8’ square void with a passing wall and light from lower floor
A 8’ diameter void with light from lower floor
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Category: #48 Void on the upside with combinations of columns or walls These 10 photos convey how an upside void connected with columns, and two curved walls affect a human figure. As the human figure moves throughout the structure, they can access differing viewpoints. I felt as if I was walking through tranquility itself with the light shining through the upside void.
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Category: #49 Void between Floating Surfaces These 5 photographs take a deep dive into how floating surfaces can affect a curved wall and human figures. As the photograph angles change, the human figures are depicted in differing proportions. I felt as if the world was floating and moving around me, giving me a sense of imagination and mystery.
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Category: #50 Void between curve-linear Surfaces These 2 photos illustrate the connection between lighting conditions, human figures, and an upside organic void. As the photos progress, the human figure gains a differing viewpoint including differing lighting conditions. I felt a sense of connection and community when I was in the void with the other figures, whereas when I was below there was a sense of weakness and fragility.
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Category: #51 Void with a combination of In these 2 photos, there is a conveyance between a three-tiered structure made up of columns, curved walls, and upside voids and their connection to human figures. As the human figures move about the space, they allow themselves to find new vantage points. I felt as if I was on top of the world being up in the structure, whereas in the bottom of the structure, there was a sense of security and safety.
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Category: #52 Curved vertical surface These 2 photos illustrate a curved surface directly in front of a human figure. As the curve shrinks in width, the human figure has a less daunting surface in front of them. I felt as if with the larger surface, there was a feeling of nothingness whereas the skinnier surface allows for me to breathe and release some anxiety.
A 4’wide
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Category: #53 Curved vertical surface with an upper floor These 5 photos allow the viewer to see the effect of a curved surface in an environment with an upper floor and a human figure. As the photos progress, the human figure gains differing vantage points and lighting conditions. I felt as if with every configuration there was a larger and larger feeling of divinity.
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Category: #54 Curved vertical surface with a void These 5 photographs depict how a curved vertical surface and a void impact a human figure. As the human figure explores the space, they gain an understanding of how light affects the space. I felt that the lighting in these spaces completely changes the feeling whether it be depressing, or adventurous.
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Category: #55 Facing Curved vertical surface In these 2 photos, there is a conveyance of how facing a curved surface influences a human figure. From having the curved wall come from a void, or having it free standing, there is a different effect on the figure. I felt as if with the void above me, there was more of a helpless feeling, whereas with the freestanding surface, there is a calming feeling to it.
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Category: #56 Hanging curved surfaces These 4 photos show the dynamic ideas from curved walls, arches, domes, and other curves affect a human figure. As the photos progress, the human figure can experience differing lighting conditions is reference to changing curvature conditions. I felt as if when there is more of a curvature in the environment I more of a feeling that relates to wonder and adventure.
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Category: #57 Surfaces with convexities and concavities These 2 photographs show the relation between complex concavities and a human figure. As the curves change, the human figure can explore a completely different side of the environment. I felt that with the differing concavities and curvatures, there was a sense of mystery.
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Category: #58 A sphere with a strong center and centripetal force These 4 photos show the viewer how spheres and half spheres affect a human figure. As the half and full spheres change the environment, the human figure gains new vantage points of how the spheres can change the space. I felt that as the spheres moved about the space, there was either a feeling of defiance and glory, or intrigue and interest.
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Category: #59 Surfaces that are twisted and free In these 3 photos, there is an illustration of how dynamic and free spaces affect a human figure. As the dynamic structures gradually change, the human figure experiences completely contrasting viewpoints. I felt as if every configuration was a different story, from feelings to disparity, to joy, to even humility.
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L ily Dudley Port foli o 494
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What I learned...
Project #1 “Wall, Column, and Space” - The most important thing I learned in this section was the use of clean and exact lines along with intentional lighting. The entirety of this section it became clear that for your pictures to come out the way you want them to it is crucial that you make clean-cut lines. Using the clean-cut foam board made it easier to make. pretty pictures. It was also important to learn the aspect of lighting. As time went on, I realized the importance of using different ways of lighting, which made my work have more contrast and appear better. Project #2 “Hand Drawing” - The most important tool this part of our semester has taught me is precision. In all of our drawings, it became important that with most of them, you needed to have precise measurements. Without the precise measurements, the drawings would not come out as intended, making your drawing look unrealistic. for most of the drawings implementing a ruler in your work was very important to make sure your drawings were exact. Project #3 “Power of Patience” - The most important learning device this section taught me is truly the art of patience. Patience is something that has been spoken about a lot and design school but is very hard to teach. The power of patience and something that is overlooked in most education. We were taught to be patient with our work, and we learned the positive outcomes of patience. This use of patience will be a long-term beneficial lesson that we will use. Project #4 “Space Cube” - The most important part of this particular section was the importance of well-crafted models. Throughout the entirety of the space cube, it becomes clear that my personal work became a lot better the further into the space cube section I got. In the beginning, it was hard to understand what a clean model versus a well crafted model looked like. After getting to see the difference between a well crafted model and a sloppy model. It was evident that a well-crafted model made a huge difference. The cleaning and cutting of foam board and other materials make a model look like a child arts and crafts experiment versus a professional model. Project #5 “First Portfolio” - The first portfolio has taught me to be careful about where I save my work and to be proud of myself. One of the struggles of the first portfolio was trying to find all work. File management is talked about a lot in design, thinking that is not necessarily taught. I wish we would have learned a little bit more about where to store our files for easy access to finish with that being said taught me intentional about where I’m saving my work. The first portfolio is also made me realize that I have lots of work to be proud of and look at. Overall - This course has taught me the importance of time management and the basic tools I need to succeed in the interior architecture program. As everyone knows, the summer program is extremely fast-paced. This fast-paced course has really implemented good habits of time management and my work. Because everything is due so quickly, it forced me to stay focused and get things done, which is something I will be grateful for in the long run. this course is also given us all the basics for what we will need in future architecture classes. If you could talk to you before these five weeks, what would you like to share with you? - If I could speak to myself before these five weeks, I would tell myself not to stress. Everyone makes it seem like the summer is borderline impossible to do but with good work ethic and time management, it is very possible. I believe that causing extra stress for myself was unnecessary to begin with. It helped me create good habits, but, most of the stress I had placed myself was unhealthy and unnecessary. Also, I would tell myself I’m about to have a lot of fun.
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Category #1: Facing surface Facing surface is a series of 10 images that show a rectangular wall being pushed from perpendicular to parallel in terms of where the human is standing. This ultimately blocks the humans path. When the wall is moved the space becomes more closed off and the humans path is obstructed. When the wall was moved from the side to right in front of me, I felt as if my path was being pushed right but I am now unsure of where to move after this wall change is complete.
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Category #2: Facing edge Facing Edge is a series of 10 images that show a rectangle being pushed from being next to the human at zero degrees to right in front of the human at 90 degrees. This shift obstructs the view of an open room when the wall is to the side of the human. The view of the human after the shift is now a room divided in 2. When I see this room before the shift, I feel comfortable to move forward into the open space. When the wall is moved into my view, I become unsure of which part of the room I should enter next.
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Category #3 : B lock ing wall locking Wall is a series of 1 photos that show a rectangular wall being pushed from the le of the human to right in front of them with no change in the angle. This wall change makes the wide open room completely invisible the the human when the change is complete. When look at these pictures see a wide open room that is welcoming. When the wall is being pushed it feels as if it is closing off the open room which makes me feel unwelcome to continue forward.
O p ened l ev el 1
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B l o ck l ev el 1
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Category #4: Passing the blocking wall Passing the blocking wall is a group of 5 images that show half of the image being taken by a wall and a human moving past that wall. The human begins in front of the blocking wall and ends in an open space past the tall wall that’s placed at zero degrees. When I see the first image I feel like the room looking past the wall is dark and unwelcoming. I feel directed to continue on and when I do I find that past the large wall the open room is freeing.
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Category #5: Aligned Wall The aligned wall is a group of 6 images that show a wall at 90 degrees being moved to the left directly in front of the human. The human goes from being in a clear space to the right of the wall, then the wall is moved directly in front of them creating an obstruction to their path. When I view these images I feel that before the wall is moved there is a clear boundary of where to be. When the wall is moved it makes me feel like I’m not sure of where I am supposed to continue.
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Category #6: Passing the aligned wall Passing the aligned wall is a series of images that show a wall placed at 90 degrees is being passed by a human. The human figure is on the right of the wall walking close and passing it. The human starts at the closer end of the wall and ends beyond the wall. When I see these images I feel like as I am walking by the wall there is a distinct boundary of where I am supposed to be walking. Once I have finished walking past the wall I feel a sense of accomplishment and freedom getting to then go wherever I want.
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Category #7: Walls with different heights Walls with different heights is a group of 8 different images that show a wall that is placed at zero degrees in front of the human is growing at a rate of 1’ in each picture. The human is unmoved throughout the entire series but is faced with a growing wall in front of them. When I see these images I feel a sense that I am being trapped into something. Because the wall starts out small and gets bigger it feels like the wall is closing in on me.
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Category #8: Floating and faced Wall Floating and faced wall is a series of images that show a large wall placed directly in front of a human lifting up off the ground. The human is unmoved in this series but is overcome by a lifting wall. When I look at these images I feel like the wall that’s lifting is opening a new space for me which makes me feel excited. Once the wall is completely up in the air I feel like I can continue in my journey forward.
1ft high floating wall
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8ft high floating wall
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Category #9: 8ft high floating and aligned wall 8ft high floating and aligned wall is a group of images showing a floating wall placed at 90 degrees floating from the left of the image to the right of the image. The human is not moving in these images. The wall floats from the left of the human to directly in front of them. When I look at these images I feel uneasy. When the wall is floating so high above me and pointing at me I feel as thought I need to move away from the wall.
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Category #10: 8ft high floating and faced wall 8ft high floating and faced wall is a group of 8 images that show a wall placed at zero degrees in front of the human moving front the left side of the room to the middle. The human is not moving. The wall is moving only in front of the human and the angle is unchanged through the transfer. When I look at these pictures I feel that before the wall is moved there is an eerie presence but when the wall is moved directly in front of me I am more comfortable with it being there.
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Category #11: floating horizontal surface Floating horizontal surface is a series of 8 images showing a wall that is parallel to the ground moving from the left of the image to the middle. Once the wall is moved, the wall is hovering over the human. When I look at these images I feel like before the wall is moved I should stay away from it but once the wall is moved above me I have a curiosity that I should go underneath it and continue on my path.
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Category #12: Horizontal surfaces with different heights Horizontal surface with different heights is a long series of images showing a square platform moving from above the floor to underneath the floor. The square is moved from way above and in front of the human to below and still in front of the human. The added scale figure helps show how deep the platform goes into the floor. When I look at these images I want to stay away from the platform while it is above my head. Once the platform has moved below the floor I want to jump in with the other scale figure. The platform being dropped into the floor is exciting for me.
8ft high horizontal surface
7ft high horizontal surface
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Category #13: Wall surface with an incline Wall surface with an incline is a series of photographs that show a wall that is lifted off the ground to the left of the human. The wall is then tilted from 80° all the way to 10°. As the angle is being adjusted. The rectangle is being shifted from the left of the human to above their head when I look at these drawings, I originally like there is a clear space where I can stand in the room. When the wall starts to tilt and lift above my head, I feel the need to run away from it.
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Category #14: Inclined wall Inclined wall is a group of six photos that show a platform on the left of a human figure being moved to a vertical stance. The right edge of the platform does not move in the human does not move. When I stand in this room, I feel like, when the platform is down, I am able to move freely around space but when the platform is up, my path is pushed toward the right.
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Category #15: Floating wall surface facing edge with an incline Floating wall surface facing edge with an incline is a series of six photographs where a floating platform is placed on the left side of a human scale figure. The floating platforms starts on the left side of the scale. Figure then slowly begins to tilt from about 0° to 80°. When the platform reaches 80° the point of the platform is right at the humans head. When I look at these photos I feel a sense of uneasiness. When the platform is lifted, it looks similar to a table so the room is comfortable at first, but when the point of the platform gets up to my head. It becomes almost monstrous.
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Category #16: Inclined surface to a facing wall Inclined surface to facing wall is a group of nine pictures that show a rectangle tilted at 10° toward a scale figure. The human scale figure is not moving in this series. The rectangle is directly in front of and the long ways compared to the scale figure through the series the closer edge of the rectangle lifts in intervals of 10° away from the human. When I look at this, I feel oddly closed off in the beginning, but as the platform starts to lift and move away, it gives a clear boundary of the end of the it feel safer to move around.
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Category: #17 Inclined ramp to facing wall Inclined ramp to facing wall is a series of nine pictures that show a platform that is long ways and pointed away from the scale figure. The scale figure does not move in this series. The platform begins lifted at a 10° angle on the side of the platform that is furthest away from the human then is lifted at 10° intervals. When I look at this, the first image makes me feel curious about what is to come if I were to move forward, but the last image gives a clear boundary and makes me feel like I should not move past the wall that has been raised.
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Category: #18 One Column One column is pair of images that display one single column. The human figure is off to the left of the column in the first image and the second image is a left side view of the first. When I look at these images I feel curious as to why there is one pole in the middle of the room. Because it is alone I want to approach it.
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Category: #19 Two Columns Two columns is a pair of images that display two columns. In the first image the human is splitting the columns which are placed on either side of him. In the second picture the columns are placed parallel and to the right of the humans path. When I see these pictures I feel like need to go in between the poles in the first picture and I feel like I need to continue past the columns in the second picture. Both Images I feel like tell me where I need to walk.
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Category: #20 Three Columns Three columns is a pair of images that show us different arrangements of three different columns. In the first image the man is walking past a line of three columns. In the second he is walking through 2 on his left side and one on his right. In both of these images I want to continue on my past close to the columns. I feel like they have carved out a path for me so I want to keep walking.
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Category: #21 Four Columns Four columns is a pair of two images showing 4 columns set in a square, then in a smaller rectangle. The man in the first image is standing outside of the columns and in the second a man is standing on the opposite end of the columns. When I look at the wide column image I do not want to approach the columns. They are placed in such a way that I feel like they are a boundary of some sort. In the second image I want to continue through the columns as if it were a hallway.
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Category: #22 One Wall and One Column One wall and one column is a series of images that show a wall on the left with a column that is moving around in all the images. The human is sometimes placed in the center of the two, outside the two, or in another variation. When I look at these images I feel like I should avoid them. The way the wall and column are placed feels unwelcoming because there is no clear path and no clear relationship between the two.
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Category: #23 One Wall and two Columns One wall and two columns is a group of three pictures that show a wall and two columns moved around in different arrangements. The wall of perpendicular in two of the images and parallel to the human in one. When I look at these images I do not want to approach 1, I want to go through 2, and I feel uneasy about what is around the corner in 3.
Condition 1: aligned wall and vertically aligned columns
Condition 2: facing wall and vertically aligned columns
Condition 3: facing wall and horizontally aligned columns
Category: #24 Two Walls and two Columns Two walls and two columns is an interesting set of pictures that show one arrangement of 2 walls and columns from different point of views. In the first image the human is walking past a 90 degree wall and a zero degree wall. In the second image the man is standing with his back to a wall with two columns on either side of him. When I look at these pictures I feel excited and welcomed. I feel like there is a clear path I can follow.
Columns aligned vertically with perpendicular walls
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Columns aligned horizontally with perpendicular walls
Category: #25 Two Walls and two Columns with two lighting conditions_01 Two Walls and two Columns with two lighting conditions is a series of 6 images that show a man walking through and around w walls and two columns. In the images the wall is the right side of the human and in front making a clear path into the opening of the walls. When I look at these pictures, in all of them I see a clear and comfortable end to my path. I feel the need to continue through the walls.
Walking between vertically aligned columns and perpendicular walls with lighting behind Figure
Walking between vertically aligned columns and perpendicular walls with lighting behind wall
Walking beside vertically aligned columns and perpendicular walls with lighting behind Figure
Walking beside vertically aligned columns and perpendicular walls with lighting behind wall
Walking beside vertically aligned columns and extended perpendicular walls with lighting behind Figure
Walking beside vertically aligned columns and extended perpendicular walls with lighting behind wall
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Category: #26 Two Walls and two Columns with two lighting conditions_02 Two Walls and two Columns with two lighting conditions Is a series of 4 images similar to the one above. There are two Perpendicular walls with an opening in between the two. The columns Are guiding the path of where the human goes that is place in the middle of them in the pictures. When I look at these images my path is so clear and I feel at ease to continue moving forward.
Passing horizontally aligned columns to enter the space between two walls with lighting behind Figure
Passing vertically aligned columns to enter the space between two walls with lighting from the inside space
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Passing horizontally aligned columns to enter the space between two walls with lighting from the inside space
Passing vertically aligned columns to enter the space between two walls with lighting behind Figure
Category: #27 Two Walls and two Columns with two lighting conditions_03 Two Walls and two Columns with two lighting conditions is a series of 6 images that showcase all similar arrangements with a wall on each side of the picture and columns. The human is placed to be walking through the space. The most different thing between each picture is that the lighting is different. When I look at the pictures where the light is behind me I feel scared because where I am walking is dark. When the light is in front of me I feel like I need to run toward it.
Passing vertically aligned columns to pass a narrow opening between two walls with lighting behind Figure
Passing vertically aligned columns to pass a narrow opening between two walls with lighting from the inside space
Passing vertically aligned columns to pass an intermediate opening between two walls with lighting behind Figure
Passing vertically aligned columns to pass an intermediate opening between two walls with lighting from the inside space
Passing horizontally aligned columns to pass a wide opening between two walls with lighting behind Figure
Passing horizontally aligned columns to pass a wide opening between two walls with lighting from the inside space
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Category: #28 Vertically aligned Two Walls and two Columns Vertically aligned Two Walls and two Columns is an interesting arrangement of two photos that show 2 walls parallel with each other tilted at a 45 degree angle with columns around them. The human is walking through these walls which are on either side of him. In both images I feel like I do not want to enter past the walls. I feel like my path is taking a weird turn and it feels unwelcoming.
Between walls, walking
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Between columns, walking
Category: #29 Space composed with 5+ columns and 2 walls Space composed is a personal piece that we used to showcase one of our own designs. These pictures display 2 walls, one at zero degrees far away from the human and one at 45 degrees intersecting with the further wall. The human is placed in many different spots around the columns and at the end of the wall. When I look at these pictures the original structure makes me indecisive of whether I want to go down the structured hallway side or if I want to go in the open space. I feel like the pictures where they are in one of the spaces the design feels peaceful.
Top view of the space composed
Sequence phase #1
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Category: #30 Faced wall with Connected wall Faced wall with connected wall is a long series of 19 images that show one wall at zero degrees and another one rotating around that point. The human is next to the rotating point. At the beginning of this transformation I feel very rapped because I am facing a corner. By the end of the transformation when the entire room is open except for ¼ of it, I feel excited that I could explore what is around.
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Category: #31 Aligned wall with Connected wall Aligned wall with connected wall is a long series of 17 images that show a stationary wall at about 20 degrees and a wall that is rotating around it. The human is place away from the rotating point but facing it. When this transformation begins it is clear that your path is complete because you cant move forward. When the wall is completely open it still feels slightly eerie to move forward because of how blocked off the path originally was.
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Category: #32 Facing the connected edge of two walls Facing the connected edge of two walls is a long series of 17 images that show a wall that is pointed away from the human and another wall that is rotating around it. The walls are slightly to the right of the human making it easier to see the angle of the walls. When I see the first image I feel curious as to what the wall could be for. Once the wall begins to move closer to me I feel like I should run away from it.
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Category: #3 3 T hree connected walls Three connected walls is a group of images that show a wall at ero degrees with a wall on each side making wings. n the images the humans are standing in the middle if the wings, the first image the wings are wide and in the second the wings are narrow. n these images like the way the larger wings feel because it is open and spacious. n the second image feel very claustrophobic because it feels like the walls are coming in on me.
ide fa i g wall with two wi g
arrow fa i g wall with two wi g
Category: #3 4 Curv ed wall inside urved wall inside is a group of pictures of a wall whose edges have been bent toward the front. human is standing in the middle of the curved wall. The walls range from a height of feet and 1 feet. The walls also change in length. When look at these feel a sense of safety and security. feel like all the walls are hugging around me.
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Category: #35 Curved wall outside Curved wall outside is a series of 8 pictures that show us a curve thats edges are pointed away from the camera. the human is placed directlty infront of the structure. When I look at this I feel intrigued to find out what this structure might be holding inside or behind it.
Facing Small-curved and 8ft height
Passing Small-curved and 8ft height
Facing Small-curved and 16ft height
Passing Small-curved and 16ft height
Facing Large-curved and 8ft height
Passing Large-curved and 8ft height
Facing Large-curved and 16ft height
Passing Large-curved and 16ft height
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Category: #36 Curved Walls and Flat Walls Curved walls and flat walls is a group of 4 pictures that showcase one wall and one curve placed together. The curved wall is turned in different ways next to the flat wall. The human figure is placed in between and outside of the space between the curved and flat wall. When I look at these pictures I feel like there is a clear path marked out for me and that I should keep moving.
Facing a flat wall (8fh height) while passing a curved wall (8fh height)
Entering a space between a flat wall (8fh height) and a closed-curved wall (8fh height)
Entering a space between a flat wall (8fh height) and an opened-curved wall (8fh height)
Your coordination in height and openness.
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Entering a space between a flat wall (8fh height) and a half opened-curved wall (8fh height)
Category: #37 Entering into a space between Parallel Curved Walls Entering into a space between parallel curved walls is a series of 8 photos that show 2 curves either facing the camera or facing away from it. The human is walking in between the two walls. In the pictures where the curves are facing away I feel scared to enter. When I see the curves that are open I feel curious to see what is around the corner.
Small-curved and 8ft high outside
Small-curved and 16ft high outside
Large-curved and 8ft high outside
Large-curved and 16ft high outside
Small-curved and 8ft high inside
Small-curved and 16ft high inside
Large-curved and 8ft high inside
Large-curved and 16ft high inside
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Category: #38 Entering a space between curved mirror walls_01 Entering a space between curved and mirrored walls is a group of 4 images that show different sized curves that are set parallel to each other. The human figure appears to be walking through the space in between the curves. When I look at these images I notice that as the walls get taller the more scared and hesitant I feel to walk through them.
Small-curved and 8ft height
Large-curved and 16ft height
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Small-curved and 16ft height
Large-curved and 8ft height
Category: #39 Entering a space between curved mirror walls_02 Entering a space between curved and mirrored walls is another series of 8 images that show to mirrored curves only this time the picture is taken at an angle. The human again appears to be walking through the curves. When I see these pictures I feel like my path is clear and that I should keep walking because I am curious about what is around the bend.
Small-curved and 8ft high with inside lighting
Small-curved and 8ft high with outside lighting
Small-curved and 16ft high with inside lighting
Small-curved and 16ft high with outside lighting
Large-curved and 8ft high with inside lighting
Large-curved and 8ft high with outside lighting
Large-curved and 16ft high with inside lighting
Large-curved and 16ft high with outside lighting
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Category: #40 One curved wall and one column One curved wall and one column is a set of 2 pictures where there is one column placed next to a wall and a column placed inside one of the curved walls. The human is walking in between the column and the curve. When I look at these pictures the column makes me want to stop walking because it distracts me from my path.
Entering a space between a column and curved wall outside
Entering a space between a column and curved wall inside
Category: #41 One curved wall and two columns One curved wall and two columns is a group of 3 pictures that show us a small curved wall with two parallel columns on each side. The human is standing inside the curved wall in one of the pictures and is walking outside of the curved wall in two of them. When I see these pictures I want to stop walking because the poles are making me feel like my path is obstructed.
Entering a space between a column of two horizontally aligned and curved wall outside
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Facing the outside of a curved wall with two horizontally aligned columns with insufficient space between them
Entering a space between a column of two vertically aligned and a curved wall outside
Category: #42 Role of a column between Curved and flat walls The role of a column between curved and flat walls is a group of pictures where two walls either curved or flat are placed close to each other and a column is in between the two either closer to the outside wall or the inside wall. The human is walking in between the column and the two walls. In all of these pictures I feel thrown off and confused as to why there is a column there. It is distracting to me.
Entering a space between two parallel curved walls, with a column in front of the outer curved wall
Entering a space between a faced flat wall and a curved wall, with a column in front of the flat wall
Entering a space between two parallel curved walls, with a column in front of the inner curved wall
Entering a space between a parallel flat wall and a curved wall, with a column in front of the flat wall
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Category: #43 Curved connection Curved connection is a series of images that show two connected walls that are slightly bent at different angles as the pictures continue. The human is just walking beside it. When the wall is opening up I feel excited because there could be something new beyond the wall.
Follow two flat walls that are connected at an angle of 60 degrees smoothly
Follow two flat walls that are connected at an angle of 150 degrees smoothly
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Follow two flat walls that are connected at an angle of 90 degrees smoothly
Follow two flat walls that are connected at an angle of 120 degrees smoothly
Category: #44 Curved wall and S-curve wall Curved wall and s curve wall is a group of 4 images that show an s curved wall and a curved wall making a tiny path. The human is meant to look like they are walking through this path. When I see these pictures I get super excited. The s curved wall makes this entrance feel magical and makes me want to follow it.
Curved wall and S-curve wall 8ft high with inside lighting
Curved wall and S-curve wall 8ft high with outside lighting
Curved wall and S-curve wall 16ft high with inside lighting
Curved wall and S-curve wall 16ft high with outside lighting
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Category: #45 1 point perspective pictures: Void on the upside Void on the upside is a very interesting group of 4 pictures that show us a hole in a ceiling letting in a certain shape of light. Right below the light the human is standing so they are lit from the top. When I see these pictures I feel like I am about to watch some sort of performance and I get excited.
A 4’x4’ square void with a height of 8ft
A 8’ diameter void with a height of 8ft
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A 8’x8’ square void with a height of 8ft
A 4’ diameter void with a height of 8ft
Category: #46 Void on the upside with columns or walls Void on the upside with columns or walls is another group of 4 pictures. These are similar to 45 because they have a hole in the ceiling which gives a specific light shape from above. There are also columns and walls placed around the human which is in the middle giving the space some structure. When I see these images I feel like I am in some very cool art galley or something because the lighting is very different.
A 8’x8’ square void with columns
A 8’x8’ square void with a facing wall
A 8’x8’ square void with a passing wall
View for A 4’x4’ square void with a flat wall aligned with one side and two columns aligned with the opposite side
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Category: #47 Void on the downside with columns or walls Void on the downside with columns or walls is a series of images that show a hole in the floor where light is coming out. In the hole columns and walls are placed. The human is standing on the edge of this hole. When I look at these photos I become excited to see what is in the hole but I am nervous because I don’t want to get too close.
A 8’x8’ square void with a facing wall and light from upper floor
A 8’x8’ square void with a facing wall and light from side
A 8’x8’ square void with a facing wall and light from lower floor
A 8’x8’ square void with a passing wall and light from side
A 8’x8’ square void with a passing wall and light from lower floor
A 8’ diameter void with light from lower floor
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Category: #48 Void on the upside with combinations of columns or walls Void on the upside with combinations of columns or walls was a personal section we did. I put together many different ways of a void with light coming in on the top with different walls and columns. The human I have appears to be walking around throughout the abstract rooms. When I look at these pictures I feel nervous because I feel like I am in the back rooms. the light coming from the top feels somewhat trippy.
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Category: #49 Void between Floating Surfaces Void between floating surfaces is another personal development of 5 pictures. In mine I chose a couple platforms and took similar pictures at different heights. My humans are standing on the platforms on the edges. When I look at these pictures I feel excited because the platform appears to be floating which is very intriguing to me.
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Category: #50 Void between curve-linear Surfaces Void between curve linear surfaces was a personal development based on category 51. The shape in my platform was similar to the shape of a hair comb or animal. I cut out this shape and placed two humans on it. I floated this piece in the air and put one human underneath it. When I see these pictures I am very intrigued because the shape in the board is so interesting.
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Scene #2
Category: #51 Void with a combination of Void with a combination of walls columns and voids was a very fun personal development. In my favorite picture I put a square void on top of 2 curved walls with 3 columns in the opening of the walls. I have my human placed at the back of this picture. When I look at this picture I feel fun because the structure is somewhat confusing but peaceful.
Scene #1
Scene #2
Category: #52 Curved vertical surface Curved vertical surface is a pair of 2 images that show a piece of paper that has been lifted to create a curve. The human is standing right in front of this paper. When I see this I feel excited because the curve makes me want to play on it.
A 4’wide
A 8’wide 51 543
Category: #53 Curved vertical surface with an upper floor Curved vertical surface with an upper surface is a group of pictures that show us a curved piece of paper that is vertical and a lifted surface. The human in these pictures is placed on top of and underneath the surface. When I see these picture I get very excited because the curve looks like a slide I can jump down.
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Scene #3
Category: #54 Curved vertical surface with a void Curved vertical surface with a void is a series of pictures that show us a vertical piece of paper that is curved going through a void in a lifted platform. The human is placed below the surface facing the curve or above the surface. In all of these pictures I want to go play on the curve because it looks like a slide.
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Category: #55 Facing Curved vertical surface Facing curved vertical surface is just a group of pictures that has a vertical piece of paper that is curved. The human is meant to be directly facing the curve. In this picture I feel like the way the curve is set up and the lighting makes it more eerie than the rest but I still feel comfortable around it.
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Category: #56 Hanging curved surfaces Hanging curved surfaces was a personal development where we were supposed to suspend curves in the air. The human appears to be walking through the curves. In these photos I took I feel very playful and almost like I walking through something magical.
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Category: #57 Surfaces with convexities and concavities Surfaces with convexities and concavities was another personal development piece we had to make. These images consisted of paper and curves that had voids of their own. The human is meant to be walking through these gaps in the curves. When I see these pictures I feel slightly more eerie than the others because the curves look more like caves or chasms.
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Scene #2
Category: #58 A sphere with a strong center and centripetal force A sphere with a strong center was a fun group of pictures that were meant to display solid circles and half circles in space. The human in these images is infront of the circles and is supposed to look like he is just looking. When I see these images I notice that the circle feels like a focal point and I feel the need to approach it.
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Category: #59 Surfaces that are twisted and free Surfaces that are twisted and free is a fun group of photos that show curves that are all twisted around in space. The human is sometimes in the twists and sometimes outside of the twists. When I see these twisted pictures I notice that I want to stay inside of them and continue to look at them because they feel cool and safe.
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L and r y Dula Port foli o 548
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What I learned...
Project #1 “Wall, Column, and Space” - The skillful art of scaling and proportions Project #2 “Hand Drawing” - How to draw perspectives properly so they appear correct Project #3 “Power of Patience” -Artists tend to tell stories within their art behind the big picture Project #4 “Space Cube” -Brainstorming and formulation of multiple drafts is key to success Project #5 “First Portfolio” -AI can generate just about any and everything you ask it to Overall -How to manage my time when given large amounts of work in a very short period of time If you could talk to you before these five weeks, what would you like to share with you? -It gets better, although you may have been thrown into the deep end you learned how to swim fast , and developed a lot of important skill
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Category #1: Facing surface
Throughout these ten photos, the environmental element is represented by the wall and it continuously changed in placement which eventually obstructed the view of the human. The changes in the wall’s placement gradually obstructed the humans view, however, if the human would have changed placement as well then their view may have not been obstructed. The movement of the wall made me feel as if I was being trapped now that I have to take more action and movement to go around and avoid having my view obstructed, although my original positioning was not obstructed.
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Category #2: Facing edge These ten photos represent a wall gradually moving in front of a human. The wall ends up right in front of the human but from its narrow side, allowing the human to still see down either side, only obstructing the direct forward view. The changes in the wall’s position made me feel a little bit of fear because of the very direct and very close narrow view of the wall splitting the view between each of my eyes.
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90 degree 5 551
Category #3: Blocking wall These photos represent a wall moving horizontally and blocking the figure standing still. The wall began to the left of the figure and then gradually moved directly in front of them and completely obstructed their view. This wall made me angry because it just slid directly in front of me and blocked my view, it didn’t change directions or angles so if it was just going to slide to the right why couldn’t it have just stayed where it was at?
Opened level 1
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Block level 1
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Category #4: Passing the blocking wall The photos give a mirage that a figure is walking past a wall when in reality the figure was still and the wall moved backwards. The wall began in the front left of the figure and gradually moved directly forward, ending slightly behind the figure. This makes me feel deceived because It appears that the figure is walking forward but in reality the wall is what changed positions.
Passing level 1
Passing level 2
Passing level 3
Passing level 4
Passing level 5
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Category #5: Aligned Wall Within these six photos, the wall appears to be moving from the far left of the figure, towards the right, and ending just slight left of the figure. The wall was obstructing the view of the far left of the figure originally and as it gradually moved right, it ended up obstructing the near sighted slightly left point of view rather than far left, allowing the figure to now see what was originally being obstructed. This makes me feel mad because the wall just keeps getting in the way of the line of sight of the figure.
Closed level 1
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Closed level 3
Category #6: Passing the aligned wall Throughout these six photos, the figure appears to be walking past the wall to the left of them and the perspective of the wall continues to change throughout. The wall begins off in the distance in front of the human figure and gradually moves closer until it is behind the figure. These photos make me feel happy because I enjoy the illusion that the human figure is walking past the wall when in reality the wall was moved for each photo.
Passing level 1
Passing level 2
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Passing level 4
Passing level 5
Passing level 6
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Category #7: Walls with different heights These 8 photos appear as If a wall is rising from the ground in front of the human figure, beginning out very short and then gradually obstructing the figures view completely. The wall slowly rises and getting taller until it is taller than the human. This makes me feel scared because if a wall were to suddenly rise from the ground in front of me I would be worried for it to happen under my feet and hurt me.
Wall with 1ft
Wall with 2ft
Wall with 3ft
Wall with 4ft
Wall with 5ft
Wall with 6ft
Wall with 7ft
Wall with 7ft
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Category #8: Floating and faced Wall Within these photos, a floating wall gradually rises in front of a human. It begins very close to the ground and completely obstructing the figures view and then slowly rises and views full view back to the human. This excites me because it reminds me of some sort surprise being revealed from behind the wall.
1ft high floating wall
2ft high floating wall
3ft high floating wall
4ft high floating wall
5ft high floating wall
6ft high floating wall
7ft high floating wall
8ft high floating wall
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Category #9: 8ft high floating and aligned wall The four photos in this category show a floating wall move from the left of a human to directly over the humans head. The walls getting closer to the human and hovering over them. This makes me feel scared because what if the floating wall were to fall when it was right over the humans head, it would not only crush them but possible split them in half right down the middle.
Alignment level 1
Alignment level 4
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Alignment level 2
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Category #10: 8ft high floating and faced wall These photos show a floating wall gradually move from the top left of the human figure, to right above them. The hovering wall is just slightly above the figure’s head the whole time as it moves left to center. These photos made me feel a little frightened because the wall could drop any second the figure would run right into it.
Overlap level 1
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Category #11: floating horizontal surface These eight photos in category eleven show a hovering horizontal surface. The surface moves from left of a figure to right above them. These photos make me feel excited because the hovering figure moved to be centered right over the figure as they walked under it, and it reminded me of someone walking down a red carpet, but in this case it is just hovering above instead.
Overlap level 1
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Category #12: Horizontal surfaces with different heights This category of photos shows a hovering square lower and then go underground. It begins hovering above and in front of the figure, and then goes under ground right in front of the figure as well. This makes me feel terrified because the hovering figure must be incredibly heavy to create a hole in the ground, and also makes me scared because what if someone were to accidentally fall into the dangerous hole, it is like an empty elevator well.
8ft high horizontal surface
7ft high horizontal surface
6ft high horizontal surface
5ft high horizontal surface
4ft high horizontal surface
3ft high horizontal surface
2ft high horizontal surface
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-1ft high horizontal surface
-2ft high horizontal surface
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-4ft high horizontal surface 15 561
Category #13: Wall surface with an incline These pictures display a floating wall gradually move from a wider acute angle to very acute, until it is at almost 0 degrees. As these angles change, the wall goes from being on the left of a human figure, to rising above them. This category of photos makes me feel safe because the wall’s changes are almost as if the figure is being protected or blocked by something, such as the sunlight.
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Category #14: Inclined wall Within these six photos, a wall is laying horizontally almost completely flush to the floor, and gradually rising to an almost right angle. The wall is to the left of the human and rises to eventually obstruct the left view of the figure completely. These pictures make me feel sad because of the obstruction of the figures view.
Inclined level 1
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Category #15: Floating wall surface facing edge with an incline This category shows a horizontally floating figure rise at nearly a ninety-degree angle and become vertical. The wall beings on the left of the human being and gradually rises from the furthest left side, and ends vertically above the humans head. This makes me feel mad because the wall surface appeared to have more use as a horizontal being, such as a chair or table, where as now as a vertical, tall, hovering wall, it is useless to the human.
Inclined level 1
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Category #16: Inclined surface to a facing wall These photos display a downward facing ramp rise and become a ninety-degree wall. The surface’s tall side begins behind the human as a ramp that only goes to the height of their shoulders, and then gradually rises and becomes a vertical wall nearly double the height of the human. This makes me feel tired because it appears as though the figure was holding up the ramp in the beginning or may have even been the reason it became completely vertical.
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Category: #17 Inclined ramp to facing wall The nine photos displayed show a upward facing ramp rise and turn into a ninety-degree, vertical facing wall. The ramp begins upward facing toward the human as if they are about to walk up it, and gradually rises from the taller end, into a very tall wall. These changes shown within these photos make me feel sad because the ramp could have been useful to a lot of people (ex. Handicap) and now is nearly useless as a very narrow vertical wall.
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Category: #18 One Column Within just these two images, the environmental changes seem to occur in the angle at which the photo is being taken. The first photo shows a figure walking toward a column that appears to be in front of the figure and right, but when the second angle is shown, the figure seems to be walking right toward the column directly as if he were to run into it if he got close enough. This category makes me really consider and question the power of angles and perspective because if we were only ever shown the second photo, we would think the human was in a line with the column when in reality he would even touch it when walking past it, which just proves the power of angles, perspective, and camera work.
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Side
Category: #19 Two Columns The changes in this category occur with the direction that the figure is walking and how the columns appear to be spaced with a new angle. The columns in the first photo are out in front, and on either side of the figure in a horizontal line but in the second photo the human has both columns out in front of them on their right side in what is now a vertical line. This makes me feel scared like there was something there that the figure was not supposed to walk into which is why they began walking toward but instead, walked along side of it.
Vertical
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Category: #20 Three Columns These photos show three columns aligned vertically and then split on either side of the figure. In the first photos, the three vertically aligned columns are to the right of the man and he is walking in the same direction that they continue in, and in the second photo, it appears as though the first and last column in the line have remained vertically in the same place, but moved horizontally to the left side of the figure. The changes in these photos make me feel guided because the columns moved and created a path for the figure to walk in between rather than side of, guiding the figure on the right path.
Vertical
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Category: #21 Four Columns Within this category of only just two photos, the columns begin in a wide square like shape and change into a very narrow rectangle. The first square is wide with a figure in the center who has at least two full arms-width length from pole to pole, but when it becomes narrow, it begins to close the figure out and shift forward, and the figure now would touch each pole with their own arms-width. This makes me claustrophobic because in the first photo there was already a decently small enclosed space and then in the second the space became much smaller with the figure still inside, would it have kept shrinking if the photos continued?
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Narrow
Category: #22 One Wall and One Column Throughout the six photos in the category, the wall appears to remain in the same space and the photos seem to group off into twos. Photo one and two, the wall is to the left of the figure and the column begins on the right side of the figure, far out in front of them set up similar to a hallway, in photo two the wall remains the same, and the column is horizontally in the same position but is vertically much closer to the figure now. In photos three and four, three is similar to the previous photos but the column has moved once again and is right in between where it was placed in one and two. In photo four, the wall again has remined the same, and the column is vertically in the same position but this time moved horizontally to the right of the figure, making their path wider than before. Photo five is comparable in positioning to photo three, however the only difference is the horizontal movement of the column toward the wall, leaving both the wall and column to the left of the figure. Photo six the objects did not change much from five other than horizontal movement to the left, further away from the object. Photo seven is similar to photo four in width of the pathway but the column is vertically further away from the figure and in photo eight, the objects are again in the same horizontal position as seven, but the column moved vertically and is now closer to the figure. All of these changed made me feel very overwhelmed because the figure was just trying to walk straight forward and all of the movement was very confusing and difficult to see the objective of it.
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Category: #23 One Wall and two Columns The objects changes throughout these three photos always result in something for the figure to walk through. First it was two vertically aligned columns right of the figure, and a vertically aligned wall left of the figure to second, the columns in the same place and the wall now horizontal, still leaving a path like space for the figure to walk through, and the third shows two horizontally aligned columns on either side of the figure and a horizontally aligned wall behind the columns and right of the figure for the figure to walk through on the left. These changes make me feel safe in the sense that the figure is always being guided on some sort of path with spaces to walk through wherever they may be going.
Condition 1: aligned wall and vertically aligned columns
Condition 2: facing wall and vertically aligned columns
Condition 3: facing wall and horizontally aligned columns
Category: #24 Two Walls and two Columns The changes in category twenty-four are sown in the angle that the photo is being taken, originally cropping out one of the columns and eventually then including it all. The first photo shows a figure walking down a hallway like path, with a vertical wall to his left, two horizontally aligned columns to the right, and a horizontally aligned wall centered behind the two columns with another figure centered in front of the wall in between the columns. The second photo is from a second angle, not centered on the figure in between the horizontal columns, with everything still in the same position. This makes me feel nervous because it is almost as if the second figure that is in between the columns and centered in the second photo is on display, and I am very shy therefore these photos make me nervous.
Columns aligned vertically with perpendicular walls
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Columns aligned horizontally with perpendicular walls
Category: #25 Two Walls and two Columns with two lighting conditions_01 The environmental changes are a combination of physical and lighting shifts. The photos are grouped in twos, beginning with two vertically aligned columns to the left of a figure, a wall vertically aligned with the columns to the right of the figure, and another wall horizontal in front of the figure obstructing their view, with a space in between the vertical wall which is shown in photo two with lighting, so they are still able to turn right if they want. Photo three, the walls remain in the same positioning as photos one and two and the columns are vertically as well, but horizontally shifted right next to the wall and are now on the right side of the figure. Photo four the objects are the same, but the lighting shows the gab in between the two walls on the right. Photo five is the same as photo three but the horizontal wall has shifted slightly left and the vertical wall shifted back creating a larger open space between the two walls, shown in photo six with lighting. This makes me feel intrigued because if it weren’t for the lighting photos I would have never have been able to see the gap in the walls and the movement in the last two photos but the lighting change showed that.
Walking between vertically aligned columns and perpendicular walls with lighting behind Figure
Walking between vertically aligned columns and perpendicular walls with lighting behind wall
Walking beside vertically aligned columns and perpendicular walls with lighting behind Figure
Walking beside vertically aligned columns and perpendicular walls with lighting behind wall
Walking beside vertically aligned columns and extended perpendicular walls with lighting behind Figure
Walking beside vertically aligned columns and extended perpendicular walls with lighting behind wall
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Category: #26 Two Walls and two Columns with two lighting conditions_02 In photos one and two horizontally aligned walls vertically staggered and two horizontally aligned columns are in front of the walls, on either side of the figure then in photos three and four the columns become vertically aligned on the left of the figure. The walls appear to be obstructing the figure from continuing forward but the lighting in photo two shows the stagger and that there is actually a space for the figure to go forward, and in photo three, the only change was in the placement of the columns, now on the left side of the figure, and again the stagger and space to continue forward in between the walls is shown with lighting in photo four. These changes make me not really feel anything in particular, the figure was still able to continue their path and was not obstructed by anything, the movement of the columns had no effect.
Passing horizontally aligned columns to enter the space between two walls with lighting behind Figure
Passing vertically aligned columns to enter the space between two walls with lighting from the inside space
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Passing horizontally aligned columns to enter the space between two walls with lighting from the inside space
Passing vertically aligned columns to enter the space between two walls with lighting behind Figure
Category: #27 Two Walls and two Columns with two lighting conditions_03 Two columns and two walls that continue to shift around the figure as they are walking and two lightings to help display the positioning better. The first two photos have vertically aligned columns to the left of a figure and two staggered horizontally aligned walls with a gap for the figure to walk through. Photos three and four are the same as one and two but the furthest wall has shifter left and the closer wall shifted forward and slightly right. Photos five and six, the wall on the left shifted forward and the wall on the right shifted backwards, switching the stagger order from the were in the previous photos and the columns are now horizontally aligned on either side of the figure and the left column is slightly behind the left wall, and the right one is in front of the right wall. These changes and different lighting photos make me feel like a lot more movement went on than what actually happened.
Passing vertically aligned columns to pass a narrow opening between two walls with lighting behind Figure
Passing vertically aligned columns to pass a narrow opening between two walls with lighting from the inside space
Passing vertically aligned columns to pass an intermediate opening between two walls with lighting behind Figure
Passing vertically aligned columns to pass an intermediate opening between two walls with lighting from the inside space
Passing horizontally aligned columns to pass a wide opening between two walls with lighting behind Figure
Passing horizontally aligned columns to pass a wide opening between two walls with lighting from the inside space
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Category: #28 Vertically aligned Two Walls and two Columns Two walls and two columns with a gap for the figure to walk in between. The first photo shows two vertically aligned columns on either side of the figure with two vertically aligned columns on the right of the figure. In photo two the walls have shifted creating a larger gap and the columns are now horizontally aligned to the right of the furthest wall on either side of the figure. This makes me feel happy that the changes became wider than they started out because I don’t like tight spaces.
Between walls, walking
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Between columns, walking
Category: #29 Space composed with 5+ columns and 2 walls Five columns and two walls set up like an obstacle for the figure to navigate through all of them. Three of the columns are vertically aligned as is the taller wall, but the wall is further left horizontally. The other two columns are just right of the tall wall, in between the vertically aligned columns and they are angled diagonal, resulting in the top two columns being horizontally aligned with one another as well as the shorter wall which is vertically lower and to the right. The figure begins walking in between the first two of the three vertically aligned columns and then goes back right in between the second and third vertically aligned columns. This makes me feel scared because it is similar to a maze and what if the figure were to have gotten lost or stranded in the middle of it trto ying to determine which direction they wanted to go.
Top view of the space composed
Sequence phase #1
Sequence phase #2
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Category: #30 Faced wall with Connected wall Two connected walls begin at a 90 degree angle and end up in a line at 270 degrees. The wall begins in front of the figure with the 90 degrees facing the other direction and gradually opens up right, becoming a straight singular wall in front of the figure. This makes me a bit frightened because what if the wall had continued shifting, would it have eventually hit the figure standing still?
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Category: #31 Aligned wall with Connected wall This category is similar to the previous in the aspect of small angle becoming 270 degrees with two connected walls. But this category the figure begins on the inside of the angle with direct sight to the acute 10 degree it began at, as it gradually opened to the left and right until it was vertically 270 degrees to the left of the figure. These changes made me feel satisfied seeing what looks like a tiny set of walls turn into a very large very long singular wall.
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Category: #32 Facing the connected edge of two walls This category is two walls connected beginning at 10 degrees that open up and become a straight singular 270 degree wall. This category is the exact same as the previous on however, the figure is now positioned on the outside of the angle rather than the inside. These changes made me feel satisfied seeing what looks like a tiny set of walls turn into a very large very long singular wall.
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34 580
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Category: #33 Three connected walls Three walls set up at 90 degrees each, with figures inside like a room. The first photo is three walls with the horizontal facing wall wide and the second photo has a narrower horizontal wall. This scared me because the room gets smaller and more in-closed which makes me feel trapped.
Wide-facing wall with two wings
Narrow-facing wall with two wings
Category: #34 Curved wall inside One curved wall curving toward the camera. The curved wall is a half circle surrounding the figure and begins small and gradually gets wider and taller. These changes make me feel intimidated because as what began as a safe half circle that just barely surrounded the human became an enormous and overwhelming wall in front of them.
Small-curved and 8ft height
Large-curved and 16ft height 36 582
Small-curved and 16ft height
Large-curved and 8ft height
Category: #35 Curved wall outside A curved wall curving away from the human and different lighting systems. The wall begins as a small round cylinder like shape with the figure right in front of it and eventually becomes a much larger curved cylinder with lots of lighting changes and different angles showing the human both centered in front of it and to the left. This makes me feel excited because the growing cylinder reminds me of a concert stage.
Facing Small-curved and 8ft height
Passing Small-curved and 8ft height
Facing Small-curved and 16ft height
Passing Small-curved and 16ft height
Facing Large-curved and 8ft height
Passing Large-curved and 8ft height
Facing Large-curved and 16ft height
Passing Large-curved and 16ft height
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Category: #36 Curved Walls and Flat Walls A horizontal straight wall and a curved wall in front of it appearing originally as a cylinder and then becoming a half circle as the angles change. The figure walks toward the straight wall and turns right after he passes the cylinder only to find the cylinder is half open with another figure inside. These changes make me happy because the scene began dark and lonely and resulted bright with another figure in the photo.
Facing a flat wall (8fh height) while passing a curved wall (8fh height)
Entering a space between a flat wall (8fh height) and a closed-curved wall (8fh height)
Entering a space between a flat wall (8fh height) and an opened-curved wall (8fh height)
Your coordination in height and openness.
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Entering a space between a flat wall (8fh height) and a half opened-curved wall (8fh height)
Category: #37 Entering into a space between Parallel Curved Walls A figure is entering a space between two curved walls and one appears to be a completely round cylinder and lighting changes. In the first two photos as the man is walking through the hallway like path left to right, the walls get taller and in the last two photos as the man is walking right to left toward his path, there is another figure in front of the first wall that is only a half circle, then the walls get taller. This makes ne feel amused because although the figure is getting closer to his path as the photos go on, the walls are getting bigger and not smaller.
Small-curved and 8ft high outside
Small-curved and 16ft high outside
Large-curved and 8ft high outside
Large-curved and 16ft high outside
Small-curved and 8ft high inside
Small-curved and 16ft high inside
Large-curved and 8ft high inside
Large-curved and 16ft high inside
39 585
Category: #38 Entering a space between curved mirror walls_01 A figure is walking directly forward in between two curved walls and the small space in between gradually gets smaller and the walls get taller. The walls begin a safe distance apart from another with plenty of space for the figure to fit through and gradually get closer until it is a tight squeeze for the figure to fit through. This makes me feel scared for the figure because I don’t want them to get squished in between the two walls.
Small-curved and 8ft height
Large-curved and 16ft height
40 586
Small-curved and 16ft height
Large-curved and 8ft height
Category: #39 Entering a space between curved mirror walls_02 Two curved walls staggered and a figure is trying to walk through as they gradually get taller. The man begins walking forward toward the gap and eventually turns to his right to go through the small space shown by the lighting changes. These changes make me feel relieved because in the first photo it appeared as though the figure was going to walk straight into the wall until I saw the other lighting change and it showed the path the figure could walk through.
Small-curved and 8ft high with inside lighting
Small-curved and 8ft high with outside lighting
Small-curved and 16ft high with inside lighting
Small-curved and 16ft high with outside lighting
Large-curved and 8ft high with inside lighting
Large-curved and 8ft high with outside lighting
Large-curved and 16ft high with inside lighting
Large-curved and 16ft high with outside lighting
41 587
Category: #40 One curved wall and one column These photos consist of a white column and a curved wall and lighting changes. The wall begins to the right of the figure, curving away from the figure and appears as a cylinder and the column to the left of the figure creating a path for them to walk through then in the second photo, the curved wall becomes a half circle beginning on the left of the figure and going right, with the column on the right, still creating a path to walk through. These changes make me dizzy because I can just picture the figure constantly walking in circles from where they began, and where they ended.
Entering a space between a column and curved wall outside
Entering a space between a column and curved wall inside
Category: #41 One curved wall and two columns These three photos have two columns and a curved wall, with two different figures. The images begin as a woman standing in front of a cylinder with columns on either side, and a man walking in the opposite direction she is facing on her left, in between the wall and column and then the other two photos focus on the woman alone, and the man walking alone, both still in those same positions. This makes me feel nothing in particular because nothing really changed throughout these photos just the angles.
Entering a space between a column of two horizontally aligned and curved wall outside
42 588
Facing the outside of a curved wall with two horizontally aligned columns with insufficient space between them
Entering a space between a column of two vertically aligned and a curved wall outside
Category: #42 Role of a column between Curved and flat walls Two curved walls and one straight wall and a column. A man begins walking in a loop like hall highlighted with lighting and a column to his left, to having a straight wall obstruct him, and back to the curved hall with the column now on his right. These changes confuse me because I don’t understand the reasoning for including the straight wall photos in this category.
Entering a space between two parallel curved walls, with a column in front of the outer curved wall
Entering a space between a faced flat wall and a curved wall, with a column in front of the flat wall
Entering a space between two parallel curved walls, with a column in front of the inner curved wall
Entering a space between a parallel flat wall and a curved wall, with a column in front of the flat wall
43 589
Category: #43 Curved connection There is one long curved wall in this category that slightly curves in toward the figure. The figure is walking along side of the curvature to their left and progressively gets closer to the end shown by the lighting. The changes in this category make me feel safe as the wall guides the figure in the right direction.
Follow two flat walls that are connected at an angle of 60 degrees smoothly
Follow two flat walls that are connected at an angle of 150 degrees smoothly
44 590
Follow two flat walls that are connected at an angle of 90 degrees smoothly
Follow two flat walls that are connected at an angle of 120 degrees smoothly
Category: #44 Curved wall and S-curve wall This category has two different types of curved walls next to one another creating a tunnel like path way with lighting systems to direct where the end of the tunnel is. The figure is walking through a hall in the beginning with short walls and in the end photos of the category the walls become much taller. These changes really intrigue me and make me question if the figure was walking downhill while going through the tunnel for the walls to become so large.
Curved wall and S-curve wall 8ft high with inside lighting
Curved wall and S-curve wall 8ft high with outside lighting
Curved wall and S-curve wall 16ft high with inside lighting
Curved wall and S-curve wall 16ft high with outside lighting
45 591
Category: #45 1 point perspective pictures: Void on the upside These photos displayed shadows and lighting with cutout void surfaces as ceilings. Throughout the photos, different shapes and sizes of shapes are used upside the figure creating shadows and highlights of the specific shape on the figure. These different changes interested me because I enjoyed being able to play around with the lighting and learn and discovery how to accomplish these photos and learning how it works in the process.
A 4’x4’ square void with a height of 8ft
A 8’ diameter void with a height of 8ft
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A 8’x8’ square void with a height of 8ft
A 4’ diameter void with a height of 8ft
Category: #46 Void on the upside with columns or walls Throughout category 46, many different materials were used to create different sequence showing lighting and creating scenes. The figures were placed in different scenes with both columns, walls and void surfaces with cutouts showing the figures walking through the spaces from many different angles. This made me feel frustrated because the process of figuring out how to get everything into place and how to get it to properly stay in such a small enclosed space was difficult be rewarding.
A 8’x8’ square void with columns
A 8’x8’ square void with a facing wall
A 8’x8’ square void with a passing wall
View for A 4’x4’ square void with a flat wall aligned with one side and two columns aligned with the opposite side
47 593
Category: #47 Void on the downside with columns or walls There is a combination of voids and walls as well as lighting uses to demonstrate the shapes in the voids. The photos show a figure voided between a floating ceiling and a partial wall from multiple angles with different lightings and eventually shows only a voided circle upside shown by a shadow. These changes make me scared because the figure is standing between two floating objects, where the base has a cutout which the figure could easily fall far down through.
A 8’x8’ square void with a facing wall and light from upper floor
A 8’x8’ square void with a facing wall and light from side
A 8’x8’ square void with a facing wall and light from lower floor
A 8’x8’ square void with a passing wall and light from side
A 8’x8’ square void with a passing wall and light from lower floor
A 8’ diameter void with light from lower floor
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Category: #48 Void on the upside with combinations of columns or walls I used a combination of four columns and many different size walls to create stairs, an enclosed space, and a voided ceiling. The angles of the photos in this scene consistently change as well as the positioning of the figures and the cutout shape of the voided ceiling which is shown through lighting with shadows. These changes make me feel inspired because the scene and changes throughout the photos look like the figures are walking around some type of museum and stopping to admire different pieces.
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Category: #49 Void between Floating Surfaces I used a combination of two floating ceilings with cutouts of different shapes to void the figures from he upside. The figures begin all very separated and gradually come closer and closer together under this void, showing the shaped of the ceiling cutouts with shadows using lighting. These changes make me feel happy that the figures came closer together rather than staying distanced between one another.
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Category: #50 Void between curve-linear Surfaces In this category, I found negative space from one of the photos in category fifty one and I cutout the shape of said negative space and voided figures from the upside. This category shows multiple perspectives and lighting differences as the figures are placed underneath. This category makes me feel confused. Although the only real changes was the angles and lighting, those factors continued to make the size of the scene constantly change.
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Category: #51 Void with a combination of I used a combination of columns, curved walls, straight walls and floating surfaces to void the figures from the upside. The changes occurred within the angles of the photos and gradually got a closer and closer view of the figures that were sitting and walking on the bridge like ramp. These changes mad me sad because the way the angle got closer to the figure sitting alone on the bridge make it look like they were upset, therefore i feel upset because they look upset.
Scene #1
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Category: #52 Curved vertical surface This category used different widths of paper to create a ramp like, curved vertical surface. The changes throughout this environment occur in the width of the paper making the figure appear wither larger or smaller.
A 4’wide
A 8’wide 51 597
Category: #53 Curved vertical surface with an upper floor I used a floating surface as the floor for my figure and used various sizes of paper to curve around the scene. The changes throughout this category occur within the coverage of the figure and how the curved vertical surface begins but completely covering the figure and gradually results in my overhead coverage just as a figure looking at the curved surface in front of them. These changes make me feel powerful because the curvature that was once covering and protecting the figure is no longer needed and is not out in front of the figure, and they are admiring its presence but no longer need it.
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Category: #54 Curved vertical surface with a void This category contains an overhead void with a shape cutout and a curved piece of paper going through the cutout reaching from the floor to above the void. The changes that occurred in this category are within the angles of the photos and the lighting. These changes made me feel calm because there was not very much change within and I never felt overwhelmed.
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Category: #55 Facing Curved vertical surface In this category, I used twisted paper to create the vertical surface. The changes occur within the angles of the photos and the lighting to show the true size of the vertical surface and how the figures are admiring it. These changes made me feel empowered because the figures are truly invested in this object as if it is a sculpture and it shows in the photos of them together and admiring individually as well.
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Category: #56 Hanging curved surfaces For my hanging curved surfaces I used three pieces of paper all rolled up and connected to one another. The changes occur in within the angles of the photos and the lighting as well as the height of the hanging surfaces, which slowing and gradually lowered all the way to the ground to allow for the figures to climb in them if they so choose. These changes make me feel proud and happy that the surfaces lower and raise to allow for interaction from humans.
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Category: #57 Surfaces with convexities and concavities I used multiple pieces of paper to curve and create convexities and concavities for the two figures in the photo. The first photo shows both figures in front of and inside of the cave and the second focuses on the figure who is about to walk into the cave and shows the true depth of the cave with lighting. I really enjoyed these changes and felt appreciative of them because it also allowed me to see the depth of the cave that wasn’t shown at first.
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Category: #58 A sphere with a strong center and centripetal force I used a sphere, curved walls and an overhead voided surface throughout this category to create different photos that all had a sphere as the strong center. The sphere begins whole and sitting on top of the floor and results in being raised by the floor inside a floating void surface. These changes made me scared because what was the floor emerged and became a floating object.
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Category: #59 Surfaces that are twisted and free Paragraph
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Ha ley Eargle Port foli o 602
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What I learned...
Project #1 “Wall, Column, and Space” - Throught the first project, I learned the basics. This included properly cutting foam board, arranging scenes, implementing lighting, photographing small scaled models, and creating unique scenes of my own. Learning the very basic skills meanwhile using my own creativity was a new and fun start to this program. Project #2 “Hand Drawing” - Hand drawing througout the semester improved my eye to pencil coordination. I was able to observe an object or space and grew my ability to recognize how the space can be portayed on a sheet of paper. Learning to draw more expressively and freely allowed my to expand my creativity within the drawing in the semester. Implementing not only observation but emotion and senses in to my drawings made me a more observant artist. Learning the way color, value and saturation affect spaces grew my awarness to the elements around me. Project #3 “Power of Patience” - Growing my ability to look at a painting and learn that within time there is always more you can learn the more you observe throught time. The more I looked at the painting over a large span of time, the more I began noticing details I woudnt have noticed prior to this project. Project #4 “Space Cube” - This project grew my creativity as well as learning how a space functions. Using an emotion to be the center of my work taught me how to be more in tune with my creativity within bounds. This project improved my craftmansip when creating models and floorplans. Creating cement and plaster models allowed me to learn a completely new skill of utilizing many different materials. Project #5 “First Portfolio” - Creating my first porfolio taught me how much I can do and learn in such a small period of time as well as learning how to compile all of my work. Learning to utilize AI within my creations opened my eyes to how much I can do with as simple as a hand drawing of a window. Overall - Overall, I learned so much within 5 weeks and what I beleive to be my biggest accomplishment within my learning journey is how much I am capable of doing and learning. I am beyond excited to continue learning. If you could talk to you before these five weeks, what would you like to share with you? - If I could talk to myself prior to these five weeks, I would like to share how fast time flies when I am enjoying the work I am doing. Despite the lack of sleep and high stress, the validation received from completing so much interesting work is worth it all.
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Category #1: Facing surface The ten photographs illustrate how the angle of the wall facing the human figure gradually changes at 10-degree increments that results in the gradual obstruction of the human figure. As the angle changes from 0 to 90 degrees, the human figure becomes increasingly obstructed as it moves more into the frame of the wall. At 10 degrees, I could see and move forward, but as the wall angled more sharply (20-30 degrees), I began to feel a small need to move to the right. By 40-50 degrees, the obstruction made me feel the need to make a big adjustment to the right. At 60-70 degrees, the wall created a large barrier, causing feelings of restriction. Finally, at 80-90 degrees, the wall completely blocked my way, leaving me feeling unable to move forward.
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Category #2: Facing edge The ten photographs illustrate how the angle of the wall facing the human figure gradually changes at 10-degree increments that results in the gradual slight obstruction of the human figure. As the angle changes from 0 to 90 degrees, the human figure becomes differently obstructed as it moves away from the edge of the wall. At 10 degrees, I could barely move forward yet could move left and right, but as the wall angled more sharply (20-30 degrees), I began to feel a small need to move to the right. By 40-50 degrees, the obstruction made me feel the need to make a move to the right. At 60-70 degrees, the wall opened space, causing feelings of majority freedom. Finally, at 80-90 degrees, the wall was completely out of my way, leaving me feeling completely able to move forward.
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Category #3: Blocking wall The 11 photographs illustrate how the wall initially provides an open path for the human figure in the first four images and then gradually slides to the right, closing the space. First, the wall’s position allows the human figure to move freely. As the wall begins to move rightwards, the figure becomes increasingly obstructed. By the fourth image, the wall still partially allows movement, but the path starts to narrow. In the next images, as the wall continues to slide right, I began to feel a growing feeling of restriction. By the 7th-8th image, the obstruction became more significant, forcing me to make a large adjustment to the left. Finally, in images 10-11, the wall had moved far enough to completely block the path, making me feel entirely unable to move forward.
Opened level 1
Opened level 2
Opened level 3
Opened level 4
Block level 1
Block level 2
Block level 3
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Block level 5
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Category #4: Passing the blocking wall The five photographs illustrate a human figure walking past the thin part of a wall on the left. In the first image, the wall is distant, allowing the figure to walk freely with ample space. As the human figure continues walking, the wall begins to move closer in the second image, slightly narrowing the left side. By the third image, the wall is creating a noticeable obstruction that forces the figure to adjust their path to the right. In the fourth image, the proximity of the wall decreases. Finally, in the fifth image the human figure can move freely again after completely passing the wall.
Passing level 1
Passing level 2
Passing level 3
Passing level 4
Passing level 5
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Category #5: Aligned Wall The five photographs illustrate a human figure moving into the obstruction of the edge of the wall. In the first image, the wall is distant, allowing the figure to walk freely with ample space. As the the wall begins to move closer in the second and third image it slightly narrows the left side. Finally, in the fifth image the human figure can no longer move forward and can only move left or right.
Closed level 1
Closed level 2
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Closed level 3
Category #6 : P assing the aligned wall The six photographs illustrate a human figure walking past a wall on the le . n the first image, the wall is distant, allowing the figure to walk freely with ample space. s the human figure continues walking, the wall begins to move closer in the second image, slightly narrowing the le side. y the third image, the wall is creating a noticeable obstruction that forces the figure to adjust their path to the right. n the fourth image, the proximity of the wall causes a significant restriction, making the figure appear to only be able to move to the le . inally, in the fi h image the human figure can move freely again a er completely passing the wall.
P a s s i ng l ev el 1
P a s s i ng l ev el 2
P a s s i ng l ev el 3
P a s s i ng l ev el 4
P a s s i ng l ev el 5
P a s s i ng l ev el 6
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Category #7: Walls with different heights 8 photographs illustrate how the height of the wall facing the human figure gradually increases by one-foot increments, resulting in the gradual obstruction of the human figure. As the wall grows taller from 1 to 8 feet, the human figure becomes increasingly obstructed by the wall. At 1 foot, I felt open and unrestricted, but as the wall grew to 4 feet, I began to feel a slight sense of restriction. By 6 feet, the wall’s height made me feel partially confined. At 7 feet, the wall’s presence caused a significant sense of restriction, and finally, at 8 feet, I felt completely enclosed and unable to move forward freely.
Wall with 1ft
Wall with 2ft
Wall with 3ft
Wall with 4ft
Wall with 5ft
Wall with 6ft
Wall with 7ft
Wall with 7ft
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Category #8: Floating and faced Wall
Eight photographs illustrate how the wall facing the human figure gradually moves up and out of the way, creating an open path over an 8-foot distance. As the wall lifts and moves out of the way, the human figure becomes progressively less obstructed and more visible. Initially, with the wall in place, I felt completely blocked and unable to move forward. As the wall started to lift, I began to feel a slight sense of relief. With the further the wall moved up, the path became clearer, and I felt more free to proceed if I ducked down. By the time the wall was fully out of the way at 8 feet high, I felt entirely able to move forward.
1ft high floating wall
2ft high floating wall
3ft high floating wall
4ft high floating wall
5ft high floating wall
6ft high floating wall
7ft high floating wall
8ft high floating wall
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Category #9: 8ft high floating and aligned wall Four photographs illustrate how the wall above the human figure gradually grows closer, resulting in a small obstruction of the human figure. As the walls change, the human figure becomes gradually obstructed. I had the possibility of moving forward before the wall moved right above me, but as the wall gradually moved closer, I felt like I had to dodge to the right, and then the wall was completely over me and I felt unable to move forward without ducking a little or moving left or right.
Alignment level 1
Alignment level 4
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Alignment level 2
Alignment level 3
Category #10: 8ft high floating and faced wall Eight photographs illustrate how the wall above the human figure gradually grows closer, resulting in a small obstruction of the human figure. As the walls change, the human figure becomes gradually obstructed. I had the possibility of moving forward before the wall moved right above me (images 1-4), but as the wall gradually moved closer, I felt like I had to dodge the wall and duck down. Then, the wall was completely over me and I felt unable to move forward without ducking a little.
Overlap level 1
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Overlap level 3
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Overlap level 8
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Category #11: floating horizontal surface Eight photographs illustrate how the horizontal wall above the human figure gradually grows closer, resulting in a small obstruction of the human figure. As the walls change, the human figure becomes gradually obstructed. I had the possibility of moving forward before the wall moved right above me, but as the wall gradually moved closer, I felt slight restriction above me and the need to duck down.
Overlap level 1
Overlap level 2
Overlap level 3
Overlap level 4
Overlap level 5
Overlap level 6
Overlap level 7
Overlap level 8
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Category #12: Horizontal surfaces with different heights Twelve photographs illustrate how the platform the human figure standing on with a 4-foot hole gradually rises from the ground, resulting in a small obstruction of the human figure. As the platform rises, the human figure becomes gradually in and out of obstruction. When the hole was at negative levels, there was obstruction not allowing me to move forward with fear of falling in. I had the possibility of moving forward before the wall moved right in front of me, but as the wall gradually moved from the ground at 3-4 feet, I felt like I was restricted and unable to move forward. The wall was moving over me and then caused the fear again of falling in to the hole.
8ft high horizontal surface
7ft high horizontal surface
6ft high horizontal surface
5ft high horizontal surface
4ft high horizontal surface
3ft high horizontal surface
2ft high horizontal surface
1ft high horizontal surface
-1ft high horizontal surface
-2ft high horizontal surface
-3ft high horizontal surface
-4ft high horizontal surface 15 615
Category #13: Wall surface with an incline 8 photographs illustrate how the wall above the human figure moves at an angle, resulting in a small obstruction of the human figure. As the walls change, the human figure becomes gradually slightly obstructed. I had the possibility of moving forward before the wall moved to angles 80-70, but as the wall gradually moved closer, I felt like I had to dodge to the right, and then the wall was completely over me and I felt less restricted to the left yet to move forward needed to duck a little.
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Category #14: Inclined wall Four photographs illustrate how the edge of a wall on the left of the human figure gradually grows closer at an angle, resulting in a small obstruction of the human figure. As the walls change, the human figure becomes gradually obstructed. I had the possibility of moving forward the entire time, but as the wall gradually moved closer, I felt like I had to dodge to the right or duck as it slowly grew closer.
Inclined level 1
Inclined level 2
Inclined level 3
Inclined level 4
Inclined level 5
Inclined level 6
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Category #15: Floating wall surface facing edge with an incline 6 photographs illustrate how the wall on the left of the human figure gradually grows closer at an angle, resulting in a small obstruction of the human figure. As the walls change, the human figure becomes gradually obstructed. I had the possibility of moving forward the entire time, but as the wall gradually moved closer, I felt like I had to dodge to the right as it slowly grew closer.
Inclined level 1
Inclined level 2
Inclined level 3
Inclined level 4
Inclined level 5
Inclined level 6
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Category #16: Inclined surface to a facing wall 9 photographs illustrate how the wall in front the human figure gradually rises at an angle, resulting in obstruction of the human figure. As the walls change, the human figure becomes gradually obstructed. I never had the possibility of moving forward, but as the wall moved at an angle right in front of me, I felt like I had less of an opportunity for any visibility forward, and then the wall was completely in front of me and I felt unable to move forward and see.
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Category: #17 Inclined ramp to facing wall 9 photographs illustrate how the wall in front the human figure gradually grows closer, resulting in obstruction of the human figure. As the walls change, the human figure becomes gradually obstructed. I had the possibility of moving forward up the ramp before the wall moved at an angle right in front of me, but as the wall gradually moved closer, I felt like I had less of an opportunity to walk up the ramp, and then the wall was completely in front of me and I felt unable to move forward.
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Category: #18 One Column The two photos capture how the one column appears next to the human figure from front and side angles. As the angles change, it illustrates what the column can appear like at different sides. I had the possibility of moving forward the entire time yet the front photo appears to make me need to make a shift to the left to avoid the pole.
Front
Side
Category: #19 Two Columns The two photos capture how the two columns appear next to the human figure from horizontal and vertical angles. As the angles change, it illustrates what the columns can appear like at different spots. I had the possibility of moving forward during the horizontal example but obstruction to my right on the vertical example.
Vertical
Horizontal
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Category: #20 Three Columns The two photos capture how the three columns appear next to the human figure from horizontal and vertical angles. As the angles change, it illustrates what the columns can appear like at different spots. I had the possibility of moving forward during the vertical example but an obstruction to my right from the poles left me feeling constricted. The horizontal example left all three poles obstructing my path with little to no room to dodge them.
Vertical
Horizontal
Category: #21 Four Columns The two photos capture how the four columns appear next to the human figure from wide and narrow column arrangements. As the arrangements change, it illustrates what the columns can appear like at different spots. I had the possibility of moving forward during the wide example but the narrow example I felt more restricted.
Wide
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Narrow
Category: #22 One Wall and One Column The eight photos capture how the walls and columns appear next to the human figure from different placements. As the placements change, it illustrates what the columns can appear like at different spots in comparison to the human figure. I had the possibility of moving forward during the 1,4,6,7,8 conditions with slight constriction on either side. The 2,3, and 5 conditions left little to no room for movement.
Condition 1
Condition 2
Condition 3
Condition 4
Condition 5
Condition 6
Condition 7
Condition 8
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Category: #23 One Wall and two Columns The three photos capture how the one wall, and columns appear next to the human figure from different placements. As the wall placements change, it illustrates what the columns can appear like at different spots in comparison to the human figure. I had the possibility of moving forward during the first and second conditions with slight constriction on either side. The third left more room than the first two to move forward.
Condition 1: aligned wall and vertically aligned columns
Condition 2: facing wall and vertically aligned columns
Condition 3: facing wall and horizontally aligned columns
Category: #24 Two Walls and two Columns The two photos capture how the walls and columns appear next to the human figure from different angles. As the arrangements change, it illustrates what the columns and walls can appear like at different spots. I had the small possibility of moving forward during the first example yet restricted on both sides but the second example I felt and appears more restricted.
Columns aligned vertically with perpendicular walls
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Columns aligned horizontally with perpendicular walls
Category: #25 Two Walls and two Columns with two lighting conditions_01 The six photos capture how the walls, columns and lighting appear next to the human figure from different arrangements. As the arrangements change, it illustrates what the elements can appear at different spots and lightings. I had the possibility of moving forward yet felt restricted from both sides in the first two images, however the last 4 images leave more room for movement and restriction on the right side.
Walking between vertically aligned columns and perpendicular walls with lighting behind Figure
Walking between vertically aligned columns and perpendicular walls with lighting behind wall
Walking beside vertically aligned columns and perpendicular walls with lighting behind Figure
Walking beside vertically aligned columns and perpendicular walls with lighting behind wall
Walking beside vertically aligned columns and extended perpendicular walls with lighting behind Figure
Walking beside vertically aligned columns and extended perpendicular walls with lighting behind wall
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Category: #26 Two Walls and two Columns with two lighting conditions_02 The four photos capture how the walls, columns and lighting appear next to the human figure from different arrangements. As the arrangements change, it illustrates what the elements can appear at different spots and lightings. I never had the possibility of moving forward yet felt more restricted from both sides in images 3 and 4.
Passing horizontally aligned columns to enter the space between two walls with lighting behind Figure
Passing vertically aligned columns to enter the space between two walls with lighting from the inside space
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Passing horizontally aligned columns to enter the space between two walls with lighting from the inside space
Passing vertically aligned columns to enter the space between two walls with lighting behind Figure
Category: #27 Two Walls and two Columns with two lighting conditions_03 The six photos capture how the walls, columns and lighting appear next to the human figure from different arrangements. As the arrangements change, it illustrates what the elements can appear at different spots and lightings. I had the possibility of moving forward in the last image but as they progressed, I became more and more restricted until the wall covered my path completely.
Passing vertically aligned columns to pass a narrow opening between two walls with lighting behind Figure
Passing vertically aligned columns to pass a narrow opening between two walls with lighting from the inside space
Passing vertically aligned columns to pass an intermediate opening between two walls with lighting behind Figure
Passing vertically aligned columns to pass an intermediate opening between two walls with lighting from the inside space
Passing horizontally aligned columns to pass a wide opening between two walls with lighting behind Figure
Passing horizontally aligned columns to pass a wide opening between two walls with lighting from the inside space
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Category: #28 Vertically aligned Two Walls and two Columns The two photos capture how the walls, columns and lighting appear next to the human figure from different arrangements. As the arrangements change, it illustrates what the elements can appear at different spots and lightings. Between the walls, there was a significant amount of obstruction on my left and right but in the between the columns, there was a more open path.
Between walls, walking
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Between columns, walking
Category: #29 Space composed with 5+ columns and 2 walls The seven photos capture how the walls, columns and lighting appear next to the human figure from different arrangements. As the arrangements change, it illustrates what the elements can appear at different spots and lightings. I had the possibility to create my own space and illustrate my own angles. Each angle leaves free movement with ramps and large space around the columns.
Top view of the space composed
Sequence phase #1
Sequence phase #2
Sequence phase #3
Sequence phase #4
Sequence phase #5
Sequence phase #6
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Category: #30 Faced wall with Connected wall The 19 photos capture how the wall changes angles in comparison to the human figure from different positions. As the arrangements change, it illustrates what the movement of the different angles looks like. In the first few images, I had no possibility of moving forward but as the angle grew wider, I had the possibility of moving forward as the wall moved completely out of the way.
90 degree
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160 degree
170 degree
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210 degree
220 degree
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250 degree
260 degree
270 degree
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Category: #31 Aligned wall with Connected wall The 17 photos capture how the wall changes angles in comparison to the human figure from different positions. As the arrangements change, it illustrates what the movement of the different angles looks like. In the first few images, I had no possibility of moving forward but as the angle grew wider, I had the possibility of moving forward as the wall moved completely out of the way to the left.
10 degree
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130 degree
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170 degree
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Category: #32 Facing the connected edge of two walls The 17 photos capture how the wall changes angles in comparison to the human figure from different positions. As the arrangements change, it illustrates what the movement of the different angles looks like. In the first few images, I had possibility of moving forward but as the angle grew wider, I had the possibility of moving forward yet it slowly constricted my right side causing me to need to move left.
10 degree
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130 degree
140 degree
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160 degree
170 degree
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Category: #33 Three connected walls The 6 photos capture how the walls arrangements and angles appear in comparison to the human figure from different positions. As the point of view changes, it illustrates what the appearance of the different angles looks like. In the first three images, it illustrates a wide example with no ability to move forward and the narrow example gives no ability to move forward with more restriction on the left and right.
Wide-facing wall with two wings
Narrow-facing wall with two wings
Category: #34 Curved wall inside The four photos illustrate how the curved wall at different heights and lengths looks in comparison to the human figure. When the walls change, the human figure appears smaller or larger. The wall completely obstructed my path to move forward, however the larger walls made it even more difficult to maneuver around it.
Small-curved and 8ft height
Large-curved and 16ft height 36 636
Small-curved and 16ft height
Large-curved and 8ft height
Category: #35 Curved wall outside The eight photos illustrate how the curved wall at different and lengths looks in comparison to the human figure moving in different paths. When the walls change, the human figure appears smaller or larger. The wall completely obstructed my path to move forward images 1,3,5 and 7, however the path I was taking in images 2,4,6 and 8 left room for me to move forward with a slight need to move to the left.
Facing Small-curved and 8ft height
Passing Small-curved and 8ft height
Facing Small-curved and 16ft height
Passing Small-curved and 16ft height
Facing Large-curved and 8ft height
Passing Large-curved and 8ft height
Facing Large-curved and 16ft height
Passing Large-curved and 16ft height
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Category: #36 Curved Walls and Flat Walls The five photos illustrate how the curved wall and straightened wall at different heights and positions appear in comparison to the human figure. When the walls change, the human figure is exemplified in different conditions. In the first image, I was unable to move forward much and felt restriction from my right. In the next 5, it left space for the human figure to walk through the small path between walls with restrictions on both sides.
Facing a flat wall (8fh height) while passing a curved wall (8fh height)
Entering a space between a flat wall (8fh height) and a closed-curved wall (8fh height)
Entering a space between a flat wall (8fh height) and an opened-curved wall (8fh height)
Your coordination in height and openness.
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Entering a space between a flat wall (8fh height) and a half opened-curved wall (8fh height)
Category: #37 Entering into a space between Parallel Curved Walls The four photos illustrate how the curved wall at different heights and lengths being rearranged looks in comparison to the human figure. When the walls change, the human figure appears smaller or larger. The wall in the first 4 examples left a small path for me to move forward, however the larger walls made it even more difficult to maneuver around it.
Small-curved and 8ft high outside
Small-curved and 16ft high outside
Large-curved and 8ft high outside
Large-curved and 16ft high outside
Small-curved and 8ft high inside
Small-curved and 16ft high inside
Large-curved and 8ft high inside
Large-curved and 16ft high inside
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Category: #38 Entering a space between curved mirror walls_01 The four photos illustrate how the curved wall at different heights and lengths looks in comparison to the human figure. When the walls change, the human figure appears smaller or larger. The wall in the first 2 examples left a small path for me to move forward, however the longer walls made it even more difficult to maneuver around it.
Small-curved and 8ft height
Large-curved and 16ft height
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Small-curved and 16ft height
Large-curved and 8ft height
Category: #39 Entering a space between curved mirror walls_02 The eight photos illustrate how the curved wall at different heights, lighting, and lengths being rearranged looks in comparison to the human figure. When the walls change, the human figure appears smaller or larger, but the lighting changes the perspective of the human as well. When the walls change, the human figure appears smaller or larger. The walls in each example appeared to give little to no room for me to move forward, however when the lighting is inside, the space to move forward seems larger.
Small-curved and 8ft high with inside lighting
Small-curved and 8ft high with outside lighting
Small-curved and 16ft high with inside lighting
Small-curved and 16ft high with outside lighting
Large-curved and 8ft high with inside lighting
Large-curved and 8ft high with outside lighting
Large-curved and 16ft high with inside lighting
Large-curved and 16ft high with outside lighting
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Category: #40 One curved wall and one column The two photos illustrate how the curved wall and column at different positions looks in comparison to the human figure. When the position changes, the human figure appears in different conditions. The wall and column in the 2 examples left a small path for me to move forward but constriction from both sides.
Entering a space between a column and curved wall outside
Entering a space between a column and curved wall inside
Category: #41 One curved wall and two columns The three photos illustrate how the curved wall and columns at different positions looks in comparison to the human figure. When the position changes, the human figure appears in different conditions. The wall and column in the examples 1 and 3 left a small path for me to move forward but constriction from both sides and image 2 leaves room for me to pass however provides an angle that makes it seem more constricting than the other 2.
Entering a space between a column of two horizontally aligned and curved wall outside
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Facing the outside of a curved wall with two horizontally aligned columns with insufficient space between them
Entering a space between a column of two vertically aligned and a curved wall outside
Category: #42 Role of a column between Curved and flat walls The four photos illustrate how the curved wall and flat wall with a column at different positions looks in comparison to the human figure. When the position changes, the human figure appears in different conditions. The wall and column in the 1,3 and 4 examples left a path for me to move forward but constriction from both sides. Image 2 doesn’t allow me to move freely forward with obstruction on my right.
Entering a space between two parallel curved walls, with a column in front of the outer curved wall
Entering a space between a faced flat wall and a curved wall, with a column in front of the flat wall
Entering a space between two parallel curved walls, with a column in front of the inner curved wall
Entering a space between a parallel flat wall and a curved wall, with a column in front of the flat wall
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Category: #43 Curved connection The 4 photos illustrate how the two straight walls at different positions to appear as a curved wall looks in comparison to the human figure. When the position changes, the human figure appears in different conditions. As the angle opens up, it clears the path of the human figure there is a continuing obstruction on my left.
Follow two flat walls that are connected at an angle of 60 degrees smoothly
Follow two flat walls that are connected at an angle of 150 degrees smoothly
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Follow two flat walls that are connected at an angle of 90 degrees smoothly
Follow two flat walls that are connected at an angle of 120 degrees smoothly
Category: #44 Curved wall and S-curve wall The four photos illustrate how the curved wall at different heights and different positions looks in comparison to the human figure. When the position changes, the human figure appears in different conditions. The wall in the images show the easy movement forward through the walls with little to no obstruction forward.
Curved wall and S-curve wall 8ft high with inside lighting
Curved wall and S-curve wall 8ft high with outside lighting
Curved wall and S-curve wall 16ft high with inside lighting
Curved wall and S-curve wall 16ft high with outside lighting
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Category: #45 1 point perspective pictures: Void on the upside The 4 photos illustrate how the void appears at different sizes and shapes looks in comparison to the human figure. When the position changes, the human figure appears in different conditions. The examples leave room to move forward and no obstruction and highlight the figure with the lighting from the voids.
A 4’x4’ square void with a height of 8ft
A 8’ diameter void with a height of 8ft
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A 8’x8’ square void with a height of 8ft
A 4’ diameter void with a height of 8ft
Category: #46 Void on the upside with columns or walls The 5 photos illustrate how the walls and columns at different positions with a void look in comparison to the human figure. When the position changes, the human figure appears in different conditions. Images 1 and 2 allow me to move forward freely with obstruction on my left and right. The last 3 images obstruct me from moving forward however allows more freedom in my left and right.
A 8’x8’ square void with columns
A 8’x8’ square void with a facing wall
A 8’x8’ square void with a passing wall
View for A 4’x4’ square void with a flat wall aligned with one side and two columns aligned with the opposite side
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Category: #47 Void on the downside with columns or walls The six photos illustrate how the wall and void at different positions looks in comparison to the human figure. When the position changes, the human figure appears in different conditions. The void doesn’t allow me to move forward whatsoever however, the space appears to be more open in images 2, 4 and 6.
A 8’x8’ square void with a facing wall and light from upper floor
A 8’x8’ square void with a facing wall and light from side
A 8’x8’ square void with a facing wall and light from lower floor
A 8’x8’ square void with a passing wall and light from side
A 8’x8’ square void with a passing wall and light from lower floor
A 8’ diameter void with light from lower floor
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Category: #48 Void on the upside with combinations of columns or walls The ten photos illustrate how the walls, void and columns at different positions looks in comparison to the human figure. When the position changes, the human figure appears in different conditions moving though the elements. The human figure moves freely throughout the scene.
Scene #1
Scene #2
Scene #3
Scene #4
Scene #5
Scene #6
Scene #7
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Scene #9
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Category: #49 Void between Floating Surfaces The 5 photos illustrate how the two voids at different positions looks in comparison to the human figure. When the position changes, the human figure appears in different conditions. The voids don’t allow the human figure to move forward however at the different positions it allows the human to appear to be floating.
Scene #1
Scene #2
Scene #4
Scene #5
Scene #3
Category: #50 Void between curve-linear Surfaces The two photos illustrate how the unique cutout I created at different positions from above and below looks in comparison to the human figure. When the position changes, the human figure appears in different conditions and lighting. My cutout allowed for the human figure in image 1 to be very restricted due to the large cutout however the second image allows the human to move freely below the void.
Scene #1 50 650
Scene #2
Category: #51 Void with a combination of The six photos illustrate how the curated scene with curves, cutouts, and walls at different positions looks in comparison to the human figure. When the position changes, the human figure appears in different conditions. The human figure moves freely up the ramp but the voids provide different lighting on
Scene #1
Scene #2
Category: #52 Curved vertical surface The two photos illustrate how the curved surface at different sizes looks in comparison to the human figure. When the position changes, the human figure appears in different conditions. The curve obstructs the human from moving forward.
A 4’wide
A 8’wide 51 651
Category: #53 Curved vertical surface with an upper floor The five photos illustrate how the curved wall and wall at different positions looks in comparison to the human figure. When the position changes, the human figure appears in different conditions. The wall and curved surface/s at different positions allow me to move freely.
Scene #1
Scene #2
Scene #4
Scene #5
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Scene #3
Category: #54 Curved vertical surface with a void The five photos illustrate how the curved wall and void in different positions looks in comparison to the human figure. When the position changes, the human figure appears in different conditions and lightings. The wall and void in the examples allowed me to move freely but the curved wall caused slight obstruction.
Scene #1
Scene #2
Scene #3
Scene #4
Scene #5
Category: #55 Facing Curved vertical surface The two photos illustrate how the curved wall and void at different positions looks in comparison to the human figure. When the position changes, the human figure appears in different conditions. The curved wall doesn’t allow me to move forward much however gives room for me to move either way around the surface.
Scene #1
Scene #2 53 653
Category: #56 Hanging curved surfaces The four photos illustrate how the curved wall at different positions looks in comparison to the human figure. When the position changes, the human figure appears in different conditions. The different positions all allow me to move forward through the hanging surfaces.
Scene #1
Scene #2
Scene #3
Scene #5
Category: #57 Surfaces with convexities and concavities The two photos illustrate how the curved surface at different positions looks in comparison to the human figure. When the position changes, the human figure appears in different conditions. The positioning of the surfaces leave room for me to move forward everywhere freely.
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Scene #2
Category: #58 A sphere with a strong center and centripetal force The four photos illustrate how the sphere and void at different positions looks in comparison to the human figure. When the position changes, the human figure appears in different conditions. The first two images allow me to move forward freely and the last two images don’t allow me to move whatsoever due to the void.
Scene #1
Scene #2
Scene #3
Scene #5
Category: #59 Surfaces that are twisted and free The three photos illustrate how the twisted free surfaces looks in comparison to the human figure. When the position changes, the human figure appears in different conditions. All of the images don’t allow me to move forwards freely but the first two allow me to maneuver around the obstructions.
Scene #1
Scene #2
Scene #3
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M ar y Ja n e Endom Port foli o 656
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What I learned... Project #1 “Wall, Column, and Space” - The “Wall, Column, and Space” project was the first project I have ever done in relation to architecture. This was, in my opinion, a very critical step to beginning the semester. By exploring how the smallest of changes can result in an entirely different feeling, I was more able to understand how important my design decisions are. By taking all of these photos and doing all 59 categories, I learned the importance of iteration. Since I was repeating these steps so many times, when it came time to develop my sequence model, I was more than ready to portray the emotion I needed to. Project #2 “Hand Drawing” - “Hand Drawing” is something that I would like to consider myself very familiar with. Through all stages of my life, I have always been an artist or creative. However, this class taught me a new type of hand drawing. To me, the most beneficial hand drawings we did were the blind contour drawings. ALthough they are not inherently “good,” the act of just drawing what is right in front of you acurately, without looking, is crucial to being able to draw floor plans, buildings, interiors, and landscapes. We also had a lot of practice with hand drawing floor plans. There was a slight learning curve for me, but in the end I think, so far, I have a good idea of how to make my floor plans and elevations in the future. Project #3 “Power of Patience” - The “Power of Patience” project was the project that tested my patience the most. We were tasked with sitting in front of an artwork for three hours. While my given artwork was interesting, it got increasingly harder to look at. I found myself making up new stories about the work that probably were not plausible. Although this task was grueling, I was able to be patient. I am glad I had the opportunity to do something like this. I feel like there are few times when a person is able to be still for this amount of time uninterupted. I can see myself repeating this activity again in the future if I start off with smaller time intervals and increase them as I get more comfortable. Project #4 “Space Cube” - The “Space Cube” project was another practice of iteration. Through this, I learned just how quickly my ideas can change. From my sequence model, to my first space cube, to my final. All of them are unique with their own qualities and special characteristics. I also think transforming my work into a cement and plaster model was a very cool experience. It is so rewarding to see my work come into fruition. I look forward to continuing to develop my space cube into something greater in the coming semester. Project #5 “First Portfolio” - Curating this portfolio was a very tedious process, however it was extremely satisfying. Being able to see where I started and where I ended and all of the progress I made made this all worthwhile. Creating this portfolio required a lot of reminiscing on these past five weeks. This portfolio is a gift to myself and my future self to remind myself where it all began. Overall - Overall, my first semester of design school would not have been possible without the friends I made along the way. Through my latest nights, they were always right there beside me. We shared in our struggles, successes, tears, and laughter. Without the support of my friends, family, and instructors, this would have not been as doable as it was. During these five weeks, I have made friends I could have never dreamt of making. They are the reason I am completing this portfolio right now. If you could talk to you before these five weeks, what would you like to share with you? - I would like to share that not only will this be extremely challenging, at the end of your first five weeks, you will be sad that it is over. There will never be a time like this again. Yes, you will continue pursuing architecture and having studio classes, but you will never (hopefully) be in summer studio again. I am proud of you and I always knew that you could do it.
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Category #1: Facing surface These first ten photos portray a wall gradually changing angles while also moving in front of a person. As the wall moves, the person’s view of the world in front of them becomes covered. As the wall slides in front of the person, it is expected taht the person will feel slightly trapped, whereas in the beginning, it was more open.
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90 degree 4 658
Category #2: Facing edge These photos show a wall rotating in front of a person while they stay in place. The person’s view never becomes entirely covered even though the wall is rotating around them. This series of wall movements could make someone feel uncomfortable because it is hard to determine where to look.
0 degree
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90 degree 5 659
Category #3: Blocking wall This set of photos shows a wall sliding horizontally in front of a person. As the wall slides in front of the person, the person becomes enveloped in a shadow. As the wall crossed my path, I felt a darkness wash over me, trapping me in shadow.
Opened level 1
Opened level 2
Opened level 3
Opened level 4
Block level 1
Block level 2
Block level 3
Block level 4
Block level 5
Block level 6
Block level 7
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Category #4: Passing the blocking wall These photos show a person passing a wall. It appears as though the person is walking past the wall, however the wall is the only thing moving. As I moved past the wall, I feeling of capability came over me because I moved past an obstacle.
Passing level 1
Passing level 2
Passing level 3
Passing level 4
Passing level 5
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Category #5: Aligned Wall This set of photos shows a wall, swinging from the center out to the left. Throughout the movement of the wall, the person is only able to see the right side. While the wall was moving I felt curious because I wanted to know what was on the other side of the wall.
Closed level 1
Closed level 2
Closed level 4
Closed level 5
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Closed level 3
Category #6: Passing the aligned wall These pictures show a wall pivoting from the front to behind a person. The person sort of acts as an immovable force, making sure the wall does not touch. This action of the wall made me feel nervous because I did not know where the wall was going.
Passing level 1
Passing level 2
Passing level 3
Passing level 4
Passing level 5
Passing level 6
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Category #7: Walls with different heights This series of photos show a wall increasing in height from the ground up. As the wall increases in height, the person’s view is obstructed. The increase in height makes me feel small and feeble.
Wall with 0ft
Wall with 2ft
Wall with 3ft
Wall with 4ft
Wall with 5ft
Wall with 6ft
Wall with 7ft
Wall with 7ft
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Category #8: Floating and faced Wall These photos show a floating wall rising up another wall. The person is able to see the wall the entire time, and their view is never obstructed. This made me feel excited and curious because I wanted to know not only where the wall was going, but also where it came from.
1ft high floating wall
2ft high floating wall
3ft high floating wall
4ft high floating wall
5ft high floating wall
6ft high floating wall
7ft high floating wall
8ft high floating wall
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Category #9: 8ft high floating and aligned wall A vertical wall passes over a person standing in a single spot. As the wall moves it allows more light to fall onto the person. This made me feel inspired because the moving of the wall was allowing more room for me to think and grow.
Alignment level 1
Alignment level 4
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Alignment level 2
Alignment level 3
Category #10: 8ft high floating and faced wall These images show a floating wall passing from left to right over a person. As the wall moves over the person, it almost goes unnoticed because the lighting barely changes. This made me feel neutral because nothing too interesting happened.
Overlap level 1
Overlap level 2
Overlap level 3
Overlap level 4
Overlap level 5
Overlap level 6
Overlap level 7
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Category #11: floating horizontal surface In these photos, a floating ceiling hovers over a person whilst moving from left to right. The moving surface highly affects the lighting over the person because it is shielding the light source from coming in on the left side more than the right. I felt a scared because the lighting was shifting so rapidly.
Overlap level 1
Overlap level 2
Overlap level 3
Overlap level 4
Overlap level 5
Overlap level 6
Overlap level 7
Overlap level 8
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Category #12: Horizontal surfaces with different heights A square surface floating above a person and another surface with a hole in it. The surface floats down and through the second surface. This felt very claustrophobic because it also felt like the two surfaces were going to crush me.
8ft high horizontal surface
7ft high horizontal surface
6ft high horizontal surface
5ft high horizontal surface
4ft high horizontal surface
3ft high horizontal surface
2ft high horizontal surface
1ft high horizontal surface
-1ft high horizontal surface
-3ft high horizontal surface
-4ft high horizontal surface 15 669
Category #13: Wall surface with an incline A rectangular wall floats to the left side and over a person. As the wall moves up, it allows more lighting to come in, placing a spotlight on the person. This made me feel important because it felt as though a curtain was raised to put a highlight on me.
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Category #14: Inclined wall An inclined wall is being lowered on one side on the left side of a person. When the wall moves it seems to be pushed over by the person. This series of photos made me feel strong because it looked like the wall was falling down due to my manipulation.
Inclined level 1
Inclined level 2
Inclined level 3
Inclined level 4
Inclined level 5
Inclined level 6
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Category #15: Floating wall surface facing edge with an incline A floating wall is raised above a person. It then falls to the left of the person until it is horizontal. This, like the other photos, made me feel claustrophobic because I felt like I did not know where the wall was going and like it was going to crush me.
Inclined level 1
Inclined level 2
Inclined level 3
Inclined level 4
Inclined level 5
Inclined level 6
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Category #16: Inclined surface to a facing wall An inclined surface that is barely above a person is raised until it is vertical. The wall starts very close to the person, creating deep shadows until it is raised. This made me feel excited because it felt like the world was being opened up to me, allowing new opportunities
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Category: #17 Inclined ramp to facing wall A ramp pointing down towards a person is slowing increasing in steepness. As the steepness increases, the picture appears smaller and more focused on the person. This made me feel tense because it felt like there was an unwanted focus on me.
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Category: #18 One Column In these two photos, there is a single column and a person. The photos are taken from two angles without the person changing view. These made me feel unique because the only other thing there was a column, whereas I am a person.
Front
Side
Category: #19 Two Columns These two photos portray two columns on either side of a person. The person’s view remains between the two columns for both photos. This made me feel like royalty because it felt like I was passing through a large and/or important opening.
Vertical
Horizontal
21 675
Category: #20 Three Columns There are three columns making a sort of triangle around a person. The person’s view remains straight through only two of the columns without looking at the third. This made me feel inquisitive, as I felt as if I had to pick a direction to go, not knowing where they will take me.
Vertical
Horizontal
Category: #21 Four Columns There are for columns surrounding one person, while another stands on the outer edge of the back two columns. The columns start out very close and narrow around the person in the center and then they expand outwards. These make me feel as if I am in a movie about unrequited love, as I see my significant other across the plain.
Wide
22 676
Narrow
Category: #22 One Wall and One Column These photos show a singular wall, a person, and a column at different locations. The movement of the columns allows for a different feeling in each photo. The column’s movements changed with my emotions, where sometimes I felt closed off and locked in, and others, I felt like I was able to see an entire larger space.
Condition 1
Condition 2
Condition 3
Condition 4
Condition 5
Condition 6
Condition 7
Condition 8
23 677
Category: #23 One Wall and two Columns This series of photos shows two stationary columns and a person with a moving wall. The wall moves from behind to in front and to the side of the person. Some movements of the wall made me feel suffocated while others created a very breathable space.
Condition 1: aligned wall and vertically aligned columns
Condition 2: facing wall and vertically aligned columns
Condition 3: facing wall and horizontally aligned columns
Category: #24 Two Walls and two Columns Two stationary walls as well as two stationary columns are on either side of a person, vertically and horizontally. The camera angle shows the difference in how each is placed. This felt very homey to me because it had a similar feel to a living room with an open wall that would lead into a kitchen or entranceway.
Columns aligned vertically with perpendicular walls
24 678
Columns aligned horizontally with perpendicular walls
Category: #25 Two Walls and two Columns with two lighting conditions_01 Two stationary walls and columns with a person are placed. The images portray how lighting can either widen a space or greatly subtract from the room. I felt safer in the images with lighting behind the wall instead of the ones with lighting from behind me. The latter made me feel like I had just been caught or like a flashlight was being shined on me.
Walking between vertically aligned columns and perpendicular walls with lighting behind Figure
Walking between vertically aligned columns and perpendicular walls with lighting behind wall
Walking beside vertically aligned columns and perpendicular walls with lighting behind Figure
Walking beside vertically aligned columns and perpendicular walls with lighting behind wall
Walking beside vertically aligned columns and extended perpendicular walls with lighting behind Figure
Walking beside vertically aligned columns and extended perpendicular walls with lighting behind wall
25 679
Category: #26 Two Walls and two Columns with two lighting conditions_02 Two walls with a large space between them have either vertically or horizontally aligned columns. The lighting is then shifted from between the space of the walls or from behind the person. The images with light coming from between the space create an inviting and welcoming feel, whereas the ones with light behind me, made me feel very unwelcomed in the space I was in.
Passing horizontally aligned columns to enter the space between two walls with lighting behind Figure
Passing vertically aligned columns to enter the space between two walls with lighting from the inside space
26 680
Passing horizontally aligned columns to enter the space between two walls with lighting from the inside space
Passing vertically aligned columns to enter the space between two walls with lighting behind Figure
Category: #27 Two Walls and two Columns with two lighting conditions_03 The space between each wall gradually increases while the columns and person do not move. The lighting then shifts from in between the space to behind the person. The lighting coming from in between the walls made me feel like I was entering a VIP space where only certain people could go, whereas the lighting from behind me made me feel like I was in a very large space when in reality it was not.
Passing vertically aligned columns to pass a narrow opening between two walls with lighting behind Figure
Passing vertically aligned columns to pass a narrow opening between two walls with lighting from the inside space
Passing vertically aligned columns to pass an intermediate opening between two walls with lighting behind Figure
Passing vertically aligned columns to pass an intermediate opening between two walls with lighting from the inside space
Passing horizontally aligned columns to pass a wide opening between two walls with lighting behind Figure
Passing horizontally aligned columns to pass a wide opening between two walls with lighting from the inside space
27 681
Category: #28 Vertically aligned Two Walls and two Columns Two vertical walls are aligned with a space between them for room for two vertically aligned columns. The lighting comes from directly overhead. This made me feel curious because it felt like I was exploring a very large space.
Between walls, walking
28 682
Between columns, walking
Category: #29 Space composed with 5+ columns and 2 walls One wall is vertically aligned with a backdrop and a second wall is angled to be able to intersect the first wall if it were to continue in length. Three sets of two columns are aligned behind each other with several people distributed throughout. This made me feel as if I was in a very large space. I found that having more columns made the space feel bigger because it seemed like they were holding up a high ceiling or heavy structure that needed a lot of support. Lighting is changed constantly to showcase how large the space can feel from every angle.
Top view of the space composed
Sequence phase #1
Sequence phase #2
Sequence phase #3
Sequence phase #4
Sequence phase #5
Sequence phase #6
29 683
Category: #30 Faced wall with Connected wall Two walls are connected to make a corner with a stationary person slightly off-center. The joined walls then rotate around the person until the walls are inside out. This made me feel very confused because the movements of the walls made zero sense and I did not know what the point of their movement was.
90 degree
100 degree
110 degree
120 degree
130 degree
140 degree
150 degree
160 degree
170 degree
180 degree
190 degree
200 degree
30 684
210 degree
220 degree
230 degree
240 degree
250 degree
260 degree
270 degree
31 685
Category: #31 Aligned wall with Connected wall Two walls are joined at the corner and form an open triangle facing the camera with a person in the middle. The left wall then gradually swings open to form a right angle. This made me feel like a space was being opened for me specifically so that I could explore a new space.
10 degree
20 degree
30 degree
40 degree
50 degree
60 degree
70 degree
80 degree
90 degree
100 degree
110 degree
120 degree
32 686
130 degree
140 degree
150 degree
160 degree
170 degree
33 687
Category: #32 Facing the connected edge of two walls The connecting edge of two walls is facing a person. The walls then swing open until they flip inside out to create a new corner. Once again this made me feel confused because the wall was moving with no purpose. It also made me feel sad because it was closing off my view of the outside world.
10 degree
20 degree
30 degree
40 degree
50 degree
60 degree
70 degree
80 degree
90 degree
100 degree
110 degree
120 degree
34 688
130 degree
140 degree
150 degree
160 degree
170 degree
35 689
Category: #33 Three connected walls Three walls are joined to form a sort of room. The walls start off widely opened and then become more narrowed. The wide room made me feel scared because there was too much space for one person. Whereas the narrowed room felt more like a living space and more comfortable.
Wide-facing wall with two wings
Narrow-facing wall with two wings
Category: #34 Curved wall inside One curved wall surrounds a person. The pictures show different sizes, widths, heights, and lightings around the person. This made me feel sort of entrapped because there was nowhere else to go other than around the space.
Small-curved and 8ft height
Large-curved and 16ft height 36 690
Small-curved and 16ft height
Large-curved and 8ft height
Category: #35 Curved wall outside A wall is curved outwardly and a person stands on the outside of the curve. The pictures show different placements of a person around the curve with different lighting settings. This made me feel curious, as I was able to explore many different angles of the curved wall, however I felt a need to step inside.
Facing Small-curved and 8ft height
Passing Small-curved and 8ft height
Facing Small-curved and 16ft height
Passing Small-curved and 16ft height
Facing Large-curved and 8ft height
Passing Large-curved and 8ft height
Facing Large-curved and 16ft height
Passing Large-curved and 16ft height
37 691
Category: #36 Curved Walls and Flat Walls One flat wall and one curved wall are placed at different angles with two people in them. The wall stays mostly stationary as the curved wall spins to reveal a second person. This felt exciting because I wanted to know who was waiting for me on the other side of the wall. It also felt similar to a revolving door.
Facing a flat wall (8fh height) while passing a curved wall (8fh height)
Entering a space between a flat wall (8fh height) and a closed-curved wall (8fh height)
Entering a space between a flat wall (8fh height) and an opened-curved wall (8fh height)
Your coordination in height and openness.
38 692
Entering a space between a flat wall (8fh height) and a half opened-curved wall (8fh height)
Category: #37 Entering into a space between Parallel Curved Walls Two curved walls are placed next to each other with enough room for a person to pass. The walls are parallel, creating a curved hallway between them. This made me feel like I was entering a rather large home, as the walls were tall and the lighting made it seem as if they went on forever.
Small-curved and 8ft high outside
Small-curved and 16ft high outside
Large-curved and 8ft high outside
Large-curved and 16ft high outside
Small-curved and 8ft high inside
Small-curved and 16ft high inside
Large-curved and 8ft high inside
Large-curved and 16ft high inside
39 693
Category: #38 Entering a space between curved mirror walls_01 Two curved walls are placed side by side, once again, with enough room for a person to pass. The walls have their curves facing inward, making it look like the walls should turn into full circles. This made me feel confused because the layout of the walls did not make sense. It seemed as if they were just making a sort of figure 8, with a destination to nowhere.
Small-curved and 8ft height
Large-curved and 16ft height
40 694
Small-curved and 16ft height
Large-curved and 8ft height
Category: #39 Entering a space between curved mirror walls_02 Two curved walls are placed at an angle, leaving little to no room for a person to pass. In some images the person is able to pass, whereas in others, there is no room. This made me feel very claustrophobic because even when there was room to pass between the two curved walls, there was nowhere for me to go, ultimately creating a very suffocating space.
Small-curved and 8ft high with inside lighting
Small-curved and 8ft high with outside lighting
Small-curved and 16ft high with inside lighting
Small-curved and 16ft high with outside lighting
Large-curved and 8ft high with inside lighting
Large-curved and 8ft high with outside lighting
41 695
Category: #40 One curved wall and one column A stationary column is placed either inside or outside a curved wall with a person walking around it accordingly. The lighting is then moved to accentuate the curve in the wall. Walking inside the curved wall felt much safer than the outside wall. The inside curve felt akin to being in an office building or apartment complex, but the outside curve made me feel as if I was creeping around an alley.
Entering a space between a column and curved wall outside
Entering a space between a column and curved wall inside
Category: #41 One curved wall and two columns A stationary curved wall is placed between two columns that either provide enough space or no space for a person to walk through. A second person is placed in front of the curve to accentuate the roundness of it. This made me feel like I was walking through a subway or tunnel.
Entering a space between a column of two horizontally aligned and curved wall outside
42 696
Facing the outside of a curved wall with two horizontally aligned columns with insufficient space between them
Entering a space between a column of two vertically aligned and a curved wall outside
Category: #42 Role of a column between Curved and flat walls A blend of two walls that are either flat or curved are placed around a column with a person walking through. The light is then contorted to showcase the curvature or flatness of each wall. I felt a sense of steadiness while walking through this because the column never moved, allowing me to continue to feel safe, instead of anxious.
Entering a space between two parallel curved walls, with a column in front of the outer curved wall
Entering a space between a faced flat wall and a curved wall, with a column in front of the flat wall
Entering a space between two parallel curved walls, with a column in front of the inner curved wall
Entering a space between a parallel flat wall and a curved wall, with a column in front of the flat wall
43 697
Category: #43 Curved connection Two flat walls are angled accordingly to create a smooth curve along the wall. The lighting is shown onto the connection point. This made me feel intrigued because while walking along the wall, I felt like I was in an art museum.
Follow two flat walls that are connected at an angle of 60 degrees smoothly
Follow two flat walls that are connected at an angle of 150 degrees smoothly
44 698
Follow two flat walls that are connected at an angle of 90 degrees smoothly
Follow two flat walls that are connected at an angle of 120 degrees smoothly
Category: #44 Curved wall and S-curve wall An S-curved wall is placed on the left of a curved wall with room to walk through. The pictures showcase different heights of each wall with different lighting conditions. The shorter walls made me feel as if I had more direction than the taller walls. The taller walls made me feel lost, like I was walking through a maze.
Curved wall and S-curve wall 8ft high with outside lighting
Curved wall and S-curve wall 16ft high with inside lighting
45 699
Category: #45 1 point perspective pictures: Void on the upside A ceiling with a void cut into the center of it is hovered over the person. The void either contains a circle or square with different lighting conditions from either above or below. This created a strange and scary feeling as I felt like I might get abducted by aliens.
A 4’x4’ square void with a height of 8ft
A 8’ diameter void with a height of 8ft
46 700
A 8’x8’ square void with a height of 8ft
A 4’ diameter void with a height of 8ft
Category: #46 Void on the upside with columns or walls A ceiling with a square void is placed above certain walls or columns according to directions. A person walks through the different settings with light mostly shown from above. This felt very homey because the void looked like a skylight letting natural sunlight in.
A 8’x8’ square void with columns
A 8’x8’ square void with a facing wall
A 8’x8’ square void with a passing wall
View for A 4’x4’ square void with a flat wall aligned with one side and two columns aligned with the opposite side
47 701
Category: #47 Void on the downside with columns or walls A flat wall is placed through a square void at different angles. A person stands next to the void while different lighting conditions are portrayed. This was nerve-wracking, as I felt like a fence or a second shorter wall was needed to keep me from falling through.
A 8’x8’ square void with a facing wall and light from upper floor
A 8’x8’ square void with a facing wall and light from side
A 8’x8’ square void with a passing wall and light from side
A 8’x8’ square void with a passing wall and light from lower floor
48 702
A 8’x8’ square void with a facing wall and light from lower floor
Category: #48 Void on the upside with combinations of columns or walls A person starts at the bottom of a ramp that falls through a circular void. As the sequence progresses, the person walks up the ramp, revealing a curved wall. The person then appears to walk over the edge while a bright light shines from inside of the curved wall, making it appear like a pool at night.. This made me feel excited, I wanted to know what was at the end of the curve.
Scene #1
Scene #2
Scene #3
Scene #4
Scene #5
Scene #6
Scene #7
Scene #8
Scene #9
Scene #10 49 703
Category: #49 Void between Floating Surfaces Two flat surfaces, also with voids, are placed apart to create a void between the two surfaces. One surface is taller than the other, and a person is seen exploring each surface with different lighting conditions. This made me feel like I was standing on top of different buildings downtown in a city, looking across at all of the other buildings and down to the street.
Scene #1
Scene #2
Scene #3
Scene #4
Category: #50 Void between curve-linear Surfaces A curved void is angled above a person. The lighting is shown down through the void to create the same shape surrounding the person below. This made me feel curious because I wanted to know why the shape was chosen and how this structure was built.
Scene #1 50 704
Scene #2
Category: #51 Void with a combination of A raised flat surface with a square void in the center is placed under a second smaller square surface, held up with columns. Atop the first surface is two curved walls with people standing in various places. From the top of the second surface, I felt like I was standing on the roof of my house looking over a garden, it was peaceful.
Scene #1
Scene #2
Category: #52 Curved vertical surface A vertical curve is portrayed at different angles. A person stands at the bottom while the lighting stays the same. The curve that was less angled made me feel like I could continue walking up it to find something new, whereas the wall with more curve felt like it was going to fall down around me, making me scared.
A 4’wide
A 8’wide 51 705
Category: #53 Curved vertical surface with an upper floor A curved wall holds up a second flat surface above a person. A second vertical curve is placed behind it all, with lighting used to accentuate the curves. I felt like I was standing at the bottom of a waterfall and it filled me with a desire to go out and explore the rest of the space.
Scene #1
Scene #2
Scene #4
Scene #5
52 706
Scene #3
Category: #54 Curved vertical surface with a void A curved vertical surface is placed through the center of a square void. Pictures are taken from above and below the void with different lighting conditions and a person in different positions. This made me feel confused, as the curve appeared to have no real purpose and the void with the lighting through it made me feel like all of the focus was on me in my confused state.
Scene #1
Scene #2
Scene #3
Scene #4
Scene #5
Category: #55 Facing Curved vertical surface A curved vertical surface is angled in front of a person. Lighting is then used to accentuate different parts of the curve. This made me feel uncomfortable, because I could not go up the ramp and there was nowhere for me to really go.
Scene #1
Scene #2 53 707
Category: #56 Hanging curved surfaces Surfaces are connected to create overhangs. A person is placed inside said surface with different lighting settings. This made me feel like I was walking through the tunnel. The lighting differences felt like day and night, thus fluctuating whether or not I felt safe in the space.
Scene #1
Scene #2
Scene #3
Scene #5
Category: #57 Surfaces with convexities and concavities Two curved and round surfaces are placed apart, creating high ceilings and space for people to walk through. A person walks between the two surfaces with lighting either highlighting the person or the curvature of each surface. This made me feel like I was walking through an airport, as the ceilings were so high and there was so much space for other to people to walk with me.
Scene #1 54 708
Scene #2
Category: #58 A sphere with a strong center and centripetal force A sphere is placed in front of a person with light either on the sphere itself or the person. Following the whole sphere, is a sphere split in half, with a person attempting to walk between them. This made me feel stuck because after the sphere split, there was no exit for me to leave, and I found myself wandering around the two halves with no direction.
Scene #1
Scene #2
Scene #3
Scene #5
Category: #59 Surfaces that are twisted and free
A curved surface creates a tunnel around a person. A second surface is curved and twisted freely outwards from the tunnel, with lighting that highlights the inside and outside of the tunnel. This made me feel curious, I wanted to be able to get on top of the tunnel to follow the second surface.
Scene #1
Scene #2
Scene #3
55 709
Ka y ly n n G ra fe Port fo lio 710
1
What I learned...
Project #1 “Wall, Column, and Space” Project #2 “Hand Drawing” Project #3 “Power of Pa�ence” Project #4 “Space Cube” Project #5 “First Por�olio” Overall If you could talk to you before these five weeks, what would you like to share with you? -
1 711
Category #1: Facing surface The wall gradually became more angled closer to the human figure as the pictures progressed, the wall eventually change to in front of the figure rather than to the side. As the pictures progress the wall slowly moves more and more in front of the figure. As the wall moved closer to my figure it felt like I had to move to the right more the be able to move around the wall as I got to 70 the area now felt closed off.
0 degree
10 degree
20 degree
30 degree
40 degree
50 degree
60 degree
70 degree
80 degree
90 degree
4 712
Category #2: Facing edge The wall began to angle closer to the human as the pictures progressed. As the angle of the wall changes it also moves closer the the human figure. Once the figures meet the edge of the Once we get to picture seventy it fells like I am looking down two hallways it instead of just staring at one wall. It makes me fill like I now have to choices of direc�on in stead of just one.
0 degree
10 degree
20 degree
30 degree
40 degree
50 degree
60 degree
70 degree
80 degree
90 degree
5 713
Category #3: Blocking wall The wall gradually moves closer to the figure and goes in front of it up un�l the figure is facing the middle of the wall. As the wall changes the human figure gets closer to the middle of the wall. This makes it feel like I am gradually being closed off from the other side of the board.
Opened level 1
Opened level 2
Opened level 3
Opened level 4
Block level 1
Block level 2
Block level 3
Block level 4
Block level 5
Block level 6
Block level 7
6 714
Category #4: Passing the blocking wall The human figure slowly walks past the wall from standing in front of it to standing behind it. The human figure gets closer to the wall and eventually goes past it. This makes it seem as if I am passing into perhaps a hallway or simply a wall that is separa�ng two spaces.
Passing level 1
Passing level 2
Passing level 3
Passing level 4
Passing level 5
7 715
Category #5: Aligned Wall The human figure is moving to the right un�l its shoulder is in front of the wall staring straight down it. As the placement of the figure changes we see less of the wall. My figure s�ll has access to walk so I have more freedom to move where I need to without having to walk around the wall.
Closed level 1
Closed level 2
Closed level 4
Closed level 5
8 716
Closed level 3
Category #6: Passing the aligned wall The pictures show the movement of the figure down the side of this wall and its path is never obstructed by the wall. As the pictures change we see less of the front of the wall as the fiure gets closer to the other end of the wall. These pictures make me feel as if I am walking down a hallway.
Passing level 1
Passing level 2
Passing level 3
Passing level 4
Passing level 5
Passing level 6
9 717
Category #7: Walls with different heights The wall grows in height ver�cally as the pictures progress through the stages. The figure is not covered by the wall. Pictures one through three are short enough for the figure would be able to sit on them however as the pictures progress the walls get taller to where it would not be possible to move straight instead having to move to the side.
Wall with 1�
Wall with 2�
Wall with 3�
Wall with 4�
Wall with 5�
Wall with 6�
Wall with 7�
Wall with 7�
10 718
Category #8: Floa�ng and faced Wall A wall is raised higher and higher in front of the figure un�l the bo�om of the wall is hovering above the figure. Pictures one though seven the figure would have to duck to access the other side of the wall. This makes it seem like the figure has to duck down and ut in more work to access the other side of the wall.
1� high floa�ng wall
2� high floa�ng wall
3� high floa�ng wall
4� high floa�ng wall
5� high floa�ng wall
6� high floa�ng wall
7� high floa�ng wall
8� high floa�ng wall
11 719
Category #9: 8� high floa�ng and aligned wall The figure moves under the floa�ng wall hanging from the ceiling center. The figure is posi�oned in front of and below the floa�ng wall. Having the figure gradually walk below the fixture makes it fill almost like walking under a beam or a ceiling.
Alignment level 1
Alignment level 4
12 720
Alignment level 2
Alignment level 3
Category #10: 8� high floa�ng and faced wall An figure is moved to the right underneath a horizontal floa�ng wall. The wall never moves but instead the figure does. The wall looks very long compared to the figure.
Overlap level 1
Overlap level 2
Overlap level 3
Overlap level 4
Overlap level 5
Overlap level 6
Overlap level 7
Overlap level 8
13 721
Category #11: floa�ng horizontal surface A flat hanging wall is moved above the figure un�l l the figure is centered in the middle of the wall. As the figure is moved closer to the center of the wall, it is never covered by the wall as the wall is never lowered just moved. The last picture makes me feel a sense of shelter as the wall could instead be used as shelter from the weather.
Overlap level 1
Overlap level 2
Overlap level 3
Overlap level 4
Overlap level 5
Overlap level 6
Overlap level 7
Overlap level 8
14 722
Category #12: Horizontal surfaces with different heights A floa�ng horizontal fixture is lowered un�l it gradually sinks into a square hole revealing two more figures in the square below. The figures show the gradual lowering of the square and then the reveal of tow more character where the bo�om rectangle is the lowered more to reveal more of the two characters in the center. The changes made me more interested in this design because of the square missing in the middle of the floor.
8� high horizontal surface
7� high horizontal surface
6� high horizontal surface
5� high horizontal surface
4� high horizontal surface
3� high horizontal surface
2� high horizontal surface
1� high horizontal surface
-1� high horizontal surface
-2� high horizontal surface
-3� high horizontal surface
-4� high horizontal surface
15 723
Category #13: Wall surface with an incline Shows a wall being �lted and raised inwards towards the figure however the figure is never covered but is s�ll below the wall. The figures posi�on never changes however the walls does as it �lts inwards and raises over the figure gradually crea�ng a roof above the figure making it seem more cozy then the first picture.
10 degree
20 degree
30 degree
40 degree
50 degree
60 degree
70 degree
80 degree
16 724
Category #14: Inclined wall A wall is raised by the end farthest away from the figure un�l it is at a steep incline next to the figure. The figure is never covered however the wall does end up being taller than the figure in it’s final posi�on. As the wall raises it starts to feel more closed off then when it was slightly raised.
Inclined level 1
Inclined level 2
Inclined level 3
Inclined level 4
Inclined level 5
Inclined level 6
17 725
Category #15: Floa�ng wall surface facing edge with an incline A horizontal wall is raised up by the far side at an angle un�l it is raised at an almost straight angle above the figures head. The figure is never moved in this situa�on however the wall does move at an angle around the figure. The final end result to me seems almost intense like the wall will fall at any �me .
Inclined level 1
Inclined level 2
Inclined level 3
Inclined level 4
Inclined level 5
Inclined level 6
18 726
Category #16: Inclined surface to a facing wall A long wall is directly behind the figure and is raised by the closest end to the figure up un�l it is 90 degrees behind the figure. The figure never moves in this situa�on and is always in front of the wall. As the wall is raised it gives the impression of the figure being very small compared to the height of the wall
10 degree
20 degree
30 degree
40 degree
50 degree
60 degree
70 degree
80 degree
90 degree
19 727
Category: #17 Inclined ramp to facing wall A long wall is directly behind the figure and is raised by the farthest end of the figure up un�l it is 90 degrees behind the figure. The figure never moves in this situa�on and is always in front of the wall. Slides 10 degrees through 50 degrees almost looks like a ramp and the it turns into more of a wall towards the end.
10 degree
20 degree
30 degree
40 degree
50 degree
60 degree
70 degree
80 degree
90 degree
20 728
Category: #18 One Column Nothing changes in the environmental elements. The figure changes from in front and beside the pillar into beside and facing the pillar. The image feels very barren and boring.
Front
Side
Category: #19 Two Columns The pillars change from being horizontal from each other to being behind one another. The human figure is originally in the center of the two pillars and changes to standing beside the first pillar. The changes and how li�le there is makes me feel calm.
Ver�cal
Horizontal
21 729
Category: #20 Three Columns The pillars are lined up in a line and then are changed into a triangular shape. The figure is at first standing to the le� of the pillars and once the pillars are changed into a triangular shape the figure is also moved in front of the pillars in the middle. The changes give me a sense of space. Before the pillars are quite close together and then they a spread giving the appearance of more space
Ver�cal
Horizontal
Category: #21 Four Columns The four pillars are spread out into a wide square and then are moved closer together to form more of a rectangular shape. In the first pose there are two figures standing in front of each other in between the pillars, however when the pillars are moved closer together there is one less figure in between the front two pillars. The placement of the pillars and the figures almost gives it an tense or ominous feeling to it.
Wide
22 730
Narrow
Category: #22 One Wall and One Column The wall never changes posi�on however the pillar con�nues to move closer and further away from the wall. The figure moves closer and further away from the wall however it does not move back or forth. The change almost looks like its animate from how o�en the pillar and figure move.
Condi�on 1
Condi�on 2
Condi�on 3
Condi�on 4
Condi�on 5
Condi�on 6
Condi�on 7
Condi�on 8
23 731
Category: #23 One Wall and two Columns In the first picture the pillars are horizontal from each other, and the wall is behind one of the pillars the wall the changes to the le� side and the pillars are then changed to behind each other, lastly the wall is wall changes posi�on. The figure is always centered in between the pillars. As the posi�on of the wall and pillars change it starts to fill more like a hallway and more open.
Condi�on 1: aligned wall and ver�cally aligned columns
Condi�on 2: facing wall and ver�cally aligned columns
Condi�on 3: facing wall and horizontally aligned columns
Category: #24 Two Walls and two Columns The walls are perpendicular to each other in each pose. In the first pose there is one pillar and in the next pose the original pillar is moved slightly to the le� in the opening and another pillar is added to the right of that one. The figures stay in the same posi�on in both poses as one stays in the opening between the two wall and the first pillar and the second is posi�oned in between the two pillars. The set up of the two poses gives a sense of direc�on.
Columns aligned ver�cally with perpendicular walls
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Columns aligned horizontally with perpendicular walls
Category: #25 Two Walls and two Columns with two ligh�ng condi�ons_01 The walls are set perpendicular to each other in each picture in the last three however the wall closest to the camera is move further away from the back wall. Pillars are added and taken away from each pose and are always one in front of the other. The figure is always posed in the middle of the pillars however they change sides throughout the poses. All six poses give an uncomfortable feeling however with the dark ligh�ng of the last three it gives an scary feeling to the pictures almost like an horror movie scene.
Walking between ver�cally aligned columns and perpendicular walls with ligh�ng behind Figure
Walking between ver�cally aligned columns and perpendicular walls with ligh�ng behind wall
Walking beside ver�cally aligned columns and perpendicular walls with ligh�ng behind Figure
Walking beside ver�cally aligned columns and perpendicular walls with ligh�ng behind wall
Walking beside ver�cally aligned columns and extended perpendicular walls with ligh�ng behind Figure
Walking beside ver�cally aligned columns and extended perpendicular walls with ligh�ng behind wall
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Category: #26 Two Walls and two Columns with two ligh�ng condi�ons_02 The pillars change posi�on from near the wall to far away from them. The figure is always posi�on between the pillars and the walls. THe different ligh�ng gives an ominous feeling
Passing horizontally aligned columns to enter the space between two walls with ligh�ng behind Figure
Passing ver�cally aligned columns to enter the space between two walls with ligh�ng from the inside space
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Passing horizontally aligned columns to enter the space between two walls with ligh�ng from the inside space
Passing ver�cally aligned columns to enter the space between two walls with ligh�ng behind Figure
Category: #27 Two Walls and two Columns with two ligh�ng condi�ons_03 The two walls switch from front to back o�en in the pictures and the pillars o�en switch from horizontal from each other to behind each other. The figure is o�en in switching from in between the wall to just before the first wall and is usually centered in the middle of the pillars. The posi�on of the walls and pillars gives a sense of separa�on.
Passing ver�cally aligned columns to pass a narrow opening between two walls with ligh�ng behind Figure
Passing ver�cally aligned columns to pass a narrow opening between two walls with ligh�ng from the inside space
Passing ver�cally aligned columns to pass an intermediate opening between two walls with ligh�ng behind Figure
Passing ver�cally aligned columns to pass an intermediate opening between two walls with ligh�ng from the inside space
Passing horizontally aligned columns to pass a wide opening between two walls with ligh�ng behind Figure
Passing horizontally aligned columns to pass a wide opening between two walls with ligh�ng from the inside space
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Category: #28 Ver�cally aligned Two Walls and two Columns The walls sit at an angle to one another and the poles are horizontal from each other. The view of the figure is never covered by the walls or pillars. The set up gives a sense of calmness.
Between walls, walking
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Between columns, walking
Category: #29 Space composed with 5+ columns and 2 walls The pillars change from straight lines to forming circular forma�ons the walls spread out from one another. The figure stands in the middle of the poles in each pose. I tried to pose the pillars like they were patch of trees and the middle of the circles a clearing.
Top view of the space composed
Sequence phase #1
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Sequence phase #6
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Category: #30 Faced wall with Connected wall Two walls form an angle that con�nuosly widens. The figure moves further out as the walls move. This gives a sense of openees.
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Category: #31 Aligned wall with Connected wall Two walls form a �ny angle that slowly opens up ending in a 170 degree angle. The figure stays in the middle of the walls. this creates a sense of openess
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Category: #32 Facing the connected edge of two walls Two walls are connected at one point. The right wall slowly moves further away from the le� wall crea�ng a larger angle. The figure stays in the same place as the walls spread apart. The transi�on gives a sense of being closed off from the other side of the walls.
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Category: #33 Three connected walls Three walls are moved closer and further apart. The figure tends to stay closer to the right wall. Another figure does show up towards the back wall in two pictures. The space feels private.
Wide-facing wall with two wings
Narrow-facing wall with two wings
Category: #34 Curved wall inside Two different sized curved walls are spread out. The human figure stays in the middle while the walls are moving. The pose seems very private when the walls are closer together.
Small-curved and 8� height
Large-curved and 16� height
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Small-curved and 16� height
Large-curved and 8� height
Category: #35 Curved wall outside Two different sized rounded walls are shown to be in a circular forma�on. The figure moves from the front of the walls to the le� hand side. The size comparison from the figure to the walls is quite big it gives a sense of being �ny.
Facing Small-curved and 8� height
Passing Small-curved and 8� height
Facing Small-curved and 16� height
Passing Small-curved and 16� height
Facing Large-curved and 8� height
Passing Large-curved and 8� height
Facing Large-curved and 16� height
Passing Large-curved and 16� height
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Category: #36 Curved Walls and Flat Walls The straight wall changes angles while the curved wall turns. In the first two photos we are shown one figure walking in between the curved wall and the straight wall In the last two photose the curved walls opening reveals another figure standing in the middle of the curved wall. The first two poses give and small vibe because of the lack of space however with the last two give an more open feel while s�ll maintaining privacy with the two walls.
Facing a flat wall (8� height) while passing a curved wall (8� height)
Entering a space between a flat wall (8� height) and a closed-curved wall (8� height)
Entering a space between a flat wall (8� height) and an opened-curved wall (8� height)
Your coordina�on in height and openness.
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Entering a space between a flat wall (8� height) and a half opened-curved wall (8� height)
Category: #37 Entering into a space between Parallel Curved Walls Two curved wall form a hallway in photos one and two, twos walls are taller than the first pictures. In the first two pictures there is only one figure in the hallway. In the third and fourth pictures we are shown another standing in the middle of the curved hallway in both pictures. The height difference gives it a sense of isola�on.
Small-curved and 8� high outside
Small-curved and 16� high outside
Large-curved and 8� high outside
Large-curved and 16� high outside
Small-curved and 8� high inside
Small-curved and 16� high inside
Large-curved and 8� high inside
Large-curved and 16� high inside
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Category: #38 Entering a space between curved mirror walls_01 Two rounded walls are made into circular walls. They are at first very close together and then are spread apart. The same thing happens in the third and fourth picture except the height of the walls change. The figure stays in the middle of the two walls. In the pictures where the walls are closest together it seems almost cramped.
Small-curved and 8� height
Large-curved and 16� height
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Small-curved and 16� height
Large-curved and 8� height
Category: #39 Entering a space between curved mirror walls_02 A curved wall sits in front of another curved wall with some being taller than the others and the light changes from in front of the walls crea�ng abright scene to behind the walls crea�ng a small illumina�on in between the walls. The figure stays in the same spot beside the front curved wall and is never obstructed from view. The light coming from behind the wall made it look like that’s the way you are supposed to walk crea�ng a sense of direc�on. These pictures feel calm
Small-curved and 8� high with inside ligh�ng
Small-curved and 8� high with outside ligh�ng
Small-curved and 16� high with inside ligh�ng
Small-curved and 16� high with outside ligh�ng
Large-curved and 8� high with inside ligh�ng
Large-curved and 8� high with outside ligh�ng
Large-curved and 16� high with inside ligh�ng
Large-curved and 16� high with outside ligh�ng
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Category: #40 One curved wall and one column A curved wall is to the right side of the picture and a single column is to the le� of that wall crea�ng a space in between them. The second photo shows the inside of a curved wall being to the le� and a column to the right of that curved wall with a space in between. This space between them creates a sense of direc�on. The figure in both photos is placed in between the pillar and the wall. The first photo gives off a creepy vibe given the ligh�ng
Entering a space between a column and curved wall outside
Entering a space between a column and curved wall inside
Category: #41 One curved wall and two columns A curved wall creates a circle in the middle of the picture with two columns on either side in the first two pictures while the third shows half of a curved wall to the right and two columns place in front of each other to the le� of that wall crea�ng a space in between them. In the first photo we are shown a figure standing in front of the curved wall with another figure in between the wall and the column on the le�. The second however we are shown only the figure in front of the wall. In the third we are only shown a figure in between the wall and the pillar. The pillars give the scene a sense of direc�on.
Entering a space between a column of two horizontally aligned and curved wall outside
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Facing the outside of a curved wall with two horizontally aligned columns with insufficient space between them
Entering a space between a column of two ver�cally aligned and a curved wall outside
Category: #42 Role of a column between Curved and flat walls
Entering a space between two parallel curved walls, with a column in front of the outer curved wall
Entering a space between a faced flat wall and a curved wall, with a column in front of the flat wall
Entering a space between two parallel curved walls, with a column in front of the inner curved wall
Entering a space between a parallel flat wall and a curved wall, with a column in front of the flat wall
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Category: #43 Curved connec�on Paragraph
Follow two flat walls that are connected at an angle of 60 degrees smoothly
Follow two flat walls that are connected at an angle of 150 degrees smoothly
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Follow two flat walls that are connected at an angle of 90 degrees smoothly
Follow two flat walls that are connected at an angle of 120 degrees smoothly
Category: #44 Curved wall and S-curve wall An circular wall is placed in front of a s-shaped wall crea�ng a small opening in between them. The walls change height in the second two pictures. Ligh�ng is placed in front of the walls and then behind them crea�ng a bright atmosphere and a with the light in front and a less invi�ng one with the light being behind the walls. The figure is placed at the entrance created by the gap in the walls. The ligh�ng changes the mood of the pictures because with the ligh�ng behind the walls it creates an ominous feeling.
Curved wall and S-curve wall 8� high with inside ligh�ng
Curved wall and S-curve wall 8� high with outside ligh�ng
Curved wall and S-curve wall 16� high with inside ligh�ng
Curved wall and S-curve wall 16� high with outside ligh�ng
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Category: #45 1 point perspec�ve pictures: Void on the upside These photos show two circular voids of different sizes cas�ng light down below into a dark room. The second two photos show an square shaped void cas�ng light into a dark room. A person is placed in the middle of the voids light that is cast into the room however in one photo they are placed just outside the lights reach. The light being cast in and the darkness of the surrounding area gives off an tense and uncomfortable feeling.
A 4’x4’ square void with a height of 8�
A 8’ diameter void with a height of 8�
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A 8’x8’ square void with a height of 8�
A 4’ diameter void with a height of 8�
Category: #46 Void on the upside with columns or walls A square void is placed in varying posi�ons while two columns are placed in front or beside each other. In an fourth picture an square void is in the middle of the set up and four columns are placed on the very edge of the light being cast on the ground. The figure is always placed either in between the pillars or beside them and is never actually in the light. The darkness and the amount of space gives it an ominous feeling.
A 8’x8’ square void with columns
A 8’x8’ square void with a facing wall
A 8’x8’ square void with a passing wall
View for A 4’x4’ square void with a flat wall aligned with one side and two columns aligned with the opposite side
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Category: #47 Void on the downside with columns or walls A square or circular void is cut out the bo�om of a floor with a straight ver�cal wall s�cking out of it. The figure is placed at the edge of the void either from the side or in the middle. The void and the wall create a sense of height.
A 8’x8’ square void with a facing wall and light from upper floor
A 8’x8’ square void with a facing wall and light from side
A 8’x8’ square void with a facing wall and light from lower floor
A 8’x8’ square void with a passing wall and light from side
A 8’x8’ square void with a passing wall and light from lower floor
A 8’ diameter void with light from lower floor
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Category: #48 Void on the upside with combina�ons of columns or walls A square void is used as a sunlight and pillars are place spaced out between each other or form walls. Figures are place in the middle of the pillars. My inspira�on for many of these were park areas for example the second picture I wanted to create a type of si�ng are and in others I create paths I wanted to create places to gather.
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Category: #49 Void between Floa�ng Surfaces This category shows a range of floa�ng surfaces with a void above them. In one however it shows a flat surface going though a ver�cal square void. The figures are standing at the edges of the surfaces and voids. I wasn’t sure what type of theme I was going for so I made many where angled pieces
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Category: #50 Void between curve-linear Surfaces A floa�ng abstract shape creates two floors. Figure are placed around the edge of the void and below it. I wanted it to seem almost like an abstract floor plan for a mall looking down at the floors below.
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Category: #51 Void with a combina�on of Ver�cal walls create hidden space with a square void above them. A column is placed just outside the light of the void. The second photo shows a flat surface being supported by two beams with another wall being perpendicular to the surface. The figures are placed In front of the wall and below the second floor on the second photo. I wanted the figure to seem �ny compare to what was around it.
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Category: #52 Curved ver�cal surface A curved surface curves up into the sky. The figure is shown to stand in the center and in front of the surface. The scene gives a sense of height and almost looks like it reaches up into the sky and like it would never end.
A 4’wide
A 8’wide
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Category: #53 Curved ver�cal surface with an upper floor A series of curved surfaces crea�ng bridges, circles, and shelter. The figure stands on top of the curved surface in one picture and stands under them in another two. I wanted to create a sense of shelter and pathways.
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Category: #54 Curved ver�cal surface with a void A series of circular and square voids with curved surfaces reaching into and out of the void crea�ng bo�om floors and lower floors. The figures stand at the end of the curved surfaces and one stands on top of it crea�ng a bridge through the void. I wanted to create a sense of not knowing what is above or below you or a sense of unknown.
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Category: #55 Facing Curved ver�cal surface An s-curved shape crea�ng a shelter and another slightly curved inward surface. The figure stands below the curved surfaces and gives the scene a sense of height. The curved surfaces make the figure look small and gives a sense of feeling �ny.
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Category: #56 Hanging curved surfaces Floa�ng curved surfaces create semi-circles and circles while also crea�ng shelters. The human figure stands inside on top of, and under these surfaces. I wanted to create sense of height and size and compare the size of the figure compared to the curved surfaces. It gives a feeling of greatness.
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Category: #57 Surfaces with convexi�es and concavi�es A series of curved smooth surfaces crea�ng almost cave like walls. The figure stands in the middles of the smooth surfaces. I wanted to make it feel almost like the figure is standing in a cave system. If you have heard of antelope canyon in Arizona I would recommend looking it up they have some rock forma�ons that create smooth and colorful walls.
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Category: #58 A sphere with a strong center and centripetal force A series of sphere and semi-circles crea�ng surfaces to stand on and backdrops. The figure stands on and in front of the spheres. I wanted it to give a sense of the balls disappearing into the ground and voids. With the last picture I wanted it to seem like when in movies a portal opens up and half of that object appears through the other end of the portal.
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Category: #59 Surfaces that are twisted and free
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Bentley Gunn Port foli o 764
1
What I learned...
Project #1 “Wall, Column, and Space” Project #2 “Hand Drawing” Project #3 “Power of Patience” Project #4 “Space Cube” Project #5 “First Portfolio” Overall If you could talk to you before these five weeks, what would you like to share with you? -
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Category #1: Facing surface -10 photos show how the angle of a surface of a wall can change the mood drastically. As the wall comes in, the human figure becomes block from everything else. This action has made the human figure feel isolated.
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Category #2: Facing edge 10 photos illustrate how an edge of a wall can affect the perspective of a space. As the wall becomes more vertical, the human figure becomes more open to the space around. The human figure can see a space from both sides, which creates a since off inclusion. P
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Category #3: Blocking wall -11 photos show a surface of a wall creeping in from the left. As the wall moves the humans sight becomes blocked and hidden. As the wall moves, the human figure becomes interrupted.
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Block level 1
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Category #4: Passing the blocking wall 5 illustrations show the passing of a horizontal blocking wall. As the human figure moves forward and the wall passes by, the human figure feels typical. Passing by a wall may create the ceiling of comfort as if they are in a building or home.
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Category #5: Aligned Wall 6 photos show the passing of an aligned wall vertically, resulting in an unnatural movement. The human figure becomes familiar with one’s side of the wall. The human figure becomes familiar and comfortable
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Closed level 3
Category #6: Passing the aligned wall 6 photos indicate human figure walking passed a vertical wall. As the wall becomes elapse, the human figure acts no different. Just as category #4, the human figure has a sense of comfortably as if they were walking through a building.
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Category #7: Walls with different heights 9 illustrations show different sized walls gradually getting bigger than the human figure. As the wall size changes, the human figure becomes more imperceptible from the space Infront. This motion causes the human figure to feel left out and closed off.
Wall with 1ft
Wall with 2ft
Wall with 3ft
Wall with 4ft
Wall with 5ft
Wall with 6ft
Wall with 7ft
Wall with 7ft
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Category #8: Floating and faced Wall 8 photos show a floating wall moving upwards, resulting in the human figure being revealed. As the wall rises, the human figure becomes more visible and aware of the space. This causes the human figure to feel seen and possibly as if they are in a play, by revealing themselves to a space.
1ft high floating wall
2ft high floating wall
3ft high floating wall
4ft high floating wall
5ft high floating wall
6ft high floating wall
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8ft high floating wall
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Category #9: 8ft high floating and aligned wall 4 photos show an 8ft high floating and aligned wall moving towards the middle of the human figure. As the wall moves closer to the center, the human figure becomes easier to focus on. This vertical floating wall movement may give the feeling of uneasiness to the human figure
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Alignment level 4
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Alignment level 2
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Category #10: 8ft high floating and faced wall 8 photos show a 8ft high floating and faced wall moving horizontally across the figures front side. As the wall moves, the human figure becomes more aware. This resulted in the human being more sensible and conscious of what is in front of them.
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Overlap level 8
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Category #11: floating horizontal surface 6 photos show a floating horizontal surface moving from left to the middle over the human figure. As the wall is moving towards the center, it is creating a sense of shelter for the human figure. The human figure may feel safe and protected because of the shelter like wall above them.
Overlap level 1
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Overlap level 8
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Category #12: Horizontal surfaces with different heights 12 illustrations show a horizontal surface with different heights. As the surface goes down the perspective of the whole space shifts, creating fully different sights for the human figure. The human figure is getting multiple different scenes from this category. While the wall is moving down the human becomes more open and included to seeing above the wall. When the wall moves under the original platform the whole mood changes, the human figure may become scared or nervous because of the whole in the ground.
8ft high horizontal surface
7ft high horizontal surface
6ft high horizontal surface
5ft high horizontal surface
4ft high horizontal surface
3ft high horizontal surface
2ft high horizontal surface
1ft high horizontal surface
-1ft high horizontal surface
-2ft high horizontal surface
-3ft high horizontal surface
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Category #13: Wall surface with an incline 8 photos show a wall surface with an incline moving above the human figure. As the wall moves up, the human figure becomes interposed. This may give the feeling of shelter to the human figure just as category #11.
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Category #14: Inclined wall 6 photos showing an inclined wall moving to an upright position. As the walls incline increases the wall may seem as if it is turning from a table into a wall. This may give the feeling of excitement and curiosity when seeing the quick change.
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Category #15: Floating wall surface facing edge with an incline 6 photos show the change of a floating wall surface facing edge with an incline. As the wall in moving, the human figure may become confused because of the table disappearing from straight eyesight. This may cause the human figure to become anxious and or curious.
Inclined level 1
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Inclined level 6
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Category #16: Inclined surface to a facing wall 9 illustrations show the change of an inclined surface to a facing wall while creating a different space for the human figure. As the wall turns into a facing wall the human figure may become more familiar with the space. As the wall goes from hovering the human figure to an upright wall, the human figure may feel more ease and comfortable with the space.
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Category: #17 Inclined ramp to facing wall 9 photos show the change of an inclined ramp to a facing wall. As the wall increases in incline, the wall changes from a bridge-like structure to a upright wall like structure. As the wall goes up the human’s figure may feel more closed off due to the wall now covering their sight.
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Category: #18 One Column 2 photos show one column from different perspectives with one human figure. As the perspectives switch, we can see how far the human is from the column. The human figure may feel blocked by when walking towards this columns.
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Category: #19 Two Columns 2 photos show two columns from 2 new perspectives, one from a vertical view and another from a horizontal view. As the perspectives change the human figure seems are if they are changing direction. This may cause the human to feel decisive on which way they should be going towards the columns.
Vertical
Horizontal
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Category: #20 Three Columns 2 photos show 3 columns from 2 different views. As the columns move and change position, the human figure seems as if they are changing spaces. This may cause the human figure to feel confused because of the different spacing and arrangement of columns.
Vertical
Horizontal
Category: #21 Four Columns 2 illustrations show 4 columns from one perspective, gradually moving inwards toward the human figure. As the columns move in the human figure becomes more closed off. This may cause the human figure to feel claustrophobic and anxious.
Wide
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Narrow
Category: #22 One Wall and One Column 8 photos show 8 different settings with one wall and one column. As the human figure is in the same position, the wall and column are gradually moving up, down, and side to side. This may cause the human figure to be confused because there is so much going on that is different in each new setting.
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Category: #23 One Wall and two Columns 3 photos showing 3 different settings with one wall and two columns with the human figure not changing position. As the human figure is set, the wall and columns are constantly changing positions side to side. This may cause the human figure to see switched up and as if they are in whole new building for space, creating a sense of feeling renewed.
Condition 1: aligned wall and vertically aligned columns
Condition 2: facing wall and vertically aligned columns
Condition 3: facing wall and horizontally aligned columns
Category: #24 Two Walls and two Columns 2 photos show two different viewpoints including 2 walls and 2 columns and 2 human figures. As the walls and human figures stay put, the columns are moving around the walls. Since only the columns are moving in this category, the human may feel as a pillar and feel grounded.
Columns aligned vertically with perpendicular walls
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Columns aligned horizontally with perpendicular walls
Category: #25 Two Walls and two Columns with two lighting conditions_01 6 photos show different perspectives of 2 walls and 2 columns using different lighting. As the lighting is changing the space looks different to the human figure. This may cause the human figure to feel discombobulated and confused.
Walking between vertically aligned columns and perpendicular walls with lighting behind Figure
Walking between vertically aligned columns and perpendicular walls with lighting behind wall
Walking beside vertically aligned columns and perpendicular walls with lighting behind Figure
Walking beside vertically aligned columns and perpendicular walls with lighting behind wall
Walking beside vertically aligned columns and extended perpendicular walls with lighting behind Figure
Walking beside vertically aligned columns and extended perpendicular walls with lighting behind wall
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Category: #26 Two Walls and two Columns with two lighting conditions_02 4 photos show 2 settings that include 2 walls and 2 columns with different lighting positions. As the lighting changes the columns become harder to see and the human figure creates a shadow. This may cause the human to feel as they are leaving one room and entering another, causing the feeling of openness and connected.
Passing horizontally aligned columns to enter the space between two walls with lighting behind Figure
Passing vertically aligned columns to enter the space between two walls with lighting from the inside space
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Passing horizontally aligned columns to enter the space between two walls with lighting from the inside space
Passing vertically aligned columns to enter the space between two walls with lighting behind Figure
Category: #27 Two Walls and two Columns with two lighting conditions_03 6 illustrations show 3 different settings with two lighting conditions. As the lighting changes the look of the space changes, just like categories #25 and #26. This again may cause the human figure to feel both confused, but also open to the new space and what it brings them.
Passing vertically aligned columns to pass a narrow opening between two walls with lighting behind Figure
Passing vertically aligned columns to pass a narrow opening between two walls with lighting from the inside space
Passing vertically aligned columns to pass an intermediate opening between two walls with lighting behind Figure
Passing vertically aligned columns to pass an intermediate opening between two walls with lighting from the inside space
Passing horizontally aligned columns to pass a wide opening between two walls with lighting behind Figure
Passing horizontally aligned columns to pass a wide opening between two walls with lighting from the inside space
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Category: #28 Vertically aligned Two Walls and two Columns 2 photos show two vertically aligned walls and two columns shifting. As the walls and columns are moving, the human figure went from walking between 2 walls, to walking between 2 columns. This may give the feeling of new opportunities for the human figure as they walk through different types of structures.
Between walls, walking
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Between columns, walking
Category: #29 Space composed with 5+ columns and 2 walls 6 photos show 6 different settings, perspectives, and lightings. As the scenes change the human figures are also moving. This may cause the feeling of renewal or frustration because of the constant changing.
Top view of the space composed
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Category: #30 Faced wall with Connected wall 19 photos showing a faced wall with a connected wall, looking as if the human figure is inside and outside of a building. As the human is moving back and forth from the walls, we are able to see more of the space. This may cause the human to feel included when being able to see much of the inside and outside.
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Category: #31 Aligned wall with Connected wall 17 photos show an aligned wall with connected walls, as if the human figures are inside a building. As the angle moves, we can get different viewpoints of the human figures, as they are facing opposite directions. This may cause the human figure to feel frustrated due to the inside attributes of the structures.
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Category: #32 Facing the connected edge of two walls 17 photos show facing the connected edge of a wall. As the angles change, we see more of the wall and less of the edge. This may cause the human figure to feel as if they were walking around a building.
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Category: #33 Three connected walls 2 photos show 2 human figures with three connected walls. At 6 different angles we see the walls and human figures from different viewpoints. This may cause the human figures to feel turned around and confused due to the symmetry of the walls.
Wide-facing wall with two wings
Narrow-facing wall with two wings
Category: #34 Curved wall inside 4 photos show a curved wall with a human figure on the inside face. As the walls get high, the human becomes smaller. With the smallest wall, this may cause the human figure to feel protected, but with the tallest wall the human figure may become intimidated.
Small-curved and 8ft height
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Small-curved and 16ft height
Large-curved and 8ft height
Category: #35 Curved wall outside 8 photos show the outside of a different sized curved walls. Just as category #34, as the walls get larger the human figure becomes smaller. The smaller walls give a sense of comfort and security, but the taller wall gives the sense of anxiety for the human figure.
Facing Small-curved and 8ft height
Passing Small-curved and 8ft height
Facing Small-curved and 16ft height
Passing Small-curved and 16ft height
Facing Large-curved and 8ft height
Passing Large-curved and 8ft height
Facing Large-curved and 16ft height
Passing Large-curved and 16ft height
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Category: #36 Curved Walls and Flat Walls 5 photos show both curved walls and flat walls. By moving the curved wall around the human figures, it seems as if we are in a whole new space. This may cause the human figure to feel uneasy.
Facing a flat wall (8fh height) while passing a curved wall (8fh height)
Entering a space between a flat wall (8fh height) and a closed-curved wall (8fh height)
Entering a space between a flat wall (8fh height) and an opened-curved wall (8fh height)
Your coordination in height and openness.
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Entering a space between a flat wall (8fh height) and a half opened-curved wall (8fh height)
Category: #37 Entering into a space between Parallel Curved Walls 8 photos show human figure entering a space between parallel curved walls, As the lighting changes, the human figure does from entering a space to leaving a space. This may create the feeling of the unknown for the human figure.
Small-curved and 8ft high outside
Small-curved and 16ft high outside
Large-curved and 8ft high outside
Large-curved and 16ft high outside
Small-curved and 8ft high inside
Small-curved and 16ft high inside
Large-curved and 8ft high inside
Large-curved and 16ft high inside
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Category: #38 Entering a space between curved mirror walls_01 8 photos show a human figure entering a space between 2 curved walls. As the walls get bigger the human figure becomes smaller and less dominate in the picture. This may cause the feeling of intimidation, or belittled.
Small-curved and 8ft height
Large-curved and 16ft height
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Small-curved and 16ft height
Large-curved and 8ft height
Category: #39 Entering a space between curved mirror walls_02 8 photos show a human figure entering a space between 2 curved mirror walls. As the lighting changes the whole perspectives change the picture. The human is abundant when the smaller walls are near, but almost get lost in the picture when the bigger walls are present. This may cause the human figure to feel anxious because the dynamic changes.
Small-curved and 8ft high with inside lighting
Small-curved and 8ft high with outside lighting
Small-curved and 16ft high with inside lighting
Small-curved and 16ft high with outside lighting
Large-curved and 8ft high with inside lighting
Large-curved and 8ft high with outside lighting
Large-curved and 16ft high with inside lighting
Large-curved and 16ft high with outside lighting
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Category: #40 One curved wall and one column 2 photos show one curved wall and one column. As the scenes and lighting change, the human figure seems as if they are in whole new place. This may cause a sense of confusion to the human figure.
Entering a space between a column and curved wall outside
Entering a space between a column and curved wall inside
Category: #41 One curved wall and two columns 3 photos show one curved wall and two columns with different lighting perspectives. As the scenes and lighting change, the wall seems to change in size, but it never does. This may cause the human figure to feel confused because depending on how the columns are placed the wall looks a different height.
Entering a space between a column of two horizontally aligned and curved wall outside
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Facing the outside of a curved wall with two horizontally aligned columns with insufficient space between them
Entering a space between a column of two vertically aligned and a curved wall outside
Category: #42 Role of a column between Curved and flat walls 4 photos show a rule of a column between curved and flat walls. As the walls and column move it doesn’t seem to change the look of the space too much, due to the lighting. This may make the human figure feel comfortable.
Entering a space between two parallel curved walls, with a column in front of the outer curved wall
Entering a space between a faced flat wall and a curved wall, with a column in front of the flat wall
Entering a space between two parallel curved walls, with a column in front of the inner curved wall
Entering a space between a parallel flat wall and a curved wall, with a column in front of the flat wall
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Category: #43 Curved connection 4 photos show a curved connection with different lighting and positioning of the human figure. As the lighting changes we can see different parts of the wall and as the human figure changes position, we can also see new positions of the curved wall. This may cause the human to feel as they are discovering something new.
Follow two flat walls that are connected at an angle of 60 degrees smoothly
Follow two flat walls that are connected at an angle of 150 degrees smoothly
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Follow two flat walls that are connected at an angle of 90 degrees smoothly
Follow two flat walls that are connected at an angle of 120 degrees smoothly
Category: #44 Curved wall and S-curve wall 4 photos show curved wall and s-curve wall with 2 different perspectives. As the wall sizes changes the human figure becomes smaller. With the lighting both these scenes are intimidating to the human figure.
Curved wall and S-curve wall 8ft high with inside lighting
Curved wall and S-curve wall 8ft high with outside lighting
Curved wall and S-curve wall 16ft high with inside lighting
Curved wall and S-curve wall 16ft high with outside lighting
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Category: #45 1 point perspective pictures: Void on the upside 4 photos show 1 point of view with different size shapes shining from above from lighting. Each size makes the space look different. Thu human may feel as the sun or some form of light is getting brighter.
A 4’x4’ square void with a height of 8ft
A 8’ diameter void with a height of 8ft
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A 8’x8’ square void with a height of 8ft
A 4’ diameter void with a height of 8ft
Category: #46 Void on the upside with columns or walls 4 photos shoe different scenes with void on the upside with columns or walls. Each scene has such a different look, due to the movement and lighting. This may feel chaotic for the human figure.
A 8’x8’ square void with columns
A 8’x8’ square void with a facing wall
A 8’x8’ square void with a passing wall
View for A 4’x4’ square void with a flat wall aligned with one side and two columns aligned with the opposite side
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Category: #47 Void on the downside with columns or walls 6 illustrations show void on the downside with columns or walls. The lighting in these scenes really show different sides to the structures. This may make the human feel scared because of the spooky look to the downside lighting.
A 8’x8’ square void with a facing wall and light from upper floor
A 8’x8’ square void with a facing wall and light from side
A 8’x8’ square void with a facing wall and light from lower floor
A 8’x8’ square void with a passing wall and light from side
A 8’x8’ square void with a passing wall and light from lower floor
A 8’ diameter void with light from lower floor
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Category: #48 Void on the upside with combinations of columns or walls 10 photos show a void on the upside with combinations of columns or walls. Each picture is unique with lighting and the placement. As the lighting switches the mood and look of the setting changes. This may cause the human figure to feel confused and misplaced.
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Category: #49 Void between Floating Surfaces 5 photos show void between floating surfaces and 3 human figures. The different scene changes from top to bottom really show the variation of these surfaces. This may cause the human figures to feel anxious because of the different levels.
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Category: #50 Void between curve-linear Surfaces 2 photos show void between two abstract surfaces. This abstract shape is unique but made into its own scene. This may cause the human figure to feel confused with what type of structure is in front of them.
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Category: #51 Void with a combination of 2 photos show void with a combination of unique surfaces, columns, and curves, created in a unique setting. As the settings are changing, we can see a different side to the space and can put a story together in our minds. This may cause the human figure to feel curious as to what is going on.
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Category: #52 Curved vertical surface 2 photos show 2 different sized curved vertical surfaces. As the curve graduates in incline the human figure becomes less noticeable because the more noticeable structure. This may cause the human figure to feel blocked and angry.
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Category: #53 Curved vertical surface with an upper floor 5 photos show a curved vertical surface with an upper floor. As the scenes change the human figure seems to be looking down and up this surface. The human may seem both intimidated and open when in both settings.
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Category: #54 Curved vertical surface with a void 5 photos show a curved vertical surface with a void. As the surface and lighting change, the viewpoint changes as well. As the lighting comes through the bottom, we become more focused on the surface then the human figure, whereas when the lighting id coming from the top we are focused on the human figure. This may cause the human figure to feel both seen and forgotten.
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Category: #55 Facing Curved vertical surface 2 photos show a facing curved vertical surface. As the curve changes sizes the human figure still is covered by this surface. This may cause the human figure to feel scared by the hovering surface above them.
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Category: #56 Hanging curved surfaces 4 photos show a hanging curved surface. Each setting shows the curved wall in different positions and create a different feeling for the human figure. This may cause the human figure to feel confused from all the change.
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Category: #57 Surfaces with convexities and concavities 2 photos show a surface with convexities and concavities. These walls are in awkward positions as the human figure is walking through. This may cause the human figure to feel uncomfortable.
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Category: #58 A sphere with a strong center and centripetal force 4 photos show a sphere with a strong center and centripetal force. The use of a sphere makes such a unique and special setting. The lighting and the sphere joined together may cause the human figure to feel as if the sun is above and below.
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Category: #59 Surfaces that are twisted and free 3 illustrations show surfaces that are twisted and free. The use of different curved walls brings such a unique view to each setting. This may cause the human figure to feel lost.
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Ad ia n Hampton Port foli o 818
1
What I learned...
Project #1 “Wall, Column, and Space” Project #2 “Hand Drawing” Project #3 “Power of Patience” Project #4 “Space Cube” Project #5 “First Portfolio” Overall If you could talk to you before these five weeks, what would you like to share with you? -
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Category #1: Facing surface The sequence begins facing the figurine directly, and each level shifts the degree by 10 until eventually viewing the objective from a 90 degree perspective. Each degree slowly makes the figure a less important part of the picture, since more of the wall is shown. With each shift, I felt like the wall was getting bigger and more like a room, especially between 20 and 60 degrees, however by 90 degrees, the edge is revealed and suddenly everything shrinks.
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Category #2: Facing edge 10 photographs capture how angle shifts changes the space of a wall, as it is conforms to fit behind the figure. As the angle shifts, the human figure becomes a greater emphasis of the photo, eventually becoming the only thing visible apart from the top of the wall. I felt as if the environment was shaping around me, since the figure remains in the same place while the wall changes perspective, and how at first it was like I was walking into a new room while at the end of the sequence, it seemed like two separate rooms/paths formed in front of me.
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Category #3: Blocking wall 11 pictures show a wall slowly moving in front of a human figure, eventually standing in front of it completely. As it moved, the figure went from having an open space in front of it to completely being prevented from proceeding. This reminded me of the sliding barriers that shops erect at closing, with the figure observing the wall come up to ensure that it closes without issue.
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Category #4: Passing the blocking wall 5 pictures show a human figure walking past a wall, into the space behind it. As the person moves, they gradually become a greater focal point of the sequence until eventually becoming the only thing visible. This made me feel like I was actually moving from one space to another, especially as the wall became larger as if it was closer, then disappearing in the final part
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Category #5: Aligned Wall 5 photos show a wall appearing closer and closer to the human figure standing in the center of the space. The figure at first appears to be roughly the same height as the wall and becomes smaller as the shifts occur. This made me feel as if I was inching myself closer to a structure to observe it, like I was in an art gallery moving to the left to see a sculpture up close.
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Category #6: Passing the aligned wall 6 photos show a human figure walking past a vertically aligned wall. The figure strides confidently as it moves, maintaining its same relative scale through the sequence. This made me feel like I was walking past a building in the city, with a strong facade defining the edge of the sidewalk.
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Category #7: Walls with different heights 8 photos emphasize the scale of a human figure by having it face walls of increasing heights, eventually towering over it completely. The figure goes from appearing tall and central to being behind something tall and central to the model. My first thought was that it reminded me of those fancy TVs that rise up out of the ground, and you do not realize how massive they are until they are all the way up, making you feel poor and insignificant compared to it.
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Category #8: Floating and faced Wall 8 photos show a horizontally aligned wall rising above the ground, eventually being higher than the human figure is tall, giving the illusion of the wall getting bigger. The figure stands observing these changes, appearing smaller as the wall rises. This made me feel like I was being released from one room so I could proceed to the next, with the wall no longer blocking the path ahead after it reached six feet in height.
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Category #9: 8ft high floating and aligned wall 4 pictures show a floating wall moving from the left of the scene to the center, with a human figure appearing to walk towards it. As the wall moved, the human figure seemed like it was getting closer to it, and subsequently seemed smaller since the scale is easier to perceive when objects are nearer to each other. This made me feel like I was moving diagonally towards the wall, with each scene showing the wall at a smaller angle as if it was being obstructed from view by the perspective.
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Category #10: 8ft high floating and faced wall 8 photos show a floating wall moving in front of a human figure, still hovering above while becoming more centered in the scene, yet at the end of the sequence (8) it was revealed that the wall is shorter in length than one would imagine based on the others (1-7) leading up to it. As the wall shifts rightward, the figure appears relatively smaller. This made me feel like I was moving to the left of the scene, as if to try and gleam how large the wall above actually was.
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Category #11: floating horizontal surface 8 photos show a horizontally aligned wall hover above and slowly move center and closer to frame, with a human appearing to walk towards it. As the figure moves, the focus shifts off of it and onto the environmental factors. This made me feel like something large was approaching from the darkness, or like I was walking towards some mysterious object of unknown proportion
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Category #12: Horizontal surfaces with different heights 12 pictures show a floating surface descend downward until eventually moving beneath the plane, with human figures standing in the pit it created and on the side observing the movement. The one on the outside remains constant throughout the scenes, while the one in the pit becomes more obstructed as the platform lowers. This scene invoked a sense of fear and betrayal in me, with the human figure in the pit appearing helpless to escape while the one on the side watched indifferently.
8ft high horizontal surface
7ft high horizontal surface
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Category #13: Wall surface with an incline 8 photos show a wall aligned at increasing angles, starting with 10 degrees above and ending with 80 degrees juxtaposed on the side of the human figure. The person appears to be moving forward and acts as an anchor that defines the angles of the environment around it. This reminded me of a carnival maze room, where the walls form unique shapes and angles that have a trippy or dizzying effect on those within, so I could not help but squint trying to find my way through this sequence.
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Category #14: Inclined wall :6 photos show a wall of increasing angles rise from a horizontal position to a vertical position, with the human figure standing next to it to provide perspective. As the wall rises, the figure appears smaller since the wall remains at a constant size, yet the changes in its position reveal the height of itself and of the figure by extension. This made me feel like a space was forming around me, where in the first scene it seemed more like a plane, however in the final few an actual space with defined borders formed
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Category #15: Floating wall surface facing edge with an incline 6 pictures show a floating wall contort in different angles while also rising further above the ground, moving in an arch around the human figure. As the wall moves, it creates this sense of peril that the figure is in, with it appearing within inches of it. This sequence made me want to duck my head or run away, as it reminded me the way pieces of structures fly off during tornados.
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Category #16: Inclined surface to a facing wall 9 photos show a wall aligning vertically rise at intervaled angles, eventually blocking the human figure from proceeding forward. As the wall rose, the figure is made to seem small and confined. This startled me a bit, as the scale of this wall is absolutely massive and is not fully realized until it is nearly standing up straight (60-90).
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Category: #17 Inclined ramp to facing wall 8 photos show a human figure facing a ramp inclining at increasing angles until eventually standing up straight and becoming a wall. The figure is blocked by the new wall where before there was a ramp for it to proceed should it wished. This had an uncanny effect on me, as the perspective gives the impression that the ramp is rising and consuming the figure, as most of its mass went from facing away to being directly in front.
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Category: #18 One Column Two photos show two separate perspectives of a human figure approaching a vertically aligned column. The figure, though remaining in the same position, seems further away in the horizontal perspective than the vertical facing one. This really gave me a sense of space and how perspective is what defines it, rather than the geographic position one is standing in.
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Category: #19 Two Columns Two photos show two columns aligned vertically and horizontally at the same interval, with a human figure moving forwards. In the vertical perspective, the figure appears to be smaller than the columns, however in the horizontal one, it appears equal in height, creating a scale that is difficult to decipher from pictures alone. This sequence has two different vibes depending on which way you’re looking at, with the horizontal alignment defining an opening whereas the vertical alignment felt like I was moving past a wall composed of columns
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Category: #20 Three Columns Two photos show three columns aligned vertically and horizontally at different intervals, with a human figure passing beside or between them depending on how you look at it. The figure appears to be moving towards the columns. The columns gave me a sense of boundary, where the vertical alignment made me feel like I was walking past something while the horizontal alignment made me feel like I was passing through something.
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Category: #21 Four Columns Two pictures show four columns positioned far apart and close together, creating a sense of wideness and closeness respectively. The human figure stands in the center of the four columns, acting as the focal point which demonstrates the changes in environment. This scene made me feel like things were closing in around me, where the first photo had a comfortably balanced vibe while the second felt cramped, made even more apparent by the fact that the columns only change position horizontally, creating a sense that the walls are moving to you.
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Category: #22 One Wall and One Column 8 pictures show a wall and a column in different positions relative to each other, creating multiple different spaces in the sequence. The human figure appears to be moving between the wall and column in each scene except for the ones (cond. 5-6) where they are so close together that he would not fit in the space, and so remains stationary. This made me feel like I was moving through hallways of various widths, where the column defined the right side and the wall defined the left, and that I was blocked from proceeding due to the thinness of the space in 5&6.
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Category: #23 One Wall and two Columns 3 photos show two columns and a wall aligned in various ways to give several perspectives of the same environment. The human figure appears in the midpoint between the two columns in all scenes, giving the impression that he is moving through the space they define. I felt like I was exploring a room and looking at various points within it, as the changes in wall alignment make it seem like multiple walls are present in this sequence, just only one is visible depending on the perspective shown
Condition 1: aligned wall and vertically aligned columns
Condition 2: facing wall and vertically aligned columns
Condition 3: facing wall and horizontally aligned columns
Category: #24 Two Walls and two Columns Two photos show two separate perspectives of the same space, with one showing a hall defined by vertically aligned columns and the other showing the front facade of one of the walls with two columns aligned horizontally on the edges. The human figures create a sense of place, with one leaving the space through the hallway and the other standing in the center of the horizontal wall. I felt like this was a real place, with the figures appearing to have separate purposes for being there, and while you can’t determine what they are, the difference between the moving figure and the stationary one implies that there is a reason for being in that space, and like there is something beyond it.
Columns aligned vertically with perpendicular walls
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Columns aligned horizontally with perpendicular walls
Category: #25 Two Walls and two Columns with two lighting conditions_01 6 pictures show three scenes under two different lighting conditions, with walls and columns shaping the way that the light flows into the space. The human figure is moving through these scenes either entering a dark space from a lit one, or from a lit space entering a dark one. These scenes made me feel like I was moving through a house, where I was either leaving a room and had already turned the lights off or I was moving to a separate room temporarily and so left the lights on because I intended to come back shortly
Walking between vertically aligned columns and perpendicular walls with lighting behind Figure
Walking between vertically aligned columns and perpendicular walls with lighting behind wall
Walking beside vertically aligned columns and perpendicular walls with lighting behind Figure
Walking beside vertically aligned columns and perpendicular walls with lighting behind wall
Walking beside vertically aligned columns and extended perpendicular walls with lighting behind Figure
Walking beside vertically aligned columns and extended perpendicular walls with lighting behind wall
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Category: #26 Two Walls and two Columns with two lighting conditions_02 4 pictures show two scenes under two different lighting conditions, with two columns that create a sense of closeness and openness depending on how and where they are arranged relative to the wall. The human figure is seen moving towards an opening behind the closer wall, however the different lighting conditions changes the form of the person, with the darker condition making a striking silhouette while the lighter condition highlights the environmental factors more than the figure. The contrast between negative and positive space gave me a more comprehensive view of it, as the shadows created depth in the positive space while the light streaming into the negative space defined the shape of the environment, which made this
feel a lot more familiar and like I understood this place better than I would if it was all one lighting
Passing horizontally aligned columns to enter the space between two walls with lighting behind Figure
Passing vertically aligned columns to enter the space between two walls with lighting from the inside space
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Passing horizontally aligned columns to enter the space between two walls with lighting from the inside space
Passing vertically aligned columns to enter the space between two walls with lighting behind Figure
Category: #27 Two Walls and two Columns with two lighting conditions_03 6 photos show three scenes under two different lighting conditions, composed of two columns aligned either vertically or horizontallyrelative to the position of the human figure, acting as the path that it follows and, along with two walls, defines the width of the opening that light either comes from or is obstructed from. The changes in the lighting conditions make the figure appear as if it is in two different locations within the same scene, as the dark lighting makes the figure seem smaller and therefore further away, while the brighter lighting makes it seem closer.
Passing vertically aligned columns to pass a narrow opening between two walls with lighting behind Figure
Passing vertically aligned columns to pass a narrow opening between two walls with lighting from the inside space
Passing vertically aligned columns to pass an intermediate opening between two walls with lighting behind Figure
Passing vertically aligned columns to pass an intermediate opening between two walls with lighting from the inside space
Passing horizontally aligned columns to pass a wide opening between two walls with lighting behind Figure
Passing horizontally aligned columns to pass a wide opening between two walls with lighting from the inside space
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Category: #28 Vertically aligned Two Walls and two Columns Two photos demonstrate how the boundaries of space can be defined by different environmental factors, with the walls in the first scene acting as the border with columns act as components within the space, while the second photo uses the walls as an outline that is completed by the columns, giving it a more open feel. The human figure is seen moving through the boundaries, appearing somewhat confined by the walls in the first scene, only able to move in a linear path, while the second scene gives the figure a lot more freedom to move about in multiple directions, even if he still proceeds in the same direction as the first. This sequence made me realize the importance of boundary placement in creating a comfortable space, since the first one made me feel uncomfortably tight, like I want to hurry to leave, while the second one had a more relaxed feel where I felt like I could take my time moving forward.
Between walls, walking
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Between columns, walking
Category: #29 Space composed with 5+ columns and 2 walls 7 photos illustrate how placement of columns (5 total) can make parts of a space feel more open or closer, with one column being placed in the top left corner and the other four placed in a cone shape, parallel to the column within their bracket, and moving further apart the farther you get from the focal column. The human figure is positioned in different parts of the room to provide scale and perspective of the environmental elements, showing how positioning can change the vibe of the same room. This was my first category that I took a lot of creative liberty with, and so I wanted to make a space that felt contradictory, with closed and dark spaces juxtaposed to more lit and open ones within the same sequence, and that is what I felt I created.
Top view of the space composed
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Sequence phase #6
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Category: #30 Faced wall with Connected wall 19 pictures show two walls connect along the center of the field, shifting the degree of the angle of intersection by 10 starting at 90 and ending with 270, with the shifting wall (on right) being obstructed from view once it reaches its final position. The human figure stands adjacent to the connecting angle, and becomes less focal as angle increases up to 180, then proceeds to take center stage once the angles increase further. This made me feel like I was anticipating a sort of release from where I was standing, as the border around me deformed into a straight wall ahead, then folding behind itself to reveal a space once blocked by it, allowing me to move forward.
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Category: #31 Aligned wall with Connected wall 17 pictures show two walls intersecting at increasing angles, starting with 10 and ending with 170 to illustrate how different angles affect the tightness and tension of a space, allowing one to decide which feels best for themself. The human figure stands in front of the ends of the wall, putting into perspective how it would feel to actually be there, especially with the close shots this category required. This made me feel a couple different things, at first I felt cramped looking in as the walls move towards each other until they intersect, creating this feeling that they are closing in around you, while in the middle sequence (70-90) I felt like I was in a comfortably sized room, while towards the end I felt like I was walking through the halls of the engineering building, since it had a windy (wine-dee) passage vibe
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130 degree
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Category: #32 Facing the connected edge of two walls -17 photos demonstrates two intersecting walls increase in the angle of intersection to gradually create a complete, straight wall across the space. The human figure stands still, initially in front of the walls, but eventually ends up next to the wall that is shifting as it moves outwards. This made me feel like I was moving around a stationary wall, initially viewing it from the end of one of its size, then slowly moving to view it in its entirety.
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Category: #33 Three connected walls 2 pictures show a horizontally aligned wall with two angled walls attached to each end, creating a full boundary for this space, one that is more open and one more close together. The human figure stands centered in the field, at first seeming to be out in the open, but then looked more confined as the walls went from being aligned at 45 and 135 angles respectively to being aligned at 90 degrees each. This gave me two different senses of place, as the wide scene felt more relaxed, with the wider angles giving a softer feel, and the narrow scene felt a lot harsher and more serious, with sharp
angles creating definite boundaries that it feel more like a dead end than the broader one.
Wide-facing wall with two wings
Narrow-facing wall with two wings
Category: #34 Curved wall inside 4 pictures show curves of different lengths and heights creating an insulated space within a broader plane, demonstrating how a new space can be created efficiently using thereof. The human figure stands in the center of the curves, acting as a centerpiece in the 8ft curves while looking miniature compared to the 16 ft curves. In the 8ft scenes, I felt like I standing on a stage, with the curves accentuating the space within it, while in the 16ft scenes, I felt like I was standing in a gallery observing purported elements that would be on the wall.
Small-curved and 8ft height
Large-curved and 16ft height 36 852
Small-curved and 16ft height
Large-curved and 8ft height
Category: #35 Curved wall outside 8 photos show curves of various sizes (8ft short, 8ft long, 16ft short, 16ft long) forming cylinders in the center field, filling the same purpose as a wall. The human figure can be seen standing in front of the wall in some scenes, and moving past it in others, with the moving scenes making the figure appear smaller as it stands side-by-side. I imagined that these cylinders were marble columns in an old structure, and I approached forward to marvel over them closer, then proceeding to move past it once I had properly examined them.
Facing Small-curved and 8ft height
Passing Small-curved and 8ft height
Facing Small-curved and 16ft height
Passing Small-curved and 16ft height
Facing Large-curved and 8ft height
Passing Large-curved and 8ft height
Facing Large-curved and 16ft height
Passing Large-curved and 16ft height
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Category: #36 Curved Walls and Flat Walls -5 photos show a curved and flat wall of equal heights to create a comparison between the two, and how they might be used in the same space. Two human figures can be seen in these scenes, one moving past/around the curved wall, and the other standing inside it, with the latter being obstructed in the scenes where the wall is closed. This made me feel like I was entering a new space and used the curve to guide my path, with the shorter heights and soft angles giving it a relaxed vibe.
Facing a flat wall (8fh height) while passing a curved wall (8fh height)
Entering a space between a flat wall (8fh height) and a closed-curved wall (8fh height)
Entering a space between a flat wall (8fh height) and an opened-curved wall (8fh height)
Your coordination in height and openness.
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Entering a space between a flat wall (8fh height) and a half opened-curved wall (8fh height)
Category: #37 Entering into a space between Parallel Curved Walls 8 pictures show curves of two different heights and lengths forming a spiral, creating a strong separation between the space outside and within. Two human figures can be found in this sequence, with one moving into and out of the curve (visible in all scenes) and the other standing inside the spiral, completely obstructed from view when looking from the outer perspective. In the walls of lower heights, I felt like I was entering or leaving the center of a maze, however the higher ones were reminiscent of dramatic, concealed spiral staircases, especially if (like I did) you interpret a connection between the tall walled spirals and the short walled spirals.
Small-curved and 8ft high outside
Small-curved and 16ft high outside
Large-curved and 8ft high outside
Large-curved and 16ft high outside
Small-curved and 8ft high inside
Small-curved and 16ft high inside
Large-curved and 8ft high inside
Large-curved and 16ft high inside
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Category: #38 Entering a space between curved mirror walls_01 -4 pictures show two curves of equal heights and lengths – varied by photo – standing next to each other, creating a small walkable space in between. A human figure can be seen navigating through the opening. This made me feel like I was entering a grand building with tall, thick columns which function as walls defining the entrance, especially in the 16ft high scenes.
Small-curved and 8ft height
Large-curved and 16ft height
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Small-curved and 16ft height
Large-curved and 8ft height
Category: #39 Entering a space between curved mirror walls_02 8 photos show two curved walls with a small, angled opening, and using two different lighting conditions to create a sense that one is either entering or leaving a space. A human figure can be seen approaching the opening, however the darker lighting makes his form more striking than in the scenes where the light comes from behind.
Small-curved and 8ft high with inside lighting
Small-curved and 8ft high with outside lighting
Small-curved and 16ft high with inside lighting
Small-curved and 16ft high with outside lighting
Large-curved and 8ft high with inside lighting
Large-curved and 8ft high with outside lighting
Large-curved and 16ft high with inside lighting
Large-curved and 16ft high with outside lighting
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Category: #40 One curved wall and one column -2 photos show opposite perspectives of a column next to a curved wall, with creating the illusion that they are in fact not the same space when the only environmental change is the way the curve faced. A human figure is seen moving between the curve and the column, cast in the shadow of the wall when it is closed while having light reflected back on him when the wall opens towards him. This made me feel like the wall was rotating autonomously and i was standing in the same position, just from a different POV when it turned to face me.
Entering a space between a column and curved wall outside
Entering a space between a column and curved wall inside
Category: #41 One curved wall and two columns 3 pictures show two columns in each shot with a curved wall in between them to make one structure that, while physically separated in multiple components, felt like one whole thing. Two figures can be seen in the first scene, with one moving past the wall and the other standing in front, however the second and third scenes obstruct one of the figures from view as a different environmental component is emphasized. I felt as if there was a fourth, unseen column (three total column positionings shown, only two per scene) that would make it all symmetrical, and like the four columns were meant to be miniature versions of the main wall.
Entering a space between a column of two horizontally aligned and curved wall outside
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Facing the outside of a curved wall with two horizontally aligned columns with insufficient space between them
Entering a space between a column of two vertically aligned and a curved wall outside
Category: #42 Role of a column between Curved and flat walls 4 pictures show a column used to add depth to a space created by curved walls (or a combo of curved and flat walls), and how the position thereof can affect the overall feel of the space. A human figure moves between the column and a curved wall, making the space between feel like a door or passage rather than as an accent piece. I felt like I was moving through distinct spaces, where each scene led to the next smoothly.
Entering a space between two parallel curved walls, with a column in front of the outer curved wall
Entering a space between a faced flat wall and a curved wall, with a column in front of the flat wall
Entering a space between two parallel curved walls, with a column in front of the inner curved wall
Entering a space between a parallel flat wall and a curved wall, with a column in front of the flat wall
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Category: #44 Curved wall and S-curve wall 4 pictures show parallel s-curved walls of two different heights under two different lighting conditions to show how light can be used to emphasize the form of a structure, as the s-shape creates a unique facade that can only truly be appreciated by seeing the light stream in from either the front or back of it. A human figure can be seen at the mouth of the curves, only changing under the different lighting, but otherwise remaining consistent throughout the scenes. I felt like I was entering a maze or some other opaque structure, since the s-curves provide a unique sense of concealment that effectively insulates the figures within
Curved wall and S-curve wall 8ft high with inside lighting
Curved wall and S-curve wall 8ft high with outside lighting
Curved wall and S-curve wall 16ft high with inside lighting
Curved wall and S-curve wall 16ft high with outside lighting
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Category: #45 1 point perspective pictures: Void on the upside -4 pictures show a dark space with a void in the ceiling above in either a circular or square shape in two sizes, creating a spotlight effect on the floor below. The human figure stands in the center of void, focalized by the light coming in and acting as the scale for the size of the void. I felt like I being observed intently in this sequence, as the spotlight provides contrast to the dark space surrounding it, as if it was meant for many people to be able to see me clearly should I be standing within it, perhaps like I was giving a seminar or performing for large audience, though that may just be my fear of public speaking coming out.
A 4’x4’ square void with a height of 8ft
A 8’x8’ square void with a height of 8ft
A 4’ diameter void with a height of 8ft
A 8’ diameter void with a height of 8ft
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Category: #46 Void on the upside with columns or walls 6 photos show an enclosed space with a square void above (8x8 and 4x4), using walls and columns to define boundary and also adjust where the void appears in the room. A human figure can be seen moving around the room, creating a sense of height for the ceiling and walls. This made me like I was pacing around a room with a skylight, as the lighting is not terribly dim, yet it is impeded by the ceiling except where the void exists, and the placement of the figure gives a sense of movement, yet he is confined by the boundary defined by the walls and columns.
A 8’x8’ square void with columns
A 8’x8’ square void with a facing wall
A 8’x8’ square void with a passing wall
View for A 4’x4’ square void with a flat wall aligned with one side and two columns aligned with the opposite side
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Category: #47 Void on the downside with columns or walls -6 pictures show a void with a flat wall protruding out of it, and light coming from either above the structure or from inside of it. A human figure stands on the edge of the void, looking down into it as if contemplating something, either facing or horizontally aligned to the wall. These scenes made me feel like I was at a pool, with the different lighting conditions implying whether it was daytime or night, since the light coming from the bottom reminded me the lights pool have when its nighttime.
A 8’x8’ square void with a facing wall and light from upper floor
A 8’x8’ square void with a facing wall and light from side
A 8’x8’ square void with a facing wall and light from lower floor
A 8’x8’ square void with a passing wall and light from side
A 8’x8’ square void with a passing wall and light from lower floor
A 8’ diameter void with light from lower floor
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Category: #48 Void on the upside with combinations of columns or walls 10 pictures in this sequence utilizes columns, voided ceilings, and walls of varying elements to convey a short story that uses changes in positioning and openings to give an impression that the room was shrinking in real time. A human figure enters the structure and wanders around before happening upon a large button on a wall, presses it, then panics as it causes the exits to seal and the walls to begin moving in towards each other, then a second figure sees what is happening from the void above, lowers a ladder, and the first figure climbs up, narrowly escaping an unfortunate demise. This made me think that this space was an ancient trapped temple being excavated by a group of archaeologists, and I felt the intensity and panic that the situation caused figure 1, as if I was there experiencing it with him.
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Category: #49 Void between Floating Surfaces 5 pictures show various floating flat and curved surfaces, using unique camera angles to make the surface feel larger or smaller in perspective. 5 human figures can be found here, each standing on or within a surface, being obstructed or accentuated depending on where the camera is, and also appear in the last scene on the circular surface equidistant to each other on all sides. This gave me a very bubbly and fun vibe, as the floating surfaces create this airy atmosphere
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Category: #50 Void between curve-linear Surfaces 3 photos show my organic pattern cut out to form a void, with the cut-out angled at the bottom of the void to give a layer of the depth. Human figures can be seen sitting, laying, or standing on the edges of the top platform, with one additional figure standing at the bottom, obscured only except when viewed from the bottom perspective. This scene felt like I was in a building with a uniquely shaped void allowing one to view between floors, and the human elements gave me a relaxed feel, with them essentially lounging around this scene
Scene #1
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Category: #51 Void with a combination of 2 photos show a very abstract space, with various walls and columns angled individually to create a sense of disorder, or as if the focus on a camera lense had been turned down. The human figure stands in the room trying to decipher his surroundings, almost as if peering forward to try and figure out what exactly is going on. Despite the disordered environment, this made me feel as if I was looking into a well composed room, but one that was designed to be seen from a specific angle as the environmental elements are positioned to create an optical illusion of order, but then when viewed out of perspective you realize that they are all positioned very irregularly.
Scene #1
Scene #2
Category: #52 Curved vertical surface 2 photos show a curved, thin wall of two different widths bend towards the perspective, creating an insular effect. The human figure stands facing the wall, and seems to almost get wrapped up by the 8’ surface. I felt like the wall formed a gentle cover over me, a sort of caress that separated me from the space beyond it, especially when using the 8’ wide surface
A 4’wide 50 866
A 8’wide
Category: #53 Curved vertical surface with an upper floor 5 photos show a overhanging upper floor with various curved surfaces, twisted in many different ways to create distinct senses of space. Two human figures stand in these scenes, one on the lower area and one on the overhang, though in the first scene, one of the figures is obstructed by the vertical curved wall. The contorting curves in each scene make each feel like a different space, even if the core structure (wall holding a platform) remained constant throughout, however they created this fun feeling for me as the unique shapes and lack of hard angles made it feel very comfortable.
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Category: #54 Curved vertical surface with a void 5 photos show curved surfaces of different widths emerging from or going into a void, with lighting conditions altered to guide the interpretation of where the surface is coming from. Two human figures are shown in this sequence, with one standing facing the void on the ceiling and the other beneath it facing away, either of which is obstructed depending on the perspective shown. Likewise, the perspective is what sets the tone, with the upper one having a darker and more dramatic feel due to the curve bending towards the perspective, making it feel like its almost jumping out at you, while the bottom one was a lot more light and reminded me of the bottom of a slide.
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Category: #55 Facing Curved vertical surface Two photos demonstrate the relation between object, scale, and space, with a curved vertical surface in an enclosed area appearing to take up a lot of area and take center stage while the other shows an angled perspective in an open area, making the surface look small and less central to the overall space. A human figure stands facing both vertical surfaces, and provides scale for both so one realizes that they are in fact the same surface, just shown in separated spaces. Oddly enough, this reminded me of a graphic I saw that showed how massive our sun was compared to our solar system, but then zoomed out to show the entire milky way, revealing the sun to be a tiny spec within the larger picture; this scene invoked a similar feeling of “putting things into perspective.”
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Scene #2
Category: #56 Hanging curved surfaces 4 pictures show a sequence utilizing various hanging or floating curved surfaces, forming multiple structures and spaces in the final scene. The two human figures are shown above or under the surfaces, becoming obstructed or revealed as more elements are added to the space. This made me feel like I was at a playground, with the curvy surfaces and wide yet still defined space giving it a very lighthearted vibe
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Category: #57 Surfaces with convexities and concavities 2 pictures show vertically aligned convex surfaces forming unique shapes which cast strong shadows giving an impression of an opening, shifting perspective change the look of the cavities. A human figure is shown juxtaposed to the openings. This gave me a sense of mystery, as these irregular forms are not something one would typically find, so it just makes you wonder what function they serve, or if they are just effects of the lighting
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Category: #58 A sphere with a strong center and centripetal force 5 pictures show a sphere rolling across a plane into a conveniently shaped void, then proceeding to get stuck in it. Two human figures are shown in this sequence, with one being crushed by the sphere and smashed onto it before getting scrapped off as the ball falls into the hole, while the other stands on the side and uselessly gawks at what is unfolding. This is what I imagined “Indian Jones gone wrong” would have been like, I even put a note in the category nicknaming it “Indiana Bones,” and so it is meant to be somewhat cartoonish and unserious.
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Category: #59 Surfaces that are twisted and free 3 pictures show a set of scenes using various curved surfaces, contorting and cross-sectioning them to form abstract structures, with the final scene contrasting sharply by using all the surfaces from the first two and closing them to form circles, then organizing them in ascending order of size, looking forwards into it. The human figure sets the perspective in each scene, especially in the first two where it may not be immediately clear from where you are looking, however the relationship between the figure and the environment helps ground the view. This made me feel a little dizzy, as the dense and twisty curves took my eyes down a rabbit hole, however it was not a negative kind of dizzy, more so the kind you would expect to get on a dense rollercoaster.
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Ja ck He mker 872
Port foli o 1
What I learned...
Project #1 “Wall, Column, and Space” Project #2 “Hand Drawing” Project #3 “Power of Patience” Project #4 “Space Cube” Project #5 “First Portfolio” Overall If you could talk to you before these five weeks, what would you like to share with you? -
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Category #1: Facing surface These ten photos illustrate how the wall slowly drifts towards the person. Eventually ending up being in front of the person. As the wall shifts, it becomes in front of the person. I feel claustrophobic the wall moves in front of me, slowly, and ends up right in front of me.
0 degree
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90 degree 4 874
Category #2: Facing edge The wall slowly rotates around the person. The wall gradually rotates from left to right in front of the person. I feel awkward as the wall moves by rotating in front of me from left to right.
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Category #3: Blocking wall The wall slides horizontal in front of the person. As the person stands there, the wall slides from left to right in front of the person blocking their view. I feel like I am being boxed up because of the wall moving right in front of me.
Opened level 1
Opened level 2
Opened level 3
Opened level 4
Block level 1
Block level 2
Block level 3
Block level 4
Block level 5
Block level 6
Block level 7
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Category #4: Passing the blocking wall The slides away from the person. As the person stands there, the slides away from them. I feel like I am standing by a gate as it slides open away from me.
Passing level 1
Passing level 2
Passing level 3
Passing level 4
Passing level 5
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Category #5: Aligned Wall The wall moves away from the person. Every picture the wall moves further and further away from the person. I feel liberated as the wall moves away from me opening up the surrounding area.
Closed level 1
Closed level 2
Closed level 4
Closed level 5
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Closed level 3
Category #6: Passing the aligned wall The wall slides towards the camera. The wall slides straight towards the camera as the person stands right by it. I feel as though the wall is a gate sliding closed right beside me.
Passing level 1
Passing level 2
Passing level 3
Passing level 4
Passing level 5
Passing level 6
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Category #7: Walls with different heights The wall gets taller and taller at every picture taken. You see the wall starting smaller than the man, then becoming taller. I feel like I am shrinking since the wall is becoming taller and taller.
Wall with 1ft
Wall with 2ft
Wall with 3ft
Wall with 4ft
Wall with 5ft
Wall with 6ft
Wall with 7ft
Wall with 7ft
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Category #8: Floating and faced Wall The wall gets taller and taller at every picture taken. You see the wall starting smaller than the man, then becoming taller. I feel like I am shrinking since the wall is becoming taller and taller.
1ft high floating wall
2ft high floating wall
3ft high floating wall
4ft high floating wall
5ft high floating wall
6ft high floating wall
7ft high floating wall
8ft high floating wall
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Category #9: 8ft high floating and aligned wall The wall is floating in the air above the person. The person is underneath the wall that is magically floating in the air and moves from side to side. I feel like there is magic in the levitating wall as it moves from side to side.
Alignment level 1
Alignment level 4
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Alignment level 2
Alignment level 3
Category #10: 8ft high floating and faced wall The floating wall moves from the top left across to right above the person. It floats up above and slides across to the right. I feel scared of the big floating wall that moved directly over me.
Overlap level 1
Overlap level 2
Overlap level 3
Overlap level 4
Overlap level 5
Overlap level 6
Overlap level 7
Overlap level 8
13 883
Category #11: floating horizontal surface There is a horizontal, flat wall floating above and in front of the person. The wall moves from side to side above and in front of the person. I feel like there is magic as the wall floats and moves from side to side.
Overlap level 1
Overlap level 2
Overlap level 3
Overlap level 4
Overlap level 5
Overlap level 6
Overlap level 7
Overlap level 8
14 884
Category #12: Horizontal surfaces with different heights The square wall in the middle of the ground floats and slowly moves downward. Then when it meets the ground, it keeps moving downward below the ground. I feel like the floating square hole is like an elevator the moves downward even below the ground.
8ft high horizontal surface
7ft high horizontal surface
6ft high horizontal surface
5ft high horizontal surface
4ft high horizontal surface
3ft high horizontal surface
2ft high horizontal surface
1ft high horizontal surface
-1ft high horizontal surface
-2ft high horizontal surface
-3ft high horizontal surface
-4ft high horizontal surface 15 885
Category #13: Wall surface with an incline The flat horizontal wall moves from the bottom side of the person, to the very top right above the person. It moves in a circular motion up and around the person. I feel like I have the force because of the above the person. It moves in a circular motion up and around the person. I feel like I have the force because of the flat horizontal wall that moves around me.
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Category #14: Inclined wall The wall is angled and slowly tilts up to a vertical angle. The wall starts at a slant and then tilts to vertical. I feel angry that it feels like a mouse trap snapping at me.
Inclined level 1
Inclined level 2
Inclined level 3
Inclined level 4
Inclined level 5
Inclined level 6
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Category #15: Floating wall surface facing edge with an incline The wall floats horizontally and then rotates to be vertical. It floats far in front of the person. I feel free because of the floating wall that rotates and opens/closes the open air space.
Inclined level 1
Inclined level 2
Inclined level 3
Inclined level 4
Inclined level 5
Inclined level 6
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Category #16: Inclined surface to a facing wall The wall is slanted and hovers over the person. It moves vertically as it is above the person. The horizontal flat wall makes me feel claustrophobic because of the horizontal flat wall that will squish me.
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19 889
Category: #17 Inclined ramp to facing wall The wall is slanted toward the person and towers above him. The wall that towers above moves vertical towards the background wall. I feel like I am under a draw bridge that is moving vertically up.
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Category: #18 One Column There is one column situated in front of the person. The column is also offset a little bit of the person. It feels like a vast open field with a singular tree in it. I stare at its beauty.
Front
Side
Category: #19 Two Columns There are two columns standing freely. At one angle, they are on either side of the person. At the other angle, one column is hiding behind the other. I feel as though I am hallucinating and seeing two columns when I should only see one.
Vertical
Horizontal
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Category: #20 Three Columns There are three columns spaced out in front of the person. At a different angle, there are three columns in a straight line just to the side of the person. I feel lonely because the columns feel like a fence blocking me.
Vertical
Horizontal
Category: #21 Four Columns There are four columns that surround the person. The four columns are situated in a square shape. I feel as though I an entrapped by the four columns that surround me.
Wide
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Narrow
Category: #22 One Wall and One Column There is one wall and one column that is situated to the right of the wall. The column moves up and down the side of the wall and even away and closer. I feel like there is a magical wizard in the sky, and is using his invisible hand to move the column.
Condition 1
Condition 2
Condition 3
Condition 4
Condition 5
Condition 6
Condition 7
Condition 8
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Category: #23 One Wall and two Columns There is one wall and two columns situated around the person. No matter where the person is, there is a wall and two columns surrounding him. I feel like I am being chased, no matter where I go, there is always a wall and two columns near me.
Condition 1: aligned wall and vertically aligned columns
Condition 2: facing wall and vertically aligned columns
Condition 3: facing wall and horizontally aligned columns
Category: #24 Two Walls and two Columns There are two walls and two columns that are situated in front of the person. There is a small gap/space between the two walls. As the two columns are on either side of the horizontal wall. I feel like I am walking through a doorway because of how the two walls are spaced.
Columns aligned vertically with perpendicular walls
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Columns aligned horizontally with perpendicular walls
Category: #25 Two Walls and two Columns with two lighting conditions_01 There are two walls and two columns situated at a 90 degree angle. One of the walls points straight towards the other wall with the two columns running along side. I feel empty because I am walking down a long hallway to a door way at the very end.
Walking between vertically aligned columns and perpendicular walls with lighting behind Figure
Walking between vertically aligned columns and perpendicular walls with lighting behind wall
Walking beside vertically aligned columns and perpendicular walls with lighting behind Figure
Walking beside vertically aligned columns and perpendicular walls with lighting behind wall
Walking beside vertically aligned columns and extended perpendicular walls with lighting behind Figure
Walking beside vertically aligned columns and extended perpendicular walls with lighting behind wall
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Category: #26 Two Walls and two Columns with two lighting conditions_02 There are two walls and two columns that are situated in front of the two walls. The walls are offset from each other. I feel like I am lost in a maze walking through the opening in the walls and around the columns.
Passing horizontally aligned columns to enter the space between two walls with lighting behind Figure
Passing vertically aligned columns to enter the space between two walls with lighting from the inside space
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Passing horizontally aligned columns to enter the space between two walls with lighting from the inside space
Passing vertically aligned columns to enter the space between two walls with lighting behind Figure
Category: #27 Two Walls and two Columns with two lighting conditions_03 There are two columns and two walls and two lighting and two lighting conditions. The lighting shines through the opening between the two walls. I feel like I am in a horror movie with darkness surrounding the small amount of light.
Passing vertically aligned columns to pass a narrow opening between two walls with lighting behind Figure
Passing vertically aligned columns to pass a narrow opening between two walls with lighting from the inside space
Passing vertically aligned columns to pass an intermediate opening between two walls with lighting behind Figure
Passing vertically aligned columns to pass an intermediate opening between two walls with lighting from the inside space
Passing horizontally aligned columns to pass a wide opening between two walls with lighting behind Figure
Passing horizontally aligned columns to pass a wide opening between two walls with lighting from the inside space
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Category: #28 Vertically aligned Two Walls and two Columns The two walls are aligned vertically with a gap in between them. The walls are offset, and there are two columns by the opening. I feel like I am walking into openness as I walk through the opening between the two walls.
Between walls, walking
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Between columns, walking
Category: #29 Space composed with 5+ columns and 2 walls There are two walls and 6 columns spread out withing the two columns. The two walls are at about a 90 degree angle with a small opening. I feel scared because I feel like I am in a horror movie and the invisible man is chasing me.
Top view of the space composed
Sequence phase #1
Sequence phase #2
Sequence phase #3
Sequence phase #4
Sequence phase #5
Sequence phase #6
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Category: #30 Faced wall with Connected wall There are two walls connected to each other. The two walls are at different angles and get wider and wider and the pictures go on. I feel very lonely as if I am standing by the Great Wall of China and no matter where I went, the large wall was always shielding me from the other side.
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Category: #31 Aligned wall with Connected wall There are two walls connected together with the person right at where they are connected. The angle of the walls start to get narrower as the pictures go on. I feel like I am trapped at a corner of a wall with nothing to do and now where to go.
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Category: #32 Facing the connected edge of two walls There are two walls connected with a person standing on the outside of it. The walls are getting narrower as the pictures move on. I feel very bored because of the wall that keeps getting narrower but there is nothing else that is going on.
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130 degree
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Category: #33 Three connected walls There are three walls connected at two different points. The outer walls angle inward as the middle wall stays horizontal. I feel anxious because I am in a giant office room waiting for the boss to walk in and fire me.
Wide-facing wall with two wings
Narrow-facing wall with two wings
Category: #34 Curved wall inside There is a short wall that curves around the person towards the camera. There in another wall much taller which also curves around the person towards the camera. I feel a sense of pride as if I am getting my picture taken.
Small-curved and 8ft height
Large-curved and 16ft height 36 906
Small-curved and 16ft height
Large-curved and 8ft height
Category: #35 Curved wall outside There is a shorter curved wall that is situated in front of the person. There is also a considerably taller curved wall in front of the person. I feel alone because of the curved circular wall that towers over me, there is no where for me to go.
Facing Small-curved and 8ft height
Passing Small-curved and 8ft height
Facing Small-curved and 16ft height
Passing Small-curved and 16ft height
Facing Large-curved and 8ft height
Passing Large-curved and 8ft height
Facing Large-curved and 16ft height
Passing Large-curved and 16ft height
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Category: #36 Curved Walls and Flat Walls There is a straight wall that runs away from the camera. There is another wall that curves towards the straight wall. There is a person in front of the curved wall like in category #34. The other person is standing at the start of the gap between the straight wall and curved wall. I feel like I am behind the scenes of a news reporter giving the news, and I am walking behind the green screen.
Facing a flat wall (8fh height) while passing a curved wall (8fh height)
Entering a space between a flat wall (8fh height) and a closed-curved wall (8fh height)
Entering a space between a flat wall (8fh height) and an opened-curved wall (8fh height)
Your coordination in height and openness.
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Entering a space between a flat wall (8fh height) and a half opened-curved wall (8fh height)
Category: #37 Entering into a space between Parallel Curved Walls There is a long curved wall that is off set from another curved wall. There is a very tall curved wall that is also offset from another curved wall. feel a sense of graciousness because I am walking through a small hallway surrounding by darkness into bright light.
Small-curved and 8ft high outside
Small-curved and 16ft high outside
Large-curved and 8ft high outside
Large-curved and 16ft high outside
Small-curved and 8ft high inside
Small-curved and 16ft high inside
Large-curved and 8ft high inside
Large-curved and 16ft high inside
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Category: #38 Entering a space between curved mirror walls_01 There are two walls that curve into each other but still leaves a gap for light to shine through. There are also two much taller walls that curve into each other but also leaves a small gap to let light through. I feel a sense of gratitude as if I am walking through the gates into heaven.
Small-curved and 8ft height
Large-curved and 16ft height
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Small-curved and 16ft height
Large-curved and 8ft height
Category: #39 Entering a space between curved mirror walls_02 There are two walls of different heights that curve into each other. They leave a small gap to light shine through. I feel a sense of danger as if I am walking into a haunted house.
Small-curved and 8ft high with inside lighting
Small-curved and 8ft high with outside lighting
Small-curved and 16ft high with inside lighting
Small-curved and 16ft high with outside lighting
Large-curved and 8ft high with inside lighting
Large-curved and 8ft high with outside lighting
Large-curved and 16ft high with inside lighting
Large-curved and 16ft high with outside lighting
41 911
Category: #40 One curved wall and one column There is a curved wall with a column on the outside of the wall. In the other picture there is a curved wall with a column on the inside of the wall. I feel a sense of urgency as if I am rushing down a spiral staircase.
Entering a space between a column and curved wall outside
Entering a space between a column and curved wall inside
Category: #41 One curved wall and two columns There is a half circle curved wall with two columns and a person in front of it. There one column and the left side and one on the right side of the curved wall. The person is centered in the middle of the curved wall. I feel endlessness as if I am walking around a circular building infinitely.
Entering a space between a column of two horizontally aligned and curved wall outside
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Facing the outside of a curved wall with two horizontally aligned columns with insufficient space between them
Entering a space between a column of two vertically aligned and a curved wall outside
Category: #42 Role of a column between Curved and flat walls In some pictures there is a straight wall the is offset behind the curved wall with a column in between. In other pictures there is a curved wall mirrors the other curved wall with a column and person in the gap between. I feel a sense of wonder as if I am entering a very long underground curved tunnel.
Entering a space between two parallel curved walls, with a column in front of the outer curved wall
Entering a space between a faced flat wall and a curved wall, with a column in front of the flat wall
Entering a space between two parallel curved walls, with a column in front of the inner curved wall
Entering a space between a parallel flat wall and a curved wall, with a column in front of the flat wall
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Category: #43 Curved connection There is a very long curved wall that spans around the person. It goes from left to right, each picture, the wall varies in degree of curvature. I feel a sense of endlessness as if I am walking along a wall that keeps curving inward, never ending.
Follow two flat walls that are connected at an angle of 60 degrees smoothly
Follow two flat walls that are connected at an angle of 150 degrees smoothly
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Follow two flat walls that are connected at an angle of 90 degrees smoothly
Follow two flat walls that are connected at an angle of 120 degrees smoothly
Category: #44 Curved wall and S-curve wall There is a S-shaped curved wall and normally curved wall that is offset from the S-shaped curved wall. There is also a much taller curved wall that is offset from a just as tall S-shaped curve wall. I feel a sense of wonder as if I am exploring a vast cave system.
Curved wall and S-curve wall 8ft high with inside lighting
Curved wall and S-curve wall 8ft high with outside lighting
Curved wall and S-curve wall 16ft high with inside lighting
Curved wall and S-curve wall 16ft high with outside lighting
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Category: #45 1 point perspective pictures: Void on the upside There is a floating wall with a square hole in the middle of the it. There is also another floating wall with an even bigger square hole in the middle. There is one other floating wall that has a circular hole in the middle of it. I feel a sense of amazement as if there is a UFO hovering above me.
A 4’x4’ square void with a height of 8ft
A 8’ diameter void with a height of 8ft
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A 8’x8’ square void with a height of 8ft
A 4’ diameter void with a height of 8ft
Category: #46 Void on the upside with columns or walls There is a large floating wall with a square hole cut out of the middle of it. The floating wall is supported by four columns, one at each corner. I feel a sense of liveliness as if I am looking through a giant sky light in a building
A 8’x8’ square void with columns
A 8’x8’ square void with a facing wall
A 8’x8’ square void with a passing wall
View for A 4’x4’ square void with a flat wall aligned with one side and two columns aligned with the opposite side
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Category: #47 Void on the downside with columns or walls There is an elevated surface with a square hole cut out of the middle of it. There is a tall skinny vertical wall that spans through and above the elevated surface. I feel a sense of patience as if I waiting for an elevator to take me down a floor.
A 8’x8’ square void with a facing wall and light from upper floor
A 8’x8’ square void with a facing wall and light from side
A 8’x8’ square void with a facing wall and light from lower floor
A 8’x8’ square void with a passing wall and light from side
A 8’x8’ square void with a passing wall and light from lower floor
A 8’ diameter void with light from lower floor
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Category: #48 Void on the upside with combinations of columns or walls There are two horizontal walls that point toward each other. They are underneath a surface with a square hole in the middle that is elevated by four columns. I feel a sense of uniqueness as if I am in a one of a kind underground room that is also a tomb.
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Category: #49 Void between Floating Surfaces There is a surface elevated by four columns with a square hole in the middle. There is another elevated surface that is even higher up than the other. I feel like I am very loud because I am trying to talk to the other person that is on the roof of a building even though I am on the ground.
Scene #1
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Category: #50 Void between curve-linear Surfaces There is a very uniquely shaped hole in an elevated surface. There are two people standing on the elevated surface, and the third person is standing on the ground level inside the opening. I feel excited as if I am in the stands of an arena watching an event.
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Scene #2
Category: #51 Void with a combination of There is an elevated surface on four columns. There is also a wall pointing towards the camera with a space to let light in. I feel relaxed as if I am standing outside of my home getting my mail from the mailbox.
Scene #1
Scene #2
Category: #52 Curved vertical surface There is a four inch wide vertically curved wall that spans above the person. There is another vertically curved wall that is eight inches wide. I feel sense of endlessness because of the never ending ramp that goes in circles.
A 4’wide
A 8’wide 51 921
Category: #53 Curved vertical surface with an upper floor There is an elevated flat surface with a person at the corner. It overlooks a vertically curved wall that spans upward above the person. I feel like I am in a sci-fi movie in a large vast room in a space ship.
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Category: #54 Curved vertical surface with a void There is an elevated surface with square wall that is cut out of the middle. There is a long vertically curved wall that runs through the opening in front of the person. I feel a sense of joy as if there is a slide that I can go down at a playground.
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Category: #55 Facing Curved vertical surface There is an elevated surface with a person underneath in the open area with the sunlight shining through. In the opening, there is a vertically curved wall that runs diagonally upward. I feel tiring as if I am going to walk up a very long staircase to the upper level.
Scene #1
Scene #2 53 923
Category: #56 Hanging curved surfaces There are several different elevated curved surfaces that span over the person. One is shaped like a half circle, other is another half circle but floats above the person. The other two are angled like a slide into and away from the person. I feel a sense of amazement as if there is a shape shifting UFO hovering over me.
Scene #1
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Category: #57 Surfaces with convexities and concavities There is a vertically curved wall that spans over the person. It connects to the top of a straight wall that the person is standing along side of. I feel like I am walking underneath a large sculpture that spans over a walking path.
Scene #1 54 924
Scene #2
Category: #58 A sphere with a strong center and centripetal force There is a large sphere situated right by the person. There is also a half sphere, and an elevated sphere over an elevated surface with a circular hole in the middle. I feel like I am at an art gallery looking at the large beautiful sculptures.
Scene #1
Scene #2
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Category: #59 Surfaces that are twisted and free There is a very long curved wall the spans to a half sphere. There is a smaller curved wall that spans the other side of the half sphere. I feel a sense of sadness as if I am visiting the Vietnam memorial.
Scene #1
Scene #2
Scene #3
55 925
Pey ton H enr y Port foli o 926
1
What I learned...
Project #1 “Wall, Column, and Space” - I learned basics in space, area, and lighting Project #2 “Hand Drawing” - I learned to trust my gut, hands artist’s intuition. Project #3 “Power of Patience” - I learned how to deeply analyze a piece of art by interpretting shapes, colors, and tone. Project #4 “Space Cube” - I expanded on my knowledge from Wall, Column, and Space. I experimented with many different modes of creativity like using and analyzing color, using correct scale, how to draw floor plans, etc. Project #5 “First Portfolio” - I learned how to use In Design, and learned about how professional portfolios are set up and labeled. Overall If you could talk to you before these five weeks, what would you like to share with you? - Stay disciplined, don’t let up on your work. You will fall behind and you will stress yourself out so much more than needed.
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Category #1 : F acing surface
The first set of pictures we had to take shows over a period of time how a wall and the perspective of the figure change based on the angle of the wall.
0 d eg r ee
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Category #2 : F acing edge
The facing edge set of images showcases the different ways the wall shifts around the person. It appears that the wall shifts, but the figure does not. This invokes a sense of anxiety due to the floor not feeling secure under the figure’s feet, giving the space a sort of ‘fun-house’ aspect.
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Category #3 : B lock ing wall
The blocking wall photos of category 3 display a wall moving towards the right front of the figure. Once again, the figure does not appear to be moving and stationary while the wall moves. The feelings this photo set gave me were a bit more fun and exciting to me, I liked how once you put all the photos together it appears like a stop-motion
O p ened l ev el 1
O p ened l ev el 2
O p ened l ev el 3
O p ened l ev el 4
B l o ck l ev el 1
B l o ck l ev el 2
B l o ck l ev el 3
B l o ck l ev el 4
B l o ck l ev el 5
B l o ck l ev el 6
B l o ck l ev el 7
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Category #4 : P assing the b lock ing wall
P a s s i ng l ev el 1
P a s s i ng l ev el 2
P a s s i ng l ev el 3
P a s s i ng l ev el 4
P a s s i ng l ev el 5
This set of photos exhibits the figure walking from in front of the wall, to behind the wall. As the figure moves closer to the wall, the wall becomes more distorted. Photographing this particular choice of photos was a bit difficult and confusing for me to grasp the correct perspectives.
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Category #5: Aligned W all The aligned wall shows the figure standing at 0 degrees while the wall shifting right of the figure. The figure’s back is facing towards the camera, and the wall shifts across his body. During the time the wall shifts, the figure begins to come closer to being blocked off from moving forward.
C l o s ed l ev el 1
C l o s ed l ev el 2
C l o s ed l ev el 4
C l o s ed l ev el 5
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C l o s ed l ev el 3
Category #6: Passing the aligned wall Passing the aligned wall shows a set of photos of a stationary wall and a moving figure. As the figure moves closer to the wall, he is able to pass. I felt like the perspective of these photos was very clear and smooth as the figure walked by.
Passing level 1
Passing level 2
Passing level 3
Passing level 4
Passing level 5
Passing level 6
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Category #7: Walls with different heights Paragraph Each of these photos displays a figure with small to increasingly larger wall pieces in front of him. Every frame is a taller wall piece than the one before it. This set of photos shows the sense of height for the figure and the perspective from eye level.
Wall with 1ft
Wall with 2ft
Wall with 3ft
Wall with 4ft
Wall with 5ft
Wall with 6ft
Wall with 7ft
Wall with 7ft
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Category #8: Floating and faced Wall These images exhibit the 1-foot level of a wall piece moving higher on the background or to perceive the piece as, “floating”. While the viewpoint of the figure remains the same, the floating wall piece moves upward. This perspective of from the figure gives an interesting effect as you watch the piece go up.
1ft high floating wall
2ft high floating wall
3ft high floating wall
4ft high floating wall
5ft high floating wall
6ft high floating wall
7ft high floating wall
8ft high floating wall
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Category #9: 8ft high floating and aligned wall The wall perceived in these pictures is floating above the figures head at 8-feet. The floating wall moves to different alignments above the figure. These pictures have me feeling a little confused as to if the figure is standing still and moving sideways under the wall, or the wall is hovering over the figure’s head while it stands still.
Alignment level 1
Alignment level 4
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Alignment level 2
Alignment level 3
Category #10: 8ft high floating and faced wall These pictures show what seems to be a rectangular piece of front-facing wall, then is shown to be a square piece of front-facing wall. The wall grows larger as it moves farther to the right of the figure. I thought the wall would be a continuous rectangle piece, but was surprised when it turned out to be a squared piece.
Overlap level 1
Overlap level 2
Overlap level 3
Overlap level 4
Overlap level 5
Overlap level 6
Overlap level 7
Overlap level 8
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Category #11: floating horizontal surface The floating horizontal surface appears to shift over to the right of the still figure. As the floating surface comes closer into perspective, it begins to overlap the figure. I was confused when I looked at the images because the perspective of the floating surface made me think maybe it was coming forward and shifting to the right.
Overlap level 1
Overlap level 2
Overlap level 3
Overlap level 4
Overlap level 5
Overlap level 6
Overlap level 7
Overlap level 8
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Category #12: Horizontal surfaces with different heights A flat horizontal surface starting 8-feet in the air and receding to below the surface level. The photos include extra figures to detail the surface is going underground. This was definitely the hardest to photograph in my opinion, getting the floating surface to align with the ground surface and show the perspective of underground was difficult
8ft high horizontal surface
7ft high horizontal surface
6ft high horizontal surface
5ft high horizontal surface
4ft high horizontal surface
3ft high horizontal surface
2ft high horizontal surface
1ft high horizontal surface
-1ft high horizontal surface
-2ft high horizontal surface
-3ft high horizontal surface
-4ft high horizontal surface 15 939
Category #13: Wall surface with an incline These photos showcase a still-standing figure with an inclined floating surface. As each shot moves on, the surface becomes inclined at more acute angles. I enjoyed shooting these pictures because seeing the different perspectives of the figure and the surface becoming more acute and hover over the figure’s head.
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Category #14: Inclined wall The inclined wall shows the still-standing figure while the inclined wall begins to prop upright gradually. The wall shifts more upwardly inclined in each photo. This gives the interesting perspective of the wall inclining towards the figure.
Inclined level 1
Inclined level 2
Inclined level 3
Inclined level 4
Inclined level 5
Inclined level 6
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Category #15: Floating wall surface facing edge with an incline The floating wall is slightly inclined toward the figure while shifting at different levels to the right. In each photo, the figure is seen standing still while the surface moves clockwise above. I feel like this view is an interesting way to look at an edged surface.
Inclined level 1
Inclined level 2
Inclined level 3
Inclined level 4
Inclined level 5
Inclined level 6
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Category #16: Inclined surface to a facing wall The inclined surface continues to incline towards the background wall. Each frame is shown with the surface moving upwards and above the figure. This perspective of the inclined surface reminds me of a drawbridge, especially when compared to scale of the figure.
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Category: #17 Inclined ramp to facing wall An inclined ramp begins facing upwards at more acute angles after each shot. The ramp becomes increasingly steeper toward the figure. This angle of the ramp removes the opportunity of the figure to go up the ramp.
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Category: #18 One Column These two images display a figure walking next to a column on the front side, and the other from the side. The two photos give different perspectives on the same figure and columns. This was the first set of photos we recreated with columns, I felt this added an interesting depth to the photos.
Front
Side
Category: #19 Two Columns The figures shown in this set of images are walking in between two columns. The first image shows two horizontally spaced columns in between the figure, the other has two vertically parallel columns to the side of the figure. This adds an interesting viewpoint between the two setups of columns, the horizontal is more focused while the verticals are less noticeable.
Vertical
Horizontal
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Category: #20 Three Columns The figure is centered walking away from the camera, there are three columns staggered in front of him. One picture has the columns in a vertical parallel line, the other has the three in a horizontal zig-zag shape. I enjoy these two photos because of the various placements of the columns with the figure standing centered, I also liked the perception you are shown from the lighting.
Vertical
Horizontal
Category: #21 Four Columns Four columns spread evenly in two photos, one photo with one figure and the other with two figures. The wider four column spread with one figure placed backward close to the camera, the other on the further side. However, with the narrow four column positioning, there is only one figure standing on the further side of the two columns. I find these photos to be quite eerie and haunting, the shared lighting in the center of the wide angle was reminiscent of a boxing match or some sort of standoff. The narrow columns with one figure felt very off-putting and isolated, with the lighting being switched directly above the figure.
Wide
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Narrow
Category: #22 One Wall and One Column Eight images showcase various positions of one wall and one column with a figure facing backward toward the camera. Each image the wall generally remains in the same spot, while the column is scattered in front of the figure. These photos are interesting to me because they all seem somewhat similar when just looking at them, but when you look longer, they all have such different lighting, shade, space, etc. This is a complicated set of photos with interesting viewpoints.
Condition 1
Condition 2
Condition 3
Condition 4
Condition 5
Condition 6
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Category: #23 One Wall and two Columns One wall and two columns spread in horizontally and vertically aligned places. The three photos display two narrower positions for the figure, while the last photo has a wider angle to pass. The first two pictures of this set remind me of a tight hallway, and the third reminds me of a grand archway.
Condition 1: aligned wall and vertically aligned columns
Condition 2: facing wall and vertically aligned columns
Condition 3: facing wall and horizontally aligned columns
Category: #24 Two Walls and two Columns Two photos of horizontally and vertically aligned perpendicular walls. The first photo displays a vertically facing wall, two columns aligned next to it, with another wall horizontal. The second photo displays another vertical wall, another horizontal wall, but this wall is centered with the two columns horizontally aligned. Both photos give the essence of a gallery with the art center to the image, and the other being a hallway/entrance viewpoint.
Columns aligned vertically with perpendicular walls
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Columns aligned horizontally with perpendicular walls
Category: #25 Two Walls and two Columns with two lighting conditions_01 Two walls and two columns with either lighting behind the figure, or behind the wall. There are six images of varying perspectives of two walls and two columns with different lighting points. Each picture reveals thought provoking emotions to me, with the separate lighting shots, it makes me wonder, “what’s down that hallway?”
Walking between vertically aligned columns and perpendicular walls with lighting behind Figure
Walking between vertically aligned columns and perpendicular walls with lighting behind wall
Walking beside vertically aligned columns and perpendicular walls with lighting behind Figure
Walking beside vertically aligned columns and perpendicular walls with lighting behind wall
Walking beside vertically aligned columns and extended perpendicular walls with lighting behind Figure
Walking beside vertically aligned columns and extended perpendicular walls with lighting behind wall
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Category: #26 Two Walls and two Columns with two lighting conditions_02 A figure passing hallway type spaces with columns in scattered spaces, different lighting perspectives of from behind the figure, or inside the space. Four different photos offer several ways to layout a space with two walls and two columns for a figure to pass through. I felt having the different lighting positions and moving the walls horizontally and vertically was a very good way to display what the space would look like, is it functional, and does it look nice.
Passing horizontally aligned columns to enter the space between two walls with lighting behind Figure
Passing vertically aligned columns to enter the space between two walls with lighting from the inside space
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Passing horizontally aligned columns to enter the space between two walls with lighting from the inside space
Passing vertically aligned columns to enter the space between two walls with lighting behind Figure
Category: #27 Two Walls and two Columns with two lighting conditions_03 The last set of the two walls and two columns with two lighting conditions scenarios. Some of the photos have a narrower pathway for the figure to pass through, and the others with a wider pathway. My favorites of the set were the first, third, and fifth photos, I felt the lighting they shared gave such nice-looking shadows on the figure behind the columns. The jagged horizontal walls gave an interesting depth to the images next to the skinny columns.
Passing vertically aligned columns to pass a narrow opening between two walls with lighting behind Figure
Passing vertically aligned columns to pass a narrow opening between two walls with lighting from the inside space
Passing vertically aligned columns to pass an intermediate opening between two walls with lighting behind Figure
Passing vertically aligned columns to pass an intermediate opening between two walls with lighting from the inside space
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Category: #28 Vertically aligned Two Walls and two Columns The two vertically aligned walls and columns depict the figure either walking between walls or walking between columns. The figure walking between walls has less light on him due to the wall and column on his right, the figure walking between two columns has more light shining on the figure and the walls further apart. I feel that the figure between the walls has a tighter squeeze through his path, while the figure between columns has a wider, more comfortable pathway as well as with more light on the surface area.
Between walls, walking
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Between columns, walking
Category: #29 Space composed with 5+ columns and 2 walls Each photo had to involve two walls and at least five columns, with complete freedom otherwise. There were six sequences with another photo showing the birds eye view of one of the sequences created. I enjoyed playing around with various lighting points, wall lengths, angles, and column placement. It was really fun to explore my options as well as a top view of one of the composed spaces.
Top view of the space composed
Sequence phase #1
Sequence phase #2
Sequence phase #3
Sequence phase #4
Sequence phase #5
Sequence phase #6
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Category: #30 Faced wall with Connected wall A figure facing a connected wall from the ranges of 90 to 270 degrees. Seventeen separate shots of a backward figure facing a connected wall showing different possibilities of what the different angled walls would look like. Each shot was an interesting way to really see the angles of a wall and how that space would look compared to a figure.
90 degree
100 degree
110 degree
120 degree
130 degree
140 degree
150 degree
160 degree
170 degree
180 degree
190 degree
200 degree
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210 degree
220 degree
230 degree
240 degree
250 degree
260 degree
270 degree
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Category: #31 Aligned wall with Connected wall The figure is aligned to the vertical side of the connected wall. Each photo shows the wall opening from 10 to 170 degrees, going from very narrow to very wide. As the wall opened at a wider angle, it was helpful for there to be another figure facing sideways to the camera. I felt this helped with my perception and depth of the different angles.
10 degree
20 degree
30 degree
40 degree
50 degree
60 degree
70 degree
80 degree
90 degree
100 degree
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Category: #32 Facing the connected edge of two walls The figure is facing the connected edges of the narrow walls. As each picture is shown, the angle of the two connected walls grows larger from 10 to 170 degrees. This set of photos are similar to category 30 and 31 in my opinion. However, I am able to see the differences within the images for the viewpoint of the figure aligned with the camera.
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Category: #33 Three connected walls The images to recreate was three connected walls, one facing narrow and the other wide. I used a short back piece and long wings on the side for the narrow facing-facing wall, and used a long back piece and short wings for the wide-facing wall. Using these separate wall pieces allowed my photos to have the same depth and perception as what I was attempting to recreate.
Wide-facing wall with two wings
Narrow-facing wall with two wings
Category: #34 Curved wall inside Category 34’s setting is various displays of the inside of a curved wall at various heights and sizes. The photos shown only shows one figure in each shot, facing front and back. As the first set of photos for us to recreate including a curved wall, this was a whole new perspective and subject of depth we hadn’t explored yet.
Small-curved and 8ft height
Large-curved and 16ft height 36 960
Small-curved and 16ft height
Large-curved and 8ft height
Category: #35 Curved wall outside The outside of a curved wall at two different heights and lengths, either in front or on the side of a figure is shown. The figure is shown facing backward next to or in front of the curved walls. The different lighting points in this set of photos aligned with the different curves of the walls was an interesting perspective.
Facing Small-curved and 8ft height
Passing Small-curved and 8ft height
Passing Small-curved and 16ft height
Facing Large-curved and 8ft height
Facing Small-curved and 16ft height
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Category: #36 Curved Walls and Flat Walls Two separate walls, one curved and the other flat. Two figures either passing between the open curved walls or passing through and area with a flat and closed curve wall. I felt the depth the different lighting points gave along with the flat and curved walls was a really interesting and opening take for this set of images.
Facing a flat wall (8fh height) while passing a curved wall (8fh height)
Entering a space between a flat wall (8fh height) and a closed-curved wall (8fh height)
Entering a space between a flat wall (8fh height) and an opened-curved wall (8fh height)
Your coordination in height and openness.
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Entering a space between a flat wall (8fh height) and a half opened-curved wall (8fh height)
Category: #37 Entering into a space between Parallel Curved Walls Category 37 shows different wall heights and lengths in both inside and outside viewpoints. The several figures in the images are usually displayed as passing each other within the space. The curved walls at different heights between 8-feet and 16-feet beside the passing figures gave a very seamless and smooth transition between the spaces.
Small-curved and 8ft high outside
Small-curved and 16ft high outside
Large-curved and 8ft high outside
Large-curved and 16ft high outside
Small-curved and 8ft high inside
Small-curved and 16ft high inside
Large-curved and 8ft high inside
Large-curved and 16ft high inside
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Category: #38 Entering a space between curved mirror walls_01 This set of pictures from Category 38 depict two curved walls facing each other at the two height lengths to create a path. The figure is facing backward to the camera, and seen passing through the path created by the two facing curved walls. The lighting at the set angles shadowing on the figure and the several widths between the passageways gave an interesting contrast to the photos.
Small-curved and 8ft height
Large-curved and 16ft height
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Small-curved and 16ft height
Large-curved and 8ft height
Category: #39 Entering a space between curved mirror walls_02 Small, curved, 8-feet high to 16-feet high walls and large, curved, 8-feet to 16-feet high walls using various angles to shadow light. The figure in these sequences is backward facing and passing through a sort of hallway or transition space. I liked how the lighting vs. shadow aspect of the photos really shined through in these.
Small-curved and 8ft high with inside lighting
Small-curved and 8ft high with outside lighting
Small-curved and 16ft high with inside lighting
Small-curved and 16ft high with outside lighting
Large-curved and 8ft high with inside lighting
Large-curved and 8ft high with outside lighting
Large-curved and 16ft high with inside lighting
Large-curved and 16ft high with outside lighting
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Category: #40 One curved wall and one column Category 40 consists of an entrance space between a column and a curved outside facing wall, as well as an entrance space between a column and a curved inside facing wall. The figure is each photo is using this space to demonstrate what passing through an area designed that way would consist of. My thoughts on these two prompts are that they’re important just as the others and the front to back lighting of the photos made a very curious thought range.
Entering a space between a column and curved wall outside
Entering a space between a column and curved wall inside
Category: #41 One curved wall and two columns Two columns either horizontally or vertically aligned to the one curved wall. Two figures at different points standing or passing through a space between the columns and walls. I enjoyed the image of the figure passing between the two vertically aligned columns and the curved wall, the shadows and depth shown was very pleasing to look at.
Entering a space between a column of two horizontally aligned and curved wall outside
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Facing the outside of a curved wall with two horizontally aligned columns with insufficient space between them
Entering a space between a column of two vertically aligned and a curved wall outside
Category: #42 Role of a column between Curved and flat walls A column is shown in various positions next to or in between both flat and curved walls. The figure is shown facing backward passing the walls and the column. The curved and flat wall along with the lighting gave these photos a sense of coldness and mystery, the way the columns appear standing next to the figure give the images a nice contrast on the light.
Entering a space between two parallel curved walls, with a column in front of the outer curved wall
Entering a space between a faced flat wall and a curved wall, with a column in front of the flat wall
Entering a space between two parallel curved walls, with a column in front of the inner curved wall
Entering a space between a parallel flat wall and a curved wall, with a column in front of the flat wall
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Category: #43 Curved connection Two flat walls are connected at four angles between 60 and 150 degrees. The figure is sanding stationary next to the vertically facing flat wall during each degree increase. The photos confused me a bit because I wasn’t exactly sure what I was really looking at, I couldn’t tell if the walls I was looking at were flat or just lightly curved.
Follow two flat walls that are connected at an angle of 60 degrees smoothly
Follow two flat walls that are connected at an angle of 150 degrees smoothly
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Follow two flat walls that are connected at an angle of 90 degrees smoothly
Follow two flat walls that are connected at an angle of 120 degrees smoothly
Category: #44 Curved wall and S-curve wall S-curve walls at 8-feet and 16-feet heights with inside and outside lighting. The figure stands center facing backwards to the walls. These photos were very interesting to look at, I enjoyed how the curve next to the figure was perceived at taller wall heights with the outside lighting.
Curved wall and S-curve wall 8ft high with inside lighting
Curved wall and S-curve wall 8ft high with outside lighting
Curved wall and S-curve wall 16ft high with inside lighting
Curved wall and S-curve wall 16ft high with outside lighting
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Category: #45 1 point perspective pictures: Void on the upside Different sized voids are placed above the floor of the photos with different angles of lighting shining through each void shape. The figures were either standing forward or backward, directly under the void, or in the shaded area next to the void. These photos were kind of haunting feeling I guess I would say, the spotlight from the shape of the void on each figure was a very stark contrast compared the rest of the darkness behind it.
A 4’x4’ square void with a height of 8ft
A 8’ diameter void with a height of 8ft
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A 8’x8’ square void with a height of 8ft
A 4’ diameter void with a height of 8ft
Category: #46 Void on the upside with columns or walls Category 46 displays an upside void with two columns either horizontally or vertically aligned, at several angles and positions. The figures are seem passing through space in between columns and walls. These pictures were very strange for me to look at, I felt they definitely told a story in sequence, but the story seems to be a sad one.
A 8’x8’ square void with columns
A 8’x8’ square void with a facing wall
A 8’x8’ square void with a passing wall
View for A 4’x4’ square void with a flat wall aligned with one side and two columns aligned with the opposite side
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Category: #47 Void on the downside with columns or walls The images display a void on the down side of the set, the lighting is changed from coming from the upper floor, the side of the model, or beneath the model, a separate thinner wall is placed either horizontally facing or vertically facing.
A 8’x8’ square void with a facing wall and light from upper floor
A 8’x8’ square void with a facing wall and light from side
A 8’x8’ square void with a facing wall and light from lower floor
A 8’x8’ square void with a passing wall and light from side
A 8’x8’ square void with a passing wall and light from lower floor
A 8’ diameter void with light from lower floor
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Category: #48 Void on the upside with combinations of columns or walls Category 48 required a void on the upside view, with combinations of walls and/or columns. The figures were free to be placed wherever I wanted them too. For these photos we were given more creative freedom to have creative liberty in our set ups, my photos included multiple aligned columns and several boxed shadows and curved walls.
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Category: #49 Void between Floating Surfaces The basis of this category was to simply just have a void between a floating surface. Figures were allowed to be placed where we saw fit in the context of each picture. I used several curved walls at different heights and multiple levels both horizontally and vertically.
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Category: #50 Void between curve-linear Surfaces Category 50 allowed us to choose our favorite image from category 51, print it, then find an abstract shape within the photo to use as a prop for the photos here. Any number of figures were allowed, and strongly encouraged to use. I used my prop piece as a deck within the spaces, I added different height curved walls to add interest to the empty areas. The columns were seen to separate the multiple platforms, and the figures placed help give the space more depth.
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Scene #2
Category: #5
oid with a co
ination of
Category 51 was the start of our second pin up, we took a series of pictures of a void with a combination of flat, curved walls or columns. Figures were expected in the photos to give better perspective and add interest. The photo I chose to use for the pin up projects involves two vertically aligned square voids, several columns, platforms, and curved walls in the corner and on the side of the set.
e e
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Category: #5 Curved vertica surface Paragraph The criteria for this set of photos were to have a 4’ wide and ’ wide curved vertical walls. The figure in these photos was placed backward facing the curved vertical wall, center in front of the wall. These photos feel very hopeful and upli ing in terms of just how the angle going upward with the figure in front is very staircase to heaven’ reminiscent
A 4 ’w id e
A 8 ’w id e 51 975
Category: #53 Curved vertical surface with an upper floor This set of images goal was to have a curved vertical surface along with an upper floor. Figures were placed strategically to allow different viewpoints of what someone in the space may look like. I used several 10”x10” voids in these images as well as, hanging curves, curved walls, a mix of flat walls/ceilings, and platforms.
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Category: #54 Curved vertical surface with a void This category was meant to display a few ways a curved vertical surface with a void could be perceived for thought of. The figures for these pictures were all placed facing the curved wall, standing center. These pictures to me feel very alien or foreign. I feel like the figure is being sucked into the void above him.
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Category: #55 Facing Curved vertical surface The category 55 goal was to introduce different ways to display a faced curved vertical surface. These pictures aim to show the figures perspective and angle from the curved surface. Category 55’s photos gave me that same sense of being trapped or stuck and forced to enter this void via curved surface.
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Category: #56 Hanging curved surfaces Several curved hanging surfaces are shown at different heights and angles. Figures are shown centered and facing backward or facing the wall. These photos showed several points of views of the curved walls and felt very spacey.
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Category: #57 Surfaces with convexities and concavities This category’s set of images were perceived at different angles of upward and from the side. The figures in these photos are seen passing through the different concavities/convexities. These pictures are really cool to look at with the several shadows that surround it.
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Category: #58 A sphere with a strong center and centripetal force The photos in this category were meant to show a sphere with a strong feeling center. The figures in these photos are shown either standing in front of or beside the sphere. These pictures were interesting because they allowed us creative freedom on how we wanted to display the sphere, I used both half spheres on different sides of the figure and frame to give an interesting contrast to the photo set.
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Category: #59 Surfaces that are twisted and free The goal of the last set of images was to include surfaces that were both twisted or free. Figures were placed amongst the photos at our discretion. I used the curved walls on top of each other to give an interesting bridged look to some of the shots. I also decided to use the quarter piece cut outs from when we were cutting the 4’ and 8’ diameter circles to create room dividers or walls. The overall feel I attempted to go for was calm and smooth, very ‘go with the flow’ type of essence within the shown space.
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Anna-Clai r e E. Hudgins Port fol i o 980
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What I learned...
Project #1 “Wall, Column, and Space” - In this project in learned that different lighting is super helpful and can make a huge difference in the way the space looks and feels. Project #2 “Hand Drawing” - When drawing I always feel free and have fun doing it. I learned that there’s many different techniques and ways to draw. Project #3 “Power of Patience” - I learned that patience is very important. Whether that’s sitting at a certain painting and really digging deep into what it means or if it’s as simple as taking your time when designing. Project #4 “Space Cube” - Everything is connected! I learned that it’s smart to choose wisely when making decisions and to try your hardest on something because there is a chance it could be connected to something else. The space cube was a great example of that. Project #5 “First Portfolio” - I learned that taking good pictures of things the first time around is super helpful in the end, as well as naming files as I upload them. Overall - Throughout these 5 weeks I’ve learned so much. One thing that really stuck with me though when reviewing what I learned was the friendships and confidence I’ve made along the way. Those 2 things are super important to me and they make this process much easier! If I could talk to myself before these past five weeks I would tell myself these things: - It is going to feel like a lot at first but everything is so worth it. - Continue to talk to people because you will meet lifelong friends who are there to help you and push you to be your best. - There will be long nights in the studio, but you will be accompanied by your friends and get it done together. - Let it be fun. - Take breaks now and then to let your brain rest, then come back and give your best effort. - Hangout with your studio friends! They are in the same boat and need someone just as much as you do.
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Category #1: Facing surface The ten photographs show the different angles that the human figure is facing the wall. The shadows started to change and made the space between the human figure and wall seem smaller. The human figure began to look smaller as the wall slowly moved degree by degree. The presence of the human figure was being overtaken by the wall’s greatness making me feel like the human figure was in a way disappearing.
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Category #2: Facing edge The wall slowly moved 10 degrees each time counterclockwise. As the wall opened it was making the path and view for the human figure much larger. As the wall moved it created a pathway for the human figure to advance forward. I felt relief seeing that there’s was nothing blocking the way this a time.
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Category #3: Blocking wall This wall was moving directly east in front of the human figure. The space behind the wall quickly disappeared and was no longer fully in sight. I felt pushed away and sad as the wall moved in front of the human figuring blocking the view of what’s in front of him.
Opened level 1
Opened level 2
Opened level 4
Block level 1
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Opened level 3
Category #4: Passing the blocking wall With the human figure standing next to the wall it makes the wall feel smaller. The human figure is ignoring the wall’s intentions on stopping him. It feels nice to finally get past a wall that has been moving in and out of the human figure’s way in the past.
Passing level 1
Passing level 2
Passing level 3
Passing level 4
Passing level 5
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Category #5: Aligned Wall The align wall was moving to the right. The human figure was standing still waiting for it to pass. It the wall keeps moving right I will feel free, if it stops right in front of the human figure like it has done I will fill with anxiety about it not being directly in the middle.
Closed level 1
Closed level 2
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Closed level 3
Category #6: Passing the aligned wall The wall stayed still while the human figure moved past it. This made the environment feel larger since the human figure was getting to move. Being able to walk past the wall that had been going in front of the me felt freeing and brought hope for the future.
Passing level 1
Passing level 2
Passing level 3
Passing level 4
Passing level 5
Passing level 6
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Category #7: Walls with different heights The different wall heights made the ceiling feel nonexistent. The human figure began to look smaller and smaller as the wall grew. It made me feel little and hopeless.
Wall with 1ft
Wall with 2ft
Wall with 3ft
Wall with 4ft
Wall with 5ft
Wall with 6ft
Wall with 7ft
Wall with 7ft
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Category #8: Floating and faced Wall The moving wall is moving up this time. It’s slowly acting as a screen to the human figure. I feel excited as the screen moves up, wondering what could possibly be behind it.
1ft high floating wall
2ft high floating wall
3ft high floating wall
4ft high floating wall
5ft high floating wall
6ft high floating wall
7ft high floating wall
8ft high floating wall
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Category #9: 8ft high floating and aligned wall The wall was above the human figure is just floating making the space above feel extremely large. The human figure looked small. I feel anxious about how the wall is there and if its going to fall.
Alignment level 1
Alignment level 4
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Alignment level 2
Alignment level 3
Category #10: 8ft high floating and faced wall -
With the wall being faced to the human figure this time instead of aligned with it, it makes the space feel less divided.
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Overlap level 7
Overlap level 8
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Category #11: floating horizontal surface Category #11: floating horizontal surface This floating horizontal surface acted like a cloud covering the above. The human figure’s sight of the sky slowly became no more. The feeling I get when looking at these pictures is sad because the sky is something so beautiful and I feel that this surface is disturbing the visual.
Overlap level 1
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Overlap level 8
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Category #12: Horizontal surfaces with different heights -
The hole in the floor as the square comes down from above and continues down makes the area look dangerous to the human figure. It makes it all feel eerie in a way.
8ft high horizontal surface
7ft high horizontal surface
6ft high horizontal surface
5ft high horizontal surface
4ft high horizontal surface
3ft high horizontal surface
2ft high horizontal surface
1ft high horizontal surface
-1ft high horizontal surface
-2ft high horizontal surface
-3ft high horizontal surface
-4ft high horizontal surface
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Category #13: Wall surface with an incline These 11 photos show the open level 1-4 and block level 1-7. The surface is acting in the way that the moon and sun might by moving west to east in a half circular motion. This made me feel
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Category #14: Inclined wall -
The 6 photos of the inclined wall range from levels 1-6. The human figure is standing still as the wall is moving to the right in an upward motion. This movement made feel safe. The feeling of the wall going into an upright position like a normal wall felt good.
Inclined level 1
Inclined level 2
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Category #15: Floating wall surface facing edge with an incline The 6 photos show floating walls at inclined levels ranging from 1-6. The human figure is standing still while the surface rotates into the air. This motion reminded be of something in space and made me feel like the human figure was somewhere with no gravity.
Inclined level 1
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Inclined level 4
Inclined level 5
Inclined level 6
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Category #16: Inclined surface to a facing wall -
The 9 photos here show an inclined surface above and in front of the human figure ranging from 10-90 degrees. The slant of the surface looks like a plank that is slowly falling into position right behind the human figure. The movement of this inclined surface makes me feel uneasy and unsafe as the surface begins to slant towards the human figure.
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Category: #17 Inclined ramp to facing wall These 9 photos show an inclined ramp in front of the human figure ranging from 10-90 degrees. As the ramp slowly moves up the wall it makes the human figure look smaller. This makes me feel like there could be something at the top of the ramp. I get a good feeling when I look at these photos.
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Category: #18 One Column -
The 2 photos include one column and a human figure from 2 different angles. The way that the column is the only thing included with the human figure in each photo makes it look strong and structured. What comes to mind when I look at these photos is that the column looks much bigger and scarier from the front perspective but looking from the side it looks much smaller and almost even with the human figure’s height. It makes me feel sad that the pole is so stressful to the human figure.
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Category: #19 Two Columns -
The two pictures show two columns, one vertical and one horizontal. The columns are acting as gates down a path either way they are lined up. I get the feel of comfort looking at these photos knowing that down the path there might be something good waiting.
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Horizontal
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Category: #20 Three Columns These two pictures are the same as the category 19 set up, just one more column has been added. Once again it looks like a gate or light pole directing the human figure down a path. With the third column being added I feel it makes the journey to the end feel longer.
Vertical
Horizontal
Category: #21 Four Columns Both of these photos have 4 columns and a human figure. The square the columns are forming makes the space look like a boxing ring and brings a negative energy. I feel anxious and trapped with the four columns surrounding me.
Wide
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Narrow
Category: #22 One Wall and One Column -
These 7 photos are all very similarly ranging in conditions 1-7 The shadows appearing in different places and the column movement in each picture makes it feel like a maze. I feel confused as if I’m never going to be able to get out.
Condition 1
Condition 2
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Category: #23 One Wall and two Columns These three pictures are also very similar to category 22 but with there being 2 walls it makes the space feel a little more secure. The space between he walls and the human figure make the space look larger than when the human figure is placed closely in between the wall and column. I’m feeling less confused as I walk through this space that a house feeling.
Condition 1: aligned wall and vertically aligned columns
Condition 2: facing wall and vertically aligned columns
Condition 3: facing wall and horizontally aligned columns
Category: #24 Two Walls and two Columns This includes two photos that two walls and two columns. The spacing of things and the placement of the human figure make the space feel small and bare. Looking at these photos I see someone standing against the wall at a jail getting their picture taken. I feel worried.
Columns aligned vertically with perpendicular walls
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Columns aligned horizontally with perpendicular walls
Category: #25 Two Walls and two Columns with two lighting conditions_01 -
The 6 photos all include two walls and two columns with two lighting conditions. From looking at the pictures side by side with different lighting I can see how much light makes a difference in spaces. As the human figure moves towards the light, I wait for something to pop out once they round the corner. I’m feeling nervous.
Walking between vertically aligned columns and perpendicular walls with lighting behind Figure
Walking between vertically aligned columns and perpendicular walls with lighting behind wall
Walking beside vertically aligned columns and perpendicular walls with lighting behind Figure
Walking beside vertically aligned columns and perpendicular walls with lighting behind wall
Walking beside vertically aligned columns and extended perpendicular walls with lighting behind Figure
Walking beside vertically aligned columns and extended perpendicular walls with lighting behind wall
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Category: #26 Two Walls and two Columns with two lighting conditions_02 These 4 pictures also include two walls, two columns, and two lighting conditions. This time it looks like the human figure is going into the darker area of the space instead of the lighter. This makes me feel like the human figure is sad and stuck in a dark place but can’t seem turn around to see the light.
Passing horizontally aligned columns to enter the space between two walls with lighting behind Figure
Passing vertically aligned columns to enter the space between two walls with lighting from the inside space
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Passing horizontally aligned columns to enter the space between two walls with lighting from the inside space
Passing vertically aligned columns to enter the space between two walls with lighting behind Figure
Category: #27 Two Walls and two Columns with two lighting conditions_03 These 6 pictures show a sequence of light changes as the human figure makes his way through the space. The spacing of the columns around the walls make the space feel open in some areas and close off in others. As the human figure makes their way around, I’m filled with confusion about where they are going.
Passing vertically aligned columns to pass a narrow opening between two walls with lighting behind Figure
Passing vertically aligned columns to pass a narrow opening between two walls with lighting from the inside space
Passing vertically aligned columns to pass an intermediate opening between two walls with lighting behind Figure
Passing vertically aligned columns to pass an intermediate opening between two walls with lighting from the inside space
Passing horizontally aligned columns to pass a wide opening between two walls with lighting behind Figure
Passing horizontally aligned columns to pass a wide opening between two walls with lighting from the inside space
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Category: #28 Vertically aligned Two Walls and two Columns Both of these photos include two vertically aligned walls and two columns. The human figure is walking between the columns in one, and between the walls in the other. I get the feeling that the human figure went in both spaces feeling confident knowing where they were going without running into any problems.
Between walls, walking
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Between columns, walking
Category: #29 Space composed with 5+ columns and 2 walls -
My thought process with these 7 pictures was to create a space that had structure and meaning. I chose to place the columns in a circle and give the space an arena type feel. As one human figure is walking in and the other is already inside, it makes the space feel competitive once both have entered the circle of columns.
Top view of the space composed
Sequence phase #1
Sequence phase #2
Sequence phase #3
Sequence phase #4
Sequence phase #5
Sequence phase #6
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Category: #30 Faced wall with Connected wall 19 photos are shown here ranging from 90-270 degrees with the human figure facing two walls that are connected. The space looks open when the human figure is facing 90-190 degrees while the rest looks closed off. I get the feeling of rejection once the human figure gets past the 190 degree mark because it appears that they could’ve been trying to advance forward but instead kept turning until there was no longer an open space in front of him.
90 degree
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210 degree
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Category: #31 Aligned wall with Connected wall These 17 photos range from 10-170 degrees containing an aligned wall with a connected wall. The human figure starts facing the corner but slowly as they turn, they see how open the space is. The feeling I get from this is perseverance. I think this because it seems like they knew they weren’t in the right spot, so they had to turn around and keep going until the space was open again.
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130 degree
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170 degree
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Category: #32 Facing the connected edge of two walls Attached are 17 photos ranging from 10-170 degrees. The human figure looks like they are standing still as the right side of the connected wall slowly turns clockwise. I’m filled with boredom as I watch the connection of the two walls fade into a blank singular wall.
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130 degree
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Category: #33 Three connected walls These 2 photos have three connected walls. In one photo the walls being far apart make the space bigger, as for the second photo, the walls being closer together make the space smaller. I’m feeling claustrophobic as the walls get smaller with the human figure still standing inside them.
Wide-facing wall with two wings
Narrow-facing wall with two wings
Category: #34 Curved wall inside Four pictures that include one curved wall with a human figure standing inside. Th human figure is inside the half circle no matter the size of the curve. I can imagine the curvature of the walls around me feeling like a hug.
Small-curved and 8ft height
Large-curved and 16ft height
36 1014
Small-curved and 16ft height
Large-curved and 8ft height
Category: #35 Curved wall outside -
8 photos with curved walls ranging from 8-16 ft. The human figure it either passing by which or standing in front of the wall, both of these actions make him look super small next to the wall. I feel like the way the human figure is going around the curve and standing in front of it is likes he’s trying to intimidate it while making sure to look at everything to cover up the fact that he is sad.
Facing Small-curved and 8ft height
Passing Small-curved and 8ft height
Facing Small-curved and 16ft height
Passing Small-curved and 16ft height
Facing Large-curved and 8ft height
Passing Large-curved and 8ft height
Facing Large-curved and 16ft height
Passing Large-curved and 16ft height
37 1015
Category: #36 Curved Walls and Flat Walls 5 pictures with a flat wall and a curved wall. The human figure seems to be making their way through the different spaces. At first, I was in the dark not able to see around the wall, next thing I know is that there’s a person standing there so I continue to walk past. I’m feeling embarrassed.
Facing a flat wall (8fh height) while passing a curved wall (8fh height)
Entering a space between a flat wall (8fh height) and a closed-curved wall (8fh height)
Entering a space between a flat wall (8fh height) and an opened-curved wall (8fh height)
Your coordination in height and openness.
38 1016
Entering a space between a flat wall (8fh height) and a half opened-curved wall (8fh height)
Category: #37 Entering into a space between Parallel Curved Walls -
8 pictures with parallel curved walls ranging from small- long and between 8-16 ft high. The height of the wall makes the human figure look smaller and less serious. I’m getting secondhand embarrassment because the human figure looks super confident walking in but also really funny and not in the right place.
Small-curved and 8ft high outside
Small-curved and 16ft high outside
Large-curved and 8ft high outside
Large-curved and 16ft high outside
Small-curved and 8ft high inside
Small-curved and 16ft high inside
Large-curved and 8ft high inside
Large-curved and 16ft high inside
39 1017
Category: #38 Entering a space between curved mirror walls_01 4 pictures with curved mirror walls. The darkness in all four pictures make the space feel small but somehow endless as the opening in front of the figure widens. I get an eerie feeling at first because of the darkness but as the light appears I’m filled with faith.
Small-curved and 8ft height
Large-curved and 16ft height
40 1018
Small-curved and 16ft height
Large-curved and 8ft height
Category: #39 Entering a space between curved mirror walls_02 8 pictures that have curved mirror walls ranging from small curves to big curves while also changing in height, 8-16ft. The light changes on the human figure make the mood change drastically. I feel like the human figure is a good person when the lights are on him but like a bad guy when his body is in the darkness.
Small-curved and 8ft high with inside lighting
Small-curved and 8ft high with outside lighting
Small-curved and 16ft high with inside lighting
Small-curved and 16ft high with outside lighting
Large-curved and 8ft high with inside lighting
Large-curved and 8ft high with outside lighting
Large-curved and 16ft high with inside lighting
Large-curved and 16ft high with outside lighting
41 1019
Category: #40 One curved wall and one column Two pictures that show one curved wall and one column. The columns is place on the outside and Inside of the wall, while the human figure stands by it. I get the feeling that were walking in circles
Entering a space between a column and curved wall outside
Entering a space between a column and curved wall inside
Category: #41 One curved wall and two columns 3 pictures, including a curved wall and two columns. Just from looking at these pictures I immediately think of someone waiting in line while another person walks around them. The feeling I get is annoyed because the moving human figure seems to be circling the still woman.
Entering a space between a column of two horizontally aligned and curved wall outside
42 1020
Facing the outside of a curved wall with two horizontally aligned columns with insufficient space between them
Entering a space between a column of two vertically aligned and a curved wall outside
Category: #42 Role of a column between Curved and flat walls -
4 pictures of one column between one curved and pen flat wall. Same as the category above, number 40, I get the feeling of walking in circles. I’m feeling dizzy and lightheaded.
Entering a space between two parallel curved walls, with a column in front of the outer curved wall
Entering a space between a faced flat wall and a curved wall, with a column in front of the flat wall
Entering a space between two parallel curved walls, with a column in front of the inner curved wall
Entering a space between a parallel flat wall and a curved wall, with a column in front of the flat wall
43 1021
Category: #43 Curved connection 4 pictures including a curved connection ranging from 60-150 degrees. As the human figure advances down the wall, the end of it continues to straighten out. If I were this human figure id be confused.
Follow two flat walls that are connected at an angle of 60 degrees smoothly
Follow two flat walls that are connected at an angle of 150 degrees smoothly
44 1022
Follow two flat walls that are connected at an angle of 90 degrees smoothly
Follow two flat walls that are connected at an angle of 120 degrees smoothly
Category: #44 Curved wall and S-curve wall -
4 pictures that have a curved wall and an s-curve wall. The height and curvature of these walls give the pictures a hidden pathway with light towards the inside. I feel like there’s suspicious going on down the path as the light gets brighter and brighter.
Curved wall and S-curve wall 8ft high with inside lighting
Curved wall and S-curve wall 8ft high with outside lighting
Curved wall and S-curve wall 16ft high with inside lighting
Curved wall and S-curve wall 16ft high with outside lighting
45 1023
Category: #45 1 point perspective pictures: Void on the upside 4 pictures captivating different perspectives with voids and shapes/sizes. With the void being on the upside, it makes the human figure stand out more. Im feeling like the spotlight being on
A 4’x4’ square void with a height of 8ft
A 8’ diameter void with a height of 8ft
46 1024
A 8’x8’ square void with a height of 8ft
A 4’ diameter void with a height of 8ft
Category: #46 Void on the upside with columns or walls 4 pictures with voids on the upside with columns and walls. The different light action going on here really makes the space look bigger than it is towards the back. I feel like I’m in a basement when I look at these pictures. I can imagine how cramped it feels but I’m actually not close to anything.
A 8’x8’ square void with columns
A 8’x8’ square void with a facing wall
A 8’x8’ square void with a passing wall
View for A 4’x4’ square void with a flat wall aligned with one side and two columns aligned with the opposite side
47 1025
Category: #47 Void on the downside with columns or walls 6 pictures with a void on downside with columns and walls. The void being in the downside now makes the space turn into a sewage area where people are working underneath, I feel disgusted and confused but also sad that people actually have to be in spaces like this.
A 8’x8’ square void with a facing wall and light from upper floor
A 8’x8’ square void with a facing wall and light from side
A 8’x8’ square void with a facing wall and light from lower floor
A 8’x8’ square void with a passing wall and light from side
A 8’x8’ square void with a passing wall and light from lower floor
A 8’ diameter void with light from lower floor
48 1026
Category: #48 Void on the upside with combinations of columns or walls -
10 pictures with the voids on the upside and with walls and columns. I created a few different sciences using random scraps. The light does a good job at acting as an end of the tunnel sign.
Scene #1
Scene #2
Scene #3
Scene #4
Scene #5
Scene #6
Scene #7
Scene #8
Scene #9
Scene #10
49 1027
Category: #49 Void between Floating Surfaces 5 pictures capturing the void between these floating surfaces. The space we call the void looks infinite, even though we know its not in real life. I’m feel open-minded to the new possibilities.
Scene #1
Scene #2
Scene #4
Scene #5
Scene #3
Category: #50 Void between curve-linear Surfaces I created more of a harsh shape instead of curvy. It makes the space feel more clean and nicer. I feel clean and happy looking into my space.
Scene #1
50 1028
Scene #2
Category: #51 Void with a combination of -
Same as I said for question 50, the space is definitely more harsh rather than curvy. This is on purpose because it does make space look nicer if there’s a lot of other stuff gong on. I’m feel prepared for whatever may go on in this space.
Scene #1
Scene #2
Category: #52 Curved vertical surface -
Two pictures both showing a curved vertical surface but of different sizes. The human figure is standing in the middle of the curve at the bottom. The feeling I get is joy, because the curve seems to be moving up towards the sky making it feel like something great could be up there.
A 4’wide
A 8’wide
51 1029
Category: #53 Curved vertical surface with an upper floor 5 scenes with a curved vertical surface with an upper floor. The human figure is placed in multiple different areas. I’m feeling confused as the human figure makes it way around the different levels and in and out of the shadows.
Scene #1
Scene #2
Scene #4
Scene #5
52 1030
Scene #3
Category: #54 Curved vertical surface with a void 5 pictures that show curved vertical surface with a void. The curved wall is very similar to category 52 but the floor/ceiling has a 4x4 hole instead. I feel powerful walking towards the curved wall with the whole in the floor. 2 pictures, again with the curved wall except this time its going through a smaller hole and above the human figure. I feel claustrophobic with things going over my head and disturbing my walking space.
Scene #1
Scene #2
Scene #3
Scene #4
Scene #5
Category: #55 Facing Curved vertical surface -
2 pictures, again with the curved wall except this time its going through a smaller hole and above the human figure. I feel claustrophobic with things going over my head and disturbing my walking space.
Scene #1
Scene #2
53 1031
Category: #56 Hanging curved surfaces 4 pictures of hanging curved surfaces in different scenes. The small crack in the space above the human figure makes the space feel connected but also extremely small.
Scene #1
Scene #2
Scene #3
Scene #5
Category: #57 Surfaces with convexities and concavities 2 pictures with surfaces with convexities and concavities. These pictures with the human figure in the dark areas make it look like a cave with something bad in there. I am filled with fear as the human figure makes its way around the concave.
Scene #1
54 1032
Scene #2
Category: #58 A sphere with a strong center and centripetal force -
4 pictures with a sphere and a strong center and centripetal force. The sphere in the middle of the space breaks the spaces up. I feel lonely and sad with the sphere blocking my view and taking up space.
Scene #1
Scene #2
Scene #3
Scene #5
Category: #59 Surfaces that are twisted and free -
3 pictures showing surfaces that are twisted and free. I crumpled up a piece of paper and stuck the human figure on top of it like it was a mountain. I felt alone and sad at the top of the mountain.
Scene #1
Scene #2
Scene #3
55 1033
Ad d ie James Port foli o
1034
1
What I learned...
Project #1 “Wall, Column, and Space” Project #2 “Hand Drawing” Project #3 “Power of Patience” Project #4 “Space Cube” Project #5 “First Portfolio” Overall If you could talk to you before these five weeks, what would you like to share with you? -
1 1035
Category #1: Facing surface
0 degree
10 degree
20 degree
30 degree
40 degree
50 degree
60 degree
70 degree
80 degree
90 degree 4 1036
Category #2: Facing edge
0 degree
10 degree
20 degree
30 degree
40 degree
50 degree
60 degree
70 degree
80 degree
90 degree 5 1037
Category #3: Blocking wall
Opened level 1
Opened level 2
Opened level 3
Opened level 4
Block level 1
Block level 2
Block level 3
Block level 4
Block level 5
Block level 6
Block level 7
6 1038
Category #4: Passing the blocking wall
Passing level 1
Passing level 2
Passing level 3
Passing level 4
Passing level 5
7 1039
Category #5: Aligned Wall
Closed level 1
Closed level 2
Closed level 4
Closed level 5
8 1040
Closed level 3
Category #6: Passing the aligned wall
Passing level 1
Passing level 2
Passing level 3
Passing level 4
Passing level 5
Passing level 6
9 1041
Category #7: Walls with different heights
Wall with 1ft
Wall with 2ft
Wall with 3ft
Wall with 4ft
Wall with 5ft
Wall with 6ft
Wall with 7ft
Wall with 7ft
10 1042
Category #8: Floating and faced Wall
1ft high floating wall
2ft high floating wall
3ft high floating wall
4ft high floating wall
5ft high floating wall
6ft high floating wall
7ft high floating wall
8ft high floating wall
11 1043
Category #9: 8ft high floating and aligned wall
Alignment level 1
Alignment level 4
12 1044
Alignment level 2
Alignment level 3
Category #10: 8ft high floating and faced wall
Overlap level 1
Overlap level 2
Overlap level 3
Overlap level 4
Overlap level 5
Overlap level 6
Overlap level 7
Overlap level 8
13 1045
Category #11: floating horizontal surface
Overlap level 1
Overlap level 2
Overlap level 3
Overlap level 4
Overlap level 5
Overlap level 6
Overlap level 7
Overlap level 8
14 1046
Category #12: Horizontal surfaces with different heights
8ft high horizontal surface
7ft high horizontal surface
6ft high horizontal surface
5ft high horizontal surface
4ft high horizontal surface
3ft high horizontal surface
2ft high horizontal surface
1ft high horizontal surface
-1ft high horizontal surface
-2ft high horizontal surface
-3ft high horizontal surface
-4ft high horizontal surface 15 1047
Category #13: Wall surface with an incline
10 degree
20 degree
30 degree
40 degree
50 degree
60 degree
70 degree
80 degree
16 1048
Category #14: Inclined wall
Inclined level 1
Inclined level 2
Inclined level 3
Inclined level 4
Inclined level 5
Inclined level 6
17 1049
Category #15: Floating wall surface facing edge with an incline
Inclined level 1
Inclined level 2
Inclined level 3
Inclined level 4
Inclined level 5
Inclined level 6
18 1050
Category #16: Inclined surface to a facing wall
10 degree
20 degree
30 degree
40 degree
50 degree
60 degree
70 degree
80 degree
90 degree
19 1051
Category: #17 Inclined ramp to facing wall
10 degree
20 degree
30 degree
40 degree
50 degree
60 degree
70 degree
80 degree
90 degree
20 1052
Category: #18 One Column
Front
Side
Category: #19 Two Columns
Vertical
Horizontal
21 1053
Category: #20 Three Columns
Vertical
Horizontal
Category: #21 Four Columns
Wide
22 1054
Narrow
Category: #22 One Wall and One Column
Condition 1
Condition 2
Condition 3
Condition 4
Condition 5
Condition 6
Condition 7
Condition 8
23 1055
Category: #23 One Wall and two Columns
Condition 1: aligned wall and vertically aligned columns
Condition 2: facing wall and vertically aligned columns
Category: #24 Two Walls and two Columns
Columns aligned vertically with perpendicular walls
24 1056
Columns aligned horizontally with perpendicular walls
Condition 3: facing wall and horizontally aligned columns
Category: #25 Two Walls and two Columns with two lighting conditions_01
Walking between vertically aligned columns and perpendicular walls with lighting behind Figure
Walking between vertically aligned columns and perpendicular walls with lighting behind wall
Walking beside vertically aligned columns and perpendicular walls with lighting behind Figure
Walking beside vertically aligned columns and perpendicular walls with lighting behind wall
Walking beside vertically aligned columns and extended perpendicular walls with lighting behind Figure
Walking beside vertically aligned columns and extended perpendicular walls with lighting behind wall
25 1057
Category: #26 Two Walls and two Columns with two lighting conditions_02
Passing horizontally aligned columns to enter the space between two walls with lighting behind Figure
Passing vertically aligned columns to enter the space between two walls with lighting from the inside space
26 1058
Passing horizontally aligned columns to enter the space between two walls with lighting from the inside space
Passing vertically aligned columns to enter the space between two walls with lighting behind Figure
Category: #27 Two Walls and two Columns with two lighting conditions_03
Passing vertically aligned columns to pass a narrow opening between two walls with lighting behind Figure
Passing vertically aligned columns to pass a narrow opening between two walls with lighting from the inside space
Passing vertically aligned columns to pass an intermediate opening between two walls with lighting behind Figure
Passing vertically aligned columns to pass an intermediate opening between two walls with lighting from the inside space
Passing horizontally aligned columns to pass a wide opening between two walls with lighting behind Figure
Passing horizontally aligned columns to pass a wide opening between two walls with lighting from the inside space
27 1059
Category: #28 Vertically aligned Two Walls and two Columns
Between walls, walking
28 1060
Between columns, walking
Category: #29 Space composed with 5+ columns and 2 walls
Top view of the space composed
Sequence phase #1
Sequence phase #2
Sequence phase #3
Sequence phase #4
Sequence phase #5
Sequence phase #6
29 1061
Category: #30 Faced wall with Connected wall
90 degree
100 degree
110 degree
120 degree
130 degree
140 degree
150 degree
160 degree
170 degree
180 degree
190 degree
200 degree
30 1062
210 degree
220 degree
230 degree
240 degree
250 degree
260 degree
270 degree
31 1063
Category: #31 Aligned wall with Connected wall
10 degree
20 degree
30 degree
40 degree
50 degree
60 degree
70 degree
80 degree
90 degree
100 degree
110 degree
120 degree
32 1064
130 degree
140 degree
150 degree
33 1065
Category: #32 Facing the connected edge of two walls
10 degree
20 degree
30 degree
40 degree
50 degree
60 degree
70 degree
80 degree
90 degree
100 degree
110 degree
120 degree
34 1066
130 degree
140 degree
150 degree
35 1067
Category: #33 Three connected walls
Wide-facing wall with two wings
Narrow-facing wall with two wings
Category: #34 Curved wall inside
Small-curved and 8ft height
Large-curved and 16ft height 36 1068
Small-curved and 16ft height
Large-curved and 8ft height
Category: #35 Curved wall outside
Facing Small-curved and 8ft height
Passing Small-curved and 8ft height
Facing Small-curved and 16ft height
Passing Small-curved and 16ft height
Facing Large-curved and 8ft height
Passing Large-curved and 8ft height
Facing Large-curved and 16ft height
Passing Large-curved and 16ft height
37 1069
Category: #36 Curved Walls and Flat Walls
Facing a flat wall (8fh height) while passing a curved wall (8fh height)
Entering a space between a flat wall (8fh height) and a closed-curved wall (8fh height)
Entering a space between a flat wall (8fh height) and an opened-curved wall (8fh height)
Your coordination in height and openness.
38 1070
Entering a space between a flat wall (8fh height) and a half opened-curved wall (8fh height)
Category: #37 Entering into a space between Parallel Curved Walls
Small-curved and 8ft high outside
Small-curved and 16ft high outside
Large-curved and 8ft high outside
Large-curved and 16ft high outside
Small-curved and 8ft high inside
Small-curved and 16ft high inside
Large-curved and 8ft high inside
Large-curved and 16ft high inside
39 1071
Category: #38 Entering a space between curved mirror walls_01
Small-curved and 8ft height
Large-curved and 16ft height
40 1072
Small-curved and 16ft height
Large-curved and 8ft height
Category: #39 Entering a space between curved mirror walls_02
Small-curved and 8ft high with inside lighting
Small-curved and 8ft high with outside lighting
Small-curved and 16ft high with inside lighting
Small-curved and 16ft high with outside lighting
Large-curved and 8ft high with inside lighting
Large-curved and 8ft high with outside lighting
Large-curved and 16ft high with inside lighting
Large-curved and 16ft high with outside lighting
41 1073
Category: #40 One curved wall and one column
Entering a space between a column and curved wall outside
Entering a space between a column and curved wall inside
Category: #41 One curved wall and two columns
Entering a space between a column of two horizontally aligned and curved wall outside
42 1074
Facing the outside of a curved wall with two horizontally aligned columns with insufficient space between them
Entering a space between a column of two vertically aligned and a curved wall outside
Category: #42 Role of a column between Curved and flat walls
Entering a space between two parallel curved walls, with a column in front of the outer curved wall
Entering a space between a faced flat wall and a curved wall, with a column in front of the flat wall
Entering a space between two parallel curved walls, with a column in front of the inner curved wall
Entering a space between a parallel flat wall and a curved wall, with a column in front of the flat wall
43 1075
Category: #43 Curved connection
Follow two flat walls that are connected at an angle of 60 degrees smoothly
Follow two flat walls that are connected at an angle of 150 degrees smoothly
44 1076
Follow two flat walls that are connected at an angle of 90 degrees smoothly
Follow two flat walls that are connected at an angle of 120 degrees smoothly
Category: #44 Curved wall and S-curve wall
Curved wall and S-curve wall 8ft high with inside lighting
Curved wall and S-curve wall 8ft high with outside lighting
Curved wall and S-curve wall 16ft high with inside lighting
Curved wall and S-curve wall 16ft high with outside lighting
45 1077
Category: #45 1 point perspective pictures: Void on the upside
A 4’x4’ square void with a height of 8ft
A 8’ diameter void with a height of 8ft
46 1078
A 8’x8’ square void with a height of 8ft
A 4’ diameter void with a height of 8ft
Category: #46 Void on the upside with columns or walls
A 8’x8’ square void with columns
A 8’x8’ square void with a facing wall
A 8’x8’ square void with a passing wall
47 1079
Category: #47 Void on the downside with columns or walls
A 8’x8’ square void with a facing wall and light from upper floor
A 8’x8’ square void with a facing wall and light from side
A 8’x8’ square void with a facing wall and light from lower floor
A 8’x8’ square void with a passing wall and light from side
A 8’x8’ square void with a passing wall and light from lower floor
A 8’ diameter void with light from lower floor
48 1080
Category: #48 Void on the upside with combinations of columns or walls
Scene #1
Scene #2
Scene #3
Scene #4
Scene #5
Scene #6
Scene #7
Scene #8
Scene #9
Scene #10 49 1081
Category: #49 Void between Floating Surfaces
Scene #1
Scene #2
Scene #4
Scene #5
Category: #50 Void between curve-linear Surfaces
Scene #1 50 1082
Scene #2
Scene #3
Category: #51 Void with a combination of
Scene #1
Scene #2
Category: #52 Curved vertical surface
A 4’wide
A 8’wide 51 1083
Category: #53 Curved vertical surface with an upper floor
Scene #1
Scene #2
Scene #4
Scene #5
52 1084
Scene #3
Category: #54 Curved vertical surface with a void
Scene #1
Scene #2
Scene #3
Scene #4
Scene #5
Category: #55 Facing Curved vertical surface
Scene #1
Scene #2 53 1085
Category: #56 Hanging curved surfaces
Scene #1
Scene #2
Scene #5
Category: #57 Surfaces with convexities and concavities
Scene #1 54 1086
Scene #2
Scene #3
Category: #58 A sphere with a strong center and centripetal force
Scene #1
Scene #2
Scene #3
Scene #5
Category: #59 Surfaces that are twisted and free
Scene #1
Scene #2
Scene #3
55 1087
Madeline Johnson Po r tfo l i o
1088
1
What I learned...
Project #1 “Wall, Column, and Space” - I learned the effects of lights within spaces and the effects of scaled objects interacting within a space. Project #2 “Hand Drawing” - I learned how to draw abstractly and apply the creative way of drawing into sketches and work more efficiently in making plans. Project #3 “Power of Patience” - I learned how to study art principles and elements and how to apply them to color relationships and forms of objects within an interior space. Project #4 “Space Cube” - I learned how to interate in order to promote craftsmanship in my model making, and how the process of model making works. Project #5 “First Portfolio” - I learned how to turn physical model spaces into AI generated images and how my intentions for the models are dispalyed in the generations. Overall - My section instructor Jinoh Park gave me a unique perspective in design principles and practices. Through diffreent mediums of representation like model making, image capturing, AI generation, and drawing I was alble to articulate my design intentions well and clearly. If you could talk to you before these five weeks, what would you like to share with you? -
1 1089
Category #1: Facing surface The 10 photos show the wall on the left side of the figure gradually angling from parallel to the figure to directly in front of it. As the angle of the wall changes the shadow that the figure casts bends with whatever angle the wall is at. The emotions from this start as a feeling of certainty that the figure can move forward to losing that certainty and being defeated completely when the wall is directly blocking the figure from moving onward.
0 degree
10 degree
20 degree
30 degree
40 degree
50 degree
60 degree
70 degree
80 degree
90 degree
4 1090
Category #2: Facing edge These photos show the figure aligned to the edge of the wall at different degree angles with the figure first to the side of the walls edge to then facing it. The figures feelings started as curiosity as there’s a wall to one side of it with free space everywhere else, through the phases though the figures feelings turned into acceptance of the wall as it then ended up directly in front of the figure
0 degree
10 degree
20 degree
30 degree
40 degree
50 degree
60 degree
70 degree
80 degree
90 degree
5 1091
Category #3: Blocking wall These photos show a figure next to a wall and through the phases of the pictures the wall is eventually from the side of the figure to directly in front of it. The figures feelings could have went from feeling certainty and having freedom as open space is directly in front of it. Then the feeling of being restricted and hopeless when the wall eventually blocks the open space from the figure entirely.
Opened level 1
Opened level 2
Opened level 3
Opened level 4
Block level 1
Block level 2
Block level 3
Block level 4
Block level 5
Block level 6
Block level 7
6 1092
Category #4: Passing the blocking wall These photos show a figure passing a wall through phases. The setting of these images are steady and show the movement of the figure from in front of the wall to then passing it. The feeling from these photos are empowerment as the figure overcame a boundary.
Passing level 1
Passing level 2
Passing level 3
Passing level 4
Passing level 5
7 1093
Category #5: Aligned Wall
These photos show a figure in a set position while an aligned wall that eventually is aligned almost directly in front of the figure. The setting of these images are steady show the movement of the wall from its original starting point. The feeling from these photos remind me of stalking and being paranoid since the wall is creeping alongside the figure but doesn’t actually interact with it.
Closed level 1
Closed level 2
Closed level 4
Closed level 5
8 1094
Closed level 3
Category #6: Passing the aligned wall These photos show a figure passing an aligned wall. The setting of these images are steady and capture the movement of the figure passing the wall. The feeling from these photos are reassuring and stable as the wall is a steady marking in the figure’s movements.
Passing level 1
Passing level 2
Passing level 3
Passing level 4
Passing level 5
Passing level 6
9 1095
Category #7: Walls with different heights These photos show a facing wall gradually getting larger in front of the figure. The setting and environment from the wall’s growth cuts the voided space that the figure could see in half and entirely blocking the figure’s viewpoint The feeling from this would be doubtful as the figure could first see the voided space and it’s potential, but at the last image the figure is doubting that potential with the void blocked off.
Wall with 1ft
Wall with 2ft
Wall with 3ft
Wall with 4ft
Wall with 5ft
Wall with 6ft
Wall with 7ft
Wall with 7ft
10 1096
Category #8: Floating and faced Wall These photos show a facing wall gradually being lifted in front of the figure. The setting and environment from the wall’s lifting opens up the voided space so the figure can be engulfed inside. The feeling from these images would be hopeful as the wall’s lifting is very tedious and gradual, but as the wall continues to go up the figure has hope that the wall will then completely out of it’s way.
1ft high floating wall
2ft high floating wall
3ft high floating wall
4ft high floating wall
5ft high floating wall
6ft high floating wall
7ft high floating wall
8ft high floating wall
11
1097
Category #9: 8ft high floating and aligned wall These photos show an aligned wall going from the side of the figure to directly in front of it. The setting of the wall’s movement cuts the voided space in half in front of the figure. The feeling from this movement wouldn’t be anything anxious or scared, but maybe uneasy because the aligned wall is moving at a fast rate, but not interacting with the figure to effect it negatively.
Alignment level 1
Alignment level 4
12 1098
Alignment level 2
Alignment level 3
Category #10: 8ft high floating and faced wall These photos show a facing wall going from alongside the figure to directly in front of it. The setting of the wall changes the focus of first on the figure to then on the wall’s movement. The feelings from these images would probably be annoyance as the wall is mocking the figure’s position.
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Category #11: floating horizontal surface These photos show a floating surface move from alongside the figure to directly above it The setting of the wall changes the space above the figure as the wall’s final position is looming over the figure. The feeling from this image would be anxious as the figure’s position isn’t compromised because of the wall, but its uncertain how close the wall will get
Overlap level 1
Overlap level 2
Overlap level 3
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Overlap level 6
Overlap level 7
Overlap level 8
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Category #12: Horizontal surfaces with different heights These photos show a floating surface moving from above a figure to below it’s floor to create a void. The setting of the wall in these images changed the subjection of the figure from with the wall to being above it. The feeling through these photos is empowerment and relief as the wall ended up no longer looming over the figure.
8ft high horizontal surface
7ft high horizontal surface
6ft high horizontal surface
5ft high horizontal surface
4ft high horizontal surface
3ft high horizontal surface
2ft high horizontal surface
1ft high horizontal surface
-1ft high horizontal surface
-2ft high horizontal surface
-3ft high horizontal surface
-4ft high horizontal surface
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Category #13: Wall surface with an incline These photos show a wall going from being aligned alongside the figure to angling slowly to loom over the figure in the end. The setting of the wall in relationship to the figure is that while the figure is a constant the wall is warping to be above the figure. The feeling from these images is fear as the wall’s unrealistic movement would not be familiar to the figure.
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Category #14: Inclined wall Parag These photos show a wall going from being aligned alongside the figure flat to slowly angling upwards to standing alongside the figure. The setting of the wall allows its movement to match up to the figures stance at the end. The feeling from these images are acceptance and familiarity as the figure can see the wall ends up in the same normal position as it is. raph
Inclined level 1
Inclined level 2
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Inclined level 6
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Category #15: Floating wall surface facing edge with an incline These photos show a wall floating alongside a figure to then eventually floating above the figure but pointing towards the figure. The setting of the wall allows the focal point to be significant on the figure as the wall goes from being alongside and blending in to then directly pointing out the figure. The feeling from these photos is the fear of being ostracized as the figure is in the direct spotlight in correlation to the wall’s final position.
Inclined level 1
Inclined level 2
Inclined level 3
Inclined level 4
Inclined level 5
Inclined level 6
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Category #16: Inclined surface to a facing wall These photos show a facing fall angling upwards to create an inverted ramp facing the figure. The setting of the wall allows the figure to be the main subject in the open place rather than the wall and the figure. The feeling from these photos is empowering as the figure is exposed by the walls movement for good.
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Category: #17 Inclined ramp to facing wall These photos show a facing ramp angled upwards and directly in front of the figure. The setting of the ramp allows the focus to be on the figure and it’s relationship to the ramp rather than both the ramp and figure as one alongside one another. The feeling from these images are importance as the ramp angles down to the figure the figure now can have a purpose of moving along the ramp and up it.
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Category: #18 One Column These images show the perspective of a figure standing directly in front of one column. The setting of the perspective show the proximity of the column to the figure. The feeling from these photos are familiarity as the column and figure are in the same position to one another.
Front
Side
Category: #19 Two Columns These images show the perspective of a figure standing directly in front of two columns. The setting of the columns in relation to the figure put the focal point as the middle being the figure. The feeling from these photos is isolation as the figure stands out from the columns,
Vertical
Horizontal
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Category: #20 Three Columns These images show the perspective of a figure standing directly in front of three columns. The setting of the columns in relation to the figure put the focal point as the columns as well as the figure together. The feeling from these photos is unity as all four objects are similar in stature and position
Vertical
Horizontal
Category: #21 Four Columns These images show the perspective of a figure standing directly in between four columns. The setting of the columns in relation to the figure put the focal point on the figure. The feeling from these photos is unsettling as the figure is surrounded and outnumbered by columns
Wide
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Narrow
Category: #22 One Wall and One Column These photos show the perspective of a figure compared to an aligned wall. The setting of the walll and the column in the photos have movement making the figure the main focal point. The feeling from these images is unique as the figure is not one with the position and stature of the wall or column.
Condition 1
Condition 2
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Category: #23 One Wall and two Columns These photos show the perspective of a figure compared to a facing wall and two different placed columns. The setting of the wall and the columns in the photos have movement making the figure the main focal point, while still emphasizing the columns as the balance to the wall and figure. The feeling in these photos is curiosity as the spacing of the two columns in each photo allows for a path for the figure to take.
Condition 1: aligned wall and vertically aligned columns
Condition 2: facing wall and vertically aligned columns
Condition 3: facing wall and horizontally aligned columns
Category: #24 Two Walls and two Columns These photos show the perspective of a figure compared to a facing wall and aligned wall and two placed columns. The setting of the wall and the columns in the photos are stagnant making the figure have movement throughout the photos. The feeling in these photos is conformity as the position of each object allows the next figure to adapt to follow
Columns aligned vertically with perpendicular walls
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Columns aligned horizontally with perpendicular walls
Category: #25 Two Walls and two Columns with two lighting conditions_01 These photos show a figure walking alongside or in between two vertically aligned columns along and in front of two walls. The setting of the objects allows for the figure to move freely to new positions. The feeling from these images is a feeling of liberation as the figure is in allowance of its own movement.
Walking between vertically aligned columns and perpendicular walls with lighting behind Figure
Walking between vertically aligned columns and perpendicular walls with lighting behind wall
Walking beside vertically aligned columns and perpendicular walls with lighting behind Figure
Walking beside vertically aligned columns and perpendicular walls with lighting behind wall
Walking beside vertically aligned columns and extended perpendicular walls with lighting behind Figure
Walking beside vertically aligned columns and extended perpendicular walls with lighting behind wall
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Category: #26 Two Walls and two Columns with two lighting conditions_02 These photos show a figure walking alongside or in between two vertically aligned columns and in front of two walls. The setting of the objects allows for the figure to move freely to new positions. The feeling from these images is a feeling of liberation as the figure is in allowance of its own movement.
Passing horizontally aligned columns to enter the space between two walls with lighting behind Figure
Passing vertically aligned columns to enter the space between two walls with lighting from the inside space
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Passing horizontally aligned columns to enter the space between two walls with lighting from the inside space
Passing vertically aligned columns to enter the space between two walls with lighting behind Figure
Category: #27 Two Walls and two Columns with two lighting conditions_03 These photos show a figure walking alongside or in between two vertically aligned columns and in front of two walls. The setting of the objects allows for the figure to move freely to new positions. The feeling from these images is a feeling of liberation as the figure is in allowance of its own movement.
Passing vertically aligned columns to pass a narrow opening between two walls with lighting behind Figure
Passing vertically aligned columns to pass a narrow opening between two walls with lighting from the inside space
Passing vertically aligned columns to pass an intermediate opening between two walls with lighting behind Figure
Passing vertically aligned columns to pass an intermediate opening between two walls with lighting from the inside space
Passing horizontally aligned columns to pass a wide opening between two walls with lighting behind Figure
Passing horizontally aligned columns to pass a wide opening between two walls with lighting from the inside space
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Category: #28 Vertically aligned Two Walls and two Columns These photos show a figure walking in between two perpendicularly placed walls intro a space of two columns. The setting of the objects allows for the figure to move freely to new positions. The feeling from these images is a feeling of joy as the figure is able to move freely through the setting.
Between walls, walking
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Between columns, walking
Category: #29 Space composed with 5+ columns and 2 walls These images show a scene of a figure within two walls and five columns. The position of the two walls begin the scene as rigid and cold, but through the figure’s movement it ends up within a an open circle of columns within an open space within the walls. The feeling from these scenes are feelings of content and triumph as the figure overcame the obstacle of walls.
Top view of the space composed
Sequence phase #1
Sequence phase #2
Sequence phase #3
Sequence phase #4
Sequence phase #5
Sequence phase #6
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Category: #30 Faced wall with Connected wall These photos show two connecting walls going from a sharp 90 degree corner with the figure on the inside corner to an inverted corner of 270 degrees with the figure now on the outside corner wall going from a sharp 90 degree corner to an inverted corner of 270 degrees with the figure now on the outside corner wall.
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210 degree
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Category: #31 Aligned wall with Connected wall These photos show two connecting walls getting wider at the inside connection from a ten degree angle to a 170 degree angle. The feeling in these photos for the figure go from feeling restricted and confined as the walls are narrow in the figure’s viewpoint, then to a feeling of empowerment as the walls get wide and the figure’s view is no longer obstructed.
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130 degree
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170 degree
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Category: #32 Facing the connected edge of two walls These photos show two connecting walls getting wider at the outside connection from a 10 degree angle to a 170 degree angle. The feeling in these photos for the figure go from feeling in control as the figure can see both sides of the wall simultaneously, and gradually goes to a feeling of losing control when the wall gets wider and the figure’s view is obstructed
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130 degree
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Category: #33 Three connected walls These two photos show three walls connected in either wide or narrow pathways. In the first photo the feeling is open and accepting for the figure as the path is wide, and in the second photo the feeling is confining and restricting as the path gets more narrow.
Wide-facing wall with two wings
Narrow-facing wall with two wings
Category: #34 Curved wall inside These photos show a figure placed facing a curved inside of a wall. The setting of the wall allows for the figure to be the main focal point. The feeling from these images is individuality and being happy with being an individual as the walls aren’t rigid and cutting to the figure’s position, but instead the curved wall embraces the figure.
Small-curved and 8ft height
Large-curved and 16ft height
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Small-curved and 16ft height
Large-curved and 8ft height
Category: #35 Curved wall outside These images show a figure either facing the back a curved wall or passing directly in between two mirroring curved walls. The setting of the wall allows for the figure to be the main focal point in a softer setting as the walls are still narrow but the curves aren’t as restricting as straight walls. The feeling from these images is being happy with sensitivity, as the figure is comfortable in a situation as confining as in between two walls.
Facing Small-curved and 8ft height
Passing Small-curved and 8ft height
Facing Small-curved and 16ft height
Passing Small-curved and 16ft height
Facing Large-curved and 8ft height
Passing Large-curved and 8ft height
Facing Large-curved and 16ft height
Passing Large-curved and 16ft height
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Category: #36 Curved Walls and Flat Walls These images show one aligned flat wall and one curved facing wall alongside the figure. The setting for the walls allows for the figure to have curiosity on what’s behind the facing wall in the space. The feeling from these images are curiosity as its not sure what the space behind the curved wall will look like
Facing a flat wall (8fh height) while passing a curved wall (8fh height)
Entering a space between a flat wall (8fh height) and a closed-curved wall (8fh height)
Entering a space between a flat wall (8fh height) and an opened-curved wall (8fh height)
Your coordination in height and openness.
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Entering a space between a flat wall (8fh height) and a half opened-curved wall (8fh height)
Category: #37 Entering into a space between Parallel Curved Walls These images show the figure between two parallel curved walls. The setting of these walls allows for a path for the figure to follow. The feeling from these images are content and the figure can expect what its next move will be on the path.
Small-curved and 8ft high outside
Small-curved and 16ft high outside
Large-curved and 8ft high outside
Large-curved and 16ft high outside
Small-curved and 8ft high inside
Small-curved and 16ft high inside
Large-curved and 8ft high inside
Large-curved and 16ft high inside
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Category: #38 Entering a space between curved mirror walls_01 These images show the figure between two mirroring curved walls. The setting of the walls allows for the focal point to be on the figure while still added complexity to the image with the curvature of the walls and path produced for the figure. The feeling from these scenes are joyful as the individual is focused on solely and can move about freely.
Small-curved and 8ft height
Large-curved and 16ft height
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Small-curved and 16ft height
Large-curved and 8ft height
Category: #39 Entering a space between curved mirror walls_02 These images show the figure between two mirroring curved walls. The setting of the walls allows for the focal point to be on the figure while still added complexity to the image with the curvature of the walls and path produced for the figure. The feeling from these scenes are joyful as the individual is focused on solely and can move about freely
Small-curved and 8ft high with inside lighting
Small-curved and 8ft high with outside lighting
Small-curved and 16ft high with inside lighting
Small-curved and 16ft high with outside lighting
Large-curved and 8ft high with inside lighting
Large-curved and 8ft high with outside lighting
Large-curved and 16ft high with inside lighting
Large-curved and 16ft high with outside lighting
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Category: #40 One curved wall and one column These images show a figure in relation to a curved wall and one column. The setting of the wall adds complexity to the figures stance, while the column compliments it. The feeling from these images are security as the column will match in alignment to the figures stance even when the other objects don’t
Entering a space between a column and curved wall outside
Entering a space between a column and curved wall inside
Category: #41 One curved wall and two columns These images show a figure in relation to a curved wall and two columns. The setting of the wall adds complexity to the figures stance, while the columns compliments it. The feeling from these images are security as the columns will match in alignment to the figures stance even when the other objects don’t
Entering a space between a column of two horizontally aligned and curved wall outside
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Facing the outside of a curved wall with two horizontally aligned columns with insufficient space between them
Entering a space between a column of two vertically aligned and a curved wall outside
Category: #42 Role of a column between Curved and flat walls These images show the relation of two walls, curved and flat, and a column to a figure. The setting of the walls and column allow for their to be a path created for the figure while still keeping a small alignment to the column. The feeling from these images are acceptance as the column and the figure both take the same position within the wall’s path.
Entering a space between two parallel curved walls, with a column in front of the outer curved wall
Entering a space between a faced flat wall and a curved wall, with a column in front of the flat wall
Entering a space between two parallel curved walls, with a column in front of the inner curved wall
Entering a space between a parallel flat wall and a curved wall, with a column in front of the flat wall
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Category: #43 Curved connection These images show a figure aligned to the inside of a curved wall. The setting of the wall allows for the figure to follow a path alongside it. The feeling in these images are continuity as the wall is a steady continuous path for the figure to follow
Follow two flat walls that are connected at an angle of 60 degrees smoothly
Follow two flat walls that are connected at an angle of 150 degrees smoothly
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Follow two flat walls that are connected at an angle of 90 degrees smoothly
Follow two flat walls that are connected at an angle of 120 degrees smoothly
Category: #44 Curved wall and S-curve wall These images show the different placement of curved walls in relation to the figure. The setting of the walls in these images allow for the figure to follow an open path to free space, but still keeping the movement complex with the S shaped curve. The feeling from these images is empowering as the figure is in charge in their allowance of movement.
Curved wall and S-curve wall 8ft high with inside lighting
Curved wall and S-curve wall 8ft high with outside lighting
Curved wall and S-curve wall 16ft high with inside lighting
Curved wall and S-curve wall 16ft high with outside lighting
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Category: #45 1 point perspective pictures: Void on the upside The images show a void on the upside of the figure with light coming in. The setting of the void allows for the focal point to be on the figure and it’s reaction to this void coming in. The images feelings are curiosity as well as fear as the figure probably has no clue what is beyond the void it can see.
A 4’x4’ square void with a height of 8ft
A 8’ diameter void with a height of 8ft
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A 8’x8’ square void with a height of 8ft
A 4’ diameter void with a height of 8ft
Category: #46 Void on the upside with columns or walls The images show a void with a wall passing through on the upside of the figure with light coming in. The setting of the void allows for the focal point to be on the figure and it’s reaction to this void coming in, while bringing familiarity with the upright wall. The images feelings are curiosity as well as comfort as the figure doesn’t have a clue what is beyond the void, but the wall is familiar to the figure
A 8’x8’ square void with columns
A 8’x8’ square void with a facing wall
A 8’x8’ square void with a passing wall
View for A 4’x4’ square void with a flat wall aligned with one side and two columns aligned with the opposite side
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Category: #47 Void on the downside with columns or walls These images show a void in front of a figure with light coming from beneath the void. The setting of the voids allow for the focal point to be entirely on the figure and it’s decision upon arriving at the void. This image feelings are those of embracement as the light is almost luring the figure down below.
A 8’x8’ square void with a facing wall and light from upper floor
A 8’x8’ square void with a facing wall and light from side
A 8’x8’ square void with a facing wall and light from lower floor
A 8’x8’ square void with a passing wall and light from side
A 8’x8’ square void with a passing wall and light from lower floor
A 8’ diameter void with light from lower floor
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Category: #48 Void on the upside with combinations of columns or walls The images show a void with a wall passing through on the upside of the figure with light coming in. The setting of the void allows for the focal point to be on the figure and it’s reaction to this void coming in, while bringing familiarity with the upright wall. The images feelings are curiosity as well as comfort as the figure doesn’t have a clue what is beyond the void, but the wall is familiar to the figure and keeping it comforted
Scene #1
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Scene #10
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Category: #49 Void between Floating Surfaces These images show two floating surfaces with two figures on each surface. The setting of these walls allow for one figure to always be above the other in reaching distance. The feeling from these images are limerence as one figure will always be reaching out to the other from their surface.
Scene #1
Scene #2
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Category: #50 Void between curve-linear Surfaces These images show two figures above and below an organic shaped void. The setting of the void allows for different light to come in onto the figures. The feeling of the figures is probably uncertainty as this organic shape would not be familiar to them.
Scene #1
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Scene #2
Category: #51 Void with a combination of These images show a scene with floating surfaces, columns and aligning walls. The setting of the objects allow for a complex scene for the figure as well as the viewer. The feeling of these scenes are comfortable as these are positions the figures would most likely be found in.
Scene #1
Scene #2
Category: #52 Curved vertical surface These images show a curved vertical surface in front of the figure. The setting of the surface allows for the focal point to be on the figure in its decision upon the surface’s arrival. The feeling of these images are curiosity as the surface continues to go up and above the viewpoint of the figure.
A 4’wide
A 8’wide
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Category: #53 Curved vertical surface with an upper floor These images show a floating surface alongside a curved wall with two figures within the images. The setting of the surface allows for one figure to always be reaching out to the other from the ground to up above. The feeling from these images are limerence again as that figure will be yearning for the figure on the surface.
Scene #1
Scene #2
Scene #4
Scene #5
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Scene #3
Category: #54 Curved vertical surface with a void These images show a curved vertical surface in front of the figure going through a void above. The setting of the surface allows for the focal point to be on the figure in its decision upon the surface’s arrival, but also putting emphasis on the fact that the surface had to pass through the void in the first place. The feeling of these images are curiosity as the surface continues to go up and above the viewpoint of the figure.
Scene #1
Scene #2
Scene #3
Scene #4
Scene #5
Category: #55 Facing Curved vertical surface These images show a curved vertical surface in front of the figure going through a void above. The setting of the surface allows for the focal point to be on the figure in its decision upon the surface’s arrival, but also putting emphasis on the fact that the surface had to pass through the void in the first place. The feeling of these images are curiosity as the surface continues to go up and above the viewpoint of the figure.
Scene #1
Scene #2
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Category: #56 Hanging curved surfaces These images show a hanging curved surface above the figure. The setting og the curved surface allows for a tunnel to be made around the figure. The feeling from this image is comforting and soothing as the tunnel has one open direction for the figure and allows for all kinds of movement within the tunnel.
Scene #1
Scene #2
Scene #3
Scene #5
Category: #57 Surfaces with convexities and concavities These images show a hanging curved surface above the figure as well as a concavity. The setting of the curved surface allows for a tunnel to be made around the figure while the concavity allows for complexity in the movement of the figure. The feeling from this image is comforting and soothing as the tunnel has one open direction for the figure.
Scene #1
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Scene #2
Category: #58 A sphere with a strong center and centripetal force These images show a sphere passing through an void above the figure in a confined space. The setting of the sphere in the void allow the focal point to be the sphere in the first place but also placing emphasis on the void its blocking for the figure. The feeling from these images are fear as its unsure to the figure how stable the void is in blocking a force like the sphere against it.
Scene #1
Scene #2
Scene #3
Scene #5
Category: #59 Surfaces that are twisted and free These images show grounded and floating curved surfaces within a confined space. The setting of the curved surfaces allow there to be balance in the images above and grounded with the figure. The feeling of these images are harmonious as the matching surfaces mirror one another to the figure’s positions.
Scene #1
Scene #2
Scene #3
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Ashley J . Port fol i o 1142
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What I learned...
Project #1 “Wall, Column, and Space” - I learned how various types of walls, columns, and structures impact a space. I also learned how different strctures and lighting strategies can allow a space to display various emotions and styles. Project #2 “Hand Drawing” - Handdrawing has taught me to think creatively and develop ideas quickly without relying on digital tools. It has also improved my ability to visualize spatial relationships and communicate concepts clearly to others. Project #3 “Power of Patience” - In the Power of Patience project, I learned that taking the time to thoroughly engage with a design allows for a deeper understanding and appreciation of its components. This patience reveals details and insights that might otherwise be missed, leading to more thoughtful and well-crafted design solutions. Project #4 “Space Cube” - The Space Cube project taught me to design each space with a clear purpose, always considering the user and how the space will impact them emotionally and functionally. Additionally, I was able to hone my craft in model making through the process of iteration, refining my skills with each version. Project #5 “First Portfolio” - In my first portfolio project, I used AI to enhance my images and bring them to life, giving me a clear vision of how my project could be displayed. This allowed me to see adjustments I would make to the projects I submitted, and I can see AI becoming an essential tool in my career as it continues to grow and integrate into our daily lives. Overall - I developed numerous technical skills through programs like Adobe and Rhino, and I also learned valuable lessons in assessing how different structures, lighting strategies, materials, and colors impact a space. If you could talk to you before these five weeks, what would you like to share with you? - I would advise myself that even though your workload is heavy and your schedule is packed, it’s crucial to develop a thoughtful plan with clear objectives before diving into the final stages of any project
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Category #1: Facing surface These ten photographs illustrate how the angle of the wall facing the human figure gradually changes, resulting in a progressive obstruction of the view. As the wall shifts, the human figure’s view becomes increasingly blocked. I believe this category and the changes in the angle of the walls illustrate the feeling of isolation.
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Category #2: Facing edge In Category 2, the 10 pictures demonstrate a wall that gradually turns its edge toward the human figure, creating a narrow obstruction. The human figure faces the background as the wall’s thin edge slowly aligns with the front of the figure’s body. I believe this category deomstrates the impact a wall can have on a space and the various feelings it may evoke.
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Category #3: Blocking wall In Category 3, 11 pictures show a wall moving from the left into the center of the image. The human figure initially has a clear view, but the wall gradually begins to obstruct it. These pictures show the impact a horizontal flat facing wall can have on a space and the openness of the floorplan.
Opened level 1
Opened level 2
Opened level 3
Opened level 4
Block level 1
Block level 2
Block level 3
Block level 4
Block level 5
Block level 6
Block level 7
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Category #4: Passing the blocking wall Category 4 illustrates a still wall to the left of the human figure that gradually goes out of view in 5 pictures. The human figure walks past the wall and gains access to the openness ahead. This demonstrates the previous wall’s impact on the space.
Passing level 1
Passing level 2
Passing level 3
Passing level 4
Passing level 5
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Category #5: Aligned Wall Category 5 focuses on aligning walls with the human figure in the center throughout 6 pictures. The human figure initially has a clear view and an open path, but as the wall inches closer to the center, the path becomes slightly blocked, though still navigable. At first, I feel a sense of relief with the clear path ahead, but as the wall moves closer, I experience anxiety, which is replaced by comfort when the wall finally stops, leaving a small gap to my right.
Closed level 1
Closed level 2
Closed level 4
Closed level 5
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Closed level 3
Category #6: Passing the aligned wall After the wall stops in Category 5, the space left from the alignment allows the figure to move forward in Category 6, demonstrated in 6 visual representations. The human figure walks past the aligned wall to face the next challenge. This makes me feel accomplished, as though no matter what challenge I face, I can find a way around the obstruction, instilling confidence as I continue my journey.
Passing level 1
Passing level 2
Passing level 3
Passing level 4
Passing level 5
Passing level 6
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Category #7: Walls with different heights Category 7 demonstrates a wall growing from the ground up to 8 feet tall. The human figure stands at the center of the image, watching the wall slowly grow until it becomes just out of reach. At first, the wall was 1 foot tall, allowing me the opportunity to move around it, but as it grew taller than me, it evoked feelings of fear and curiosity about what the wall was doing.
Wall with 1ft
Wall with 2ft
Wall with 3ft
Wall with 4ft
Wall with 5ft
Wall with 6ft
Wall with 7ft
Wall with 7ft
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Category #8: Floating and faced Wall Category 8 shows the progression of a floating wall rising from the ground up. The human figure’s view is initially blocked by the wall, but as it moves up, the figure regains the view and the freedom to move past it. I felt a sense of loneliness at the beginning when trapped, but as the wall began to float up, I became hopeful, and when it was finally high enough to walk under, I felt a sense of happiness.
1ft high floating wall
2ft high floating wall
3ft high floating wall
4ft high floating wall
5ft high floating wall
6ft high floating wall
7ft high floating wall
8ft high floating wall
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Category #9: 8ft high floating and aligned wall In 4 pictures, Category 9 demonstrates an 8-foot-high floating wall above the human figure. The human figure approaches the space underneath the floating wall and begins to walk beneath it before the wall stops. I feel anxious at first as the wall floats towards the area in front of me, but as I align underneath the wall and continue on my path, I feel a sense of calm and focus.
Alignment level 1
Alignment level 4
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Alignment level 2
Alignment level 3
Category #10: 8ft high floating and faced wall In Category 10, the 8 pictures represent an 8-foot-high floating wall facing towards the center of the image. The human figure walks in the center as the floating wall moves in front of him without blocking the view. Initially, I feel comfortable with the floating wall barely in sight, but as it approaches, I feel rushed to beat it to avoid potential entrapment. Once the wall stops above me, I continue on the path without facing any obstruction, feeling relieved and reassured.
Overlap level 1
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Category #11: floating horizontal surface In Category 11, 6 photos depict a floating horizontal surface shifting over the path of the human figure. As the figure moves forward, the floating surface aligns with it. Initially, I believe the obstruction is out of sight, and I perceive a clear path ahead. However, as I progress, the object stops right above my head without obstructing my view.
Overlap level 1
Overlap level 2
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Overlap level 8
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Category #12: Horizontal surfaces with different heights Category 12 focuses on illustrating the height and depth of an object using a floating square descending through an empty hole. The human figure observes as the floating object gradually descends through the hole, representing measurements from 8 feet to -3 feet. Other human figures are introduced at negative measurements to aid in understanding the concept of measurement. I watched as the object began its descent through a precisely fitting hole, and as it reached negative depths, I also saw that additional human figures appeared to represent the space below the main floor.
8ft high horizontal surface
7ft high horizontal surface
6ft high horizontal surface
5ft high horizontal surface
4ft high horizontal surface
3ft high horizontal surface
2ft high horizontal surface
1ft high horizontal surface
-1ft high horizontal surface
-2ft high horizontal surface
-3ft high horizontal surface
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Category #13: Wall surface with an incline Category 13 illustrates a wall surface with an incline ranging from 80 degrees to 10 degrees, floating around a walking human figure. As the human continues forward, the inclined surface on the left moves away and upward, eventually reaching the ceiling. Initially, I feel I have the opportunity to walk forward in the beginning of the photographs, but as the inclined surface begins to move around, I feel increasingly enclosed and restricted in my movement.
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Category #14: Inclined wall Category 14 utilizes 6 photos to depict an inclined wall starting from the left and gradually shifting its edge upwards until it is nearly perfectly vertical. The human figure observes as the inclined wall begins its ascent, ultimately becoming a vertical structure by level 6. Initially, I feel curious about the inclined wall, wondering about its movement and if it would stop midway or continue to turn. However, as it reaches level 6 without fully obstructing my path, I feel relieved and intrigued by its transformation.
Inclined level 1
Inclined level 2
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Inclined level 6
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Category #15: Floating wall surface facing edge with an incline Category 15 portrays a floating wall surface with an inclined facing edge progressing through 6 levels, transitioning from almost horizontal to a narrow edge nearly aligned with the human figure. The figure remains stationary as the floating facing edge ascends, almost aligning with the figure by level 6. I observe the gradual upward movement of the inclined surface from the left side of my view, approaching a position nearly in front of my path but without obstructing it.
Inclined level 1
Inclined level 2
Inclined level 3
Inclined level 4
Inclined level 5
Inclined level 6
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Category #16: Inclined surface to a facing wall Category 16 illustrates an inclined surface transitioning to a facing wall from 10 degrees to 90 degrees. The human figure stands at the center of the image as the inclined surface begins at 10 degrees off the ground, gradually inclining upward until it fully obstructs the path. Initially, I feel stuck as the inclined surface is directly in front of me, but as it shifts upward, I feel increasingly trapped. When it finally reaches a vertical position, my view is completely obstructed, leaving me with a sense of confinement and helplessness.
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Category: #17 Inclined ramp to facing wall Category 17 depicts an inclined ramp gradually ascending to face a wall. The human figure stands in the center, right at the base of the ramp, and as the ramp inclines, it becomes too steep for the figure to walk on, eventually reaching a 90-degree angle. Initially, I see a ramp at 10 degrees with a path full of light, this makes me feel hopeful, however, as the ramp elevates beyond a walkable angle and reaches 90 degrees, I once again find myself stuck behind the obstructed wall, feeling frustrated and confined.
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Category: #18 One Column Two photographs demonstrate different perspectives of a column next to a human figure, showcasing both the column’s imposing size and the way light casts shadows across its surface. As the human figure approaches the column and eventually walks up to it, the interaction between the figure and the column becomes more detailed. I feel a sense of curiosity and intrigue as the figure moves closer to the column, not feeling lost but instead experiencing a comforting sense of familiarity with the structure.
Front
Side
Category: #19 Two Columns Category 19 focuses on two columns positioned vertically and horizontally, highlighting their different orientations and structural forms. The human figure walks between the two vertical columns, experiencing the towering height on either side, and then walks between the two horizontal columns, encountering a different spatial dynamic and perspective. I feel intrigued while walking between the vertical columns, captivated by their height and presence, and a sense of curiosity arises as I pass by the horizontal columns, wondering what they also might symbolize.
Vertical
Horizontal
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Category: #20 Three Columns Three photographs illustrate three vertically aligned columns followed by three scattered horizontal columns. The human figure walks alongside the three vertical columns on his right before being led to the midpoint of the scattered horizontal columns, experiencing a transition from orderly to disordered spatial arrangement. I feel a sense of familiarity and comfort while walking by the vertical columns, reminiscent of being outside a grand library or institutional building, but as I approach the scattered horizontal columns, a confusing feeling washes over me, prompting me to wonder what they signify
Vertical
Horizontal
Category: #21 Four Columns Two photographs represent the use of four columns to break up a space and create a central point. The first image depicts a male figure walking towards a female figure standing in the middle of the four columns, while the next picture shows the woman standing alone behind the columns as the man disappears. In the first image, the male figure’s approach towards the female figure creates a sense of connection and anticipation, whereas in the second image, the woman’s solitary presence behind the columns introduces a feeling of separation and solitude. I feel a sense of hope and excitement as I approach the four columns and see another figure before me, but when the man disappears and the woman is left standing alone, a sense of isolation and curiosity about the change in dynamics emerges.
Wide
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Narrow
Category: #22 One Wall and One Column A series of eight pictures represent the eight different conditions of one wall and one column, capturing their changing spatial dynamics. The human figure approaches the wall and the column, and as he gets closer, the structures fluctuate by shifting from a wide position to a narrow position and back again. I feel comfortable when I approach the structures in their wider position, but as they become narrower the closer, I get a sense of anxiety fills me and makes the space feel constrictive.
Condition 1
Condition 2
Condition 3
Condition 4
Condition 5
Condition 6
Condition 7
Condition 8
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Category: #23 One Wall and two Columns Category 23 shows three images that focus on one wall and two columns in different positions: an aligned wall with vertically aligned columns, a facing wall with vertically aligned columns, and finally, a facing wall with horizontally aligned columns. The human figure walks into the well-lit space between the aligned wall and vertical columns, then moves into a space with a facing wall and vertically aligned columns, and finally reaches a space with a facing wall and horizontally aligned columns. As I approach the first condition, the well-lit area intrigues me, but as I move to the second condition, the darkness fills the space, making me feel scared and isolated and by the time I reach the third condition, I am almost in complete darkness, feeling overwhelmed and disoriented.
Condition 1: aligned wall and vertically aligned columns
Condition 2: facing wall and vertically aligned columns
Condition 3: facing wall and horizontally aligned columns
Category: #24 Two Walls and two Columns Two walls and two columns are used to represent vertically and horizontally aligned positions with perpendicular walls. The male figure walks past the vertically aligned columns with a female figure just on the other side, and as he continues down the hallway, the perspective shifts to show the female figure standing in the center of the wall. I feel familiar with this space because it reminds me of my childhood home, giving me a sense of comfort as I walk through the spaces.
Columns aligned vertically with perpendicular walls
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Columns aligned horizontally with perpendicular walls
Category: #25 Two Walls and two Columns with two lighting conditions_01 Two walls and two columns with two lighting conditions are shown in 6 images each using a different perspective of light and shadows. The figure walks into a space with two vertical columns and one aligned wall and one facing wall experiencing different lights and shadows and he continues to walk to the exit. I feel hopeful seeing the opportunity to walk to the next room, but as the lights turn off and on, I feel rushed and an urgency to get out of the space.
Walking between vertically aligned columns and perpendicular walls with lighting behind Figure
Walking between vertically aligned columns and perpendicular walls with lighting behind wall
Walking beside vertically aligned columns and perpendicular walls with lighting behind Figure
Walking beside vertically aligned columns and perpendicular walls with lighting behind wall
Walking beside vertically aligned columns and extended perpendicular walls with lighting behind Figure
Walking beside vertically aligned columns and extended perpendicular walls with lighting behind wall
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Category: #26 Two Walls and two Columns with two lighting conditions_02 This category illustrates two walls and two columns with two different lighting conditions, showcasing the interplay of light and shadow in the environment. The human figure walks toward a space, passing horizontally and vertically aligned columns, eventually reaching a space between two walls that leads to an area filled with light. I feel hope and happiness as I approach the space between the two walls, sensing a fresh start and new beginnings illuminated by the light ahead.
Passing horizontally aligned columns to enter the space between two walls with lighting behind Figure
Passing vertically aligned columns to enter the space between two walls with lighting from the inside space
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Passing horizontally aligned columns to enter the space between two walls with lighting from the inside space
Passing vertically aligned columns to enter the space between two walls with lighting behind Figure
Category: #27 Two Walls and two Columns with two lighting conditions_03 Demonstrated in six different images, this category focuses on positioning two walls and two columns to illustrate two distinct lighting conditions, highlighting the contrast between light and shadow within the environment. The human figure passes through a narrow opening away from the light, gradually moving towards a space ahead illuminated by light, and eventually arrives at a wide opening with abundant light streaming in. I feel curious as I step through the dimly lit spaces, intrigued by the shadows trailing behind me, and as I approach the brightly lit rooms, I feel a sense of warmth enveloping me, bringing a calmness and reassurance to the surroundings.
Passing vertically aligned columns to pass a narrow opening between two walls with lighting behind Figure
Passing vertically aligned columns to pass a narrow opening between two walls with lighting from the inside space
Passing vertically aligned columns to pass an intermediate opening between two walls with lighting behind Figure
Passing vertically aligned columns to pass an intermediate opening between two walls with lighting from the inside space
Passing horizontally aligned columns to pass a wide opening between two walls with lighting behind Figure
Passing horizontally aligned columns to pass a wide opening between two walls with lighting from the inside space
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Category: #28 Vertically aligned Two Walls and two Columns -This section focuses on two vertically aligned walls and two columns, presenting a simple yet structured environment. The human figure walks between the walls, experiencing the confined space, before proceeding to walk between the two columns, encountering a different spatial arrangement. I feel as though I am entering a room designed as a transition space, guiding me to my next destination, and I am filled with excitement as I eagerly walk forward, anticipating what lies ahead.
Between walls, walking
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Between columns, walking
Category: #29 Space composed with 5+ columns and 2 walls Category 29 focuses on the use of 5 columns and 2 walls to freely design spaces incorporating these structures. The initial scene shows a top view of a man and a woman figure, before it shows the women walking away from the man and a man going on a journey through different spaces before both the man and woman find open spaces to explore on their own. I feel content seeing the man and women connect in well lit open space surround by columns, but as the women walks away and fade into the darkness and the man is left to go on his own journey I feel sad, but seeing the man experience blocking structures and clustered columns I feel hopeful when he does not give up, and when the last two sense show a man and woman on their own both with fresh starts in front of them it leaves me with a bittersweet feeling.
Top view of the space composed
Sequence phase #1
Sequence phase #2
Sequence phase #3
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Sequence phase #5
Sequence phase #6
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Category: #30 Faced wall with Connected wall Category 30 utilizes 19 images to illustrate a faced wall and a connected wall, starting at 90 degrees and gradually progressing to 270 degrees. The human figure stands facing the center of the two connected facing walls and slowly rotates to match the degrees, allowing viewers to observe the evolving spatial relationship between the walls. I feel intrigued by the subtle changes in degrees and how they profoundly impact the feeling of the space, highlighting the nuanced dynamics of spatial orientation and perception.
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210 degree
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Category: #31 Aligned wall with Connected wall Category 31 employs 17 images to showcase an aligned wall with a connected wall, depicting the transition from a 10-degree angle to a 170-degree angle. The human figures stand centered between the two walls, demonstrating the view as it progresses from a narrow corner to a wider perspective. Initially, I feel nauseous as the view in front of me offers no escape, trapped within the confines of the narrow corner. However, as the view changes and I gaze outward opposite the two walls, a sense of calm washes over me, reassuring me that everything will be alright.
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Category: #32 Facing the connected edge of two walls -Category 31 utilizes 17 images to depict the view facing the connected edge of two walls, ranging from 10 degrees to 170 degrees. The human figures serve as markers to demonstrate the changing angle of degrees as the perspective of the images shifts to reveal the edge of the two connected walls. I feel patient as I observe the gradual progression of the walls connecting, eventually reaching the view of 170 degrees where nothing but open space unfolds before me.
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130 degree
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Category: #33 Three connected walls Category 33 centers on three connected walls, comprising two wide-facing wings and two narrow-facing wings, presenting a dynamic spatial configuration. The human figure stands in front of the three connected walls, serving as a point of reference as the room gradually narrows. Initially, I feel fine observing the walls, but as they start to cave in and become narrower, a sense of anxiety creeps in, accompanied by a fear of being crushed or trapped within the shrinking space.
Wide-facing wall with two wings
Narrow-facing wall with two wings
Category: #34 Curved wall inside Category 34 illustrates a curved wall from three different perspectives: small curved at 8 feet height, small curved at 16 feet height, and large curved at 8 feet height. In the first two images, a woman stands at the center of the small curved structures, while in the last image, a male figure approaches the large curved structure, remaining at the center of the image. In the first two images, I feel focused on the structure around me, but as I approach the larger curved structure in the last image, I am intrigued by how the light bounces off the curves, enhancing the space’s visual dynamics.
Small-curved and 8ft height
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Small-curved and 16ft height
Large-curved and 8ft height
Category: #35 Curved wall outside Eight images showcase a curved outside wall at 8-foot and 16-foot heights. The human figure faces the small 8-foot curve in the first image, then continues the sequence of passing and facing all sides of the curve, before repeating the same process for the 16-foot curve. As I approach the 8-foot curve, I feel curious about what could be inside the structure and why there is no way to enter. As I walk around it, my fascination with the structure only grows at both heights, captivated by its design.
Facing Small-curved and 8ft height
Passing Small-curved and 8ft height
Facing Small-curved and 16ft height
Passing Small-curved and 16ft height
Facing Large-curved and 8ft height
Passing Large-curved and 8ft height
Facing Large-curved and 16ft height
Passing Large-curved and 16ft height
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Category: #36 Curved Walls and Flat Walls -The main focus of this category is to represent the use of curved walls and flat walls in the same space. The human figure approaches a flat wall while passing a curved wall and walks towards an open space between them, and as he enters the open space, another human figure appears inside the half-curved wall and walks behind the curve. The use of curved and flat structures creates a sense of synchronization with the flow of space, and as I continue to walk between the two walls, I feel happy with the open space and light in front of me, appreciating the harmonious design.
Facing a flat wall (8fh height) while passing a curved wall (8fh height)
Entering a space between a flat wall (8fh height) and a closed-curved wall (8fh height)
Entering a space between a flat wall (8fh height) and an opened-curved wall (8fh height)
Your coordination in height and openness.
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Entering a space between a flat wall (8fh height) and a half opened-curved wall (8fh height)
Category: #37 Entering into a space between Parallel Curved Walls This category showcases eight different sections using small curved structures at 8 feet and 16 feet tall, and large curved structures at 6 feet and 18 feet tall. The human figure approaches the entryway between the large and small curved structures and enters a circular room with another human figure standing in the center. I feel intrigued as I enter the entryway between the two structures, and as I continue to walk into the circular room, a sense of calmness washes over me, appreciating the soothing design of the curved space.
Small-curved and 8ft high outside
Small-curved and 16ft high outside
Large-curved and 8ft high outside
Large-curved and 16ft high outside
Small-curved and 8ft high inside
Small-curved and 16ft high inside
Large-curved and 8ft high inside
Large-curved and 16ft high inside
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Category: #38 Entering a space between curved mirror walls_01 Category 38 uses small-curved structures and large-curved structures at different heights to demonstrate a narrow opening between them. The human figure slowly approaches the space in between the small-curved and 8ft high structure, the small-curved and16ft high structure, the large-curved 8ft high structure, and the large-curved and 16ft high structure. I feel excited as I approach the narrow opening between the two curved structures because it symbolized a new beginning.
Small-curved and 8ft height
Large-curved and 16ft height
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Small-curved and 16ft height
Large-curved and 8ft height
Category: #39 Entering a space between curved mirror walls_02 This category is designed to show a space between curved mirror walls using small and large curved structures at heights of 8 feet and 16 feet, incorporating both inside and outside lighting. The images start with a human figure approaching the space between the mirrored walls and eventually walking into the light within the space. I really enjoy the design of the two mirrored structures, appreciating the symmetry between them and how the light is used to signal an entryway for the figure, enhancing the overall aesthetic and spatial experience.
Small-curved and 8ft high with inside lighting
Small-curved and 8ft high with outside lighting
Small-curved and 16ft high with inside lighting
Small-curved and 16ft high with outside lighting
Large-curved and 8ft high with inside lighting
Large-curved and 8ft high with outside lighting
Large-curved and 16ft high with inside lighting
Large-curved and 16ft high with outside lighting
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Category: #40 One curved wall and one column These images are designed to illustrate the use of one curved wall and one column in different spaces. The narrow opening between the column and the curved wall allows the human figure to walk between them into a lighter area, while the second image shows the male figure walking within the curved structure in between the columns. I really like the use of the two structures together because the column complements the circular qualities of the curved structure, especially when it is placed in the center of the round room, enhancing the harmony and flow of the space.
Entering a space between a column and curved wall outside
Entering a space between a column and curved wall inside
Category: #41 One curved wall and two columns The focus of category 41 is to use one curved wall and two columns aligned horizontally and vertically to the curved wall. The first human figure stands in the center of the two horizontally aligned columns as the other figure walks past her between the wall and the column, as the images continue the man continues to walk on passing the curved wall. This category is unique because I feel like I would constantly be trying to find a way into the structure and the horizontally aligned columns help to create a walkway but also include a factor of symmetry in the image.
Entering a space between a column of two horizontally aligned and curved wall outside
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Facing the outside of a curved wall with two horizontally aligned columns with insufficient space between them
Entering a space between a column of two vertically aligned and a curved wall outside
Category: #42 Role of a column between Curved and flat walls This design explores the use of the role of a column between curved and flat walls. The human figure enters the space between the two parallel curved walls while walking past a column, he then enters a space between a faced flat wall and a curved wall that also has a column in it, next he is back in his original position but the column is on his right now and in the final image an additional column appears in front of him to break up the space. I think the use of columns is very important, especially in a space like this, because they help connect the flow between the flat faced wall and the curved wall, enhancing the spatial dynamics and overall coherence of the design.
Entering a space between two parallel curved walls, with a column in front of the outer curved wall
Entering a space between a faced flat wall and a curved wall, with a column in front of the flat wall
Entering a space between two parallel curved walls, with a column in front of the inner curved wall
Entering a space between a parallel flat wall and a curved wall, with a column in front of the flat wall
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Category: #43 Curved connection Category 43 uses four different images to show the use of a curved connection in an open space. The human figure is placed between two flat connected walls to illustrate the perspective from different angles, ranging from 60 degrees, 90 degrees, 120 degrees, and 150 degrees. I enjoy this concept because the use of connected flat walls adds character to the room, creating the appearance of a curved wall that makes the space feel more inviting than a standard 90-degree corner.
Follow two flat walls that are connected at an angle of 60 degrees smoothly
Follow two flat walls that are connected at an angle of 150 degrees smoothly
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Follow two flat walls that are connected at an angle of 90 degrees smoothly
Follow two flat walls that are connected at an angle of 120 degrees smoothly
Category: #44 Curved wall and S-curve wall The layout of this space employs a combination of a curved wall and an S-curve wall at varying heights, creating zones characterized by alternating shadows and illumination between the structures. Positioned in the middle of the two walls, the human figure serves as a scale reference, this helps to showcase how large the structures are, which stand at heights of 8 ft and 16 ft. The inclusion of both exterior and interior lighting enhances the design, evoking a sense of enchantment and transforming the space into an immersive experience almost like navigating through a maze.
Curved wall and S-curve wall 8ft high with inside lighting
Curved wall and S-curve wall 8ft high with outside lighting
Curved wall and S-curve wall 16ft high with inside lighting
Curved wall and S-curve wall 16ft high with outside lighting
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Category: #45 1 point perspective pictures: Void on the upside Category 45 utilizes a 1-point perspective with a void at the top, featuring various structures including a 4’x4’ square void, an 8’x8’ square void, a 4’ diameter void, and an 8’ diameter void, all with a height of 8ft. The human figure is depicted in the first three images positioned in the center of the light beneath the void, while the fourth image shows the figure standing on the outer rim, concealed in shadow. This creative design underscores the significance of light and voids in architectural structures, as they play a pivotal role in establishing a focal point within the space.
A 4’x4’ square void with a height of 8ft
A 8’ diameter void with a height of 8ft
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A 8’x8’ square void with a height of 8ft
A 4’ diameter void with a height of 8ft
Category: #46 Void on the upside with columns or walls The layout is category 46 uses a void on the upside with columns or walls, and a 8’x’8 void square is used for most of the images but a 4’x4’ void square is also included. The human figure is used in different areas of the image to show how light flows through the structure and the shadows it creates. I think this is a cool concept with the void upside walls because it shows how important lighting is when designing a structure and how it impacts the space and human figures around it.
A 8’x8’ square void with columns
A 8’x8’ square void with a facing wall
A 8’x8’ square void with a passing wall
View for A 4’x4’ square void with a flat wall aligned with one side and two columns aligned with the opposite side
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Category: #47 Void on the downside with columns or walls This category uses a void on the downside with columns or walls with light coming from different angles such as the upper floor, side, and lower floor to show different perspectives of the spaces. The human figure approaches the void in the first 6 images and is impacted by the different lighting strategies used in space, and in the last image the figure appears to be standing in the lower floor beneath the void. I think that a void in the floor is intriguing in any space because it is abnormal and creates a mystery, and I also think the use of the light helps to create a different atmosphere for each image.
A 8’x8’ square void with a facing wall and light from upper floor
A 8’x8’ square void with a facing wall and light from side
A 8’x8’ square void with a facing wall and light from lower floor
A 8’x8’ square void with a passing wall and light from side
A 8’x8’ square void with a passing wall and light from lower floor
A 8’ diameter void with light from lower floor
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Category: #48 Void on the upside with combinations of columns or walls This category uses a void on the upside with a combination of columns or walls to develop 10 different scenes. The human figure starts out between two horizontal columns facing a black wall with a void on the upside, the wall slowly comes down into a ramp and the disappears along with the columns as well, and the human figure continues to be a center point of the pictures with an inclusion of circular voids and curved walls. This sequence makes me curious for what lies above the void, and joy thinking what is still left to be discovered and the light that comes through the void.
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Category: #49 Void between Floating Surfaces Category 49 focuses on implementing a void between floating surfaces in 5 different scenes. The first scene shows two different floating surfaces with two human figures on each one staring across at each other, and then a 3rd human figure is introduced and approaches them walking to the very end of the void, but he disappears from the frame and the two figures are shown again before a 3rd floating surface with the man is added. I really enjoyed the concept of floating surfaces and how it breaks up the space, and I also think it adds a lot of dimension to the space.
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Category: #50 Void between curve-linear Surfaces For category 50 we took inspiration from Category 51 and used dancing lines to develop a shape to form a void around. Human figures are placed above and below the void to showcase how the light impacts them and to make the void a center focus. I think voids are a great way to show different levels of a space while also using a unique way to emphasize the characters.
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Scene #2
Category: #51 Void with a combination of Category 51 focuses on a combination of voids with curved walls and floating surfaces. The first image a human figure stands below a void look straight ahead into the darkness in front of them, and the next picture shows that same figure at the bottom of another void and floating surfaces with two human figures above him. This was probably one of my favorite categories to work on because it gave us freedom to work creatively and show different levels of space and emotion using figures, voids, and floating spaces.
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Category: #52 Curved vertical surface Category 52 uses curved vertical surfaces to add dimension to the space. The human figure stands facing the curved surface in front of him at a 4’ wide length and 8’ wide. I think the use of a curved vertical surfaces helps convey the message of not giving up, and looking forward at the path ahead of you.
A 4’wide
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Category: #53 Curved vertical surface with an upper floor The use of curved vertical surfaces with an upper floor helps to add a circular factor to the space in Category 53. The human figures are shown walking underneath the curved surfaces through a tunnel, standing on floating surfaces observing the space around them, and walking on top of the curved structures to show the dimension and use of the space.
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Category: #54 Curved vertical surface with a void Category 54 was designed to use facing curved vertical surfaces with a void to create a tunnel like space. The human figure stands at the bottom of the ramp looking up into the tunnel above him at different perspectives. This concept is intriguing because it symbolizes a tough climb ahead but light at the end of the tunnel.
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Category: #55 Facing Curved vertical surface Category 55 uses a facing curved vertical surface to show a ceiling or the absence of one and create a bridge or tunnel like look. The human figure stands in the center of a tunnel looking ahead of him at the curved vertical surface, while the other images shows a curved vertical surface descending from a void with two figures looking at each other at the bottom. I think the use of these factors help to convey emotion and an element of levels in the space because it can either represent a bridge to new beginnings or a staircase leading to connection
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Category: #56 Hanging curved surfaces Category 56 uses hanging curved surfaces in 4 different scenes to represent how it can be used as a ceiling, and how light can impact the space. The human figure is shown walking under the curved ceiling at different perspectives in the space to show off the different dimensions. I think this concept adds a lot of character to a space and allows for unique lighting to be implemented into the space.
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Category: #57 Surfaces with convexities and concavities Category 57 is unique because it uses surfaces with convexities and concavities to illustrate unique shapes for walls and other factors in the space. The human figure is shown walking through the tunnel towards a half sphere ahead of him, him and another figure then stair at the figure ahead of them, ending with him walking alone into the void in front of him. I loved working with the category because it creates such a unique look to your space and can help direct the flow of the space you are intending for.
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Category: #58 A sphere with a strong center and centripetal force Category 58 used half sphere to represent a strong center and centripetal force. The human figures stand on top of the sphere, next to it under a circular void, and alongside other spheres. The use of centripetal force and circular shapes helps to create a unique space while also showing emotion from the human figure to represent if the are on top of the sphere looking out at the world or still trying to climb it.
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Category: #59 Surfaces that are twisted and free Category 59 uses surfaces that are twisted and free to show dimension in the space. The first scene shows a man looking ahead at the mountain like space ahead of him, and is then seen sitting on a half sphere in a lonely position, lastly two figures are shown connecting under the unique ceiling. I think this concept helps to create a unique design and she the texture and emotion behind the space.
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A l y ssa Kl i n e Port foli o 1196
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What I learned...
Project #1 “Wall, Column, and Space” - The way you organize elements within a space can make a big difference in how the space makes you feel. Project #2 “Hand Drawing” - Hand Drawing is a good way to connect with the outside or inside environment and notice details you had previously overlooked. Project #3 “Power of Patience” - It takes a while to notice small things, but consistently observing and analyzing can help you think about things in a way you haven’t thought of before. Project #4 “Space Cube” - Iteration and patience is key. Creating multiple models of ideas can help to create the best final outcome. Project #5 “First Portfolio” - Though projects might seem hard while you’re working on them, the end result is usually worth it. Have patience and try your best. Overall - Going out of your comfort zone when it comes to ideation and designing can be scary, but very beneficial. If you could talk to you before these five weeks, what would you like to share with you? - Try to find a balance between being productive and getting things done, but also having good craftsmanship. Try to show who you are and what you feel through what you create.
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Category #1: Facing surface Ten photographs show a wall gradually closing in on a space to block out the rest of the area. As the walls change, the human figure becomes blocked. The space feels very open and vast at first, and when the walls closed in it made the space feel less open and smaller.
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Category #2: Facing edge Ten photographs show a wall moving from the right to the center. As the walls change, it makes the human figure seem bigger and smaller. In the first couple of photographs the space feels more private and as it turns the space seems much bigger.
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Category #3: Blocking wall The photographs show a wall moving from the left to the right and becoming longer as it moves. The bigger the wall gets, the more it takes emphasis away from the human figure and onto the wall. Even though the wall is closing the space off, it doesn’t feel like it. It still seems open, but there is less emphasis on the human figure. It reminds me of an art museum.
Opened level 1
Opened level 2
Opened level 3
Opened level 4
Block level 1
Block level 2
Block level 3
Block level 4
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Category #4: Passing the blocking wall The photographs show how the movement of the wall makes the human figure look like it is walking through a hallway. As the wall moves, the figure seems to get smaller and smaller. Moving the wall makes the space seem smaller.
Passing level 1
Passing level 2
Passing level 3
Passing level 4
Passing level 5
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Category #5: Aligned Wall The photographs show how a wall coming from the left and gradually moving to the right obstructs the view of the human figure. As the wall moves the space becomes more divided. The movement of the wall makes the space feel less open and more closed off.
Closed level 1
Closed level 2
Closed level 4
Closed level 5
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Closed level 3
Category #6: Passing the aligned wall Changing the position of the wall shows movement that makes the figure look like its walking. As the figure moves alongside the wall the path is interrupted. The pathway along the wall creates a feeling of continuity.
Passing level 1
Passing level 2
Passing level 3
Passing level 4
Passing level 5
Passing level 6
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Category #7: Walls with different heights The photographs show walls with different heights with the human figure parallel to the wall. The lower walls contribute to an open atmosphere whereas the tall walls give depth.
Wall with 1ft
Wall with 2ft
Wall with 3ft
Wall with 4ft
Wall with 5ft
Wall with 6ft
Wall with 7ft
Wall with 7ft
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Category #8: Floating and faced Wall The picture shows two different types of walls, floating and faced. The human figure looks tall compared to the faced walls but small in front of the floating. The faced walls make me feel grounded, but the floating walls make you look up and makes the space look grand.
1ft high floating wall
2ft high floating wall
3ft high floating wall
4ft high floating wall
5ft high floating wall
6ft high floating wall
7ft high floating wall
8ft high floating wall
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Category #9: 8ft high floating and aligned wall The pictures show a floating wall that gradually makes its way in front of the human figure. Moving the wall in front of the figure makes it look like the path for the figure is obstructed, even though it is in the air. Centering the high floating wall creates a sense of unease while keeping it to the right or the left creates a nice sense of asymmetry.
Alignment level 1
Alignment level 4
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Alignment level 2
Alignment level 3
Category #10: 8ft high floating and faced wall The photographs illustrate the angle of the floating wall changing and making it appear closer and gradually blocking the human figure. As the wall gets closer, it makes it seem harder to move forward.
Overlap level 1
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Category #11: floating horizontal surface The photographs show the surface moving from the right to the center. The surface gradually gets closer to the figure and makes a path. The further the surface, the less restricted the space feels.
Overlap level 1
Overlap level 2
Overlap level 3
Overlap level 4
Overlap level 5
Overlap level 6
Overlap level 7
Overlap level 8
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Category #12: Horizontal surfaces with different heights The photographs show how the surfaces change, making it higher, level, or lower than the human figure. As the surfaces change, they alter the space around the figure. The higher surfaces allow you to go forward, however, when they lower, it makes the area feel more confined.
8ft high horizontal surface
7ft high horizontal surface
6ft high horizontal surface
5ft high horizontal surface
4ft high horizontal surface
3ft high horizontal surface
2ft high horizontal surface
1ft high horizontal surface
-1ft high horizontal surface
-2ft high horizontal surface
-3ft high horizontal surface
-4ft high horizontal surface 15 1209
Category #13: Wall surface with an incline The photographs show the surface at a different angle. As the angle increases, it makes the figure look off balance. As the incline increases, it makes the space look asymmetrical and off balance but a small incline still allows balance.
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Category #14: Inclined wall The photographs show a wall gradually inclining. As the wall tilts, the figure begins to look off balanced. The more the incline increases, it makes me feel more inclined to fall and feel uneasy.
Inclined level 1
Inclined level 2
Inclined level 3
Inclined level 4
Inclined level 5
Inclined level 6
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Category #15: Floating wall surface facing edge with an incline The photographs show a floating wall surface edge gradually increasing in incline. As the incline increases the figure becomes more obstructed by the wall. A slight incline makes it feel the least unobstructed while the sharpest incline makes me feel blocked by the wall.
Inclined level 1
Inclined level 2
Inclined level 3
Inclined level 4
Inclined level 5
Inclined level 6
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Category #16: Inclined surface to a facing wall The photographs show an inclined surface gradually turning into a facing wall. As the incline changes the figure becomes less strained against the surface. As the incline increases it makes the area feel more balanced and secure.
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Category: #17 Inclined ramp to facing wall The photographs show an inclined ramp gradually increasing to a wall. As the ramp turns into a facing wall, the human figure becomes more obstructed. The ramp allows for movement while the way blocks off the space and makes me feel like I would have to walk all the way around it.
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Category: #18 One Column The photographs show a column close to the human figure and then far away from it. The placement of the column obstructs the human figures path. The first photograph with the column closer makes me feel like you would just want to walk around it while the second photo makes me want to avoid walking in that are entirely.
Front
Side
Category: #19 Two Columns Two photographs show two columns, vertical and horizontal. The vertical columns allow space for the figure to walk through while the horizontal columns obstruct the pathway of the human figure. The vertical columns allow space to roam freely and look like an entrance but the horizontal columns divide the area.
Vertical
Horizontal
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Category: #20 Three Columns Two photographs show vertical and horizontal columns in front of or spaced between the human figure. The horizontal columns make the space feel welcoming and free. The vertical columns block the path, making the area look restricted.
Vertical
Horizontal
Category: #21 Four Columns Two photographs show four columns arranged wide and narrow. The wide columns allow space for two human figures while the narrow columns only allow space for one. The wide columns make the space open and inviting while the narrow columns are more focused and restricted.
Wide
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Narrow
Category: #22 One Wall and One Column Eight photographs show a wall and column, changing the placement of the column with each photograph. The human figure can access the space in between with the column moved further away. The column blocks the pathway in some pictures, making the area tighter and more confined.
Condition 1
Condition 2
Condition 3
Condition 4
Condition 5
Condition 6
Condition 7
Condition 8
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Category: #23 One Wall and two Columns Three photographs show movement of a wall and two columns. The angle of the wall and columns changes, obstructing the path of the human figure. As the wall and column placement changes, it allows more room for the human figure.
Condition 1: aligned wall and vertically aligned columns
Condition 2: facing wall and vertically aligned columns
Condition 3: facing wall and horizontally aligned columns
Category: #24 Two Walls and two Columns In two photographs, the angle of two walls and two columns’ changes, changing the human figures path. In the first photograph, the path is straight and allows the figure to walk through freely. The second photograph shows the angle of the columns changing, making the path less clear to walk through.
Columns aligned vertically with perpendicular walls
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Columns aligned horizontally with perpendicular walls
Category: #25 Two Walls and two Columns with two lighting conditions_01 Six photographs show two walls and columns changing with lighting. The lighter photographs make the space look more open and clearer while the darker photographs put more emphasis on the pathway for the human figure to walk through. The darker lighting provides a sense of moodiness.
Walking between vertically aligned columns and perpendicular walls with lighting behind Figure
Walking between vertically aligned columns and perpendicular walls with lighting behind wall
Walking beside vertically aligned columns and perpendicular walls with lighting behind Figure
Walking beside vertically aligned columns and perpendicular walls with lighting behind wall
Walking beside vertically aligned columns and extended perpendicular walls with lighting behind Figure
Walking beside vertically aligned columns and extended perpendicular walls with lighting behind wall
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Category: #26 Two Walls and two Columns with two lighting conditions_02 Four photographs show two walls and columns with different lighting. The lighting on the right photographs puts more emphasis on open areas for the human figure to walk through. The area with less lighting makes me feel like it would be harder to walk through.
Passing horizontally aligned columns to enter the space between two walls with lighting behind Figure
Passing vertically aligned columns to enter the space between two walls with lighting from the inside space
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Passing horizontally aligned columns to enter the space between two walls with lighting from the inside space
Passing vertically aligned columns to enter the space between two walls with lighting behind Figure
Category: #27 Two Walls and two Columns with two lighting conditions_03 Six photographs show two walls and columns with different lighting conditions. The lighting in the photographs change to put more or less emphasis on the human figure. The areas with more lighting on the figure make the space look intentional as a pathway.
Passing vertically aligned columns to pass a narrow opening between two walls with lighting behind Figure
Passing vertically aligned columns to pass a narrow opening between two walls with lighting from the inside space
Passing vertically aligned columns to pass an intermediate opening between two walls with lighting behind Figure
Passing vertically aligned columns to pass an intermediate opening between two walls with lighting from the inside space
Passing horizontally aligned columns to pass a wide opening between two walls with lighting behind Figure
Passing horizontally aligned columns to pass a wide opening between two walls with lighting from the inside space
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Category: #28 Vertically aligned Two Walls and two Columns Two photographs show vertically aligned walls and columns. The photographs with the two walls create a path for the human figure. The second photographs show the figure between columns. The columns make the space look very open and the walls look closed off.
Between walls, walking
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Between columns, walking
Category: #29 Space composed with 5+ columns and 2 walls Seven photographs show multiple columns and two walls at different angles. The angle of the photograph’s changes, putting more or less emphasis on the human figure. The angle of the walls and columns make the space feel moody depending on where they are placed in the photograph.
Top view of the space composed
Sequence phase #1
Sequence phase #2
Sequence phase #3
Sequence phase #4
Sequence phase #5
Sequence phase #6
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Category: #30 Faced wall with Connected wall Nineteen photographs show a faced wall with a connected wall. Throughout the photos the angle of the connected wall changes to be more and less open. The photographs with the connected wall up to 200 degrees makes the area open and changing the degree higher than 200 creates a narrow pathway.
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210 degree
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270 degree
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Category: #31 Aligned wall with Connected wall Fifteen photographs show an aligned wall with a connected wall, with the connected wall changing degrees. The human figure becomes less prominent as the degree of the wall increases. The increase in degree feels more open while the photographs with smaller degrees feel more closed in.
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130 degree
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170 degree
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Category: #32 Facing the connected edge of two walls Fifteen photographs show the angle of a connected edge changing. The direction the human figure is facing changes when the angle of the connected edge changes. As the walls turn, navigation becomes difficult making me feel more trapped.
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130 degree
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170 degree
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Category: #33 Three connected walls In two photographs, three connected walls change angles, with the human figure facing either a wide or narrow central wall with two wings attached. When facing the wide central wall, the figure has space, but when the walls angle the path becomes more obstructed by the columns. As the walls angle more, navigation becomes difficult, making the area feel blocked.
Wide-facing wall with two wings
Narrow-facing wall with two wings
Category: #34 Curved wall inside Three photographs show different angles and sizes of curved walls. The human figure is centered in the middle of the curved wall. The curved wall feels like a barrier to the space.
Small-curved and 8ft height
Large-curved and 16ft height 36 1230
Small-curved and 16ft height
Large-curved and 8ft height
Category: #35 Curved wall outside Eight photographs show different sized curved walls. The human figure changes standing positions based on the photograph. The photographs with the human figure standing in the middle in front of the curved wall feels like an obstruction to the path.
Facing Small-curved and 8ft height
Passing Small-curved and 8ft height
Facing Small-curved and 16ft height
Passing Small-curved and 16ft height
Facing Large-curved and 8ft height
Passing Large-curved and 8ft height
Facing Large-curved and 16ft height
Passing Large-curved and 16ft height
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Category: #36 Curved Walls and Flat Walls Five photographs show different positions and angles of curved and flat walls together. The human figure is emphasized in the last two photographs with the woman standing in the middle of the curved wall. Using the curved wall creates emphasis while the flat wall creates a walkway for the human figure to walk through.
Facing a flat wall (8fh height) while passing a curved wall (8fh height)
Entering a space between a flat wall (8fh height) and a closed-curved wall (8fh height)
Entering a space between a flat wall (8fh height) and an opened-curved wall (8fh height)
Your coordination in height and openness.
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Entering a space between a flat wall (8fh height) and a half opened-curved wall (8fh height)
Category: #37 Entering into a space between Parallel Curved Walls Eight photographs show parallel curved walls with different levels of openness between them. The human figure can either walk through or is obstructed by the wall. Using the parallel curved walls makes me feel like there is a curved hallway and I am walking through something.
Small-curved and 8ft high outside
Small-curved and 16ft high outside
Large-curved and 8ft high outside
Large-curved and 16ft high outside
Small-curved and 8ft high inside
Small-curved and 16ft high inside
Large-curved and 8ft high inside
Large-curved and 16ft high inside
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Category: #38 Entering a space between curved mirror walls_01 Four photographs show different openings between two curved walls. The human figure can walk through the two curved walls that are further apart, but the path becomes obstructed when the curved walls come closer together. The closer the walls get, the more eerie it feels.
Small-curved and 8ft height
Large-curved and 16ft height
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Small-curved and 16ft height
Large-curved and 8ft height
Category: #39 Entering a space between curved mirror walls_02 Eight photographs show varying spaces between curved walls. The human figure has to walk around the curved walls. The curved walls remind me of an outdoor space.
Small-curved and 8ft high with inside lighting
Small-curved and 8ft high with outside lighting
Small-curved and 16ft high with inside lighting
Small-curved and 16ft high with outside lighting
Large-curved and 8ft high with inside lighting
Large-curved and 8ft high with outside lighting
Large-curved and 16ft high with inside lighting
Large-curved and 16ft high with outside lighting
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Category: #40 One curved wall and one column Two photographs show a curved wall and column, with one photograph of the column in the space where the wall is and one outside where the wall is. The human figure has to walk through the space between the wall and the column. The column close to the wall creates an obstruction, while the column outside of the wall creates a focal point.
Entering a space between a column and curved wall outside
Entering a space between a column and curved wall inside
Category: #41 One curved wall and two columns Three photographs show a curved wall with varying placements of the columns. The human figure enters the space between the wall and columns. The third picture creates a sense of a natural pathway and the others remind me of an art museum.
Entering a space between a column of two horizontally aligned and curved wall outside
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Facing the outside of a curved wall with two horizontally aligned columns with insufficient space between them
Entering a space between a column of two vertically aligned and a curved wall outside
Category: #42 Role of a column between Curved and flat walls Four photographs show a column between curved and flat walls. The human figure enters the space between the column and wall. In the third photo, it makes me feel like I would have to dodge the column as it is blocking the path.
Entering a space between two parallel curved walls, with a column in front of the outer curved wall
Entering a space between a faced flat wall and a curved wall, with a column in front of the flat wall
Entering a space between two parallel curved walls, with a column in front of the inner curved wall
Entering a space between a parallel flat wall and a curved wall, with a column in front of the flat wall
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Category: #43 Curved connection Four photographs show varying degrees of a curved wall. The human figure walks along the path of the wall. The photographs with a smoother curve create an obstruction to the human figure, while the photographs with a higher degree of curvature provide a sense of a pathway.
Follow two flat walls that are connected at an angle of 60 degrees smoothly
Follow two flat walls that are connected at an angle of 150 degrees smoothly
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Follow two flat walls that are connected at an angle of 90 degrees smoothly
Follow two flat walls that are connected at an angle of 120 degrees smoothly
Category: #44 Curved wall and S-curve wall Four photographs show a short and tall curved wall. The human figure walks along the path of the curve. The photographs show the taller curved walls makes me feel small and almost as if I’m in a city or an area with really tall buildings that I have to look up to.
Curved wall and S-curve wall 8ft high with inside lighting
Curved wall and S-curve wall 8ft high with outside lighting
Curved wall and S-curve wall 16ft high with inside lighting
Curved wall and S-curve wall 16ft high with outside lighting
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Category: #45 1 point perspective pictures: Void on the upside Eight photographs show square and round holes that allow lighting through. The huma figure is illuminated by the light coming through the holes. The lighting that comes through the different shapes creates an emphasis on the human figure and almost looks like a spotlight.
A 4’x4’ square void with a height of 8ft
A 8’ diameter void with a height of 8ft
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A 8’x8’ square void with a height of 8ft
A 4’ diameter void with a height of 8ft
Category: #46 Void on the upside with columns or walls Eight photographs show horizontal and vertical placements of columns in correlation with the walls. The human figure walks through the path created by the illumination of the light. The photographs remind me of a dark tunnel.
A 8’x8’ square void with columns
A 8’x8’ square void with a facing wall
A 8’x8’ square void with a passing wall
View for A 4’x4’ square void with a flat wall aligned with one side and two columns aligned with the opposite side
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Category: #47 Void on the downside with columns or walls Six photographs show the human figure on the upside of different voids with the lighting hitting different angles of the room. The human figure stands on the edge of the void and looks down. The photographs make me feel like I am high up or would fall down.
A 8’x8’ square void with a facing wall and light from upper floor
A 8’x8’ square void with a facing wall and light from side
A 8’x8’ square void with a facing wall and light from lower floor
A 8’x8’ square void with a passing wall and light from side
A 8’x8’ square void with a passing wall and light from lower floor
A 8’ diameter void with light from lower floor
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Category: #48 Void on the upside with combinations of columns or walls Ten photographs show how positioning columns to walls and ceilings at different angles can make the space look more open or closed off. The human figure walks through the path provided by the walls and columns. The columns and walls together create a sense of being closed off and looks like a private space.
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Category: #49 Void between Floating Surfaces Eight photographs show floating surfaces with varying space in between them. The human figure stands in different positions on the floating surface. The space in between the floating surfaces creates a feeling of weightlessness and modernity.
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Category: #50 Void between curve-linear Surfaces Four photographs show a void between surfaces in an organic shape. The human figures sit at the top of the surface and look down. The shape of the void adds depth to the space, creating spaciousness and movement.
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Scene #2
Category: #51 Void with a combination of Three photographs show varying placements of walls and columns. The human figure is under the void and is illuminated by the light coming through in the photographs. The photographs create a sense of boldness and puts emphasis on the shadows created by the placement of the walls and columns.
Scene #1
Scene #2
Category: #52 Curved vertical surface Two photographs show two vertical surfaces in different sizes that are higher than the human figure. The human figure stands in front of the two vertical surfaces. The curved surface creates a sense of fluidity and movement.
A 4’wide
A 8’wide 51 1245
Category: #53 Curved vertical surface with an upper floor Six photographs show a curved surface with an upper level. The human figure stands on different areas of the space and looks up or down at the surface depending on the placement. The photographs with the human figure on the upper level creates a feeling of division.
Scene #1
Scene #2
Scene #4
Scene #5
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Scene #3
Category: #54 Curved vertical surface with a void Five photographs show a vertical surface below or above the void. The human figure either looks up at the curved vertical surface or looks down. The photographs showing the surface below the void creates a sense of being closed off, while the photographs showing the surface above the void makes the space feel very open and vulnerable.
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Category: #55 Facing Curved vertical surface Two photographs show a curved vertical surface. The human figure faces the direction of the vertical surface. The last two photographs create a bridge for the human figure to hide under and create a sense of safety.
Scene #1
Scene #2 53 1247
Category: #56 Hanging curved surfaces Four photographs show different placements and arrangements of hanging curved surfaces. The human figure walks below the hanging surfaces. The photographs create a feeling of fear or being loomed over.
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Scene #3
Scene #5
Category: #57 Surfaces with convexities and concavities Two photographs show different concaves and convexities. The human figure walks through the path created by the various concaves. The placement of the concaves makes the space feel like an area to hide or to rest.
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Scene #2
Category: #58 A sphere with a strong center and centripetal force Five photographs show a sphere with a strong center in different placements. The human figure stands next to, above, or below the sphere. Using the sphere creates a spotlight and focal point for the human figure.
Scene #1
Scene #2
Scene #3
Scene #5
Category: #59 Surfaces that are twisted and free Seven photographs show various surfaces that are floating or free standing. The human figure stands close to the various surfaces. The surfaces look they are not intentionally there and to me creates a feeling of dread.
Scene #1
Scene #2
Scene #3
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J e richa Lambeth Port foli o 1250
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What I learned...
Project #1 “Wall, Column, and Space” - I learned how to imagine myself in a room with walls and columns and how the position of those walls and columns would make me feel. Project #2 “Hand Drawing” - I learned how to draw by looking at what I’m drawing instead of looking at the paper I am drawing on. Project #3 “Power of Patience” - I learned how to dipect meanings out of paintings. Project #4 “Space Cube” - I learned how to make a complex enviornment functionable. Project #5 “First Portfolio” - I learned different software tools that will enhance my work. Overall - I learned the basic skills of interior architecture. If you could talk to you before these five weeks, what would you like to share with you? These five weeks have been the biggest challenge I’ve encountered but it is so rewarding knowing that I am studying my dream career at my number one university. I feel so honored to be in a professional program at the University of Arkansas.
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Category #1: Facing surface Nine photographs illustrate how the low sanding wall facing the human figure gradually moves inward, resulting in gradual obstruction of the human figure. As the walls change, the human figure becomes gradually enclosed. I had the possibility of moving forward before the wall appeared longer as it gradually trapped me in (0-30 degrees), but as the wall gradually enclosed, I felt like I had to take a step backward and to the right (40-70 degrees), and then the wall was completely in front of me (80-90 degrees), and that’s when I felt trapped, lost, unable to move forward.
0 degree
10 degree
20 degree
30 degree
40 degree
50 degree
60 degree
70 degree
80 degree
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Category #2: Facing edge Nine photographs illustrate how the low-standing rectangular wall gradually enlarges, resulting in gradual unhampering of the human figure. As the walls change, the human figure appears smaller in size. I had the possibility of walking towards the end of the wall before the wall appeared taller as I felt as if I were standing next to an average-scaled wall (0-30 degrees), but as I gradually approached the wall, I felt as if the edge of the wall grew in size (40-70 degrees), and then the wall was so tall I had to tilt my head back to look up at the end of the wall (80-90), feeling very small compared to the wall.
0 degree
10 degree
20 degree
30 degree
40 degree
50 degree
60 degree
70 degree
80 degree
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Category #3: Blocking wall Eleven photographs illustrate how the wall shifts rightward, resulting in gradual obstruction of the human figure. As the walls change, the human figure becomes gradually occluded. I had the possibility of moving forward before the wall appeared larger (levels 1-4), but as I gradually approached the wall, I felt like I was being blocked in (levels 5-8), and then the wall was so explicit (levels 9-11) that I felt I couldn’t continue to approach the wall, as I felt blocked in.
Opened level 1
Opened level 2
Opened level 3
Opened level 4
Block level 1
Block level 2
Block level 3
Block level 4
Block level 5
Block level 6
Block level 7
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Category #4: Passing the blocking wall Five photographs illustrate how the wall enlarges as the human figure passes by, resulting in the human figure diminishing in size. As the walls change, the human figure gradually disappears in the distance. I had the possibility of seeing the wall to my left as I approached the wall (levels 1-2), but as I approached the wall, I felt smaller (level 3), and then I walked past the wall, no longer able to see the wall (level 4-5), leaving me feeling free.
Passing level 1
Passing level 2
Passing level 3
Passing level 4
Passing level 5
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Category #5: Aligned Wall Five photographs illustrate how the wall enlarges as the human figure passes by, resulting in the human figure diminishing in size. As the walls change, the human figure gradually disappears in the distance. I had the possibility of seeing the wall to my left as I approached the wall (levels 1-2), but as I approached the wall, I felt smaller (level 3), and then I walked past the wall, no longer able to see the wall (level 4-5), leaving me feeling free.
Closed level 1
Closed level 2
Closed level 4
Closed level 5
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Closed level 3
Category #6: Passing the aligned wall Six photos illustrate how the wall gradually gets shorter, resulting in an open view of the human figure. As the walls change, the human figure gradually has ample space. I had the possibility of walking past the wall as it gradually decreased in length (level 1-6), but as I walked to the wall’s midpoint, I felt more free (level 3-5), and then the wall was completely out of my sight, and I felt like nothing was holding me back (level 6).
Passing level 1
Passing level 2
Passing level 3
Passing level 4
Passing level 5
Passing level 6
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Category #7: Walls with different heights Eight photographs illustrate how the wall in front of the human figure gradually increases vertically, resulting in a barrier around the human figure. As the walls change, the human figure becomes gradually obstructed. I had the possibility of moving forward before the wall blocked me (1-5 ft), but as the wall gradually blocked me, I felt like I couldn’t see anything ahead of me (6-7ft), and then the wall was completely in front of me and covering me (8 ft), and I felt trapped.
Wall with 1ft
Wall with 2ft
Wall with 3ft
Wall with 4ft
Wall with 5ft
Wall with 6ft
Wall with 7ft
Wall with 7ft
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Category #8: Floating and faced Wall Eight photographs illustrate how the wall in front of the human figure gradually rises. As the walls change, the human figure becomes free. I had the possibility of moving forward while the wall appeared to be lifting upward (1-8 ft), but as the wall gradually lifted, I felt I had to duck (6-7 ft), and then the wall was completely out of my way (8 ft), and I felt like I could run.
1ft high floating wall
2ft high floating wall
3ft high floating wall
4ft high floating wall
5ft high floating wall
6ft high floating wall
7ft high floating wall
8ft high floating wall
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Category #9: 8ft high floating and aligned wall Four photographs illustrate how the angle of the wall facing the human figure gradually changes, resulting in a gradual representation of a 2d view of the human figure. As the walls change, the human figure’s point of view gradually changes. I had the possibility of moving forward before the wall aligned directly above me(levels 1-3), but as the wall gradually straightened, I felt like I had to tilt my head to look up (level 4).
Alignment level 1
Alignment level 4
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Alignment level 2
Alignment level 3
Category #10: 8ft high floating and faced wall Eight photographs illustrate how the wall facing the human figure gradually enlarges, resulting in gradual obstruction of the human figure’s view. As the walls change, the human figure’s view ahead becomes gradually obstructed. I had the possibility of moving forward before the wall blocked my view (levels 1-3), but as the wall gradually blocked my view, I felt like I had to bend down (levels 4-7), and then the wall was completely in front of me (level 8), and I felt I was unable to see far.
Overlap level 1
Overlap level 2
Overlap level 3
Overlap level 4
Overlap level 5
Overlap level 6
Overlap level 7
Overlap level 8
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Category #11: floating horizontal surface Eight photographs illustrate how the wall gradually hovers over the human figure, resulting in gradual obstruction of the human figure’s view directly above. As the walls change, the human figure’s view becomes gradually obstructed. I had the possibility of moving forward before the wall hindered my view directly above me (levels 1-3), but as the wall gradually blocked my view, I felt like I had to cover my head (levels 4-7 ), and then the wall was directly above me (level 8), and I felt attacked.
Overlap level 1
Overlap level 2
Overlap level 3
Overlap level 4
Overlap level 5
Overlap level 6
Overlap level 7
Overlap level 8
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Category #12: Horizontal surfaces with different heights Twelve photographs illustrate how the wall in front of the human figure gradually changes, resulting in an illusion of the human figure. As the walls change, the human figure becomes confused. I had the possibility of watching the wall before the wall sunk into the ground (surface 1-8 degrees), but as the wall gradually lowered, I felt like I had to look down (surface 3-9), and then the wall was completely below the surface (surface 6-9), and I felt I couldn’t move because I could fall into the hole if I did try to move.
8ft high horizontal surface
7ft high horizontal surface
6ft high horizontal surface
5ft high horizontal surface
4ft high horizontal surface
3ft high horizontal surface
2ft high horizontal surface
1ft high horizontal surface
-1ft high horizontal surface
-2ft high horizontal surface
-3ft high horizontal surface
-4ft high horizontal surface 15 1263
Category #13: Wall surface with an incline Seven photographs illustrate how the angle of the wall to the left of the human figure gradually changes, resulting in the gradual covering of the human figure. As the walls change, the human figure becomes partially covered. I had the possibility of moving forward before the wall blocked my view (10-40 degrees), but as the wall gradually turned, I felt like I had to dodge to the right and duck (50-70 degrees), and then the wall was completely above of me (80 degrees), and I felt unable to move forward.
10 degree
20 degree
30 degree
40 degree
50 degree
60 degree
70 degree
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Category #14: Inclined wall Six photographs illustrate how the angle of the wall gradually changes, resulting in the gradual obstruction of the human figure’s left side. As the walls change, the human figure’s left side becomes blocked. I had the possibility of moving forward before the wall blocked my left view (levels 1-3), but as the wall gradually shifted upward, I felt like I had to step to the right (levels 4-5), and then the wall covered my left side completely (level 6), and I felt I was unable to take any steps to my left.
Inclined level 1
Inclined level 2
Inclined level 3
Inclined level 4
Inclined level 5
Inclined level 6
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Category #15: Floating wall surface facing edge with an incline Six photographs illustrate how the angle of the wall gradually changes, resulting in gradual obstruction of the human figure. As the walls change, the human figure becomes gradually obstructed. I had the possibility of moving forward before the wall blocked me (levels 1-4), but as the wall gradually obstructed my view, I felt like I had to stop (level 5), and then the wall completely obstructed my view (level 6), and I felt I was had to take a step back because I was stuck.
Inclined level 1
Inclined level 2
Inclined level 3
Inclined level 4
Inclined level 5
Inclined level 6
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Category #16: Inclined surface to a facing wall Nine photographs illustrate how the angle of the wall facing the human figure gradually changes, resulting in gradual obstruction of the human figure. As the walls change, the human figure’s space gradually opens. I had the possibility of moving forward while the wall rose upward (0-40 degrees), but as the wall gradually rose, I felt like I could walk forward (50-70 degrees), and then the wall was completely in front of me (80-90 degrees), and I felt unable to move any further.
10 degree
20 degree
30 degree
40 degree
50 degree
60 degree
70 degree
80 degree
90 degree
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Category: #17 Inclined ramp to facing wall Nine photographs illustrate how the angle of the wall facing the human figure gradually changes, resulting in gradual obstruction of the human figure. As the walls change, the human figure becomes blocked. I had the possibility of moving forward while the wall tilted upward (10-50 degrees), but as the wall gradually rose, I felt the wall began to block me (60-70 degrees), and then the wall was completely in front of me (80-90 degrees), and I felt unable to move forward.
10 degree
20 degree
30 degree
40 degree
50 degree
60 degree
70 degree
80 degree
90 degree
20 1268
Category: #18 One Column Two photographs illustrate how the placement of the column facing the human figure gradually changes, creating further distance between the human figure and the column. As the column changes, the human figure’s space gradually opens. I had the possibility of moving forward toward the column, this made me feel that the column was appearing larger the closer I got.
Front
Side
Category: #19 Two Columns Two photographs illustrate how the placement of the columns facing the human figure gradually changes, resulting in different perspectives for the human figure. As the columns change, the human figure sees a different layout. As I walked through the different positions of the columns, I felt the columns were horizontally spaced out, I felt secure on both sides. As I walked toward the aligned columns, I felt the space to my left was very open.
Vertical
Horizontal
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Category: #20 Three Columns Two photographs illustrate how the placement of columns facing the human figure gradually unaligned, resulting in the gradual change of the human figure’s perspective. As the columns change, the human figure then sees columns on the left and right sides. I had the possibility of moving slightly forward while the columns were placed vertically, this made me feel like I had a path to follow but then the columns were placed on each side of me, which made me feel like I had to keep looking out for more columns.
Vertical
Horizontal
Category: #21 Four Columns Two photographs illustrate how the columns narrow. As the columns change, the human figure’s space gradually diminishes. While I stayed relatively in the same area, I felt like the wide columns created a room, but when the columns narrowed, the space in between the columns became a hallway.
Wide
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Narrow
Category: #22 One Wall and One Column Seven photographs illustrate how the wall and the column gradually change, thus creating different walking paths for the human figure. As the distance between the wall and the column changes, the human figure has different approaches to take when walking forward. I had the possibility of moving forward, walking in between the wall and the column (condition 1-4, 7-8), making me feel there was a sense of visual balance, but as the space between the wall and the column narrowed (condition 5-6), I felt like I had to walk around the column.
Condition 1
Condition 2
Condition 3
Condition 4
Condition 5
Condition 6
Condition 7
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Category: #23 One Wall and two Columns Three photographs illustrate how the layout of the walls and columns changes. As both the wall and column change, the human figure has different perspectives of the wall and columns. Condition 1 made me feel like my only path to walk was forward, in between the columns and the wall. Condition 2 made me feel like I could walk in front of the wall or in between the column and the wall. Condition 3 made me feel like there was less of a walkway, instead it was just open space.
Condition 1: aligned wall and vertically aligned columns
Condition 2: facing wall and vertically aligned columns
Condition 3: facing wall and horizontally aligned columns
Category: #24 Two Walls and two Columns Two photographs illustrate how the placement of columns next to two walls changes. As the position of the columns changes, the human figure sees a wider space and a more confined space. As I walked in between the two walls and the most left column, I felt the same as I felt when the most right column was farther away because the position of the walls did not change.
Columns aligned vertically with perpendicular walls
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Columns aligned horizontally with perpendicular walls
Category: #25 Two Walls and two Columns with two lighting conditions_01 Six photographs illustrate how the placement of walls and columns gradually changed. As the walls and columns change, the lighting also changes and the human figure has a new atmosphere. I had the possibility of moving toward the facing wall and as I approached the wall with lighting behind me, I felt like I had to eventually stop moving forward. But as I approached the facing wall with lighting behind the walls, I felt like I had something to follow, and was able to make a right turn.
Walking between vertically aligned columns and perpendicular walls with lighting behind Figure
Walking between vertically aligned columns and perpendicular walls with lighting behind wall
Walking beside vertically aligned columns and perpendicular walls with lighting behind Figure
Walking beside vertically aligned columns and perpendicular walls with lighting behind wall
Walking beside vertically aligned columns and extended perpendicular walls with lighting behind Figure
Walking beside vertically aligned columns and extended perpendicular walls with lighting behind wall
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Category: #26 Two Walls and two Columns with two lighting conditions_02 Four photographs illustrate how lighting conditions can change the atmosphere of a space. As the light and columns were positioned differently, the human figure had different perspectives of the room. When the lighting came from the hallway, I felt like the light was welcoming, causing me to walk towards it. But when the lighting was coming from within the room the hallway behind the wall appeared dark and I felt hesitant to walk forward. With the columns being spaced out, I also felt like I was out in the open, exposed.
Passing horizontally aligned columns to enter the space between two walls with lighting behind Figure
Passing vertically aligned columns to enter the space between two walls with lighting from the inside space
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Passing horizontally aligned columns to enter the space between two walls with lighting from the inside space
Passing vertically aligned columns to enter the space between two walls with lighting behind Figure
Category: #27 Two Walls and two Columns with two lighting conditions_03 Six photographs illustrate how the placement and lighting change. As the columns and lighting change, the human figure’s path changes, resulting in different perspectives for the human figure. I had the possibility of moving toward the facing wall. As I walked toward the facing wall with the lighting behind me and the columns spread out horizontally, I felt like I was approaching a dead end. When the columns were aligned vertically, I felt like I had something to follow. As the lighting changed, coming from outside the space, I felt like all of my
Passing vertically aligned columns to pass a narrow opening between two walls with lighting behind Figure
Passing vertically aligned columns to pass a narrow opening between two walls with lighting from the inside space
Passing vertically aligned columns to pass an intermediate opening between two walls with lighting behind Figure
Passing vertically aligned columns to pass an intermediate opening between two walls with lighting from the inside space
Passing horizontally aligned columns to pass a wide opening between two walls with lighting behind Figure
Passing horizontally aligned columns to pass a wide opening between two walls with lighting from the inside space
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Category: #28 Vertically aligned Two Walls and two Columns Two photographs illustrate how the placement of the walls and columns changes. As the walls and columns change, the human figure has wider space horizontally. As I walked in between the walls, I felt like there was one direction to walk, which was forward and in between the columns. But when I walked forward between the columns, I felt like I could walk many different ways.
Between walls, walking
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Between columns, walking
Category: #29 Space composed with 5+ columns and 2 walls Seven photographs illustrate how the placement of walls, columns, and lighting change. As the atmosphere changes, the human figure’s perspective changes. As I walked forward, I noticed how the lighting, walls, and columns changed. When I walked in between the two walls (phase 1-2) I felt like I was entering a room. But as I walked past the opening (phases 4-7), I felt like each way I turned, there was a different view. This allowed me to feel very spacious.
Top view of the space composed
Sequence phase #1
Sequence phase #2
Sequence phase #3
Sequence phase #4
Sequence phase #5
Sequence phase #6
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Category: #30 Faced wall with Connected wall Nineteen photographs illustrate how the angle of the wall facing the human figure gradually changes, thus changing the human figure’s view of the walls before him. As the walls change, the human figure’s space gradually opens. I stayed relatively in the same area as the walls rotated (0-180 degrees), but as the walls gradually turned, I felt like I could walk forward (190-220 degrees), and then the wall was completely out of my way(230-270 degrees), and I felt could walk straight past the wall.
90 degree
100 degree
110 degree
120 degree
130 degree
140 degree
150 degree
160 degree
170 degree
180 degree
190 degree
200 degree
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210 degree
220 degree
230 degree
240 degree
250 degree
260 degree
270 degree
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Category: #31 Aligned wall with Connected wall Seventeen photographs illustrate how the angle of the wall facing the human figure gradually changes, creating a gradual opening of the human figure’s view looking straight ahead. As the walls change, the human figure’s space before him becomes longer. I stayed in the same spot (0-120 degrees), but as the wall gradually opened outward, I felt like I should move forward (120-140 degrees), and then the wall opened almost completely (150-170 degrees), and I felt like I had no room to move to my left and my only option was to straight ahead.
10 degree
20 degree
30 degree
40 degree
50 degree
60 degree
70 degree
80 degree
90 degree
100 degree
110 degree
120 degree
32 1280
130 degree
140 degree
150 degree
160 degree
170 degree
33 1281
Category: #32 Facing the connected edge of two walls Seventeen photographs illustrate how the two walls gradually angle outward. As the walls widen, the human figure’s right view is obstructed. With the walls opening outward, the space in front of the human figure is restricted. I stayed in the same area as the walls gradually changed (10-30 degrees), and I felt I had plenty of room to move around. But as the walls continued to widen, I felt like the space in front of me became more confined (40-110 degrees), and then the walls were almost fully open, and I felt like my entire right side was obstructed (120-170 degrees).
10 degree
20 degree
30 degree
40 degree
50 degree
60 degree
70 degree
80 degree
90 degree
100 degree
110 degree
120 degree
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130 degree
140 degree
150 degree
160 degree
170 degree
35 1283
Category: #33 Three connected walls Two photographs illustrate how different sizes of walls can change someone’s perspective. As the walls are taller or lower, the human figure’s view is completely obstructed. While I stayed in the same area, the taller wall made me feel intimidated. But as I remained in the same position, the shorter wall felt more comfortable to stand in front of.
Wide-facing wall with two wings
Narrow-facing wall with two wings
Category: #34 Curved wall inside The four photographs illustrate how different sized curved walls create greater space. As the walls become taller and wider, the human figure’s view is entirely obstructed. I stayed in the same area as the wall’s height changed from 8ft to 16ft, my immediate reaction was to look up. When the wall changed from a short curved wall to a long curved wall, I felt enclosed.
Small-curved and 8ft height
Large-curved and 16ft height 36 1284
Small-curved and 16ft height
Large-curved and 8ft height
Category: #35 Curved wall outside Eight photographs illustrate how curved walls create a more organic feel in a space. As the walls change in height and length, the human figure is partially and fully obstructed. I positioned myself in different spots around the curved wall. When standing in front of the wall, I felt that the curved wall was blocking me, but when I stood on the side of the wall, walking past it, I felt like it was a smooth transition from the beginning to the end of the wall, no matter the height or size of the wall.
Facing Small-curved and 8ft height
Passing Small-curved and 8ft height
Facing Small-curved and 16ft height
Passing Small-curved and 16ft height
Facing Large-curved and 8ft height
Passing Large-curved and 8ft height
Facing Large-curved and 16ft height
Passing Large-curved and 16ft height
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Category: #36 Curved Walls and Flat Walls Five photographs illustrate the relationship between a curved wall and a straight wall. As the curved wall is positioned differently, the human figure sees different perspectives of the curved wall. As I walked in between the straight standing wall and the curved wall, I felt the walls flow naturally as I walked past the closed curved wall. But as I walked past the half-closed wall, I felt the edges of the wall were sharp and the space in between the straight wall and the half-curved wall was narrower.
Facing a flat wall (8fh height) while passing a curved wall (8fh height)
Entering a space between a flat wall (8fh height) and a closed-curved wall (8fh height)
Entering a space between a flat wall (8fh height) and an opened-curved wall (8fh height)
Your coordination in height and openness.
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Entering a space between a flat wall (8fh height) and a half opened-curved wall (8fh height)
Category: #37 Entering into a space between Parallel Curved Walls Eight photos illustrate how two parallel curved walls create a soft atmosphere. As the walls stay in the same position but change in size, the human figure has different perspectives of the curved walls. I had the possibility of walking through the curved parallel walls and as I walked outside of the curved walls, I felt like the walls created a path for me to walk through. As I walked inside the curved walls, I felt like the walls flowed naturally. I was not focused on the height of the walls changing.
Small-curved and 8ft high outside
Small-curved and 16ft high outside
Large-curved and 8ft high outside
Large-curved and 16ft high outside
Small-curved and 8ft high inside
Small-curved and 16ft high inside
Large-curved and 8ft high inside
Large-curved and 16ft high inside
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Category: #38 Entering a space between curved mirror walls_01 Four curved mirrored walls illustrate how different sizes change the atmosphere. As the walls change in size, the human figure appears smaller. I had the possibility of standing in between the curved walls. When the walls were small and 8 -16 feet tall, I felt there was plenty of distance between both walls. But as I stood in between the large walls, I felt uncomfortable, like the space in between became narrower.
Small-curved and 8ft height
Large-curved and 16ft height
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Small-curved and 16ft height
Large-curved and 8ft height
Category: #39 Entering a space between curved mirror walls_02 Eight photographs illustrate how curved walls in a space flow with the environment. As the walls stay positioned the same, but change in size, the human figure appears larger and smaller. As I enter the space between the small curved walls, I feel that the walls flow smoothly with the environment. But as I entered the large curved walls, I felt the curves were obnoxious.
Small-curved and 8ft high with inside lighting
Small-curved and 8ft high with outside lighting
Small-curved and 16ft high with inside lighting
Small-curved and 16ft high with outside lighting
Large-curved and 8ft high with inside lighting
Large-curved and 8ft high with outside lighting
Large-curved and 16ft high with inside lighting
Large-curved and 16ft high with outside lighting
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Category: #40 One curved wall and one column Two photographs illustrate how the position of a column next to a curved wall creates different perspectives. As the column is positioned on the exterior and interior of the curved wall, the human figure has different pathways to move forward. When I stood between the exterior of the curved wall and the column, I felt that the space flowed naturally and comfortably. But when I stood on the interior of the curved wall and column, I felt that it was awkward to walk around the column.
Entering a space between a column and curved wall outside
Entering a space between a column and curved wall inside
Category: #41 One curved wall and two columns Three photographs illustrate how the position of columns against a curved wall changes the functionality of a space. As the columns are positioned differently, the human figure takes different paths to walk through the columns. When the columns are positioned on either side of the curved wall, I feel balanced. But when the columns are positioned on one side of the curved wall, I feel there is a natural instinct to walk between the column and the wall. When the columns are placed too close to the curved wall, I feel the position of the columns does not function well, as I am unable to walk between the wall and the column.
Entering a space between a column of two horizontally aligned and curved wall outside
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Facing the outside of a curved wall with two horizontally aligned columns with insufficient space between them
Entering a space between a column of two vertically aligned and a curved wall outside
Category: #42 Role of a column between Curved and flat walls Four photographs illustrate how the position of a column changes the atmosphere of a space. As the column is positioned differently, the human figure has different perspectives of the placement of the column. When I walk between the column that is placed against a curved wall, I feel the space flow smoothly. But when I walk between the column that is placed against a flat wall, I feel like I have to walk closer to the left, away from the column.
Entering a space between two parallel curved walls, with a column in front of the outer curved wall
Entering a space between a faced flat wall and a curved wall, with a column in front of the flat wall
Entering a space between two parallel curved walls, with a column in front of the inner curved wall
Entering a space between a parallel flat wall and a curved wall, with a column in front of the flat wall
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Category: #43 Curved connection Four photographs illustrate how angled walls change environmental space. As The wall protrudes outward at a sharper angle, the human figure becomes obstructed. I stood relatively in the same area, and as the walls angled outward I gradually felt like there was less space in front of me (120-150 degrees), then I was obstructed (60-90 degrees), trapped in and unable to move forward.
Follow two flat walls that are connected at an angle of 60 degrees smoothly
Follow two flat walls that are connected at an angle of 150 degrees smoothly
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Follow two flat walls that are connected at an angle of 90 degrees smoothly
Follow two flat walls that are connected at an angle of 120 degrees smoothly
Category: #44 Curved wall and S-curve wall Four photographs illustrate how an S-curved wall flows naturally with the environment. As the S-curved wall changes in height, the human figure appears at different sizes when standing next to the wall. I had the possibility of walking in between the short curved walls and I felt the curves of the wall made a soft path for me to follow. But when I walked through the tall curved walls, I felt like the walls created a mystical environment.
Curved wall and S-curve wall 8ft high with inside lighting
Curved wall and S-curve wall 8ft high with outside lighting
Curved wall and S-curve wall 16ft high with inside lighting
Curved wall and S-curve wall 16ft high with outside lighting
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Category: #45 1 point perspective pictures: Void on the upside Four photographs illustrate how a void in the ceiling illuminates the floor in the room. As the hole changes in size, reflection on the ground increases and decreases in size, causing the light to focus on the human figure when standing under the void. As I moved around the room, I felt that it was very bright when standing directly under the void, no matter the shape of the void. When I stood to the side of the void, I felt like I could still see but didn’t feel like I was under a spotlight.
A 4’x4’ square void with a height of 8ft
A 8’ diameter void with a height of 8ft
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A 8’x8’ square void with a height of 8ft
A 4’ diameter void with a height of 8ft
Category: #46 Void on the upside with columns or walls These photographs illustrate how objects in or near a void can add dimension. The void in the ceiling casts shadows on the human figure as it is positioned around the room. I walked around the room and felt like the vertical wall and columns made the room feel more natural. I was less focused on the void in the ceiling.
A 8’x8’ square void with columns
A 8’x8’ square void with a facing wall
A 8’x8’ square void with a passing wall
View for A 4’x4’ square void with a flat wall aligned with one side and two columns aligned with the opposite side
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Category: #47 Void on the downside with columns or walls Six photographs illustrate how the position of light can cast shadows in different directions. As the angle of lighting changes, the human figure is illuminated differently. I changed positions around the void slightly and felt like I was less focused on the lighting and more focused on the void. Since I was standing on the top level looking down at the void, I felt unsafe.
A 8’x8’ square void with a facing wall and light from upper floor
A 8’x8’ square void with a facing wall and light from side
A 8’x8’ square void with a facing wall and light from lower floor
A 8’x8’ square void with a passing wall and light from side
A 8’x8’ square void with a passing wall and light from lower floor
A 8’ diameter void with light from lower floor
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Category: #48 Void on the upside with combinations of columns or walls These photographs illustrate shadows and dimensions. As the layout remains the same, the human figure sees different perspectives of layering and dimension. When standing next to the walls and columns, I felt like I had support. But when I stood above the walls and columns, I felt like I was overlooking a room and I could see how placement creates depth.
Scene #1
Scene #2
Scene #3
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Scene #10 49 1297
Category: #49 Void between Floating Surfaces These photographs illustrate how floating surfaces create dimension within the environment. As the floating surfaces remain in the same place, the human figure is out in open space. When I stand on top of the floating surfaces, I feel like I can walk forward continuously because it appears to extend out with no void in the middle. But when I stand below the floating surfaces, I feel like I have to look upward, as I am curious to know what is up there.
Scene #1
Scene #2
Scene #4
Scene #5
Scene #3
Category: #50 Void between curve-linear Surfaces The curvature in the void creates a smooth look that flows well with the atmosphere. Shadows are cast on the human figure as it is positioned around the room. As I stand on the edge of the void, I feel that the curved linear surface provides a sense of calmness. When I stand beneath the surface, I still feel like everything is open, and I am calm.
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Scene #2
Scene #3
Category: #51 Void with a combination of These photographs illustrate how adding more walls and columns creates depth. The human figure is introduced to shadows and many perspectives. When I stand on the bottom level, I feel excited to walk up the stairs. When I stand on the top level, I see that the columns cast shadows and I also feel that the main focus narrows inward.
Scene #1
Scene #2
Scene #3
Scene #4
Scene #5
Scene #6
Category: #52 Curved vertical surface These two photographs illustrate how curved vertical surfaces make the environment feel smaller. As the curved surface changes in size, the human figure remains the same. When I stood in front of the 4 ft curved surface, I felt there was a direct path for me to walk on. But when I stood on the 8ft wide surface, I felt like there wasn’t a clear path.
A 4’wide
A 8’wide 51 1299
Category: #53 Curved vertical surface with an upper floor These photographs illustrate how height creates a different perspective for curved surfaces. As the layout remains the same, the human figure is out in the open. When I stood on the upper floor looking at the curved surfaces, I felt like they were far away. But when I stood on the first floor, I felt that the curved surfaces appeared larger in size and closer to me.
Scene #1
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Scene #5
Scene #6
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Category: #54 Curved vertical surface with a void These photographs illustrate how a curved vertical surface with a void can cast shadows on the human figure. As the walls remain the same, the human figure appears to be in darkness, depending on the placement of the human figure. When I stood below the void, I felt I was surrounded by darkness. But when I stood on top of the void, I felt like there was more illumination.
Scene #1
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Scene #5
Scene #6
Category: #55 Facing Curved vertical surface These photographs illustrate how vertically curved surfaces create gradual obstruction. As the vertical curved walls are on both sides of the human figure, the human figure is partially obstructed. When standing below the first layer, I felt enclosed. But when I stood on the top layer, I felt like there was more space but I also had to be careful not to step into the void.
Scene #1
Scene #2
Scene #3 53 1301
Category: #56 Hanging curved surfaces These photographs illustrate how hanging curved surfaces create a soft atmosphere. As extruded outward and up, the human figure sees the layering of surfaces. While I stood next to the curved surfaces, I felt calm. While I stood under the curved surfaces, my view of the hanging curves was obstructed.
Scene #1
Scene #2
Scene #3
Scene #5
Category: #57 Surfaces with convexities and concavities These photographs illustrate how convexity and concavity curves represent volume, filling negative space. As the walls remain the same, the human figure is introduced to an organic space. I had the possibility of walking around the room and when I stood under the convex and concave curves, I felt like the tall opening in between created a path for the human figure.
Scene #1 54 1302
Scene #2
Category: #58 A sphere with a strong center and centripetal force These photographs illustrate a wall holding a sphere creating the illusion that the sphere is floating. As the position of the wall and sphere remains the same, the human figure is partially obstructed. I had the possibility of standing next to the wall, and because the sphere was so large, I felt hesitant to stand underneath the sphere, as I was afraid it was going to fall on me. The light from above also cast a shadow underneath the sphere, making the feeling more eerie.
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Scene #6 #5
Category: #59 Surfaces that are twisted and free These pictures illustrate depth, curvature, and layering, resulting in a busy environment. As the room remains the same, the human figure is introduced to variety and perspective. When I stood in the room, my immediate reaction was to take a moment to process what was going on, as it was very busy. I felt like I was in a jungle. The curved walls were elegant yet overbearing at the same time.
Scene #1
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London Lammer s 1304
Po r t folio 1
What I learned...
Project #1 “Wall, Column, and Space” Project #2 “Hand Drawing” Project #3 “Power of Patience” Project #4 “Space Cube” Project #5 “First Portfolio” Overall If you could talk to you before these five weeks, what would you like to share with you? -
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Category #1: Facing surface These ten images showcase how the wall is moving leftwards at a diagonal angle towards the figure. As the walls change, the figure is no longer in open space, they are in front of a wall. I felt fear when the wall started to move in front of me, restricting my access.
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Category #2: Facing edge These ten images show how the wall is rotating counterclockwise to a 90 degree angle ending horizontally from the figure. As the walls change the figure has the ability to move around the wall on their left. I felt at ease knowing I could maneuver around these thin walls.
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Category #3: Blocking wall These eleven images show how the wall is moving to the right obstructing the view of the figure. As the walls change, the figure can no longer move forward. I felt uncomfortable with the fact that the wall was moving straight in front of me.
Opened level 1
Opened level 2
Opened level 3
Opened level 4
Block level 1
Block level 2
Block level 3
Block level 4
Block level 5
Block level 6
Block level 7
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Category #4: Passing the blocking wall These five images showcase how the wall would work in a functional space. Even though the walls change in these images it is meant to look like the figure is walking past the wall. I felt comfortable and free as I was passing the wall hopefully heading to my final destination.
Passing level 1
Passing level 2
Passing level 3
Passing level 4
Passing level 5
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Category #5: Aligned Wall These six images show the perspective of the figure directly facing the edge of the wall. As the wall moves right little by little, its ends in front of the figure. I didn’t feel as uncomfortable with this wall obstructing my view because since it’s the edge, it’s not as intimidating.
Closed level 1
Closed level 2
Closed level 4
Closed level 5
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Closed level 3
Category #6: Passing the aligned wall These six images show the wall moving back and to the left, away from the figure. As the wall moves the figure is able to get to the other side by passing the aligned wall. I felt joy getting to walk from one side of the wall to the other with ease.
Passing level 1
Passing level 2
Passing level 3
Passing level 4
Passing level 5
Passing level 6
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Category #7: Walls with different heights These eight images show the wall gradually getting taller as the figure appears smaller. As the wall grew in length the figure wasn’t the main focus anymore. I felt anxious as the wall started to grow, towering over me, which made me feel trapped.
Wall with 1ft
Wall with 2ft
Wall with 3ft
Wall with 4ft
Wall with 5ft
Wall with 6ft
Wall with 7ft
Wall with 7ft
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Category #8: Floating and faced Wall These eight images show the wall rising upwards, creating an opening for the figure. As the wall moves up the figure is able to walk through. I felt freedom as the wall was being lifted and I could walk through the opening.
1ft high floating wall
2ft high floating wall
3ft high floating wall
4ft high floating wall
5ft high floating wall
6ft high floating wall
7ft high floating wall
8ft high floating wall
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Category #9: 8ft high floating and aligned wall These four images show the wall above the figure moving slightly towards the left. As the wall moves left above the figure it’s no longer above the figure’s head. I felt less closed in after the wall shifted aways from my head.
Alignment level 1
Alignment level 4
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Alignment level 2
Alignment level 3
Category #10: 8ft high floating and faced wall These eight images showcase a floating wall moving right, ending with the figure in the center of the face of the wall. As the wall moves right the figure becomes more contained. I felt a little relieved that the wall was facing the wall and was 8ft so it felt like it belonged in the space.
Overlap level 1
Overlap level 2
Overlap level 3
Overlap level 4
Overlap level 5
Overlap level 6
Overlap level 7
Overlap level 8
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Category #11: floating horizontal surface These six images show a floating horizontal wall shifting right hanging over the figure. As the floating surface moves right the figure becomes swallowed by a shadow. I felt fear as the surface grew closed until it completely covered my figure.
Overlap level 1
Overlap level 2
Overlap level 3
Overlap level 4
Overlap level 5
Overlap level 6
Overlap level 7
Overlap level 8
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Category #12: Horizontal surfaces with different heights These twelve images show a horizontal surface lowering into the ground showing the scale between my main figure and two others. As the surface is lowered into the ground, the figure becomes active in space. I felt powerful standing on top of that surface and being above the people below.
8ft high horizontal surface
7ft high horizontal surface
6ft high horizontal surface
5ft high horizontal surface
4ft high horizontal surface
3ft high horizontal surface
2ft high horizontal surface
1ft high horizontal surface
-1ft high horizontal surface
-2ft high horizontal surface
-3ft high horizontal surface
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Category #13: Wall surface with an incline These eight images showcase how an incline wall can move above the figure creating a more open space. When the wall is at an incline the figure appears larger. I felt cozy when the wall was at an incline but also awkward at the same time because of the rough use of space.
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Category #14: Inclined wall These six images show how an incline wall that is facing upwards lands parallel to the figure. As the wall gets hoisted up the figure appears less prominent. I felt playful as the wall was at a sharp incline but then traditional when it became a standard wall.
Inclined level 1
Inclined level 2
Inclined level 3
Inclined level 4
Inclined level 5
Inclined level 6
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Category #15: Floating wall surface facing edge with an incline These six images show the incline of the wall above the figure and ending close to a 90 degree angle in the air to the left. As the wall moves counterclockwise the figure can use the space. I felt confused with an incline wall above my head
Inclined level 1
Inclined level 2
Inclined level 3
Inclined level 4
Inclined level 5
Inclined level 6
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Category #16: Inclined surface to a facing wall These nine images show an incline surface facing wall raising up on one end as the figure remains in the center. As the wall gets hoisted up the figure is minimal compared to the large wall. I felt small with this tall wall right in front of me, almost intimidated.
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Category: #17 Inclined ramp to facing wall These nine images showcase an inclined ramp rising upwards anchored at the front, with the figure in the center. As the wall comes up it blocks the view and transportation of the figure. I felt brave because the wall was a ramp but then became almost like a shelter blocking me from something.
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Category: #18 One Column -
These two images illustrate how the perspective of the figure walking towards the column can change from front to side view. As the column shifts from front to side the figure appears further away from the column. I felt a sense of distortion because I looked close to the column from the front but from the side you could see, it wasn’t
Front
Side
Category: #19 Two Columns -
These two images illustrate the change between vertical columns vs horizontal columns. As the columns shift from vertical to horizontal, the figure becomes more prominent. I felt wealthy walking past two tall columns.
Vertical
Horizontal
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Category: #20 Three Columns These two images illustrate the change between three vertical and horizontal columns. First the columns are aligned vertically, then two are aligned vertically and one is in the middle horizontal making the figure able to walk between them. I felt control walking aside and through these columns.
Vertical
Horizontal
Category: #21 Four Columns These two images illustrate four wide and narrow columns in the shape of a rectangle. In the first image there is another figure watching another figure in the middle spotlight, but as the columns narrow, the spotlit figure is alone. I felt unimportant since the columns were on all sides of me and closing in tighter in the second photo.
Wide
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Narrow
Category: #22 One Wall and One Column These eight images illustrate the movement of a column alongside a wall, moving back to front and side to side. As the images change the figure is either on the outside of the wall and the column or able to walk through on the inside. I felt pressured to squeeze through certain configurations.
Condition 1
Condition 2
Condition 3
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Category: #23 One Wall and two Columns These three images illustrate the movement of one aligned/facing wall and two vertically and horizontally columns. When the columns are aligned vertically with the wall the figure has less room vs horizontally aligned. I felt sheltered but free to move about my space.
Condition 1: aligned wall and vertically aligned columns
Condition 2: facing wall and vertically aligned columns
Condition 3: facing wall and horizontally aligned columns
Category: #24 Two Walls and two Columns These two images illustrate two columns aligned vertically and then horizontally with perpendicular walls and two figures. The two figures are not together but in the horizontal image, it feels like they are in the same room. I felt safe when walking through these two configurations.
Columns aligned vertically with perpendicular walls
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Columns aligned horizontally with perpendicular walls
Category: #25 Two Walls and two Columns with two lighting conditions_01 hese six images illustrate three different configurations between two walls and two columns, but one has back lighting and one has lighting in the space. The figure eventually has more and more space to walk. I felt scared walking through the first two because I could only see minimal light, but the third image gave me hope.
Walking between vertically aligned columns and perpendicular walls with lighting behind Figure
Walking between vertically aligned columns and perpendicular walls with lighting behind wall
Walking beside vertically aligned columns and perpendicular walls with lighting behind Figure
Walking beside vertically aligned columns and perpendicular walls with lighting behind wall
Walking beside vertically aligned columns and extended perpendicular walls with lighting behind Figure
Walking beside vertically aligned columns and extended perpendicular walls with lighting behind wall
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Category: #26 Two Walls and two Columns with two lighting conditions_02 These four images illustrate two columns and two walls, only moving the columns horizontal then vertical during lighting changes. The movement of these columns makes the figure have a smaller opening to walk through. I felt pleased by the functional properties of this configuration.
Passing horizontally aligned columns to enter the space between two walls with lighting behind Figure
Passing vertically aligned columns to enter the space between two walls with lighting from the inside space
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Passing horizontally aligned columns to enter the space between two walls with lighting from the inside space
Passing vertically aligned columns to enter the space between two walls with lighting behind Figure
Category: #27 Two Walls and two Columns with two lighting conditions_03 These six images illustrate vertically and horizontally aligned columns between two walls with lighting changes showing different forms of passage. The figure is secluded, but in the last image, there is a lot of open space. I felt comfortable walking in between these walls and aligned with the columns.
Passing vertically aligned columns to pass a narrow opening between two walls with lighting behind Figure
Passing vertically aligned columns to pass a narrow opening between two walls with lighting from the inside space
Passing vertically aligned columns to pass an intermediate opening between two walls with lighting behind Figure
Passing vertically aligned columns to pass an intermediate opening between two walls with lighting from the inside space
Passing horizontally aligned columns to pass a wide opening between two walls with lighting behind Figure
Passing horizontally aligned columns to pass a wide opening between two walls with lighting from the inside space
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Category: #28 Vertically aligned Two Walls and two Columns These two images illustrate two different perspectives of walking in between two walls and two columns. The figure appears to be walking in a straight direction, until perspective changes and they are going diagonal.
Between walls, walking
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Between columns, walking
Category: #29 Space composed with 5+ columns and 2 walls These seven images illustrate how I could use five columns and two walls and created a multiple purpose space that made the figures have freedom. The figures under the configuration were shadowed while the figures above were in the spotlight. I felt happy to have a space with multiple uses.
Top view of the space composed
Sequence phase #1
Sequence phase #2
Sequence phase #3
Sequence phase #4
Sequence phase #5
Sequence phase #6
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Category: #30 Faced wall with Connected wall These 17 images illustrate how one wall can move 270 degrees and each movement can create a different impact on the space and figures. The figures start on the inside of a space and end on the outside. I felt isolated just being in a small space with two tall walls.
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Category: #31 Aligned wall with Connected wall These 17 images illustrate two connected walls starting at 10 degrees and opening to a full 170 degrees making room for the figures. The figures become fit for the space as the images go on. I felt uncomfortable with the angles of the walls at certain points.
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Category: #32 Facing the connected edge of two walls These 17 images illustrate two connected walls starting at 10 degrees and opening to 170 degrees, but the figure is on the outside back. The figure becomes a part of the space as the degrees get higher. I felt welcomed as the walls shifted during each angle.
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Category: #33 Three connected walls These two images illustrate the impact of a wide vs narrow side walls in a space. The figures feel welcomed in the first three images, but in the last three they become almost trapped. I felt trapped as the walls got narrower, but also cozier.
Wide-facing wall with two wings
Narrow-facing wall with two wings
Category: #34 Curved wall inside These four images illustrate the difference is height makes on having a wall the curved at the same angle. In this case, wide or narrow are the two choices. I felt secure in the more narrow curved walls.
Small-curved and 8ft height
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Small-curved and 16ft height
Large-curved and 8ft height
Category: #35 Curved wall outside -
These eight images display a human figure looking at eight walls. The figure must move to pass these curved walls.
Facing Small-curved and 8ft height
Passing Small-curved and 8ft height
Facing Small-curved and 16ft height
Passing Small-curved and 16ft height
Facing Large-curved and 8ft height
Passing Large-curved and 8ft height
Facing Large-curved and 16ft height
Passing Large-curved and 16ft height
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Category: #36 Curved Walls and Flat Walls The configuration of a flat wall and a curved wall can have various effects on space. Having the curved and straight wall close enough together creates an illusion of going into a tunnel.
Facing a flat wall (8fh height) while passing a curved wall (8fh height)
Entering a space between a flat wall (8fh height) and a closed-curved wall (8fh height)
Entering a space between a flat wall (8fh height) and an opened-curved wall (8fh height)
Your coordination in height and openness.
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Entering a space between a flat wall (8fh height) and a half opened-curved wall (8fh height)
Category: #37 Entering into a space between Parallel Curved Walls These images of parallel curved walls give the illusion that the figure is walking through a maze from the outside. Although when you see the inside view it like a spiral hallway.
Small-curved and 8ft high outside
Small-curved and 16ft high outside
Large-curved and 16ft high outside
Large-curved and 8ft high inside
Small-curved and 8ft high inside
Small-curved and 16ft high inside
Large-curved and 8ft high outside
Large-curved and 16ft high inside
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Category: #38 Entering a space between curved mirror walls_01 The human figure is walking through large and small curved walls at 8ft and 16ft. This makes it look like the figure is walking between large cement columns.
Large-curved and 8ft height
Large-curved and 16ft height
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Small-curved and 16ft height
Small-curved and 8ft height
Category: #39 Entering a space between curved mirror walls_02 The smaller curved wall gives more space for the human to travel through the walls. The 16ft curved walls also make the human figure appear smaller.
Small-curved and 8ft high with inside lighting
Small-curved and 8ft high with outside lighting
Small-curved and 16ft high with inside lighting
Small-curved and 16ft high with outside lighting
Large-curved and 8ft high with outdoor lighting
Large-curved and 8ft high with inside lighting
Large-curved and 16ft high with inside lighting
Large-curved and 16ft high with outside lighting
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Young-Su Y. L opez Port foli o 1344
1
What I learned...
Project #1 “Wall, Column, and Space” Project #2 “Hand Drawing” Project #3 “Power of Patience” Project #4 “Space Cube” Project #5 “First Portfolio” Overall If you could talk to you before these five weeks, what would you like to share with you? -
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Category #1: Facing surface Paragraph
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Category #2: Facing edge Paragraph
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Category #3: Blocking wall Paragraph
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Category #4: Passing the blocking wall Paragraph
Passing level 1
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Category #5: Aligned Wall Paragraph
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Category #6: Passing the aligned wall Paragraph
Passing level 1
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Category #7: Walls with different heights Paragraph
Wall with 1ft
Wall with 2ft
Wall with 3ft
Wall with 4ft
Wall with 5ft
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Wall with 7ft
Wall with 7ft
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Category #8: Floating and faced Wall Paragraph
1ft high floating wall
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4ft high floating wall
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8ft high floating wall
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Category #9: 8ft high floating and aligned wall Paragraph
Alignment level 1
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Alignment level 2
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Category #10: 8ft high floating and faced wall Paragraph
Overlap level 1
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Category #11: floating horizontal surface Paragraph
Overlap level 1
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Category: #18 One Column Paragraph
Front
Side
Category: #19 Two Columns Paragraph
Vertical
Horizontal
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Category: #20 Three Columns Paragraph
Vertical
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Category: #21 Four Columns Paragraph
Wide
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Narrow
Category: #22 One Wall and One Column Paragraph
Condition 1
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Category: #23 One Wall and two Columns Paragraph
Condition 1: aligned wall and vertically aligned columns
Condition 2: facing wall and vertically aligned columns
Category: #24 Two Walls and two Columns Paragraph
Columns aligned vertically with perpendicular walls
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Columns aligned horizontally with perpendicular walls
Condition 3: facing wall and horizontally aligned columns
Category: #25 Two Walls and two Columns with two lighting conditions_01 Paragraph
Walking between vertically aligned columns and perpendicular walls with lighting behind Figure
Walking between vertically aligned columns and perpendicular walls with lighting behind wall
Walking beside vertically aligned columns and perpendicular walls with lighting behind Figure
Walking beside vertically aligned columns and perpendicular walls with lighting behind wall
Walking beside vertically aligned columns and extended perpendicular walls with lighting behind Figure
Walking beside vertically aligned columns and extended perpendicular walls with lighting behind wall
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Category: #26 Two Walls and two Columns with two lighting conditions_02 Paragraph
Passing horizontally aligned columns to enter the space between two walls with lighting behind Figure
Passing vertically aligned columns to enter the space between two walls with lighting from the inside space
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Passing horizontally aligned columns to enter the space between two walls with lighting from the inside space
Passing vertically aligned columns to enter the space between two walls with lighting behind Figure
Category: #27 Two Walls and two Columns with two lighting conditions_03 Paragraph
Passing vertically aligned columns to pass a narrow opening between two walls with lighting behind Figure
Passing vertically aligned columns to pass a narrow opening between two walls with lighting from the inside space
Passing vertically aligned columns to pass an intermediate opening between two walls with lighting behind Figure
Passing vertically aligned columns to pass an intermediate opening between two walls with lighting from the inside space
Passing horizontally aligned columns to pass a wide opening between two walls with lighting behind Figure
Passing horizontally aligned columns to pass a wide opening between two walls with lighting from the inside space
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Category: #28 Vertically aligned Two Walls and two Columns Paragraph
Between walls, walking
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Between columns, walking
Category: #29 Space composed with 5+ columns and 2 walls Paragraph
Top view of the space composed
Sequence phase #1
Sequence phase #2
Sequence phase #3
Sequence phase #4
Sequence phase #5
Sequence phase #6
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Category: #30 Faced wall with Connected wall Paragraph
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Category: #31 Aligned wall with Connected wall Paragraph
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Category: #32 Facing the connected edge of two walls Paragraph
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Category: #33 Three connected walls Paragraph
Wide-facing wall with two wings
Narrow-facing wall with two wings
Category: #34 Curved wall inside Paragraph
Small-curved and 8ft height
Large-curved and 16ft height 36 1372
Small-curved and 16ft height
Large-curved and 8ft height
Category: #35 Curved wall outside Paragraph
Facing Small-curved and 8ft height
Passing Small-curved and 8ft height
Facing Small-curved and 16ft height
Passing Small-curved and 16ft height
Facing Large-curved and 8ft height
Passing Large-curved and 8ft height
Facing Large-curved and 16ft height
Passing Large-curved and 16ft height
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Category: #53 #49 Curved Void between verticalFloating surface Surfaces with an upper floor Paragraph
Scene #1
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Category: #50 Void between curve-linear Surfaces Paragraph
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Category: #51 Void with a combination of Paragraph
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Category: #52 Curved vertical surface Paragraph
A 4’wide
A 8’wide 51 1375
Fiona McAfee 1376
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Port folio
What I learned...
Project #1 “Wall, Column, and Space” - What I learned after the wall column and space was that dependong on the palcement of the objects, it can affect the lighting. It also taght me scale and how to use an exacto knife, arch ruler, etc. Project #2 “Hand Drawing” Project #3 “Power of Patience” - Power of patience taught me that the more you look at something the more you can understand it. Art has deeper meaning the more you try to observe and study it. Project #4 “Space Cube” - The space cube taught me how to build structures and make pathways. I learned how to put together scenes and take photos. Project #5 “First Portfolio” - During this section I learned how to use InDesign and learned how to put together my portfolio. Overall If you could talk to you before these five weeks, what would you like to share with you? What I would tell myself 5 weeks ago was to be prepared and make sure you have all of your supplies. I would tell her it will be hard, tedious, time consuming, and that moments will feel overwhelming but nothing you cannot handle! The time passes very fast so it doesn’t feel like you are there 8 plus hours a day. There will be late nights but the present self made sure to not go to the school on the weekends. You will learn so many new things that you didn’t before and won’t even reealize how much time has passed!
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Category #1: Facing surface The 10 photos demonstrate the wall angle shifting closer, further, more in front, or to the side of the human. As the wall changes formation it changes the relation to which the figure is standing and observing. I was walking and on my phone, not paying attention (0-40°) when all of a sudden I hit the wall, and my shoulder rebounded off the wall in pain.
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Category #2: Facing edge The 10 photos illustrate the vertical wall moving inwards toward the center of the figure. As the wall shifts it starts to block and obstruct the pathway of the figure’s sight and walkway. I was walking (0-40°) and stopped to wonder why the wall was moving inwards and starting to erupt my walkway (0-10°). Then the wall was directly in front of me a few seconds later and I was wondering why this happening to me (0°).
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Category #3: Blocking wall The 11 photos demonstrate a horizontal wall moving towards the right, to sit in front of the figure. As the wall moves to the right, it blocks the figure’s sight with a wall. I was standing and chilling at a museum (opened level 1) when all of a sudden, the wall started moving (opened level 5), and then (open level 6) the wall was directly in front of me and I was now staring at art.
Opened level 1
Opened level 2
Opened level 3
Opened level 4
Block level 1
Block level 2
Block level 3
Block level 4
Block level 5
Block level 6
Block level 7
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Category #4: Passing the blocking wall The 5 photos demonstrate the wall not necessarily moving but the angle and point of view of the figure going past it. As the figure continues to move forward, the wall gets taller and the figure smaller (making it look like he walked away). As I was leaving the bathroom (passing level 1), I was walking back into the restaurant eating area (passing level 3), and then finally I was completely out of the bathroom and going to eat yummy food.
Passing level 1
Passing level 2
Passing level 3
Passing level 4
Passing level 5
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Category #5: Aligned Wall The 6 photos demonstrate the wall moving inwards vertically to the right to obstruct the figure’s path. As the wall moves inwards it aligns with the figure’s shoulder. I was standing (closed level 1) when the wall started to move inwards from my left (closed level 2) and then weirdly it was aligned with my body (closed zone 6)
Closed level 1
Closed level 2
Closed level 4
Closed level 5
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Closed level 3
Category #6: Passing the aligned wall The 6 photos illustrate the wall not moving but the figure moving forward and aligned with the wall. As the figure walks aligned to the wall he starts off tall and as he walks he gradually gets shorter compared to the wall. (Passing level 1) I was walking towards the red carpet to get my photo taken. (Passing level 3) I got stage fright and decided to keep walking (not getting my picture taken), (Passing level 6) I finally got off the red carpet and was sad I didn’t get my moment.
Passing level 1
Passing level 2
Passing level 3
Passing level 4
Passing level 5
Passing level 6
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Category #7: Walls with different heights The 9 photos illustrate the wall horizontally starting off short and starting to get taller to finally obstruct the figures path. As the wall grows with heights it gets harder for the figure to step over the wall. (Wall with 1 foot) The wall was coming out of the ground that had my new tv on . I was waiting for the wall to grow to it’s full height (wall with 4 feet). Finally, the wall was at final height (9 feet) and I could finally watch tv.
Wall with 1ft
Wall with 2ft
Wall with 3ft
Wall with 4ft
Wall with 5ft
Wall with 6ft
Wall with 7ft
Wall with 7ft
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Category #8: Floating and faced Wall The 8 photos demonstrate the vertical wall rising upwards. As the wall height rises it constructs a path for the figure. (1foot high floating level) My new advancement in my home was rising walls and I was waiting for it to fully rise. The wall was 4 feet high now, and then finally the wall rose 8 feet making a path for me to walk to another room.
1ft high floating wall
2ft high floating wall
3ft high floating wall
4ft high floating wall
5ft high floating wall
6ft high floating wall
7ft high floating wall
8ft high floating wall
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Category #9: 8ft high floating and aligned wall The 4 photos demonstrate a floating vertical wall moving inwards to the right, aligning itself in the center of the figure. As the figure it standing the wall moves closer to it to then be directly above its head. (Alignment level 1) I was standing when all of a sudden a wall started move closer (alignment level 2). I was standing still scared of what was happening and then I directly look up and there’s a wall that looks like it will slice me in half (alignment level 4).
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Alignment level 3
Category #10: 8ft high floating and faced wall The 8 photos illustrate the floating vertical wall the corner inching closer to the center of the figure to finally align itself in the center. As the figure is standing, the floating wall moves to the right and aligns to the figure but does not obstruct path. (Overlap level 1) I was wondering why the wall was moving so I stared (overlap 4) and as it stopped it was perfectly in the center and I was confused and amazed (0verlap 8)
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Category #11: floating horizontal surface The 6 photos illustrate the floating horizontal surface moving towards the center from the left to align itself in the center of the figure. The first wall photo starts off as a small corner and grows into a full horizontal rectangle aligned with the figure. I was waiting (overlap 1) and was waiting for my new hover wall to come to me (overlap 3), when finally the wall was directly aligned with me (overlap 6) I was happy.
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Category #12: Horizontal surfaces with different heights The 12 photos illustrates a horizonal wall at different heights by lowering itself to the figure. As the wall gets lower and changes height to the figure, it changes the perspective and angle on the wall. I was staring at this cool new invention (8 foot horizonal surface) that was floating and then it was lowering itself and I could step on it if I wanted to (1 foot horizonal surface) but didn’t. Then it was going into the ground and I was mind-blown (-4 feet surface).
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7ft high horizontal surface
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Category #13: Wall surface with an incline The 8 photos illustrates a different angle compared to the figure of the incline of a wall. As the wall changes angles/incline and becomes steeper it gradually becomes too steep it turns into a ceiling like wall to the figure. I was walking (wall at 80 degrees) and once I hit the middle of the wall, a sensor, made the wall start to increase its incline (40 degrees). As I continued to walk the wall was now over my head (10 degrees).
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Category #14: Inclined wall The 6 photos illustrates a vertical wall inclining upwards towards the figure. As the figure is standing the wall is pushing towards the figure, standing up, to eventually be a full wall. As the figure is standing and the walls becoming closer, the left side of his body gets more enclosed with space. (Inclined level 1) I was thinking how fun it would be to skateboard on this inclined wall. As I kept walking the shallow wall started to become steeper (incline level 3) and did not stop. (Incline level 6) I realized I could not skateboard on this incline wall anymore.
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Category #15: Floating wall surface facing edge with an incline The 6 photos demonstrate a floating horizontal wall inclining only on the left side, changing the angle to the figure. As the wall facing edge increases with height, it gets taller than what it started out as compared to the figure. I was walking and thought this would be a nice place to sit (incline level 1). All of a sudden the wall started to incline and gain height to almost like a slide that you could not sit on it (incline level 6)
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Category #16: Inclined surface to a facing wall The 9 photos demonstrate the angle of the wall increasing only in the front, closest to the figure. As the wall starts to incline the angle of the wall starts to “stand up” and be Parrell with the figure. (10 degrees) I was standing when all of a sudden the bench behind me started to rise. (20 degrees) I was confused if a seat was starting to turn into a wall and then it really did turn into a wall (90 degrees)
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Category: #17 Inclined ramp to facing wall The 9 photos demonstrate a ramp inclining only in the back half furthest from the figure, changing the angle in relation. As the wall starts to incline it starts to obstruct the path of the figure. I was going to walk on a little ramp (10 degrees) when all of a sudden the ramp kept getting steeper and steeper (40 degrees) until that ramp was no longer a ramp but a wall right in front of my face (90 degrees)
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Category: #18 One Column The two photos demonstrate two changes in the angles of a column and a figure, changing the perspective of the distance from the column to figure. As the angle changes, the distance from the figure to the column looks like it’s growing further apart. I was walking towards the cool column wondering if it had any cool details on it.
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Category: #19 Two Columns
The two photos illustrate two columns vertical and horizontal that never obstruct the figure’s view. The figure is in the middle between the two verti columns, while the horizontal the figure is walking align and parraell to them. I was going to walk through the two poles (picture 1) but then the po changed (picture 2) and now it was horizontal to the other column (I wasn’t able to walk through and it made me sa
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Category: #20 Three Columns The two photos illustrate three columns at different angles and positions compared to the figure, but never obstructing its path. The figure is vertical parraell to the three columns but as it changes and now staggered like. I was walking aligned with the columns when all of a sudden they changed and now I’m walking down the center of the columns, with two on my right and one on my left. Weird.
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Category: #21 Four Columns The two photos illustrate four columns changing its position narrow and wider compared to the figure. As the four columns were places spread out in a square like shape the figure was in the center with a wide view. As the columns became closer, the distance to the figure to column became narrower. I was standing in the center of these four columns (picture 1) and my boyfriend was taking a picture of me, when all of a sudden the columns were narrowing in (picture 2 , and I was like dawg what is happening... and then my boyfriend ran off.
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Category: #22 One Wall and One Column The 8 photos illustrate the different positioning of one wall and one column to the figure. As the column changes it’s location it changes the distance of space to the wall and figure. I was walking aligned to the wall and there was a column at the end of it (photo 1) when all of a sudden the column changed and was even further away (photo 7). I was shocked it moved
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Category: #23 One Wall and two Columns The three photos demonstrate one wall and two columns changing angles, but never obstructing the figures path. As I was walking in the middle between the two columns on my right and the vertical wall on my left (photo 1), the wall changed its position and now was perpendicular to me (photo 2) and I was mind blown.
Condition 1: aligned wall and vertically aligned columns
Condition 2: facing wall and vertically aligned columns
Condition 3: facing wall and horizontally aligned columns
Category: #24 Two Walls and two Columns The two photos demonstrate two walls and two different perspectives of the columns changing its positioning. As the two columns were vertical to the left of the figure and paerrell with the wall, the two columns changed horizontally, now setting the figure in between the two columns. I was standing against the wall (photo 1) when one column to my left started moving and was now on the right side of me, placing me in the center of the columns against one wall.
Columns aligned vertically with perpendicular walls
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Columns aligned horizontally with perpendicular walls
Category: #25 Two Walls and two Columns with two lighting conditions_01 The 6 photos illustrate two columns and two walls with the figure. It demonstrates different positioning and different light conditions. As the figure and columns shift and so does the lighting, it changes the shadow and cast of all the objects. (Photo 2) I was walking in a dark room and wanted some light, so I was walking to the door with shining bright lights. I turned the corner and now I was in the bright outdoors and there were two cool columns with huge shadows casting off the walls.
Walking between vertically aligned columns and perpendicular walls with lighting behind Figure
Walking between vertically aligned columns and perpendicular walls with lighting behind wall
Walking beside vertically aligned columns and perpendicular walls with lighting behind Figure
Walking beside vertically aligned columns and perpendicular walls with lighting behind wall
Walking beside vertically aligned columns and extended perpendicular walls with lighting behind Figure
Walking beside vertically aligned columns and extended perpendicular walls with lighting behind wall
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Category: #26 Two Walls and two Columns with two lighting conditions_02 The four photos illustrate two walls and two columns with different lighting conditions casting different angles of shadows. As the lighting changes the shadows change. (Photo 1) Walking horizontally aligned with the columns to enter between two walls the light is casted down from the left shining its shadows on the right of the wall and I am thinking it is so bright and nice when then I turn down the dark hallway (photo 4).
Passing horizontally aligned columns to enter the space between two walls with lighting behind Figure
Passing vertically aligned columns to enter the space between two walls with lighting from the inside space
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Passing horizontally aligned columns to enter the space between two walls with lighting from the inside space
Passing vertically aligned columns to enter the space between two walls with lighting behind Figure
Category: #27 Two Walls and two Columns with two lighting conditions_03 The 6 photo demonstrates different angles and positions of the two walls and columns changing to the figure. As the angles and positioning change horizontal and vertical of both walls and columns, the lighting changes, casting different angles of shadows upon the figure. (Photo 5) I was walking towards the dark room and then I made it (Photo 6) and I was happy that I accomplished my goal.
Passing vertically aligned columns to pass a narrow opening between two walls with lighting behind Figure
Passing vertically aligned columns to pass a narrow opening between two walls with lighting from the inside space
Passing vertically aligned columns to pass an intermediate opening between two walls with lighting behind Figure
Passing vertically aligned columns to pass an intermediate opening between two walls with lighting from the inside space
Passing horizontally aligned columns to pass a wide opening between two walls with lighting behind Figure
Passing horizontally aligned columns to pass a wide opening between two walls with lighting from the inside space
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Category: #28 Vertically aligned Two Walls and two Columns The two photos demonstrate the figure walking vertically and horizontally aligned between the two columns and walls. As walking through the vertically aligned columns and walls, it is narrower. When it changes into the horizontal alignment the space becomes wider and more light comes through. I was walking in between the columns and walls (photo 1) when then they shifted and made my pathway much bigger and brighter, making me happy (photo 2).
Between walls, walking
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Between columns, walking
Category: #29 Space composed with 5+ columns and 2 walls The 7 photos demonstrate the different lighting and angles of shadows as the figure moves. As the sequence plays the shadows and lighting on the figure change. I was walking beside the road but there was a wall protector but it ended with a cool deign and curve and now I was walking on the street side with cool architecture aside the road.
Top view of the space composed
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Category: #30 Faced wall with Connected wall The 19 photos demonstrate the degree of angle of the wall changing to the figure. As the wall angle increases, the two walls get wider apart until it made a full 180 degree. I was standing at the corner of the wall in timeout (90 degree) when then the walls were spreading apart all of a sudden (140 degree). Then I was no longer in the corner of the wall and now was standing free outside (270 degree). I was happy.
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Category: #31 Aligned wall with Connected wall The 15 photos illustrate two angled walls connected that obstruct the figures path but then opens up. As the figure in standing in between two walls and the angle of degree changes, it widens the distance between wall and figure. I was staring at a very pointy, sharp, enclosed corner at a festival (degree 10) and then the magic started and the wall started to widen and I was so amazed because it revealed something at the end (170 degrees).
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Category: #32 Facing the connected edge of two walls The 15 photos illustrate the degree of angle of two walls changing around the figure never obstructing its path. As the two walls change the space around the figure becomes more enclosed. I was standing at the point of the corner of where two streets meet (30 degrees) when I decided to keep walking. There was a wall I was then walking against and it was not straight and I was disappointed (170 degrees).
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Category: #33 Three connected walls The 2 photos demonstrate three connected walls with different distance compared to the figure. As the walls parallel with each other change and become closer together or further apart, it narrows or widens the space between the figure. I was standing staring at a kitchen at IKEA (photo 4) when I accidently pressed a button and the walls widened giving the kitchen more space and I was starstruck (photo 1).
Wide-facing wall with two wings
Narrow-facing wall with two wings
Category: #34 Curved wall inside The three photos demonstrate three different wall heights compared to the figure, as it changes the wall gets taller and wider. As the walls change the figure becomes smaller. I was standing in the curved wall (picture one) getting my picture taken when I turned around and the wall was enormous and so much cooler (photo 3)
Small-curved and 8ft height
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Small-curved and 16ft height
Large-curved and 8ft height
Category: #35 Curved wall outside The seven photos demonstrate curved walls from the outer view of the figure in different angles, widths, and heights . As the wall changes positions, it changes where the figure stands to it along with it’s height to the wall. I was admiring the curved wall because it looked so smooth (photo 1) when all of a sudden the wall grew tripped its height and width (photo 6) and I was amazed.
Facing Small-curved and 8ft height
Passing Small-curved and 8ft height
Facing Small-curved and 16ft height
Passing Small-curved and 16ft height
Facing Large-curved and 16ft height
Passing Large-curved and 8ft height
Passing Large-curved and 16ft height
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Category: #36 Curved Walls and Flat Walls The five photos illustrate different paths the figure is taking with curved and flat walls around. As the figure is walking it is passing curved walls while walking aligned to the straight wall or towards it. As I am exiting (photo 4) I walk pass a figure, and when I turn right, I turn down the hallway (photo 2). I liked the hallway.
Facing a flat wall (8fh height) while passing a curved wall (8fh height)
Entering a space between a flat wall (8fh height) and an opened-curved wall (8fh height)
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Entering a space between a flat wall (8fh height) and a closed-curved wall (8fh height)
Entering a space between a flat wall (8fh height) and a half opened-curved wall (8fh height)
Category: #37 Entering into a space between Parallel Curved Walls The four photos illustrate two curved walls parallel to each other at different heights with different lightings to the figures. The path of the figure is passing is hallway like with different starting points of the wall. The light is shining at the end of the curve or is displayed on the figures casting the shadows behind the figure instead. As I was leaving the office building during the storm (phot 4), I turned down the exit hallway and all the lights were off due to the sever weather and I was scared (photo 2)
Small-curved and 8ft high outside
Small-curved and 16ft high outside
Large-curved and 8ft high outside
Large-curved and 16ft high outside
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Category: #38 Entering a space between curved mirror walls_01 The four photos demonstrate an entry space between two curved walls that change heights compared to the figure, never obstructing its path. As the wall changes its curve and height, it widens or narrows the gap between the walls. I was approaching the entry of two curved walls that were my new investments to my house (photo 1). As I was getting closer the walls sensor and raise and shuts behind me as I pass through (photo 4).
Small-curved and 8ft height
Large-curved and 16ft height
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Small-curved and 16ft height
Large-curved and 8ft height
Category: #39 Entering a space between curved mirror walls_02 The 6 photos demonstrate different lighting on the entering space of two curved walls that the figure is passing through. As the curves change they get taller compared to the figure. I was walking into a new restaurant that had a cool entry and as you walk closer to the entrance the walls make an illusion they are growing taller!
Small-curved and 8ft high with inside lighting
Small-curved and 8ft high with outside lighting
Small-curved and 16ft high with inside lighting
Small-curved and 16ft high with outside lighting
Large-curved and 8ft high with inside lighting
Large-curved and 8ft high with outside lighting
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Category: #40 One curved wall and one column The two photo demonstrate the different positioning of a column and a curved wall with a entry way never obstructed. The wall that is curved from the outside, the figure is in the dark while the light is on the other side of the curved wall. It changes for the curved wall inside, shining light down on the figures path. I was walking against the inner curve wall wondering why there was a column standing there and wish it wasn’t. I was then walking down the otter part of the curve and there was another column but it made more sense and I liked it.
Entering a space between a column and curved wall outside
Entering a space between a column and curved wall inside
Category: #41 One curved wall and two columns The three photos illustrate figures around two columns and a curved wall with different angles and positioning. As the columns are further apart and horizontally aligned with the wall, there is space for someone to walk through . As the columns get closer there is no room for someone to pass. The angles can change the path of the figures. I was standing in between two columns and a curved wall feeling like I was in the way (photo 1), A few seconds later the columns had insufficient space between them and I didn’t feel in the way anymore I was standing in between two columns and a curved wall feeling like I was in the way (photo 1), A few seconds later the columns had insufficient space between them and I didn’t feel in the way anymore
Entering a space between a column of two horizontally aligned and curved wall outside
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Facing the outside of a curved wall with two horizontally aligned columns with insufficient space between them
Entering a space between a column of two vertically aligned and a curved wall outside
Category: #42 Role of a column between Curved and flat walls The four photos illustrate different angles and positions the figure is entering a space of a curved walls, straight walls, and a column. As the walls change the lighting that hits the walls so do too. The column never obstructs the figures path. I was walking in this curved hallway (picture 3) when I turned and it met me with a straight wall where I could turn either left or right. I was confused.
Entering a space between two parallel curved walls, with a column in front of the outer curved wall
Entering a space between a faced flat wall and a curved wall, with a column in front of the flat wall
Entering a space between two parallel curved walls, with a column in front of the inner curved wall
Entering a space between a parallel flat wall and a curved wall, with a column in front of the flat wall
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Category: #43 Curved connection The four photos demonstrate the different angle of openness of the curved connection, opening the obstructed path of the figure. As the two flat walls connect with the higher degree of curve, the wall widens opening the path for the figure. I was waiting for my secret palace to open (photo 1) and then it was half way there (photo 4) and I was able to walk through. I was happy.
Follow two flat walls that are connected at an angle of 60 degrees smoothly
Follow two flat walls that are connected at an angle of 150 degrees smoothly
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Follow two flat walls that are connected at an angle of 90 degrees smoothly
Follow two flat walls that are connected at an angle of 120 degrees smoothly
Category: #44 Curved wall and S-curve wall The four photos illustrate a S curve wall and a normal curve wall at different wall heights and lighting. As the walls change the figures path never gets obstructed. I was entering a curvy hallway (photo 1) to find some better lighting. As I entered a few steps deeper I got more light and was so happy.
Curved wall and S-curve wall 8ft high with inside lighting
Curved wall and S-curve wall 8ft high with outside lighting
Curved wall and S-curve wall 16ft high with inside lighting
Curved wall and S-curve wall 16ft high with outside lighting
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Category: #45 1 point perspective pictures: Void on the upside The eight photos demonstrate one point perspectives of the void upside down but in different angles and shapes. As the perspective stays the same, the amount of void changes around the figure along with the shape. I was standing directly underneath a small square skylight that was lighting a small square on the ground (photo 1), when I saw even a bigger one and ran to it. Now there was less void around me (photo 2)
A 4’x4’ square void with a height of 8ft
A 8’ diameter void with a height of 8ft
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A 8’x8’ square void with a height of 8ft
A 4’ diameter void with a height of 8ft
Category: #46 Void on the upside with columns or walls The 7 photos demonstrate void in different angles, positions, on the upside of walls and columns. As the walls and columns move, the void shifts to different positions around the space and figure. I was walking between two columns towards the wall and light when all of a sudden when I got to the light, to turn right and the void shifted and I was in the dark.
A 8’x8’ square void with columns
A 8’x8’ square void with a facing wall
A 8’x8’ square void with a passing wall
View for A 4’x4’ square void with a flat wall aligned with one side and two columns aligned with the opposite side
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Category: #47 Void on the downside with columns or walls The six photos demonstrate different lighting on the void of the downside of columns, while changing the angle. As the angle changing the void also does but never in the way of the figure. I was admiring a wall and saw a light come from underneath and walked over to the left to get a better look of the lit up wall.
A 8’x8’ square void with a facing wall and light from upper floor
A 8’x8’ square void with a facing wall and light from side
A 8’x8’ square void with a facing wall and light from lower floor
A 8’x8’ square void with a passing wall and light from side
A 8’x8’ square void with a passing wall and light from lower floor
A 8’ diameter void with light from lower floor
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Category: #48 Void on the upside with combinations of columns or walls The 10 photos illustrate different angles and positions of void of the upside down with different walls and columns. As the objects change the void around the figure changes but never obstructing its view. I was walking through a cool skylight room and turned right and there was now a dark hallway with another small skylight at the end. It was creepy.
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Category: #49 Void between Floating Surfaces The eight photos demonstrate changing positions of two floating surfaces and the void it gives. As the floating surfaces change the void on the figures and ground change. I was standing on the magical stairs at Hogwarts when they changed directions for the first time.
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Category: #50 Void between curve-linear Surfaces The two photos illustrate the void from between linear surfaces shown from two different angles never obstructing the figures path. As the angle changed, different figures are in different type of voids. I was standing on top of this cool surface when I decided to see what was at the bottom and the shadows looked cool!
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Category: #51 Void with a combination of The two photos demonstrate combination of different amount of voids and the different angles that capture the figures. As the angle changes, it never obstructs the figures and the void around the objects change. I was standing on the first floor when I looked up and saw three more stories that had different things because the shadows were different.
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Category: #52 Curved vertical surface The two photos demonstrate combination of different amount of voids and the different angles that capture the figures. As the angle changes, it never obstructs the figures and the void around the objects change. I was standing on the first floor when I looked up and saw three more stories that had different things because the shadows were different.
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Category: #53 Curved vertical surface with an upper floor The 5 photos demonstrate different angles of a curved wall and upper-level floor with a figure in different lighting zones. As the angles change., the path of light changes and shines on different spaces around or on the figure. I stood at the second floor’s entry with an overlook to the first floor. It was dark (photo 4) so I walked to the end of the path and stared at a massive curved wall with cool lighting (photo 2)(photo 2)
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Category: #54 Curved vertical surface with a void The five photos demonstrate a figure with different positioning and angles of a curved surface and a cut out in a wall. As the wall changes and there are different perspectives, the lighting is shining down but covered with a ceiling only letting lighting out a tiny square amount of light. And in the cut out there is a curved vertical surface going through it. As the figure stands under the small lit path, he stares at the dark void in front and realize he is feeling small and sad.
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Category: #55 Facing Curved vertical surface The two photos demonstrate a figure facing a curved vertical wall with different angles, lighting, and positioning. As the pictures changes the light hitting the figure change along with the objects around. I was staring at a curved surface that was shooting upwards through the cut out of the ceiling and was amazed.
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Category: #56 Hanging curved surfaces The four photos demonstrate different pictures of hanging curved surfaces with different lighting to the figure. The curved surfaces are always above the character’s head hanging free, with a shadow path that the figure lands in. As I was staring at a half circle hanging down from the cut out of the ceiling, I thought it looked really cool.
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Category: #57 Surfaces with convexities and concavities The photo illustrates different curves with convexities and concavities, not obstructing the viewer’s path. The figure is in a dark long arch way tunnel with light at the end of the tunnel. As the figure is standing in a dark tunnel with very little light, staring at a half lit art work, he is pondering and lonely.
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Category: #58 A sphere with a strong center and centripetal force The five photos demonstrate changes of a full sphere or a half sphere where the center gravity is always in the center. As the sphere changes shape and location, the lighting changes too, shining different areas around the figure. I was staring down at a cut out in the floor that had a sphere in the middle and though this was really cool.
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Category: #59 Surfaces that are twisted and free The three photos demonstrate different angles and positions of twisted surfaces flowing in all different direction. As the walls change, the perspective and setting change around the figure, like a tunnel, room, or twisted tall walls. I was walking down a hallway when it curved into this huge room with so much void with tall twisted curvy walls. I felt so small in the room and it made me sad.
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Walker Port foli o 1430
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What I learned...
Project #1 “Wall, Column, and Space” Project #2 “Hand Drawing” Project #3 “Power of Patience” Project #4 “Space Cube” Project #5 “First Portfolio” Overall If you could talk to you before these five weeks, what would you like to share with you? -
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Category #1: Facing surface The environment changes in a horizontal direction as the wall changes angle. The environment changes the man’s view by gradually obstructing his vision beyond the wall. The emotion I feel when seeing this sequence is feelings of freedom that fades to a feeling of captivity.
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Category #2: Facing edge The wall rotates around the man like a clock hand going counter clockwise. The man’s front view is obstructed by the wall in the first image but soon the wall moves around him and he’s able to view the front. The emotion I feel is a sense of relief.
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Category #3 : B lock ing wall
The wall begins out of view then slowly takes over the whole horizon. The wall starts off as a minor inconvenience to the man’s view then gradually blocks the entire view in front of him. The walls movement made me feel uncomfortable and blocked.
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Category #4 : P assing the b lock ing wall
The wall becomes closer and closer. The man moves past the wall. The emotion I feel in this is relief like having a headache then it eventually fading.
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Category #5: Aligned W all
The wall moves closer to the middle, remaining long ways, where the man stands. The wall moves parallel with the man’s posture. This makes me feel like a friend is coming near to provide protection.
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Category #6 : P assing the aligned wall
The wall stays at the same angle. The man moves with his left side being protected by the wall then opens up where he is exposed as he moves past the wall. This makes me feel like I’m entering a dangerous alleyway.
P a s s i ng l ev el 1
P a s s i ng l ev el 2
P a s s i ng l ev el 3
P a s s i ng l ev el 4
P a s s i ng l ev el 5
P a s s i ng l ev el 6
9 1437
Category #7:
a s with di erent heights
The wall remains in the same spot at the same angle consuming most of the horizontal space and it grows along the sequence getting to 8 ft.The wall starts off low and obstructs the horizon.
all with
all with
all with
all with
all with
all with
all with
all with
10 1438
Category # : oating and faced
a
The wall starts off low and obstructs the horizon. The man’s view starts off as blocked then changes as the barrier is lifted. This makes me feel that I am on a stage and the curtain is being lifted for me to perform.
high floa
g wall
high floa
g wall
high floa
g wall
high floa
g wall
high floa
g wall
high floa
g wall
high floa
g wall
8 high floa
g wall
11 1439
Category # :
high oating and a igned wa
The wall is floating in the air and is going long ways into the horizon. The wall moves closer to the man as it aligns itself over his head. This makes me feel like I’m driving past a billboard.
A l i g nm ent l ev el 1
A l i g nm ent l ev el 4
12 1440
A l i g nm ent l ev el 2
A l i g nm ent l ev el 3
8ft high floating and faced wall Category # : high oating and faced wa The wall floats above as it moves parallel to the horizon. The man’s view is not changed by the wall but the wall does create a high point of cover for the man. This makes me feel like I’m watching a cloud pass in front of the sun creating shade on a hot sunny day.
O v er l a p l ev el 1
O v er l a p l ev el 2
O v er l a p l ev el 3
O v er l a p l ev el 4
O v er l a p l ev el 5
O v er l a p l ev el 6
O v er l a p l ev el 7
O v er l a p l ev el 8
13 1441
Category #
: oating hori onta surface
A floor is and moves horizontal to the horizon. The floor is above and in front of the man. This creates a feeling of curiosity for me not knowing what’s on top of the platform.
O v er l a p l ev el 1
O v er l a p l ev el 2
O v er l a p l ev el 3
O v er l a p l ev el 4
O v er l a p l ev el 5
O v er l a p l ev el 6
O v er l a p l ev el 7
O v er l a p l ev el 8
14 1442
Category #
: ori onta surfaces with di erent heights
The platform moves down through the hole. The man watches as the floor passes down through the hole. This makes me feel like I’m waiting on an elevator.
8 high hori o tal urfa e
high hori o tal urfa e
high hori o tal urfa e
high hori o tal urfa e
high hori o tal urfa e
high hori o tal urfa e
high hori o tal urfa e
high hori o tal urfa e
high hori o tal urfa e
high hori o tal urfa e
high hori o tal urfa e
high hori o tal urfa e 15 1443
Category #1 3 : W all surface with an incline
The wall starts off above then is spotted at different angles along the images. The wall seems to rotate around the man like how the Sun appears to rise and fall. This makes me feel like I’m getting ambushed by something or someone.
10 d eg r ee
20 d eg r ee
30 d eg r ee
4 0 d eg r ee
50 d eg r ee
6 0 d eg r ee
7 0 d eg r ee
8 0 d eg r ee
16 1444
Category #1 4 : I nclined wall
A wall stands up and gradually falls over. The wall is falling away from the man as if pushed over. This makes me feel accomplished like I have completed something.
I ncl i ned l ev el 1
I ncl i ned l ev el 2
I ncl i ned l ev el 3
I ncl i ned l ev el 4
I ncl i ned l ev el 5
I ncl i ned l ev el 6
17 1445
Category # 5: oating wa surface facing edge with an inc ine
The platform hovers at different angles as it points towards the horizon. The man is at the center of its rotation. This makes me feel important like I’m being inspected.
I ncl i ned l ev el 1
I ncl i ned l ev el 2
I ncl i ned l ev el 3
I ncl i ned l ev el 4
I ncl i ned l ev el 5
I ncl i ned l ev el 6
18 1446
Category #1 6 : I nclined surface to a facing wall
A tall wall is coming down as if it were being toppled. The wall is falling behind the figure as if it had a string attached to the top and attached to the figure’s foot as it walks away. This makes me feel like I’m being followed.
10 d eg r ee
20 d eg r ee
30 d eg r ee
4 0 d eg r ee
50 d eg r ee
6 0 d eg r ee
7 0 d eg r ee
8 0 d eg r ee
9 0 d eg r ee
19 1447
Category: #1 7 I nclined ram p to facing wall
A wall erects itself in front of the figure and rises as if being pulled up. The wall blocks the figures view as it gets higher and higher and rises in alignment with the figure’s horizontal axis. This sequence makes me feel like a bridge is being raised.
10 d eg r ee
20 d eg r ee
30 d eg r ee
4 0 d eg r ee
50 d eg r ee
6 0 d eg r ee
7 0 d eg r ee
8 0 d eg r ee
9 0 d eg r ee
20 1448
Category: #1 8 O ne Colum n
The column remains standing straight up with forward lighting illuminating the front of it. The man has a good amount of distance between him and the column and this can be seen in both sequences. This sequence makes me feel like i have lots of space to work
F r o nt
Si d e
Category: #1 9 T wo Colum ns
This depicts two columns in a line with a medium amount of space between each other.
er al
ori o tal
21 1449
Category: #2 0 T hree Colum ns
er al
ori o tal
The columns in this sequence first are shown to be in a line with each other then are in a staggered triangle in the next image. The man first walks parallel to the row of columns and in the next he is seen to be moving into the triangle. This space makes me feel powerful but also ambiguous.
Category: #2 1 F our Colum ns
W id e
N a rro w
We get two different views of the columns, one with the man walking into the middle of the two columns and one with the man in the same line facing the side of the columns. this gives me the feeling of indecisiveness but also welcoming with the wide columns
22 1450
Category: #2 2 O ne W all and O ne Colum n
o di o
o di o
o di o
o di o
o di o
o di o
o di o
o di o 8
The columns in this sequence first are shown to be in a line with each other then are in a staggered triangle in the next image. The man first walks parallel to the row of columns and in the next he is seen to be moving into the triangle. This space makes me feel powerful but also ambiguous.
23 1451
Category: #2 3 O ne W all and two Colum ns
o di o olum
alig ed wall a d ver all alig ed
o di o olum
fa i g wall a d ver all alig ed
o di o olum
fa i g wall a d hori o tall alig ed
The columns are in a box shape in the first scene then narrows out in the first one and shows a long triangular shape. There is one person in between the back two columns and one person walking towards them. The second image shows only the person between the back two columns. This sequence makes me feel important and the center of attention. Category: #2 4 T wo W alls and two Colum ns
olum
alig ed ver all with perpe di ular wall
olum w a lls
alig ed hori o tall with perpe di ular
This sequence shows a column dancing in and out of range of the wall. The person seems to be watching as the column is at times impeding his path to the end of the long wall. the constant changing of positions in this sequence makes me feel stressed
24 1452
Category: # 5 wo
a s and two Co u ns with two ighting conditions
al i g etwee ver all alig ed olum a d perpe di ular wall with ligh g ehi d igure
al i g etwee ver all alig ed olum a d perpe di ular wall with ligh g ehi d wall
al i g e ide ver all alig ed olum a d perpe di ular wall with ligh g ehi d igure
al i g e ide ver all alig ed olum a d perpe di ular wall with ligh g ehi d wall
al i g e ide ver all alig ed olum a d e te ded perpe di ular wall with ligh g ehi d igure
al i g e ide ver all alig ed olum a d e te ded perpe di ular wall with ligh g ehi d w a ll
There is a wall that is moving around two columns that are in a line with each other and each space has a clear pathway to beyond the wall. the person always stays within the vicinity of the middle of the two columns even while the columns and wall changes position. the sequence gives me a sense of direction.
25 1453
Category: #
wo
a s and two Co u ns with two ighting conditions
a i g hori o tall alig ed olum to e ter the pa e etwee two wall with ligh g ehi d igure
a i g hori o tall alig ed olum to e ter the pa e etwee two wall with ligh g from the i ns i d e s p a ce
a i g ver all alig ed olum to e ter the pa e etwee two wall with ligh g ehi d igure
a i g ver all alig ed olum to e ter the pa e etwee two wall with ligh g from the i ns i d e s p a ce
Two walls are perpendicular to each other white They create a gap and on the side of the wall that’s broad side faces us two columns are positioned at the end of both sides of the wall. two people are in this sequence and the person is seen moving to the gap that is created by the two walls and the other facing us standing against the wall positioned between the two columns
26 1454
Category: # 7 wo
a s and two Co u ns with two ighting conditions
a i g ver all alig ed olum to pa a arrow ope i g etwee two wall with ligh g ehi d igure
a i g ver all alig ed olum to pa a arrow ope i g etwee two wall with ligh g from the i ns i d e s p a ce
a i g ver all alig ed olum to pa a i termediate ope i g etwee two wall with ligh g ehi d igure
a i g ver all alig ed olum to pa a i termediate ope i g etwee two wall with ligh g from the i ide pa e
a i g hori o tall alig ed olum to pa a wide ope i g etwee two wall with ligh g ehi d igure
a i g hori o tall alig ed olum to pa a wide ope i g etwee two wall with ligh g from t h e i ns i d e s p a ce
The columns are positioned in line with each other but one seems to belong on the wall that’s perspective is moving into the image and the other on the broad side of the wall. the columns change positions throughout but remain in the same alignment with each other. The walls provide a clear opening for light and direction. The person is seen moving towards said opening formed by the wall. This sequence makes me feel a sense of trying to escape from something.
27 1455
Category: #
B et w een w a l l s , w a l k i ng
ertica y a igned wo
etwee
a s and two Co u ns
olum
wal i g
The columns are positioned in line with each other but one seems to belong on the wall that’s perspective is moving into the image and the other on the broad side of the wall. the columns change positions throughout but remain in the same alignment with each other. The walls provide a clear opening for light and direction. The person is seen moving towards said opening formed by the wall. This sequence makes me feel a sense of trying to escape from something.
28 1456
Category: #2 9 Space com posed with 5+ colum ns and 2 walls
op view of the pa e ompo ed
e ue e pha e
e ue e pha e
e ue e pha e
e ue e pha e
e ue e pha e
e ue e pha e
I used five columns in a semi circular row with many different wall alignments. The man is always changing position along with the walls and the columns. this sequence makes me feel small due to the size of the walls and the towering columns in relation to the man. The emotion experienced in this sequence is judgment as the columns as at the judge, jurry, and executioner.
29 1457
Category: #30 Faced wall with Connected wall
90 degree
100 degree
110 degree
120 degree
130 degree
140 degree
150 degree
160 degree
170 degree
180 degree
190 degree
200 degree
30 1458
210 d eg r ee
220 d eg r ee
230 d eg r ee
24 0 d eg r ee
250 d eg r ee
26 0 d eg r ee
27 0 d eg r ee
A wall is shown at a 90 degree angle then pivots slowly into a 270 degree angle. The person remains in the same spot the whole time. this sequence makes me feel the slow creeping in of vulnerability
31 1459
Category: #31 Aligned wall with Connected wall
10 degree
20 degree
30 degree
40 degree
50 degree
60 degree
70 degree
80 degree
90 degree
100 degree
110 degree
120 degree
32 1460
130 d eg r ee
14 0 d eg r ee
150 d eg r ee
16 0 d eg r ee
17 0 d eg r ee
This sequence shows a wall moving from a 10 degree angle in relation to the man and transitions to a 170 degree angle. The person doesn’t move and remains stationary in the middle of the frame. This gives me a sense of learning of expansion
33 1461
Category: #32 Facing the connected edge of two walls
10 degree
20 degree
30 degree
40 degree
50 degree
60 degree
70 degree
80 degree
90 degree
100 degree
110 degree
120 degree
34 1462
130 d eg r ee
14 0 d eg r ee
150 d eg r ee
16 0 d eg r ee
17 0 d eg r ee
This sequence shows a wall rotating around like a clock hand from 10 degrees to 170 degrees. the person is what the wall is rotating around. This sequence makes me feel important to have something that large moving around me.
35 1463
Category: #3 3 T hree connected walls
ide fa i g wall with two wi g
arrow fa i g wall with two wi g
This sequence shows three walls forming a box first in a wide position then in a more narrow one. We get three different views of the two people in this box as the view shows the side profile and back profile. This one makes me feel comfortable and at home because it feels like a naturally shaped space.
Category: #3 4 Curv ed wall inside
mall urved a d 8 height
mall urved a d
height
arge urved a d 8 height
a curved facing wall is opening towards us and each of the four sequences has a different height or length of curve. the wall in relation to the person is in a way surrounding the back side and it really gives a stark contrast between the figure and the wall itself. like this one because with the way the wall curves in o n the figure it makes the figure seem important. arge urved a d 36 1464
height
Category: #3 5 Curv ed wall outside
a i g mall urved a d 8 height
a i g mall urved a d
height
a i g mall urved a d 8 height
a i g mall urved a d
a i g arge urved a d 8 height
a i g arge urved a d 8 height
a i g arge urved a d
a i g arge urved a d
height
height
height
with 8 different sequences and positions, heights, and lengths teh curved wall is now curving away from us and the figure is facing the direction of the curve. The figure looks very small in comparison to the tall walls and even the small walls just due to the curvature making the walls seem taller. I like how these images make me feel like the figure is just a side character and the walls are the main act.
37 1465
Category: #3 6 Curv ed W alls and F lat W alls
a i g a flat wall 8 height while pa i g a urved wall 8 height
teri g a pa e etwee a flat wall 8 a d a lo ed urved wall 8 height
teri g a pa e etwee a flat wall 8 a d a ope ed urved wall 8 height
our oordi a o i height a d ope
height
height
teri g a pa e etwee a flat wall 8 height a d a half ope ed urved wall 8 height
e
This one features a mix of both curved and flat walls which makes for a stunning visual. There are four different sequences in this and the positionings are very particular. The positioning gives the feel of an abstract hallway but gives the space a feel of direction and destination. one of the figures is moving with the hallway created by the curve and the other is standing in the round bit middle of the curved wall where one might feel safe due to the enclosed feeling. This sequence gives me a good sense of space and gives me the emotion of ease and zen due to the expedient efficient design.
38 1466
Category: #3 7 E ntering into a space b etween P arallel Curv ed W alls
mall urved a d 8 high out ide
arge urved a d
high out ide
mall urved a d
high out ide
arge urved a d 8 high out ide
mall urved a d 8 high i ide
mall urved a d
high i ide
arge urved a d 8 high i ide
arge urved a d
high i ide
These 8 sequences show curved walls of different heights and length in a parallel alignment staggering each other making for a natural curved hallway with a clear opening. The figure is seen walking into the space where he is quite small compared to the opening created by the two walls then he enters the space and another figure standing in the middle of the half circle shape created by the wall.
39 1467
Category: #
ntering a s ace etween curved
mall urved a d 8 height
arge urved a d
40 1468
height
mall urved a d
height
irror wa s
arge urved a d 8 height
In four images we get two curved walls side by side creating a ravine. The figure is seen standing in the crack where it seems almost too tight for him to squeeze through. This sequence makes me feel anxious and uncomfortable due to the tight squeeze and unnatural shape.
Category: #
mall urved a d 8 high with i ide ligh
mall urved a d
high with out ide ligh
ntering a s ace etween curved
irror wa s
g
mall urved a d 8 high with out ide ligh
g
mall urved a d
high with i ide ligh
g
g
arge urved a d 8 high with i ide ligh
g
arge urved a d 8 high with out ide ligh
g
arge urved a d
g
arge urved a d
g
this space shows us multiple images of different height, and shape curved walls curving away from us. the walls are positioned in such a way we can know there is a opening but we cannot see it at the angle. The figure is seen walking into the opening where it seems as though we don’t know what he’s walking into. this sequences give me a anxious feeling because i cannot see what’s beyond the opening
high with i ide ligh
high with out ide ligh
41 1469
Category: #4 0 O ne curv ed wall and one colum n
teri g a pa e etwee a olum a d urved wall out ide
teri g a pa e etwee a olum a d urved w a l l i ns i d e
This is a very simple space that uses a curved wall and a column. The simplicity makes the direction of the structures feel very natural. The wan can be seen walking in between the column and the wall both inside the curve and on the outside of it. This space makes me feel directed and satisfied with its ease to understand and look at.
Category: #4 1 O ne curv ed wall and two colum ns
teri g a pa e etwee a olum of two hori o tall alig ed a d urved wall out ide
a i g the out ide of a urved wall with two hori o tall alig ed olum with i u ie t pa e b et w een t h em
teri g a pa e etwee a olum of two ver all alig ed a d a urved wall out ide
This space shows a curved wall curving away from us and two columns on both sides right outside of the curve. We see the figure stand in the middle of the two columns and the other can be seen walking in between the column and wall. I like this because it makes me feel like I’m looking at something on display with the columns and the curve of the wall creating a focus. 42 1470
Category: #
teri g a pa e etwee two parallel urved wall with a olum i fro t of the outer urved w a ll
o e of a co u n etween Curved and at wa s
teri g a pa e etwee a fa ed flat wall a d a urved wall with a olum i fro t of the flat wall
This space creates a walkway with curved and flat walls and a singular column that either makes or breaks the flow of the space. The figure is seen walking into the opening of the structure created by the walls and columns. the sequence makes me feel good in some images but uncomfortable in others due to occasional awkwardness of the positioning of the column
teri g a pa e etwee two parallel urved wall with a olum i fro t of the i er urved w a ll
teri g a pa e etwee a parallel flat wall a d a urved wall with a olum i fro t of the flat wall
43 1471
Category: #
Curved connection
We see curved wall lighting in angle making the natural direction seem longer and longer. The figure is inside the curve. this sequence makes me feel dizzy due to the
ollow two flat wall that are o a gle of degree moothl
e ted at a
ollow two flat wall that are o a gle of degree moothl
e ted at a
44 1472
ollow two flat wall that are o a gle of degree moothl
e ted at a
ollow two flat wall that are o a gle of degree moothl
e ted at a
Category: #4 4 Curv ed wall and S- curv e wall
urved wall a d
urve wall 8 high with i ide ligh g
urved wall a d
urve wall 8 high with out ide ligh g
urved wall a d
urve wall
high with i ide ligh g
urved wall a d
urve wall
high with out ide ligh g
This sp[ace is comprised of two curved walls; tall and short. The curve is set up to where it creates a winding pathway to the unseeable opening. The figure is at the front of the pathway. This space makes me feel intrigued and impressed due to the unknown and the sleek flow of it.
45 1473
Category: # 5
A ’ ’
oint ers ective ictures: oid on the u side
uare void with a height of 8
A 8’ 8’
uare void with a height of 8
A ’ diameter void with a height of 8
This sp[ace is comprised of two curved walls; tall and short. The curve is set up to where it creates a winding pathway to the unseeable opening. The figure is at the front of the pathway. This space makes me feel intrigued and impressed due to the unknown and the sleek flow of it.
A 8’ diameter void with a height of 8
46 1474
Category: #4 6 V oid on the upside with colum ns or walls
A 8’ 8’
uare void with olum
A 8’ 8’
uare void with a fa i g wall
A 8’ 8’
uare void with a pa i g wall
This space shows the same void but with walls and columns creating a sunroof in a building effect. The figure is shown in the shadow and the light. When in the shadow the figure seems mysterious but not very important but when in the figure seems very important. this gives me the feeling of ambiguity.
iew for A ’ ’ uare void with a flat wall alig ed with o e ide a d two olum alig ed with the o p p o s it es id e
47 1475
Category: #4 7 V oid on the downside with colum ns or walls
A 8’ 8’ uare void with a fa i g wall a d light from upper floor
A 8’ 8’ uare void with a fa i g wall a d light from ide
A 8’ 8’ uare void with a fa i g wall a d light from lower floor
A 8’ 8’ uare void with a pa i g wall a d light from ide
A 8’ 8’ uare void with a pa i g wall a d light from lower floor
A 8’ diameter void with light from lower floor
This scene plays with lighting and walls showing up, down, and to the side lighting. This gives different parts of the structure a focus throughout. The figure can be seen passing and facing the wall. this seen gives the sense of focus and illumination
48 1476
Category: #
oid on the u side with co
inations of co u ns or wa s
e e
e e
e e
e e
e e
e e
e e
e e 8
e e
This scene created a story of a man hiding from the light but it always finds him. I used curved walls and a square hole to create it. The man can be seen moving around the void away from the light. this scene makes me feel good due to the lighting
e e 49 1477
Category: #
e e
e e
oid etween oating Surfaces
e e
e e
Category: #50 V oid b etween curv e- linear Surfaces
e e 50 1478
e e
e e
I created a story of a man who finds a leaves into the darkness then the man light. I used stairs, a L shaped platform form. There are four characters the ma spectators which represent the man an on one of the floating platforms a figu senting the Woman’s upside down inte she left going towards the shadow and on the ledge representing the man’s m Instead of the man corrupting himself he remains upright and heads away fro work makes me feel inspired to know situation instead of harboring wrath. My shape was very groovy and I supported it by using S shaped walls that bent with the light shining through the top. In this there are two characters, the good and bad. The two men face off on opposite sides of the light; the one closest to the camera is in the shadow and you can only see his silhouette. The other man is seen in the shape and the focus is on him. The next sequence shows the two in the middle of a flame-like spiral where the light shines up through the shape making both men good. These two scenes show how people can change through recognizing our common bond of humanity giving me a feeling of hope.
Category: #5
e e
woman then she abruptly n follows suit but follows the m and an overhanging platan the woman and the two nd the woman’s intentions ure hangs upside down repreentions which represents why d the other figure sits upright moral and upright intentions. f due to the woman’s actions om her towards the light. This when to walk away from a
oid with a co
ination of
e e
This scene has a S curved wall attached to a cone shaped wall and a platform with a hole as well as a Flame like structure. The focus is on the man inside the flame shaped structure where the light shines on him. The other figure shows a man standing atop the platform looking at the man in the flame. The next scene shows the man in the flame moving towards the darkness as the man on the platform is now standing in the light of the hole. These scenes and space have flow and signifies the natural progression of people and how we are moving in and out of the darkness and into light and back to darkness. These scenes give me the feeling of acceptance and letting things happen and flow.
This shows a curved wall standing straight up. While it seems simple it gives a very unique look of depth. It also creates an interesting contrast in relation to the figure’s silhouette. The figure is facing the vertical structure making the structure appear very tall. This scene gives me a feeling of curiosity due to the top of the structure being out of frame.
Category: #5 Curved vertica surface
A 4 ’w id e
A 8 ’w id e 51 1479
Category: #5 Curved vertica surface with an u
e e
e e
e e
e e
er oor
e e
This scene consists of a curved structure going up towards a platform that has a curved ceiling that creates a very appealing look and flow. The figures are shown at the bottom then at the top where they are congregated under the curved roof. This scene makes me feel groovy due to the curvy lines that make up this structure.
52 1480
Category: #5 Curved vertica surface with a void
This space shows a void with a curved wall erected upwards through the narrow opening in the ceiling. The figure is very small in this sequence due to the vast space and height of the curved wall. This sequence gives off a feeling of emptiness.
e e
e e
e e
e e
e e
Category: #55 acing Curved vertica surface
The S curved wall is placed vertical and has no other structure. The figure is a scene facing the wall. This also gives the feel of emptiness but more with a sense of peace as well.
e e
e e 53 1481
Category: #56 H anging curv ed surfaces
e e
e e
e e
This sequence uses multiple complex shapes and after each sequence the hanging structure takes its place on the ground where it seems to flow the best with the other curves. The figure remains in the same location the whole sequence. This sequence impresses me with the lines and the useof of scoring to create very abstract shapes. e e
Category: #57 Surfaces with convexities and concavities
e e 54 1482
e e
Using complex shapes by scoring these sequences shows structures that seem to belong together like a puzzle piece. The figure shows how he would be able to freely move through or around these structures by positioning the figure in open positions. This sequence gives me a sense of calm due to the satisfying nature of the flowing shapes.
Category: #58 A sphere with a strong center and centripetal force
e e
e e
e e
A foam ball and curved walls accentuating the spheres size creates the effect of gravity. A figure is perched on the curved walls ledge where a gazes at the sphere then he is eventually sucked into the shape head first due to the “strong centripetal force”. I have great feelings of wonder while observing this scene with the way the lines of the walls complement the sphere really hits. e e
Category: #59 Surfaces that are twisted and free
Self supporting curved structures are what can be seen here which were a product of toying around with scoring. The figure’s position creates a focus while looking at these overwhelmingly horizontally curved structures. The figure’s vertically positively breaks up the scene by adding another dimension. This scene has a very natural element to it that gives me a very pleasant feeling and I find it appealing.
e e
e e
e e
55 1483
K i nl e i g h M i l l e r Port fo l i o
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What I learned...
Project #1 “Wall, Column, and Space” - What I learned while doing the Wall, Colomn, and Space project was how to manage my time and patience. This assignment was repetitive and it felt like I was taking picture after picture and cutting constantly. I learned how to manage my time to where I wasn't staying super late to finish but I was also getting it done correctly and on time. Project #2 “Hand Drawing” - What I learned from the hand drawing projects was how to draw in a one-point perspective and also a two-point perspective. I also learned what a blind contour is and that I need to practice drawing those more. What I learned the most about the project was during the outdoor sketches. These taught me to think further than drawing what I see and to try and capture what I hear and see while also the feeling of the landscape. Project #3 “Power of Patience” - The main thing that I took from this project was patience, even though the purpose of this assignment was to learn patience. I learned how to look more in-depth at a painting and to see further than just how aesthetically pleasing it is. I now know what the design elements and principles are and how to look for them in different paintings and artworks. Project #4 “Space Cube” - What I learned from the space cube projects was how important iteration is. While doing this many different times even though it felt repetitive, it helped me create the best and most efficient model. Doing things over and over again may not feel like you are getting very far but in reality, it really helped me see the best view of what I wanted my outcome to look like in the final model. Project #5 “First Portfolio” - What I learned during this project was how to use AI. I had never used AI prior to this assignment so it was a new experience for me and overall just cool to learn. Even though it wasn't always easy or wasn't working correctly, it still allowed me to get a feel of how it works and what it can do to create different things. Overall - Overall, I learned time management, patience, and many different skills. First coming into this course I was nervous about the workload or how I would be able to accomplish everything during such a small time frame. While being here I figured out that while it was time-consuming and took a lot of effort it is more than doable. Focusing on my time management is what really helped me set a pace and feel like I was able to stay on track. If you could talk to you before these five weeks, what would you like to share with you? - If I could talk to you before these five weeks I would tell myself not to stress so much about how you're going to get all my work done and that yes, it is time-consuming but it was honestly quite fun and you meet great people.
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Category #1: Facing surface Category one shows the wall moving around the human figure and blocking its view. When the wall moves completely in front of the figure it blocks its path. The wall moving affected me because I was walking in a straight path and the wall moved directly in the way.
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Category #2: Facing edge In this category the walls edge is facing the figure and shifts to be directly in front of the human figure. When the wall changes place the figure cannot continue forward. With the wall in front of the figure it cannot move forward so it will have to either step to the left or right of the wall to continue.
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Category #3: Blocking wall The pictures illustrate the wall moving from the left to be directly in the view of the figure. As the wall moves it forces the figure to change direction or turn around. I could walk forward when the wall was to the left of me but then it moved right in front of me and I felt like I had to change direction.
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Category #4: Passing the blocking wall These picture show how the human figure is walking right past the blocking wall and going forward. The wall starts in front of the figure but as it moves forward the wall ends up behind the human. Since the wall did not get in my way then I felt like I could just keep walking forward.
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Category #5: Aligned Wall Category 5 shows the aligned wall gradually getting closer to the man until its right in front of him. As the wall moves closer to the figure, the path forward is blocked. I felt like now that the wall in front of me I can see both sides without having to move.
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Category #6: Passing the aligned wall In these pictures the human figure is walking past the aligned wall until he gets to the other side. The human walks forward without the wall obstructing his path. The human walked forward without any interaction but could not turn left since the wall was in the way.
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Category #7: Walls with different heights These photos illustrate the wall getting bigger until it obstructs the human figures view. As the wall gets taller the human figure is cut off. When the wall was small I felt like it wasn’t a problem but the bigger it got it just obstructed my view.
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Wall with 7ft
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Category #8: Floating and faced Wall In these pictures the floating wall starts low to the ground and progresses upward and shows what is behind. As the wall changes it allows for the figure to see what’s behind the wall. This made me feel relief because the wall was removed from the pathway and created an open space.
1ft high floating wall
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4ft high floating wall
5ft high floating wall
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8ft high floating wall
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Category #9: 8ft high floating and aligned wall Category nine shows a floating aligned wall hover closer to the figure. As the walls change the figure doesn’t. The floating wall is nerve racking because it adjusts to the top of the figures head.
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Category #10: 8ft high floating and faced wall In these eight pictures the floating wall is moving towards the center of the space obstructing the view. When the wall moves further in the space becomes smaller. The wall moving in makes the space feel smaller and like the wall is closing in.
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Category #11: floating horizontal surface The horizontal surface moves from left to right over the human figures head. The wall doesn’t obstruct the figure at all. Since the wall is not in the way it makes me feel comfortable and able to move around freely.
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Category #12: Horizontal surfaces with different heights The horizontal surface of these photos is moving downward in front of the human figure. As the surface moves it changes the view for the human. The human cannot move forward since the surface is moving so he will have to around the hole.
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7ft high horizontal surface
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Category #13: Wall surface with an incline As the incline adjusts it changes the perspective of the human figure. As the walls move the figure becomes obstructed. Since the surface moved up and over I had to opportunity to move in any direction.
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Category #14: Inclined wall The inclined wall gradually elevates upwards and blocks that direction for the human figure. The changes the direction in which the figure can go. When the wall stands up tall it causes me to change direction and go forward instead.
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Category #15: Floating wall surface facing edge with an incline The floating surface moves at an incline hovering over the figures head. The surface inclining created more space for the human figure. When the wall moved it made the space feel more open and like I had more space to move freely.
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Category #16: Inclined surface to a facing wall The inclined surface gradually gets higher and higher from the human. As it gets higher it Un obstructs the figures view. When the incline is at its highest the figure has more room to move around and even walk forward.
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Category: #17 Inclined ramp to facing wall These photos illustrate a ramp that is inclining in front of the human. The inclining wall obstructs the huma figures view. When the wall get higher it creates a barrier so that figure cannot move forward and would have to go right or left.
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Category: #18 One Column -The two pictures from category 18 show the man walking past a column from two different angle. The view changed and gives a different perspective of the human figure. The change of perspective gives me two separate views allows me to see the area more openly.
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Category: #19 Two Columns In this category the human figure is passing two vertically aligned columns and two horizontally aligned columns. When the figure walks forward he passes between the two columns and the next picture he walks right by them. Walking between the two columns makes me feel like I’m entering a space and walking beside them makes me feel like I am walking right past the opening.
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Category: #20 Three Columns The first photo illustrates the figure walking past three vertically aligned columns and the second is walking in between them. The second photo shows the human figure intertwining in between the columns while the first one he is just walking beside them. Walking in between the columns give the sense that the figure is trapped other than walking beside the columns.
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Category: #21 Four Columns -These pictures show how the columns are wide and spread apart and how they become more narrow. The first photo the human figure has more space, while in the second he’s directly in between two columns. The wider columns give a more open space while the narrow ones make me feel scrunched together.
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Narrow
Category: #22 One Wall and One Column Category 22 shows a series of photos where the human figure stands in between a wall and a column. The closer the wall and column get together the figure gets closer to the wall as well. When the column is far from the wall it makes the place feel more open.
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Category: #23 One Wall and two Columns -The first picture shows two columns and an aligned wall, while the other two have a wall facing the figure with two columns. This changed the direction in which the figure is moving. I feel like the human figure has a straight path in the first picture but it cut off and forced to change paths in the second and third.
Condition 1: aligned wall and vertically aligned columns
Condition 2: facing wall and vertically aligned columns
Condition 3: facing wall and horizontally aligned columns
Category: #24 Two Walls and two Columns The two pictures show two different angles of the man standing beside the wall and columns. The perspective of the man is shifted between the two pictures. The two pictures show different views and allow more comprehension of what is happening.
Columns aligned vertically with perpendicular walls
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Columns aligned horizontally with perpendicular walls
Category: #25 Two Walls and two Columns with two lighting conditions_01 These photos illustrate the difference of a man walking by walls and columns with bright light and dimmer light. The view of the human figure is obstructed because of the change in light. I feel like the room becomes smaller once the lights are changed
Walking between vertically aligned columns and perpendicular walls with lighting behind Figure
Walking between vertically aligned columns and perpendicular walls with lighting behind wall
Walking beside vertically aligned columns and perpendicular walls with lighting behind Figure
Walking beside vertically aligned columns and perpendicular walls with lighting behind wall
Walking beside vertically aligned columns and extended perpendicular walls with lighting behind Figure
Walking beside vertically aligned columns and extended perpendicular walls with lighting behind wall
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Category: #26 Two Walls and two Columns with two lighting conditions_02 -This category demonstrates the human figure walking in between two walls and beside columns. The view of the figure is obstructed because of the change in light and movement of the walls. This feels like the space is not as open as it is when the light is brighter and the walls are spread out more.
Passing horizontally aligned columns to enter the space between two walls with lighting behind Figure
Passing vertically aligned columns to enter the space between two walls with lighting from the inside space
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Passing horizontally aligned columns to enter the space between two walls with lighting from the inside space
Passing vertically aligned columns to enter the space between two walls with lighting behind Figure
Category: #27 Two Walls and two Columns with two lighting conditions_03 These photos illustrate a series of walls and columns where the human figure is walking to the end of the room. As the lighting changes the view of the human figure changes. I feel like the wider the columns and walls are from each other the more space is created other than everything being right next to each other.
Passing vertically aligned columns to pass a narrow opening between two walls with lighting behind Figure
Passing vertically aligned columns to pass a narrow opening between two walls with lighting from the inside space
Passing vertically aligned columns to pass an intermediate opening between two walls with lighting behind Figure
Passing vertically aligned columns to pass an intermediate opening between two walls with lighting from the inside space
Passing horizontally aligned columns to pass a wide opening between two walls with lighting behind Figure
Passing horizontally aligned columns to pass a wide opening between two walls with lighting from the inside space
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Category: #28 Vertically aligned Two Walls and two Columns -The two pictures show two aligned walls and columns in between them. The view of the huma figure changes between the two photos as he is walking through. I feel like I could walk forward through the columns and past the walls without any disruptions.
Between walls, walking
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Between columns, walking
Category: #29 Space composed with 5+ columns and 2 walls This category shows the man moving around five different columns and two walls. The view of the human figure is obstructed in each picture and has a different view. The walls make me feel blocked off and like I have to chose a different direction.
Top view of the space composed
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Category: #30 Faced wall with Connected wall These photos illustrate the movement of a wall in front of the human figure. The view and human figure are not obstructed by this movement. As the wall gets bigger it opens up the space making me feel more comfortable to have room to move around.
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Category: #31 Aligned wall with Connected wall The aligned wall with the connected wall starts out with a smaller angle and slowly progresses into a bigger angle. The view of the human figure becomes wider each time the walls expand. The room feels very tight and small when the angle is smaller and gradually gets bigger as it increases.
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Category: #32 Facing the connected edge of two walls The category illustrates the two walls connected expanding wider with every picture. This changes the background of the human figure and makes the small fill up more. I feel like the walls are getting bigger when they expand outward and leave less space.
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Category: #33 Three connected walls The photos show the figure standing in a wide room with three walls and a more narrow room. The more narrow the room the closer the view of the human figure is. I feel like the wider room makes it seem like there is more space rather than the narrow room.
Wide-facing wall with two wings
Narrow-facing wall with two wings
Category: #34 Curved wall inside This category shows pictures of a curved wall in three different sizes. The human figure stands in front of the curved walls and doesn’t change. The bigger the wall gets the bigger the space feels. When the wall gets taller it elevates the space and also makes it feel taller.
Small-curved and 8ft height
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Small-curved and 16ft height
Large-curved and 8ft height
Category: #35 Curved wall outside The curved wall starts in front of the human figure and shifts to the right. When the wall is in front of the figure its view is obstructed until it moves to the side. The curved wall being in front of the human figure makes me feel like I need to go around the wall.
Facing Small-curved and 8ft height
Passing Small-curved and 8ft height
Facing Small-curved and 16ft height
Passing Small-curved and 16ft height
Facing Large-curved and 8ft height
Passing Large-curved and 8ft height
Facing Large-curved and 16ft height
Passing Large-curved and 16ft height
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Category: #36 Curved Walls and Flat Walls -These pictures show a curved wall next to a flat wall and how the curved wall is adjusted. When the wall is turned away the human figure is hidden behind the walls until the wall opens up. The human figure can see more of the space when the curved wall is opened up and not closed off.
Facing a flat wall (8fh height) while passing a curved wall (8fh height)
Entering a space between a flat wall (8fh height) and a closed-curved wall (8fh height)
Entering a space between a flat wall (8fh height) and an opened-curved wall (8fh height)
Your coordination in height and openness.
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Entering a space between a flat wall (8fh height) and a half opened-curved wall (8fh height)
Category: #37 Entering into a space between Parallel Curved Walls -This category shows pictures of the human figure walking in between two different curved walls. The human figure is hidden when the walls are faced away but when they are opened up the figure can see the whole space. I feel like I’m walking into a tunnel since the walls are so close together and narrowed together like it’s creating a pathway.
Small-curved and 8ft high outside
Small-curved and 16ft high outside
Large-curved and 8ft high outside
Large-curved and 16ft high outside
Small-curved and 8ft high inside
Small-curved and 16ft high inside
Large-curved and 8ft high inside
Large-curved and 16ft high inside
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Category: #38 Entering a space between curved mirror walls_01 These pictures show a man walking in between curved walls that are different sizes. As the walls get closer together the view of the human figure is obstructed. When the walls get more narrow it makes the space feel tight and uncomfortable.
Small-curved and 8ft height
Large-curved and 16ft height
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Small-curved and 16ft height
Large-curved and 8ft height
Category: #39 Entering a space between curved mirror walls_02 The photos illustrate a space between two curved walls that gradually get taller and bigger. As the lighting changed the view of the human figure was obstructed. When the walls get taller the space feel smaller and harder to walk through.
Small-curved and 8ft high with inside lighting
Small-curved and 8ft high with outside lighting
Small-curved and 16ft high with inside lighting
Small-curved and 16ft high with outside lighting
Large-curved and 8ft high with inside lighting
Large-curved and 8ft high with outside lighting
Large-curved and 16ft high with inside lighting
Large-curved and 16ft high with outside lighting
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Category: #40 One curved wall and one column These two pictures show the figure walking in between a wall and a column. The figure is hard to find when behind the wall rather than in front. When the figure is behind the wall it feels like he is cut off from the rest of the room rather than when in front and can see the space.
Entering a space between a column and curved wall outside
Entering a space between a column and curved wall inside
Category: #41 One curved wall and two columns This category shows the human figure walking past two columns and another figure. One of the figure’s doesn’t change while the other looks like it is walking behind the wall. The two vertically aligned columns make me feel like they are creating a pathway for the human figure to walk through.
Entering a space between a column of two horizontally aligned and curved wall outside
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Facing the outside of a curved wall with two horizontally aligned columns with insufficient space between them
Entering a space between a column of two vertically aligned and a curved wall outside
Category: #42 Role of a column between Curved and flat walls -The photos show the human figure walking in between and column and a curved wall. The figure is obstructed when he is standing behind the wall. The columns and the curved walls make me feel like they are leading into a tunnel.
Entering a space between two parallel curved walls, with a column in front of the outer curved wall
Entering a space between a faced flat wall and a curved wall, with a column in front of the flat wall
Entering a space between two parallel curved walls, with a column in front of the inner curved wall
Entering a space between a parallel flat wall and a curved wall, with a column in front of the flat wall
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Category: #43 Curved connection This series of pictures shows a curved wall behind the human figure that is gradually expanding wider. The human figures view expands as the wall gets bigger. I feel like when the wall is opening up it is also making the space feel bigger.
Follow two flat walls that are connected at an angle of 60 degrees smoothly
Follow two flat walls that are connected at an angle of 150 degrees smoothly
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Follow two flat walls that are connected at an angle of 90 degrees smoothly
Follow two flat walls that are connected at an angle of 120 degrees smoothly
Category: #44 Curved wall and S-curve wall This category shows two different sizes of S shaped walls. With the bigger walls the human figure is smaller and harder to see. The smaller S-shaped walls feel like walking through a tunnel, where as the taller walls make the room feel much bigger.
Curved wall and S-curve wall 8ft high with inside lighting
Curved wall and S-curve wall 8ft high with outside lighting
Curved wall and S-curve wall 16ft high with inside lighting
Curved wall and S-curve wall 16ft high with outside lighting
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Category: #45 1 point perspective pictures: Void on the upside These photos show the human figure standing under a celling with different shaped holes in it. The human figure is easily found when under the light but when he is not it is hard to see him. The light shining through the hole in the celling gives the idea of a spotlight.
A 4’x4’ square void with a height of 8ft
A 8’ diameter void with a height of 8ft
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A 8’x8’ square void with a height of 8ft
A 4’ diameter void with a height of 8ft
Category: #46 Void on the upside with columns or walls These photos show the figure walking through a room with a celling, columns, and a flat wall. The human figure is easily seen when under the light but not so much when in the dark. The room feels smaller since there is a celling and the wall and columns are so close together.
A 8’x8’ square void with columns
A 8’x8’ square void with a facing wall
A 8’x8’ square void with a passing wall
View for A 4’x4’ square void with a flat wall aligned with one side and two columns aligned with the opposite side
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Category: #47 Void on the downside with columns or walls This category’s photos show the human figure standing in front of a square in the floor. As the lighting differs in each picture so does the view of the human figure. This room feels very dark and compact because of the hole in the floor and lack of lighting.
A 8’x8’ square void with a facing wall and light from upper floor
A 8’x8’ square void with a facing wall and light from side
A 8’x8’ square void with a facing wall and light from lower floor
A 8’x8’ square void with a passing wall and light from side
A 8’x8’ square void with a passing wall and light from lower floor
A 8’ diameter void with light from lower floor
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Category: #48 Void on the upside with combinations of columns or walls These pictures show the human figure standing in a room of walls and columns. The human figure’s view and angle is changed in every photo. The room is very open and light and makes me feel like there is plenty of space.
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Category: #49 Void between Floating Surfaces These photos illustrate two floating surfaces above one human figure. The angle of the human figure changes and is sometimes obstructed by the floating surfaces. The set up of the floating surfaces makes me feel like the room is very big.
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Category: #50 Void between curve-linear Surfaces This category shows an organic pattern cut out in the celling over the human figure. The hole in the celling adds light into the room and helps highlight the human figure. This makes me feel like its a big space and the celling makes the room more fun.
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Category: #51 Void with a combination of These pictures are of the human figure standing in a room of walls and columns spread periodically. The human figure’s view isn’t changed much. This room makes me feel like I can walk in any direction without any obstacles in the way.
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Category: #52 Curved vertical surface These photos illustrate the human figure standing in front of a 4’ wide curved wall and an 8’ wide. The human figure looks smaller when standing in front of the wider wall. The wider the wall is it makes the room feel larger.
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Category: #53 Curved vertical surface with an upper floor These photos demonstrate different angles of a curved wall with a floating floor. The view of the human figure is obstructed when standing under the wall or behind it. The photos make me feel like the room is spacious when standing on the floor, but claustrophobic when standing on the higher floor.
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Category: #54 Curved vertical surface with a void This category shows a curved vertical wall going through a void with different lighting. With the different lighting the view of the human figure changes and is harder to see. With the curved wall in the middle of the room it makes the room feel much smaller.
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Category: #55 Facing Curved vertical surface The pictures in this category show a curved vertical structure going up and going down. As the wall shifts into the second picture it obstructs the view of the human figure because of the lighting. With the void in the celling it allows more light into the room and makes me feel better and makes it feel like the room is bigger. When the wall covers the lighting it makes the room darker and seem smaller.
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Category: #56 Hanging curved surfaces These photos show a series of curved walls surrounding the human figure. When the wall curves over the figure it creates a smaller space rather than when the curve is hanging from the celling. The handing curves make me feel like the room is larger and makes it more exciting rather than having blank walls.
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Category: #57 Surfaces with convexities and concavities This category shows different pictures of large curved walls in different positions and angles. The view of the human figure is obstructed when the lighting is darker and harder to find. This room makes me feel because the walls are so large and overwhelming.
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Category: #58 A sphere with a strong center and centripetal force These pictures show different angles and views of a sphere. When the human figure is standing next to the sphere it makes it seem smaller since the sphere is larger. When the sphere is hanging from the celling it makes the room feel bigger.
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Category: #59 Surfaces that are twisted and free These series of photos show different angles and views of surfaces that are twisted and doing their own thing. The view of the human figure is sometimes obstructed depending on the curve or surface. This makes me feel excited and like the room is very creative and fun.
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Caroline Mutschler Port foli o 1538
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What I learned...
Project #1 “Wall, Column, and Space” From this project, I learned the importance of space that is created using different architectural elements. A single space can be turned into many when walls are added that create division. Specific direction can be applied with the use of columns and different heights and angles of walls. Overall, I learned that the position of objects is what makes a space unique and evokes certain feelings to a person. Project #2 “Hand Drawing” From this project, I learned the importance of perspective and how that perspective affects how a viewer perceives the information being communicated. I learned the significance of color and why it is important to know how colors react with each other. In design, specific colors are paired with each other to create a unique feeling. It is a form of communication between the designer and the viewer. Project #3 “Power of Patience” From this project, I learned patience is the most efficient way to grasp a full understanding of a piece of art. When viewing design at first glance, it is hard to truly understand the complexity within it. After applying yourself for sometimes hours at a time, it is then when you finally understand the artists intent behind the work or feel the emotions they felt while designing. After staring at my selected artwork for three hours, I had noticed and felt so much more towards the art than I had at first. Project #4 “Space Cube” From the project, I learned spatial awareness and how to incorporate many phases into a small space. Iteration was a common theme throughout this project since I had to repeat many process and create different versions of almost everything I made. I learned how to create a floor plan and why it is necessary to have different line weights to successfully communicate with other designers. I gained an understanding of craftsmanship and was able to visually see progression from the beginning to end. Project #5 “First Portfolio” From this project, I got to experience the complexities of AI. Taking my own creations and having the opportunity to generate a realistic image of them showed me how AI will benefit designers in the future. AI acts as a medium to help when you don’t have a complete vision for a space, but a general idea for how you want it to look. However, without aspects of human design and creativity, our buildings and spaces will lose their sense of intended emotion. Overall Throughout my five week journey, I have learned such a large amount of information when it comes to design. From color schemes to designing buildings with AI, design is everywhere. Not only have I learned beneficial design techniques, but I have also learned time management that allows me to develope my best quality of work within a small amount of time. I have developed a wide variety of skills that will stay with me for the rest of my career in design.
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Category #1: Facing surface These ten photos demonstrate the gradual movement of the wall as it shifts at certain angles, eventually being positioned directly in front of the human figure. As the wall moves, the human figure eventually becomes obstructed. These changes sparked stress inside me as I quickly had no room to move forward once the wall reached 90 degrees.
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Category #2: Facing edge Ten photos demonstrate the movement of the wall as it shifts from being perpendicular to the human figure’s eyesight, to being parallel. As the wall moves, the human figure’s eyesight becomes divided into two sides. The wall’s movement gave me a sense of division as it gradually divided me into two halves. I felt the urgency to choose a side to join.
0 degree
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90 degree 5 1541
Category #3: Blocking wall Eleven photos illustrate a wall gradually sliding, eventually blocking the human figure. As the wall shifts to the right, it eventually blocks the human figure, completely. As the wall began to slide towards me, I felt the need to, also, move to the right in order to avoid it, but once it was right in front of me, I felt like I couldn’t move forward.
Opened level 1
Opened level 2
Opened level 3
Opened level 4
Block level 1
Block level 2
Block level 3
Block level 4
Block level 5
Block level 6
Block level 7
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Category #4: Passing the blocking wall Five photos demonstrate the human figure passing a wall that was in its way. As the figure approaches the wall, it goes to the right of the wall in order to pass it completely, leaving it behind. Walking past the wall that was once blocking me, I feel powerful and successful because I was able to get past what was once stopping me.
Passing level 1
Passing level 2
Passing level 3
Passing level 4
Passing level 5
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Category #5: Aligned Wall Five photos demonstrate a wall, parallel with the human figures eyesight, gradually moving and eventually lining up with the figure. As the wall gets closer to the figure, it obstructs the left side of the figure’s vision because it blocks it out entirely. I feel confused as the wall gets closer to me because I can gradually see less of what is to the left of me.
Closed level 1
Closed level 2
Closed level 4
Closed level 5
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Closed level 3
Category #6: Passing the aligned wall Six photos demonstrate the human figure passing the wall that was aligned with its vision and eventually getting to the other side of it. As the figure walks forward, it is eventually free from the wall. After walking the entirety of the wall and passing it, I felt a sense of relief that I could now go wherever I wanted.
Passing level 1
Passing level 2
Passing level 3
Passing level 4
Passing level 5
Passing level 6
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Category #7: Walls with different heights Nine photos demonstrate a wall gradually growing in height right in front of the human figure. As the wall gets taller, it entirely obstructs the figure. When the wall was still short (less than 5ft), I felt like I could jump over it, but when it reached 6ft, I could no longer jump over and I felt like I couldn’t move forward anymore.
Wall with 1ft
Wall with 2ft
Wall with 3ft
Wall with 4ft
Wall with 5ft
Wall with 6ft
Wall with 7ft
Wall with 7ft
10 1546
Category #8: Floating and faced Wall Eight photos illustrate a wall gradually moving vertically and eventually allowing the human figure to pass. As the wall lifts up, the figure is able to move forward underneath it. At first, when the wall was still low (1ft-4ft), I felt I couldn’t move past the wall, but when it rose higher, I felt that I could easily move forward by passing under it.
1ft high floating wall
2ft high floating wall
3ft high floating wall
4ft high floating wall
5ft high floating wall
6ft high floating wall
7ft high floating wall
8ft high floating wall
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Category #9: 8ft high floating and aligned wall Four photos demonstrate how a floating wall changes as it moves above the human figure. As the wall shifts to the right, it eventually aligns with the figure directly below it. As this wall moves above me, I feel unbothered since I am still able to move freely.
Alignment level 1
Alignment level 4
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Alignment level 2
Alignment level 3
Category #10: 8ft high floating and faced wall Eight photos illustrate a floating wall moving above a human figure, and how the wall changes position. As the wall moves to the right, it eventually hovers directly above the figure, perpendicular to the figure’s line of sight. As the wall gets closer, I feel like my upwards line of sight is decreasing because the wall is obstructing my upwards vision.
Overlap level 1
Overlap level 2
Overlap level 3
Overlap level 4
Overlap level 5
Overlap level 6
Overlap level 7
Overlap level 8
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Category #11: floating horizontal surface Six photos demonstrate a horizontal surface as it moves over a human figure. As the surface moves to the right, it gradually obstructs the figures upward vision almost entirely. The surface makes me feel small because it gives the feeling it is coming down on me and that I can’t see up and past it.
Overlap level 1
Overlap level 2
Overlap level 3
Overlap level 4
Overlap level 5
Overlap level 6
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Category #12: Horizontal surfaces with different heights Twelve photos illustrate how the height of a floating, horizontal surface changes vertically. The surface starts higher than the figure, but gradually shifts downward until eventually it is below the figure’s level. When the surface was above me, I was curious as to what it looked like from above, but as it came down and eventually went below me, I felt confused as to where it could be going.
8ft high horizontal surface
7ft high horizontal surface
6ft high horizontal surface
5ft high horizontal surface
4ft high horizontal surface
3ft high horizontal surface
2ft high horizontal surface
1ft high horizontal surface
-1ft high horizontal surface
-2ft high horizontal surface
-3ft high horizontal surface
-4ft high horizontal surface 15 1551
Category #13: Wall surface with an incline Eight photos demonstrate how the angle of a wall, moving around the human figure, changes. As the angle of the wall increases, it shifts from above the figure, to the left of it. The wall’s movements from above and down to the left give a sense of protection as it seems like a shield.
10 degree
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Category #14: Inclined wall Six photos illustrate how the incline of a wall changes next to a human figure. As the wall gradually stands up at an incline, it eventually starts to align with the figure. When the wall was at it’s lowest incline, I had the possibility of moving to the left, but as it started to become steeper, I lost the opportunity to move to the left because it became too tall.
Inclined level 1
Inclined level 2
Inclined level 3
Inclined level 4
Inclined level 5
Inclined level 6
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Category #15: Floating wall surface facing edge with an incline Six photos illustrate the movement of a surface at different inclines and eventually becoming a wall. As the surface gains more of an incline and raises above the human figure, it frees up space around the figure. When the surface was to the right, I wasn’t able to go to the left, but as it shifted up, I felt more free since I could move in any direction.
Inclined level 1
Inclined level 2
Inclined level 3
Inclined level 4
Inclined level 5
Inclined level 6
18 1554
Category #16: Inclined surface to a facing wall Nine photos demonstrate the change in angles of a surface that eventually turns into a wall. As the surface’s angle increases, it turns into a facing wall that obstructs the human figure. Once the surface had completely turned into a tall wall, I felt like I didn’t have the ability to move forward.
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Category: #17 Inclined ramp to facing wall Nine photos illustrate the changes in angles of a ramp that gradually turns into a wall. As the ramp’s angles increase, it obstructs the human figure’s ability to move forward. At first, I felt that the ramp was inviting and that I could walk forward on it, but as it grew steeper, I discovered I wouldn’t be able to walk on it because it was too much of an incline.
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Category: #18 One Column Two photos portray two different angles of a column. As the point of view moves from behind the human figure to the left of it, two different angles are captured from a one point perspective. Looking at the side angle, I feel more alone because the darkness is emphasized and greater from this side.
Front
Side
Category: #19 Two Columns Two photos demonstrate the changes in direction of two columns. When the columns are horizontal, the human figure is moving through them, but when they are vertical, the figure is walking past them. I feel the ability to walk through something as if I am entering an area when the columns are horizontal and when they are vertical I feel as if I am walking a long distance and they are markers.
Vertical
Horizontal
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Category: #20 Three Columns Two photos demonstrate the changes in position of three columns. As the walls change from vertical to horizontal, the human figure shifts from walking past the columns, to walking through them. The change in position of the columns makes me feel as if I am being led to something or following a path.
Vertical
Horizontal
Category: #21 Four Columns Two photos illustrate the change in position of four columns. The columns start wide and end up closer together around two human figures, limiting the space around them. As the columns move in, I feel as if I am being confined since I have less room around me while walking forward.
Wide
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Narrow
Category: #22 One Wall and One Column Eight photos illustrate the movement of a column next to a stationary wall. As the conditions increase, the column moves positions and moves closer or farther from the human figure. When the wall was on the right side, I felt I had access to the wall, but when it moved close to the wall I felt that it took away proximity from the wall and me.
Condition 1
Condition 2
Condition 3
Condition 4
Condition 5
Condition 6
Condition 7
Condition 8
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Category: #23 One Wall and two Columns Three photos demonstrate the change in movement of one wall and two columns around a human figure. When the columns and wall were horizontally aligned to the figure, it could pass through them, but when the columns were vertical, along with the wall, the figures area to move forward was limited. The horizontal wall and columns made me feel as if I had less space to move around and the vertical columns and wall made me feel that I could continue walking forward.
Condition 1: aligned wall and vertically aligned columns
Condition 2: facing wall and vertically aligned columns
Condition 3: facing wall and horizontally aligned columns
Category: #24 Two Walls and two Columns Two photos demonstrate the change in perspective of two walls and two columns. When the perspective is on the left side, the human figure can walk through the two walls, but when the perspective switches to the right, the human figure is obstructed by the wall. On the left I feel that I am walking straight down a hallway to a new area, but on the right side, I feel like I am stuck in the specific area.
Columns aligned vertically with perpendicular walls
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Columns aligned horizontally with perpendicular walls
Category: #25 Two Walls and two Columns with two lighting conditions_01 Six photos illustrate the change in position of two columns around two stationary wall as well as a change in lighting conditions. When the columns are on the left of the human figure, his movement to the left is obstructed whereas when the columns are on the right, he has free movement to the left. As the lighting conditions shift, the figure is either lit up, or facing the light coming from another space. I feel a sense of curiosity as the light comes from another area and a sense of comfort when it is shining on my side of the room.
Walking between vertically aligned columns and perpendicular walls with lighting behind Figure
Walking between vertically aligned columns and perpendicular walls with lighting behind wall
Walking beside vertically aligned columns and perpendicular walls with lighting behind Figure
Walking beside vertically aligned columns and perpendicular walls with lighting behind wall
Walking beside vertically aligned columns and extended perpendicular walls with lighting behind Figure
Walking beside vertically aligned columns and extended perpendicular walls with lighting behind wall
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Category: #26 Two Walls and two Columns with two lighting conditions_02 Four photos demonstrate the change in position of two columns with two stationary walls and different lighting conditions. When the columns are horizontal, the human figure passes through them and when they are vertical, it passes them. As the lighting changes, the human figure is either lit up, or moving towards the light from another area. Walking past the vertical columns I feel as if I am being led to something and the lighting from another area also emphasizes this feeling.
Passing horizontally aligned columns to enter the space between two walls with lighting behind Figure
Passing vertically aligned columns to enter the space between two walls with lighting from the inside space
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Passing horizontally aligned columns to enter the space between two walls with lighting from the inside space
Passing vertically aligned columns to enter the space between two walls with lighting behind Figure
Category: #27 Two Walls and two Columns with two lighting conditions_03 Six photos demonstrate the change in position of two columns with two walls and different lighting conditions. As the columns move around the area, the human figure is placed in between or around them, as well as being lit up from different light positions. When the lighting is on me I feel comforted, but as it shifts to different positions and puts me in the dark I feel at edge.
Passing vertically aligned columns to pass a narrow opening between two walls with lighting behind Figure
Passing vertically aligned columns to pass a narrow opening between two walls with lighting from the inside space
Passing vertically aligned columns to pass an intermediate opening between two walls with lighting behind Figure
Passing vertically aligned columns to pass an intermediate opening between two walls with lighting from the inside space
Passing horizontally aligned columns to pass a wide opening between two walls with lighting behind Figure
Passing horizontally aligned columns to pass a wide opening between two walls with lighting from the inside space
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Category: #28 Vertically aligned Two Walls and two Columns Two photos demonstrate the change in position of two walls and two columns. At first, the human figure is walking between the two walls and then when the columns shift, the human figure walks between the two columns. Compared to walking through the columns, the walls made me feel more confined and that I had less space to move around in.
Between walls, walking
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Between columns, walking
Category: #29 Space composed with 5+ columns and 2 walls Seven photos demonstrate the change in perspective and lighting conditions of 5 columns and two walls. As the perspective moves, the human figure is positioned in different spots around the columns. Standing on top of the elevated surface, I feel more confident and powerful compared to standing below the surface where I feel smaller.
Top view of the space composed
Sequence phase #1
Sequence phase #2
Sequence phase #3
Sequence phase #4
Sequence phase #5
Sequence phase #6
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Category: #30 Faced wall with Connected wall Nineteen photos demonstrate the change in angle of two connected walls. When the degree of the angle is below 180 degrees, the human figure is enclosed in the area, however when the angle is larger than 180 degrees, the figure is out in the open. As the wall’s angle increases, I feel like I am gradually getting pushed to the outside of the room.
90 degree
100 degree
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210 degree
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270 degree
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Category: #31 Aligned wall with Connected wall Sixteen photos illustrate the changes in angle of two connected walls. As the wall’s angle increases, the human figures are more inside of the space, rather than closed out. When the wall begins to open up, I feel more included in the space because it becomes more wide and inviting.
10 degree
20 degree
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130 degree
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Category: #32 Facing the connected edge of two walls Seventeen photos demonstrate the gradual change in angles of two connected walls. As the wall’s angle increases, it begins to obstruct the human figure’s ability to move to the right. At first, I felt as if I could walk either diagonally to the left or right, but as the wall opened up more, my ability to walk or see to my left was no longer an opportunity.
10 degree
20 degree
30 degree
40 degree
50 degree
60 degree
70 degree
80 degree
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100 degree
110 degree
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130 degree
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170 degree
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Category: #33 Three connected walls Two photos demonstrate the change in width of three connected walls. As the walls got narrower, the human figure became closer to the two side walls compared to when the two side walls were wider. When the two side walls were wide, I felt content but as they started to close in, I felt confined and like I had less room to move around.
Wide-facing wall with two wings
Narrow-facing wall with two wings
Category: #34 Curved wall inside Four photos demonstrate the change in size and height of curved walls. As the curves get larger and taller, the human figure appears to become smaller compared to its surroundings. When the wall was 8ft and small, I felt confined but when it got taller and larger, I felt that I had more space to move around.
Small-curved and 8ft height
Large-curved and 16ft height 36 1572
Small-curved and 16ft height
Large-curved and 8ft height
Category: #35 Curved wall outside Eight photos illustrate the change in size and height of the back side of a curved wall. The human figure faces the wall that is obstructing it and then passes to the left side of it. Standing in front of the wall, I felt that I couldn’t move forward so I then passed to the side of it in order to move around the obstruction.
Facing Small-curved and 8ft height
Passing Small-curved and 8ft height
Facing Small-curved and 16ft height
Passing Small-curved and 16ft height
Facing Large-curved and 8ft height
Passing Large-curved and 8ft height
Facing Large-curved and 16ft height
Passing Large-curved and 16ft height
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Category: #36 Curved Walls and Flat Walls Five photos demonstrate a flat wall and the change in position of a curved wall as well as different lighting conditions. The two walls create an opening around the human figure and the lighting shows whether the figure is entering or exiting the space. When the light was coming from inside the space, it made me feel intrigued and welcomed to the space. The curved wall made the space feel like a hallway and an easy path to follow. Being in between the two curves of the wall on the right made me feel confined to the area.
Facing a flat wall (8ft height) while passing a curved wall (8ft height)
Entering a space between a flat wall (8ft height) and a closed-curved wall (8ft height)
Entering a space between a flat wall (8ft height) and an opened-curved wall (8ft height)
Entering a space between a flat wall (16ft height) an opened curved wall (8ft height)
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Entering a space between a flat wall (8ft height) and a half opened-curved wall (8ft height)
Category: #37 Entering into a space between Parallel Curved Walls Eight photos illustrate the entrance and inside space of two curved walls with different heights, as well as different lighting conditions. The human figures are position within each of the curved walls on the inside and entrance of the space. In the entrance of the space I feel invited because of the glow and curve of the walls that add suspicion. In the inside of the space I feel confined and like I have a specific path to follow.
Small-curved and 8ft high outside
Small-curved and 16ft high outside
Large-curved and 8ft high outside
Large-curved and 16ft high outside
Small-curved and 8ft high inside
Small-curved and 16ft high inside
Large-curved and 8ft high inside
Large-curved and 16ft high inside
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Category: #38 Entering a space between curved mirror walls_01 Four photos demonstrate the change in height and length of two curved walls. As the walls grow in length and height, the human figure appears to become smaller compared to its surroundings. When the walls are 16ft, I feel the urge to look up because they draw my vision upward. When the walls are smaller and shorter, I feel like I have less space to move around.
Small-curved and 8ft height
Large-curved and 16ft height
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Small-curved and 16ft height
Large-curved and 8ft height
Category: #39 Entering a space between curved mirror walls_02 Eight photos demonstrate the change in height and length of two curved walls, as well as different lighting conditions. As the walls grow in length and height, the human figure appears to become smaller compared to its surroundings. When the walls are longer in length, I feel like I have longer of a path to follow compared to when they are short and I can see around them. As the lighting glows from inside the space, I feel compelled to walk in. However, when the light is outside, I feel less of a curiosity to keep walking down the darker hallway.
Small-curved and 8ft high with inside lighting
Small-curved and 8ft high with outside lighting
Small-curved and 16ft high with inside lighting
Small-curved and 16ft high with outside lighting
Large-curved and 8ft high with inside lighting
Large-curved and 8ft high with outside lighting
Large-curved and 16ft high with inside lighting
Large-curved and 16ft high with outside lighting
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Category: #40 One curved wall and one column Two photos illustrate the change in position of a column next to a curved wall. When the column switches from outside the curved wall to inside it, the human figure is position in between the two. In both positions, I feel that the column gives a sense of direction. When it is outside the wall and to the left of me, I feel like walking through the two and when the column is on the inside of the curved wall, I feel like the column makes a curved pathway along the wall.
Entering a space between a column and curved wall outside
Entering a space between a column and curved wall inside
Category: #41 One curved wall and two columns Three photos demonstrate the change in perspective of two columns and one 8ft curved wall. As the perspectives change, the human figure enters a space in between a column and the wall. I feel like the columns help guide me to a pathway around the curved wall and give a sense of structure to the space.
Entering a space between a column of two horizontally aligned and curved wall outside
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Facing the outside of a curved wall with two horizontally aligned columns with insufficient space between them
Entering a space between a column of two vertically aligned and a curved wall outside
Category: #42 Role of a column between Curved and flat walls Four photos illustrate a column in between changing curved and flat walls. As the flat wall moves in front of the human figure, it becomes obstructed. However, when the two curved walls are parallel, the human figure is position in between the two. When the two curved walls are positioned in front of me, I feel like I can walk straight down the pathway, but when the flat was is in front of me, I feel like I can only go left or right.
Entering a space between two parallel curved walls, with a column in front of the outer curved wall
Entering a space between a faced flat wall and a curved wall, with a column in front of the flat wall
Entering a space between two parallel curved walls, with a column in front of the inner curved wall
Entering a space between a parallel flat wall and a curved wall, with a column in front of the flat wall
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Category: #43 Curved connection Four photos demonstrate the movement of two connected walls at specific angles. As the wall’s angles increase, the human figure becomes less obstructed. When the wall’s angles were smaller, I felt more confined in the space but when the walls opened up, I felt like I had more room to move around freely.
Follow two flat walls that are connected at an angle of 60 degrees smoothly
Follow two flat walls that are connected at an angle of 150 degrees smoothly
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Follow two flat walls that are connected at an angle of 90 degrees smoothly
Follow two flat walls that are connected at an angle of 120 degrees smoothly
Category: #44 Curved wall and S-curve wall Four photos demonstrate the change in height and length of an S-curved wall and a normal curved wall with different lighting conditions. As the lighting changed from “inside” or “outside,” the human figure was positioned either facing the light or with its back to it. When the walls were taller (16ft) it made the hallway appear longer even though it was the same size with the shorter (8ft) walls.
Curved wall and S-curve wall 8ft high with inside lighting
Curved wall and S-curve wall 8ft high with outside lighting
Curved wall and S-curve wall 16ft high with inside lighting
Curved wall and S-curve wall 16ft high with outside lighting
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Category: #45 1 point perspective pictures: Void on the upside Three photos demonstrate the change in shape and size of voids on the upside. As the voids grew in size, the lighting around the human figure became bigger and more space was lit up around it. The upper voids made me feel as if I was in a spotlight and like they were putting emphasis on the matter below.
A 4’x4’ square void with a height of 8ft
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A 8’x8’ square void with a height of 8ft
A 4’ diameter void with a height of 8ft
Category: #46 Void on the upside with columns or walls Four photos demonstrate the change in size of a square void and the use of columns and a wall. The human figure is placed under the void where the light shines through and in one of the photos, in between four columns. The columns make me feel like there is emphasis on me when I am in between them, and when I pass the two columns I feel like they are leading me down a path.
A 8’x8’ square void with columns
A 8’x8’ square void with a facing wall
A 8’x8’ square void with a passing wall
View for A 4’x4’ square void with a flat wall aligned with one side and two columns aligned with the opposite side
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Category: #47 Void on the downside with columns or walls Six photos demonstrate the change in shape of voids on the downside with a flat wall and different lighting conditions. The human figure is position to face the wall while overlooking the void below. With the lighting coming from below, it seems as if whatever is below is glowing, which makes it look intriguing. The circle void especially stood out to me as it reflects a circle onto the wall.
A 8’x8’ square void with a facing wall and light from upper floor
A 8’x8’ square void with a facing wall and light from side
A 8’x8’ square void with a facing wall and light from lower floor
A 8’x8’ square void with a passing wall and light from side
A 8’x8’ square void with a passing wall and light from lower floor
A 8’ diameter void with light from lower floor
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Category: #48 Void on the upside with combinations of columns or walls Nine photos illustrate the change in shape and size of voids above a combination of walls and columns. As the shape and size of the void changes, light shines on different parts of the human figure. The walls and columns align in different ways with the figure, positioning the figure in specific spaces. The curved walls make me feel like I am moving down a pathway and the light shining through the voids above draw my attention to the object in the spotlight.
Scene #1
Scene #2
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Scene #9
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Category: #49 Void between Floating Surfaces Five photos illustrate different voids between changing floating surfaces and walls. As the surfaces move, the human figure is positioned in a different level of the space. Certain surfaces and walls obstruct the figure. From each floating surface, I feel like I get a unique point of view that is only visible from that one specific spot. Being above the surface makes me feel bigger and that I can see much more than if I were below.
Scene #1
Scene #2
Scene #4
Scene #5
Scene #3
Category: #50 Void between curve-linear Surfaces Two photos demonstrate a unique-shaped void above the flat surface. Depending on the angle, the human figures are positioned to be on top of the void or beneath it. Looking at the void from below, I feel as if I am in a museum. The size of the void is large which gives the illusion that the lower space is bigger than it seems because I have the ability to look up farther.
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Scene #2
Category: #51 Void with a combination of walls, floating surfaces, and columns Two photographs illustrate a void with the combination of walls, columns, and floating surfaces. The human figures are positioned on the surfaces, elevating them above the ground. This space makes me feel like I am in an abstract space and that I am overlooking the whole are. The curved wall seems to form a hallway that intrigues me to follow since you can’t see the end of it.
Scene #1
Scene #2
Category: #52 Curved vertical surface Two photos illustrate two different sizes of a vertical-curved wall. As the size of the wall gets bigger, more of the human figure is obstructed. The curve in the walls make my vision travel upwards and make me feel small as the curve over me.
A 4’wide
A 8’wide 51 1587
Category: #53 Curved vertical surface with an upper floor Five photos demonstrate different curved-vertical surfaces with other flat upper surfaces. As the flat surfaces intertwines with the curved surfaces, the human figure is either elevated or positioned underneath, in the shadows. When I am above, I feel powerful because I can overlook everything, but when I am below, I feel small and hidden in the shadows.
8’ curved vertical wall with floating surface
16’ wide vertical curved wall with floating surface
16ft wide vertical curved wall with floating surface
8ft wide vertical curved wall with floating surface
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16ft vertically curved wall with two surfaces
Category: #54 Curved vertical surface with a void Five photos illustrate the change in size and placement of a curved vertical surface going through a void. The human figure is either positioned on top of the void, in the light, or below the void, in the dark. When I am above the curved surfaces, I feel like they are leading up to me, and when I am below, they feel like a pathway to follow up to the surface above.
Scene #1
Scene #2
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Scene #4
Scene #5
Category: #55 Facing Curved vertical surface Two photos demonstrate two curved vertical surfaces that lead upwards. The human figure is facing the surfaces, either towards the outward curve, or the inner curve. Looking at the curved surfaces, they bring my eyesight upwards and make me feel like I want to go to the top of them.
Scene #1
Scene #2 53 1589
Category: #56 Hanging curved surfaces Four photos demonstrate the change in position and size of hanging curved surfaces. The human figure is positioned in between the floating surfaces and put in different lighting conditions. Looking upward at the hanging surfaces, I feel small.
Scene #1
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Scene #5
Category: #57 Surfaces with convexities and concavities Two surfaces illustrate the change in placement of different surfaces with convexities and concavities. As the surfaces and walls change, the human figure is placed in between two surfaces/walls and is able to pass through the two. The curved walls seem to form a pathway for me to follow which makes me feel intrigued.
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Scene #2
Category: #58 A sphere with a strong center and centripetal force Four photos demonstrate the change in position of a sphere with a strong centripetal force. The human figure is placed in front of the sphere and is obstructed. The sphere being centered at all times draws my vision to it and makes me feel intrigued to look at it more.
Scene #1
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Scene #5
Category: #59 Surfaces that are twisted and free Three photos demonstrate a variety of surfaces that are hanging and free from attachment. The human figure is placed below each surface and it’s upward vision is obstructed by the floating objects. The floating objects gives me a feeling of mystery and a sense of zero gravity.
Scene #1
Scene #2
Scene #3
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Ava Pat t erson P o rtf l io
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What I learned...
Project #1 “Wall, Column, and Space” - Throughout the Wall, Column, Space section my understanding and knowledge of spatial awareness between different objects became much stronger. I was able to look at a human figure and notice different perceptions based on what was shown in the image. Project #2 “Hand Drawing” - The Hand Drawing Process is one that took more quallity time as well as learning more benefical ways to achieve the look you may want. Rather than just looking at an object and attempting to sketch it, this process has helped me take a deeper look into complex images and create a better understanding. Project #3 “Power of Patience” - The Power of Patience Project taught me it may be a longer process but in the end you see valuable stories, images, and charateristics you may have never uncovered. Project #4 “Space Cube” - The Space Cube project was by far the most intense project these past five weeks. Between every phase of the project we were able to explore the complexties gicing deeper into our creation. Project #5 “First Portfolio” - Through the Portfolio section we were able to explore AI options using our own projects we had created making a more realistic design. Overall - Over these past five weeks the experience has been tough with many challanges and learning curves. I have learned more than I thought I would be capable in such a short amount of time but could not be more thanful for the oppurtunity to becomes more successful in my design career. If you could talk to you before these five weeks, what would you like to share with you? - The process is as rewarding as you make it, time is everything, quality matters, and be creative.
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Category #1: Facing surface In the 10 images photographed you can slowly analyze the wall moving sideways towards the human figure, finally resulting behind the figure. As the wall keeps you can begin to see the real height of the human figure. As I stood to wait the wall to my right just kept creeping closer to me (0-40degrees) then soon it sneaked up right behind me (50-90).
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Category #2: Facing edge In the start of the 10 images the wall is placed directly in front of the human figure but by each image moves bit by bit to the right of the human figure eventually turning horizontal. The human figure does not change as the environment begins to look more full with the wall. I stared at the wall straight on and as i stayed still the wall progressively shifted to my right blocking off the room (40-70 degrees) and the slowly opening back up as the wall shifted next to me allowing me to see the whole room.
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Category #3: Blocking wall In the 11 images presented the human figures sight in front of them begins to be blocked by the fast-moving wall approaching horizontally in front of the figure. The environment continues to be obstructed by the wall blocking the human figure. I was enjoying my nice open view when all of a sudden a wall began blocking my view completely.
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Category #4: Passing the blocking wall In the 5 images the human figure approaches a standing wall which demonstrates a real vision of the human’s size to the wall. The wall appears to be getting larger as the human figure moves toward the wall. On my daily walk I began stepping closer to a small wall that just began getting larger and larger as I walked by.
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Category #5: Aligned Wall In the 6 images the placed wall on the right side of the figure begins to obstruct the figures view completely blocking off sight by the last level. The wall appears shorter further way from the human figure but as it moves in front of the figure the size becomes much more apparent. While enjoying a nice open view a wall began closing in on me blocking my view.
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Closed level 3
Category #6: Passing the aligned wall In these 6 images the human figure approaches an aligned wall still allowing the figure to walk straight while experiencing a blocked left view. As the figure moves up to the aligned wall blocking the side vision, the wall appears bigger and closer up. On a walk I enjoyed walking in a straight line passing a aligned wall that made me feel pretty tall.
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Category #7: Walls with different heights In the 9 images of a human figure the walls begin to rise and get taller and taller. With the wall getting slightly bigger the humans height appears smaller and smaller. While looking at a wall the size of a curb around 1 ft it began getting taller and taller all the way up to 8ft, making me feel very short.
Wall with 1ft
Wall with 2ft
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Wall with 4ft
Wall with 5ft
Wall with 6ft
Wall with 7ft
Wall with 8ft
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Category #8: Floating and faced Wall In the 8 images a floating wall begins closer to the ground rising higher in each image giving the human figure a better view. The human figure appears bigger at first due to the wall being closer to the ground but as it begins to get taller the human figure looks as if they are getting smaller. While admiring a nice floating wall it began to rise higher and higher giving a beautiful eye level view.
1ft high floating wall
2ft high floating wall
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5ft high floating wall
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7ft high floating wall
8ft high floating wall
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Category #9: 8ft high floating and aligned wall In the 4 images a floating aligned wall begins on the right side of the human figure moving directly in front of or what it looks like above the figure. The human figure looks as if it could be walking into and under the wall. Moving in the sky a wall appears to be floating to the side of me and then slowly in front of me almost as if it were walking aligned with me.
Alignment level 1
Alignment level 4
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Alignment level 2
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Category #10: 8ft high floating and faced wall In the 8 images the space begins to become obstructed by a angled wall moving in to the center becoming more symmetrical. The human figure looking to stay the same as the environmental factors of the wall move in to a little above the head of the figure. As I stood still my view began getting blocked by a small wall becoming larger and larger eventually centering with my body.
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Category #11: floating horizontal surface In the 6 images a floating horizontal surface above the human figure begins getting closer and closer to above the figure’s head. The human figure can be seen as walking towards the floating surface getting the look of a ceiling or building. As I began moving forward a wide surface almost as a floating ceiling began going over my head.
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Category #12: Horizontal surfaces with different heights In the 12 images a floating surface begins moving downward in front of the figure aligning with the hole in the floor which then the surface aligns and begins in decent under the main floor. The human figure begins to change with the different levels the surface travels eventually showing more figures in the middle. As I stood and waited for the descending surface to reach the main floor i was standing on it began descending even more uncovering two more other human figures then taking them down with.
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7ft high horizontal surface
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-1ft high horizontal surface
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Category #13: Wall surface with an incline In the 8 images a surface goes through multiple changes as it moves throughout the space at an angle to the left. The human figure seems bigger at first with the surface at the top almost hitting its head but as the angled surface moves to the right it changes the human figure to appear smaller. As I stood still the floating surface above me began to tilt creating a wall and more opened space around me.
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Category #14: Inclined wall In the 6 images an inclined angled wall begins to get closer and closer to the ground creating what looks like a ramp. As the human figure stands still its image is looked at different while the space opens. While looking off in the distance the wall next to me begins to shift angled downward lowering to the ground creating a more open environment.
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Category #15: Floating wall surface facing edge with an incline The floating wall surface in these 6 images begins near the ground angled towards the human figure rising vertically. The human figure begins to almost look slimmer as the angled surface reaches above. As I stood still an angled platform continues to rise above my head vertically.
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Category #16: Inclined surface to a facing wall In the 9 images a long-inclined surface begins lifting upwards such as a bridge reaching higher and higher. The human figure begins at a normal height and appears to get smaller and smaller as the angled surface reaches higher and higher. While walking away from an angled surface it reaches higher as I continue to walk away and get crowded by the large surface.
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Category: #17 Inclined ramp to facing wall In the 9 images a human figure stands in front of a small ramp that gets higher and higher angled getting to a complete vertical standing point. The human figure can be seen to look smaller as the angle progresses. As I went to look to walk onto a small ramp it began angling higher and higher.
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Category: #18 One Column Between the two images presented the one column can be represented with the human figure observing from different point of view. The human can be seen close to the column followed by a different angle of the figure still walking toward the column but further away. Walking towards the column I began to feel less confident as the column began growing on me but standing further away I felt much better.
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Category: #19 Two Columns A representation of two columns with a figure centering the two vertical columns in the first picture but in the second image the figure is walking almost next to the columns. The figure can be seen between the two columns but also compared side by side. When walking through the columns I almost felt as if I was walking through a special gate but soon i was just walking next to the column feeling almost like a post to a fence.
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Vertical
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Category: #20 Three Columns The three column images of the human figure walking through can be seen through multiple different angles and assortment of the three columns. The human figure can be seen walking in a line with the columns but that is viewed with the columns scattered a bit more creating a walkway. Walking beside the three columns i felt as if i could still walk where even as the space was open but with the three columns separated a bit more it feels as if I am trapped to walk in a straight line.
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Category: #21 Four Columns The four column images can be seen from a narrower vision and then a wider vision. The human figure continues to walk straight between both wider and narrow versions of the four columns. With two columns on both sides of the narrow and wider sights the focus traces my eyes onto the human figure in the center making it the focal point.
Wide
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Category: #22 One Wall and One Column The eight images included with a wall and one column demonstrate the walking motion of the human figure. The human figure’s perspective can change between each image as it gets closer and then further away. While walking between the wall and column my path seems clear and dark but slowly through the area becomes open and airy.
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Category: #23 One Wall and two Columns In the three images of one wall and two columns the human figure begins to get closer and closer to the environment. With each step the human figure can be seen to have different surroundings creating a different perspective to the eye creating different space and shapes. While exploring through some walls and columns I notice that the walls begin to shift and the columns move making the space around me change and open up.
Condition 1: aligned wall and vertically aligned columns
Condition 2: facing wall and vertically aligned columns
Condition 3: facing wall and horizontally aligned columns
Category: #24 Two Walls and two Columns In the two images with two walls and two columns there are two human figures with one seeing the other at different angles. The human figure walking toward the hallway by the wall and column passes the other human figure who is staying still. As I stood still and watched a figure pass me in the hallway.
Columns aligned vertically with perpendicular walls
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Columns aligned horizontally with perpendicular walls
Category: #25 Two Walls and two Columns with two lighting conditions_01 In the 6 images of the two walls and two columns the lighting changes with each location giving you two different changed views of the setting. The human figure can seem to be the center of attention with lighting facing them and when the lighting is nit you can focus your eyes on the surrounding columns. The lights began to switch many times as the scenery around me began to change allowing me to see certain elements at different times.
Walking between vertically aligned columns and perpendicular walls with lighting behind Figure
Walking between vertically aligned columns and perpendicular walls with lighting behind wall
Walking beside vertically aligned columns and perpendicular walls with lighting behind Figure
Walking beside vertically aligned columns and perpendicular walls with lighting behind wall
Walking beside vertically aligned columns and extended perpendicular walls with lighting behind Figure
Walking beside vertically aligned columns and extended perpendicular walls with lighting behind wall
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Category: #26 Two Walls and two Columns with two lighting conditions_02 In the four images of the two walls and two columns the lighting continues to change between the two settings giving you an altered view. The human figure appears bigger with more lighting while when the lighting dims with different shadows the figure looks smaller. As the lighting changes in the room I enter it gets dark and then soon enough the light is back, but the setting appears different.
Passing horizontally aligned columns to enter the space between two walls with lighting behind Figure
Passing vertically aligned columns to enter the space between two walls with lighting from the inside space
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Passing horizontally aligned columns to enter the space between two walls with lighting from the inside space
Passing vertically aligned columns to enter the space between two walls with lighting behind Figure
Category: #27 Two Walls and two Columns with two lighting conditions_03 In the six images with two walls and two columns the human figure transfers throughout each room with the lighting changing creating a obstructed view. The human figure can be seen better in different lightings and sometimes not seen in other. While traveling through the room the lighting changes making the mood change within the room.
Passing vertically aligned columns to pass a narrow opening between two walls with lighting behind Figure
Passing vertically aligned columns to pass a narrow opening between two walls with lighting from the inside space
Passing vertically aligned columns to pass an intermediate opening between two walls with lighting behind Figure
Passing vertically aligned columns to pass an intermediate opening between two walls with lighting from the inside space
Passing horizontally aligned columns to pass a wide opening between two walls with lighting behind Figure
Passing horizontally aligned columns to pass a wide opening between two walls with lighting from the inside space
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Category: #28 Vertically aligned Two Walls and two Columns The two images show a figure walking between two walls placed with columns and then moved into a more open space. The human figure moved from a more confined space into a more bright and open space. When walking in the first room i felt very counterphobic but as I reached the opening the light overwhelmed me and the space began to open.
Between walls, walking
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Between columns, walking
Category: #29 Space composed with 5+ columns and 2 walls In the seven images you can see the multiple views of a room from different angles with to walls placed and five columns. As the human figure explores the room the lighting changes as the environment also begins to change. While exploring the room the space can feel bright and darker in areas while creating a different mood and even makes me feel bigger and smaller in areas.
Top view of the space composed
Sequence phase #1
Sequence phase #2
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Sequence phase #6
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Category: #30 Faced wall with Connected wall The 19 images pictured create a confined setting of walls connected with a figure staying in the same place. As the figure stays still and the walls around him move the lighting and shadows change the image of the figure. While standing still the room around me begins to change and become less confined.
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Category: #31 Aligned wall with Connected wall In the 15 images two aligned walls create almost an arrow looking room. As the figure watches the room shifts becoming more open unlocking another figure. Waiting for the room to open it becomes more expanded and brighter which then showed me another human figure.
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Category: #32 Facing the connected edge of two walls In the 15 images a human figure begins facing a connected wall which slowly shifts in front of it. The human figure stays still as the walls around it moves angled closer to it. While standing still the degrees of the walls begin to move at an angle and create a triangle-looking shape.
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Category: #33 Three connected walls In the 6 images the three walls create almost a full room with a human figure standing towards the middle. As the human figure moves forward and the walls begin to shift another figure becomes noticeable. While looking into a long room I began moving closer and then am met with another figure making the room more enjoyable.
Wide-facing wall with two wings
Narrow-facing wall with two wings
Category: #34 Curved wall inside These four images show the different curvature of a human figure placed in front of them. The human figure can be seen in front of different sized curves. Placed next in the small curve with the light focused on me it made me feel very important and focused in on but with the larger curve it really makes the space feel large like a museum.
Small-curved and 8ft height
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Small-curved and 16ft height
Large-curved and 8ft height
Category: #35 Curved wall outside In this category you can see the curves in different heights with different human figure positions. The human figure can be altered in each image looking a different size with each image. Appraoching the large curve it began to get dark and gloomy.
Facing Small-curved and 8ft height
Passing Small-curved and 8ft height
Facing Small-curved and 16ft height
Passing Small-curved and 16ft height
Facing Large-curved and 8ft height
Passing Large-curved and 8ft height
Facing Large-curved and 16ft height
Passing Large-curved and 16ft height
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Category: #36 Curved Walls and Flat Walls The human figure walks through a curved wall hallway while another figure is placed inside the curve. The human figure in the curve angle changes while the other figure walking gets closer to the end of the hallway. Turning the around the curved wall i began walking into a more lighted surface when I see a woman standing peacefully in almost like a spotlight.
Facing a flat wall (8fh height) while passing a curved wall (8fh height)
Entering a space between a flat wall (8fh height) and an opened-curved wall (8fh height)
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Entering a space between a flat wall (8fh height) and a closed-curved wall (8fh height)
Entering a space between a flat wall (8fh height) and a half opened-curved wall (8fh height)
Category: #37 Entering into a space between Parallel Curved Walls Two curved walls come together to create almost a spiral entering into an open room with two human figures. The one human figure can be seen entering a dark hallway into the lighted room met with another figure. While approaching the dark hallway it is very intimidating but as I turn the corner I am met with a beautiful light and open room.
Small-curved and 8ft high outside
Small-curved and 16ft high outside
Large-curved and 8ft high outside
Large-curved and 16ft high outside
Small-curved and 8ft high inside
Small-curved and 16ft high inside
Large-curved and 8ft high inside
Large-curved and 16ft high inside
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Category: #38 Entering a space between curved mirror walls_01 A human figure can be seen entering a small space with two outward curved walls. Humans can be seen as a focus of attention between the two different heighted walls. While walking through the two different heights curved the space begins to close and become claustrophobic but then begins to open into light again.
Small-curved and 8ft height
Large-curved and 16ft height
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Small-curved and 16ft height
Large-curved and 8ft height
Category: #39 Entering a space between curved mirror walls_02 A figure can be seen walking into a small space surrounded by opposite curved walls. The human figure is very shadowed in the dark and becomes lighter as it enters the tunnel. My surroundings were very dark and dim but while i kept walking it got much brighter making me feel happy.
Small-curved and 8ft high with inside lighting
Small-curved and 8ft high with outside lighting
Small-curved and 16ft high with inside lighting
Small-curved and 16ft high with outside lighting
Large-curved and 8ft high with inside lighting
Large-curved and 8ft high with outside lighting
Large-curved and 16ft high with inside lighting
Large-curved and 16ft high with outside lighting
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Category: #40 One curved wall and one column A figure can be seen in two different lightings entering between a column and curved wall. The human figure shape changes as the space he walks into becomes lighter. I am met with a column and curved wall and as I walk inside of it the room becomes light.
Entering a space between a column and curved wall outside
Entering a space between a column and curved wall inside
Category: #41 One curved wall and two columns A room faced with a curved wall in the focus on the room and symmetrically two columns on opposite side next to it. The human figure can be seen walking between the columns and wall while another is seen standing directly in the middle of the curve. While waiting i notice a man walk past me into the darkness behind me.
Entering a space between a column of two horizontally aligned and curved wall outside
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Facing the outside of a curved wall with two horizontally aligned columns with insufficient space between them
Entering a space between a column of two vertically aligned and a curved wall outside
Category: #42 Role of a column between Curved and flat walls Two curves are placed next to each other creating a curved hallway with a column at the start. The human figure moved throughout the curved hallway and moves into the distance but into the light. My mood begins to lighten as i walk through a very nice, curved hallway into the light.
Entering a space between two parallel curved walls, with a column in front of the outer curved wall
Entering a space between a faced flat wall and a curved wall, with a column in front of the flat wall
Entering a space between two parallel curved walls, with a column in front of the inner curved wall
Entering a space between a parallel flat wall and a curved wall, with a column in front of the flat wall
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Category: #43 Curved connection A long-curved hallway expands to and gets straighter and straighter. The human figure begins to walk forward while the wall gets less curved. I feel as if I am on a track following the lines as i turn the corner of the curved wall and reach the straight part.
Follow two flat walls that are connected at an angle of 60 degrees smoothly
Follow two flat walls that are connected at an angle of 150 degrees smoothly
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Follow two flat walls that are connected at an angle of 90 degrees smoothly
Follow two flat walls that are connected at an angle of 120 degrees smoothly
Category: #44 Curved wall and S-curve wall Four images show a figure walking through a smaller curved wrap around hallway while the others show a very tall, curved hallway. The figures’ size completely changes from the height of different curved walls. Walking in the first hallway the walls are short and the light is overwhelming but as the walls got higher the darkness filled the room.
Curved wall and S-curve wall 8ft high with inside lighting
Curved wall and S-curve wall 8ft high with outside lighting
Curved wall and S-curve wall 16ft high with inside lighting
Curved wall and S-curve wall 16ft high with outside lighting
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Category: #45 1 point perspective pictures: Void on the upside Four images are shown with different sized and shaped voids creating different lighting. The figures space changes with each void and the lighting gets brighter making the figure more of a focal point. Standing in the center of the void makes me feel great and lighted but as I move into the shade my mood dimmers.
A 4’x4’ square void with a height of 8ft
A 8’ diameter void with a height of 8ft
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A 8’x8’ square void with a height of 8ft
A 4’ diameter void with a height of 8ft
Category: #46 Void on the upside with columns or walls The four images can be seen with different view pints including columns, walls, and different sized voids. The human figure can look obstructed within each position placed with different lighting. Walking in the closed off room with columns, I walk down the hallway with a void opening over my head making me feel refreshed.
A 8’x8’ square void with columns
A 8’x8’ square void with a facing wall
A 8’x8’ square void with a passing wall
View for A 4’x4’ square void with a flat wall aligned with one side and two columns aligned with the opposite side
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Category: #47 Void on the downside with columns or walls These images show a figure standing on top of the different shapes of voids. The human figure begins walking toward the different voids, eventually looking down into it. As I approach a hole in the floor it scares me a bit as it looks deeper and deeper.
A 8’x8’ square void with a facing wall and light from upper floor
A 8’x8’ square void with a facing wall and light from side
A 8’x8’ square void with a facing wall and light from lower floor
A 8’x8’ square void with a passing wall and light from side
A 8’x8’ square void with a passing wall and light from lower floor
A 8’ diameter void with light from lower floor
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Category: #48 Void on the upside with combinations of columns or walls In these 10 images different rooms are created with many columns, curves, walls, and voiding exploring a room. The figure can be obstructed with lighting creating a more open space and different mood. As I walk through my new house the room is beautiful with columns giving it a larger taller feel and the void creates a more open feel.
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Category: #49 Void between Floating Surfaces These images show different yet unique angles of a figure looking down onto other figures and also looking up to other figures. The figures can view different points inside the room and on top of the void. While walking on the bottom floor I look up to see two floating voids that other human figures are on watching me walking through the area.
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Category: #50 Void between curve-linear Surfaces These images show the different patterns with the shape can make and the effect it has on the figure. The figure can be seen from different angles and lightings creating a different viewpoint. Overlooking the deep hole in the middle of the I look over and get scared but see other people hanging out.
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Category: #51 Void with a combination of The few images show a room with columns, a void, and wall creating what looks to be room with human figure. The figure can be seen walking through the room and the lighting and space changes. I feel very protected within the walls as the ceiling opens up and light shines through.
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Category: #52 Curved vertical surface The two images show different sized curved wall representing what looks like you can run up a Hamster ball. With each different sized ramp, the human figure appears bigger with the smaller one and smaller with the larger ramp. Approaching the ramps it seems scary walking towards it as the wall behind rises and curves up.
A 4’wide
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Category: #53 Curved vertical surface with an upper floor These images show a mix of different elements such as walls and curved walls creating an illusion between lighting and the figure. The human is placed between the curved and the walls creating a different balance of space with each picture. I feel as if I was put into a pipe or rube with a slit opening shining light onto me.
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Category: #54 Curved vertical surface with a void These images include a void above and below the figure met with a curved wall directed inside the void. The humans can be seen from different heights within the void. While looking off into the void what appears to look like a slide change the appears of the space around me
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Category: #55 Facing Curved vertical surface These images show a different viewpoint including a curved walk way mixed with angled walls. The human figure appears to be walking up to the second floor of the void but also seen at a different angle at the bottom. Looking into the light the angled surface allows me to walk up into the light.
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Category: #56 Hanging curved surfaces Using curved hanging surfaces the images produced look like you are in another world. The human figure can be seen under a few curved ceiling surfaces giving a bubble feel to the environment. I began walking forward as the surfaces beside me close in and light begins to dim.
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Category: #57 Surfaces with convexities and concavities Faced with convexities and concavities the curved surfaces show ceilings looking out bed open as well as long curved hallways. The human figure appears very small between all the convexities and convities. I walk through a long narrow cured hallway dark and dim not knowing where it may lead next.
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Category: #58 A sphere with a strong center and centripetal force Using the foam balls, we created a sphere which can look as if a planet is rising into space. The human figure standing underneath while the sphere floats between the void. Feeling as if I am in space a planet looking figure begins to arise leading into the sky.
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Category: #59 Surfaces that are twisted and free These images shown change the figures and spheres while the figure walks through the scene. The figure appears on top of the sphere but also within it and below it. The environment gives off a art museum feel with different curved surfaces placed within the room.
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Jaylin Perez Port foli o 1646
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What I learned...
Project #1 “Wall, Column, and Space” - I learned the basics of walls, columns, and space. I realized that patience is key to achieving a good outcome. Understanding these elements takes time and effort, but the results are worth it. With patience, one can create more accurate and aesthetically pleasing designs. Walls define and enclose spaces, columns provide structural support, and space encompasses the layout and flow of areas within a structure. Project #2 “Hand Drawing” - I now understand the value of perspective in design, which gives designs more depth and real life. It is essential to understand spatial relationships and proportions. I’ve also studied color’s tone and value, which are described as intensity and lightness or darkness, respectively. These elements improve visual appeal and contrast, which makes designs appealing. Project #3 “Power of Patience” - In the arts, patience is a powerful tool. Artists can completely explore details and develop methods with its help. Understanding art requires time since it gives one the chance to observe, think about it, and learn. The creative process is richer and more fulfilling when one is patient and produces more deliberate, meaningful works. Project #4 “Space Cube” - I’ve learned a lot about scale and the value of sketching in order to communicate and represent design through hand drawing. I’ve gained the ability to precisely represent measurements and proportions via the process, which is essential for producing designs that are both accurate and useful. In the end, hand drawing has increased my admire for design as an art form and the accuracy needed to realize ideas. Project #5 “First Portfolio” - My approach to design has been expanded with the introduction of the Ai generation. This improved my ability to be able to see my photographs transformed into a realistic image and my drawings come to life. This not only helped me be able to personally visual my creations but to also communicate my work to peers and professors. Learning about ai technology was interesting and eye opening. It was an easy and entertaining experience. Because of ai, there will be much more opportunities to be able to transform and convert my design into real life. Overall - Overall, I learned more than I thought I was capable of coming into this course. Through these projects, I learned a great amount of design architecture. One of the best things I learned was how to get into a state of flow while working and creating my designs to provide my best work. If you could talk to you before these five weeks, what would you like to share with you? - I’d like to let you know that things will work out smoothly. Although it may seem like a lot, you are capable of much more than you may realize. Even though you might occasionally lose your patience and feel like you’re not performing well enough, everything will ultimately be incredibly rewarding. And you’ll think you’re crazy when you say that you would do it all over again.
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Category #1: Facing surface Ten photos show various angles of a wall behind a human figure from 0 to 90 degrees. This is generally transforming a measured obstruction to the figure. As the wall gradually shifted, it seemed to be more and more in my way. Before the wall entirely was closed off at around 40 degrees, I had the chance to move from side to side. Suddenly, the wall was completely blocking behind my human figure.
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Category #2: Facing edge Ten photos show angles from 0-90 degrees beside a human figure, gradually moving completely behind my figure. As the wall moves, it is be coming entirely hidden from the human figure. Before the wall moved all the way to a zero degree angle at around 70 degrees, I could’ve had the chance to move backwards. Then once the wall hit the last angle, my human figure was directly behind the side end of the wall.
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Category #3: Blocking wall Eleven photos illustrate eleven different locations of a wall moving horizontally on the floor to the right side. As the wall continues to move to the right, my human figure is becoming closed off by the wall. At first I felt as is the wall was far from my human figure, then as it moved closer to the right, I felt as if there was not room for me to move backwards (at block level 5-11).
Opened level 1
Opened level 2
Opened level 3
Opened level 4
Block level 1
Block level 2
Block level 3
Block level 4
Block level 5
Block level 6
Block level 7
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Category #4: Passing the blocking wall Five photos show my human figure moving forward and past a wall. As the wall slowly end up behind me, my human figure seems to be moving forward. At first the wall was in front of my human figure (passing level 1-2), but then I got to the third passing level and was equal to the wall. By passing level 4 and 5, I was passed the, moving forward.
Passing level 1
Passing level 2
Passing level 3
Passing level 4
Passing level 5
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Category #5: Aligned Wall Five photos show an aligned wall to my human figure. As the wall changes, it ends up being almost entirely aligned with my human figure. While the wall was moving (closed level 1-3), I had room to move besides the wall. Once the wall got to level 4, my human g=figure was almost closed of entirely by the wall.
Closed level 1
Closed level 2
Closed level 4
Closed level 5
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Closed level 3
Category #6: Passing the aligned wall Six photos show a wall moving behind and past a human figure. As the wall moves, the human figure ends up being in front of the wall, entirely past it. While the movement of the wall changes, I felt as if I could not move the human figure to the side at passing level 3-5. By the last level, I was past the wall.
Passing level 1
Passing level 2
Passing level 3
Passing level 4
Passing level 5
Passing level 6
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Category #7: Walls with different heights Eight photos show different heights of walls from one to eight feet. As the height of the wall goes up, my human figure gets more and more blocked off. At 1-6 feet, I could see above the wall completely if I wanted to. By level 7, it was becoming difficult to overlook the wall. At 8 feet tall, my human figure was entirely blocked by the wall.
Wall with 1ft
Wall with 2ft
Wall with 3ft
Wall with 4ft
Wall with 5ft
Wall with 6ft
Wall with 7ft
Wall with 7ft
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Category #8: Floating and faced Wall Eight photos show a floating wall behind my human figure. As the wall moves up (1-8 ft high), it is becoming taller and taller than my human figure. In stages 1-5 my human figure is still blocked off by the wall. By the last stages (7-8 ft) my human figure can fit underneath the wall, being able to move past it.
1ft high floating wall
2ft high floating wall
3ft high floating wall
4ft high floating wall
5ft high floating wall
6ft high floating wall
7ft high floating wall
8ft high floating wall
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Category #9: 8ft high floating and aligned wall Four photos show an eight foot floating and aligned wall to my human figure. The wall is gradually moving in front of my human figure, vertically. As the wall moves from alignment levels 1-2 to 3-4, the wall is completely in front of my human figure. The wall is always above my human figure, but by the end stages the wall in my human figures view.
Alignment level 1
Alignment level 4
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Alignment level 2
Alignment level 3
Category #10: 8ft high floating and faced wall Eight photos show a 8 foot floating wall behind my human figure that is moving to the right side. As the wall moves, my human figure is slowly directly in front of the wall. In level 1-2, the wall is on the left side of me. By level 4-6, the wall is behind my human figure. By level 7 and 8, the wall covers my whole human figure.
Overlap level 1
Overlap level 2
Overlap level 3
Overlap level 4
Overlap level 5
Overlap level 6
Overlap level 7
Overlap level 8
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Category #11: floating horizontal surface Eight photos show a 8 foot floating wall behind my human figure that is moving to the right side. As the wall moves, my human figure is slowly directly in front of the wall. In level 1-2, the wall is on the left side of me. By level 4-6, the wall is behind my human figure. By level 7 and 8, the wall covers my whole human figure.
Overlap level 1
Overlap level 2
Overlap level 3
Overlap level 4
Overlap level 5
Overlap level 6
Overlap level 7
Overlap level 8
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Category #12: Horizontal surfaces with different heights Twelve photos show a horizontal surface gradually moving down towards a 4”x4” hole in a ground surface behind my human figure. As the horizontal surface moves down, it moves below the ground surface, passing my human figure. In level 2-7, the surface is align with my human figure. By level 9, the surface is underground and below my human figure. If I were to step onto the surface, my human figure would be in a hole.
8ft high horizontal surface
7ft high horizontal surface
6ft high horizontal surface
5ft high horizontal surface
4ft high horizontal surface
3ft high horizontal surface
2ft high horizontal surface
1ft high horizontal surface
-1ft high horizontal surface
-2ft high horizontal surface
-3ft high horizontal surface
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Category #13: Wall surface with an incline Eight photos show a wall with my incline to the left of my human figure. The wall is moving from a 10 to 80 degree angle. This wall is causing a shadow to be above my human figure as it hovers over me in an angle. By angle 30, my human figure is able to move toward the left past the wall.
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Category #14: Inclined wall Six photos show an inclined wall to the left of my human figure, moving from very close to the ground to a complete straight up wall. As the wall moves, it is blocking the left side view of my human figure more and more. Once the wall gets to level 3, the human can no longer see to the left.
Inclined level 1
Inclined level 2
Inclined level 3
Inclined level 4
Inclined level 5
Inclined level 6
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Category #15: Floating wall surface facing edge with an incline Six photos show a floating surface with an incline, slowly moving closer into where my human figure is standing. As the incline increases, it becomes closer to my human figure. Once the incline gets to level 5, it is almost entirely on top of my human figure causing it to not have much room above it.
Inclined level 1
Inclined level 2
Inclined level 3
Inclined level 4
Inclined level 5
Inclined level 6
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Category #16: Inclined surface to a facing wall Nine photos show an incline wall (10-90 degrees) behind my human figure, facing its back. As the angle goes up (around 60 degrees) my human figure has more room behind it. Once the wall reached 90 degrees, my human figure was blocked in front of the wall, but now just blocked by a full standing wall.
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Category: #17 Inclined ramp to facing wall Nine photos show an inclined ramp behind my human figure. As the ramp moves from 10-90 degrees, it is growing taller than my human figure. This wall is causing my human figure to be blocked off completely behind the surface. Once the ramps reaches 30 degrees, it is taller than my human figure.
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Category: #18 One Column Two photos show one column and one human figure from two different point of views. As the point of view switched, you can see even more clearer where the light is causing shadow and how it changes the lighting on the human figure and column. In the side point of view, it presents a better view for the shadow.
Front
Side
Category: #19 Two Columns Two photos show two columns standing vertically and horizontally. As the photos show two different placements, I notice a change of shadow and light. In the first photo, my human figure is walking through them. In the second photo, my human figure is passing through.
Vertical
Horizontal
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Category: #20 Three Columns Two photos show three columns with a human figure passing. These columns are placed first vertically, while the human figure is walking passed the columns. While in the second photo, the columns are horizontal, and the human figure is waling in between them.
Vertical
Horizontal
Category: #21 Four Columns Two photos show two human figures standing by four columns (wide and narrow). These different placements of columns have an affect on the human figures. In the first photo (wide columns) the human figures are more open. Iin the second photo (narrow columns) the human figures seem to be closer and in a smaller space.
Wide
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Narrow
Category: #22 One Wall and One Column Eight photos show one wall and one column with a human figure in passing. These photos present different lights causing there to be shadows. I noticed in photo 2 how much more light I had on my human figure.
Condition 1
Condition 2
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Category: #23 One Wall and two Columns Three photos show one wall, two columns, and a human figure passing. As the point of views change, it affects the entire photos. In condition 1 it shows an aligned wall and vertically aligned columns. In condition 2 it shows a facing wall and vertically aligned columns. Lastly in condition 3 there is a facing wall and horizontally aligned columns.
Condition 1: aligned wall and vertically aligned columns
Condition 2: facing wall and vertically aligned columns
Condition 3: facing wall and horizontally aligned columns
Category: #24 Two Walls and two Columns Two photos show two perpendicular walls, two columns, and two human figures. The light is causing the other side of the wall to be seen as dark. I noticed this in the first photo because in the second photo I noticed how much more open and lit the wall and human figure was. In the second photo I noticed how much more open and lit the wall and human figure was.
Columns aligned vertically with perpendicular walls
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Columns aligned horizontally with perpendicular walls
Category: #25 Two Walls and two Columns with two lighting conditions_01 Four photos show two perpendicular walls and two columns with two lighting conditions with a human figure passing through. Since there is a wall blocking part of where the light is coming in at a certain point of view, it as an affect on how to human figure views. In the first two photos there is less room for the human figure to have room to walk around. In the last four photos, the columns are closer to the wall, causing there to be a walking space with more room for the human figure.
Walking between vertically aligned columns and perpendicular walls with lighting behind Figure
Walking between vertically aligned columns and perpendicular walls with lighting behind wall
Walking beside vertically aligned columns and perpendicular walls with lighting behind Figure
Walking beside vertically aligned columns and perpendicular walls with lighting behind wall
Walking beside vertically aligned columns and extended perpendicular walls with lighting behind Figure
Walking beside vertically aligned columns and extended perpendicular walls with lighting behind wall
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Category: #26 Two Walls and two Columns with two lighting conditions_02 Four photos show two walls and two columns with two lighting conditions. While these walls are almost overlapping, the light has little room to shine through in the different conditions. I can notice how depending on where the light is coming through, gives my human figure either a brighter or dimmer scenery.
Passing horizontally aligned columns to enter the space between two walls with lighting behind Figure
Passing vertically aligned columns to enter the space between two walls with lighting from the inside space
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Passing horizontally aligned columns to enter the space between two walls with lighting from the inside space
Passing vertically aligned columns to enter the space between two walls with lighting behind Figure
Category: #27 Two Walls and two Columns with two lighting conditions_03 Six photos show two walls and two columns with two lighting conditions. While these walls are wider, the light has more room to shine through. As the walls, columns, and light changes, it is providing a whole new scene to the figure. I can notice how depending on where the light is coming through, gives my human figure either a bright or dark scenery.
Passing vertically aligned columns to pass a narrow opening between two walls with lighting behind Figure
Passing vertically aligned columns to pass a narrow opening between two walls with lighting from the inside space
Passing vertically aligned columns to pass an intermediate opening between two walls with lighting behind Figure
Passing vertically aligned columns to pass an intermediate opening between two walls with lighting from the inside space
Passing horizontally aligned columns to pass a wide opening between two walls with lighting behind Figure
Passing horizontally aligned columns to pass a wide opening between two walls with lighting from the inside space
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Category: #28 Vertically aligned Two Walls and two Columns Two photos show two walls vertically aligned and two columns with a human figure walking past. Both setups have a similar shadow reaction. As the human figure walks through both, they are experiencing a different point of view.
Between walls, walking
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Between columns, walking
Category: #29 Space composed with 5+ columns and 2 walls Seven photos show multiple angles of a pace composed with 5 columns and 2 walls and two human figures. As the angle of the photos change, I notice how the light if affecting the shadow with the walls and columns. The two humans are experiencing two different views on either side of the wall due to the wall, column, and lighting setup.
Top view of the space composed
Sequence phase #1
Sequence phase #2
Sequence phase #3
Sequence phase #4
Sequence phase #5
Sequence phase #6
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Category: #30 Faced wall with Connected wall Nineteen photos show a faced wall with connected wall with two human figures. In the first stages, the wall was closed off to the man human figure. As the stages go on, the walls become almost entirely flat. At the very last stages, the man human figure was completely away from the wall where it originally started at.
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Category: #31 Aligned wall with Connected wall Seventeen photos show an aligned wall with connected wall with two human figures standing inside of it. The wall changes from 10 to 170 degrees, causing a variety of scape and shadow. In the first stages (10-20 degrees) two human figures could not even fit inside the aligned walls. At the very last stage, the wall and space was much more open, able to move and walk around.
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Category: #32 Facing the connected edge of two walls Seventeen photos show a human figure facing the connected edge of two walls. From 10-170, the human figure gets to see many different points of view of a connected edge wall. At the first stages, the walls are very narrow. Towards the last stages, the walls become almost entirely flat.
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Category: #33 Three connected walls Photos show a wide and narrow facing wall (three photos each) with two human figures. As the wall width changes, there is also change in space and shadow. Wide walls seems to be much more spacious with the two figures.
Wide-facing wall with two wings
Narrow-facing wall with two wings
Category: #34 Curved wall inside Four photos show a human figure inside four curved walls. Small-curved and 8ft height, small-curved and 16ft height, large-curved and 8ft height, and a large-curved and 16ft height. I feel as if the smaller curves are more intimate while the taller ones are more open and bold.
Small-curved and 8ft height
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Small-curved and 16ft height
Large-curved and 8ft height
Category: #35 Curved wall outside Eight photos show different curved walls with human figures facing and passing them. Facing Small-curved and 8ft height. There is a figure passing a small-curved and 8ft height, facing Small-curved and 16ft height, passing small-curved and 16ft height, facing large-curved and 8ft height, passing large-curved and 8ft height, facing large-curved and 16ft height, and passing large-curved and 16ft height. As my human figure passes the different curved walls, it feels more interesting rather than a normal wall. The taller ones are very bold while the smaller curves have a lot less room for movement.
Facing Small-curved and 8ft height
Passing Small-curved and 8ft height
Facing Small-curved and 16ft height
Passing Small-curved and 16ft height
Facing Large-curved and 8ft height
Passing Large-curved and 8ft height
Facing Large-curved and 16ft height
Passing Large-curved and 16ft height
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Category: #36 Curved Walls and Flat Walls Five photos show curved walls along with flat walls with two human figures. They are facing a flat wall (8fh height) while passing a curved wall (8fh height), entering a space between a flat wall (8fh height)and a closed-curved wall (8ft height), entering a space between a flat wall (8fh height) and a half opened-curved wall (8fh height), entering a space between a flat wall (8fh height) and an opened-curved wall (8fh height), and entering a space between the two walls facing each other. While these walls are very different, they almost feel like two completely different rooms.
Facing a flat wall (8fh height) while passing a curved wall (8fh height)
Entering a space between a flat wall (8fh height) and a closed-curved wall (8fh height)
Entering a space between a flat wall (8fh height) and an opened-curved wall (8fh height)
Your coordination in height and openness.
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Entering a space between a flat wall (8fh height) and a half opened-curved wall (8fh height)
Category: #37 Entering into a space between Parallel Curved Walls Eight photos show a human figure entering into a space between Parallel Curved Walls. There are different heights (8 and 16 ft) and smaller and larger curves. This seems like it creates a hallway for the room since the curves and heights are the same.
Small-curved and 8ft high outside
Small-curved and 16ft high outside
Large-curved and 8ft high outside
Large-curved and 16ft high outside
Small-curved and 8ft high inside
Small-curved and 16ft high inside
Large-curved and 8ft high inside
Large-curved and 16ft high inside
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Category: #38 Entering a space between curved mirror walls_01 Four photos show a human figure entering a space between curved mirror walls. This includes small-curved and 8ft high, small-curved and 16ft high, large-curved and 8ft high, large-curved and 16ft high. The changes in heights crate a different vibe to the room. One being dramatic and bold, while the shorter height is not as open and high.
Small-curved and 8ft height
Large-curved and 16ft height
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Small-curved and 16ft height
Large-curved and 8ft height
Category: #39 Entering a space between curved mirror walls_02 Eight photos show a human figure entering a space between curved mirror walls with inside and outside lighting. The differences in lighting cause the scene to look like different times of day. The curved walls allow there to be dramatic shadows, making the inside seem more open.
Small-curved and 8ft high with inside lighting
Small-curved and 8ft high with outside lighting
Small-curved and 16ft high with inside lighting
Small-curved and 16ft high with outside lighting
Large-curved and 8ft high with inside lighting
Large-curved and 8ft high with outside lighting
Large-curved and 16ft high with inside lighting
Large-curved and 16ft high with outside lighting
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Category: #40 One curved wall and one column Two photos show a human figure entering a space between a column and curved wall outside and entering a space between a column and curved wall inside. The change in the column location changes the walk way for the figure. I feel as if the inside photo seems much more like an open room, with more area to walk.
Entering a space between a column and curved wall outside
Entering a space between a column and curved wall inside
Category: #41 One curved wall and two columns Three photos show one curved wall and two columns with two human figures. There is a figure entering a space between a column of two horizontally aligned and curved wall Outside, facing the outside of a curved wall with two horizontally aligned columns with insufficient space between them, entering a space between a column of two vertically aligned and a curved wall outside. The column placement help guide but also make the wall seem more like a place where the human figures are stand and walk around.
Entering a space between a column of two horizontally aligned and curved wall outside
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Facing the outside of a curved wall with two horizontally aligned columns with insufficient space between them
Entering a space between a column of two vertically aligned and a curved wall outside
Category: #42 Role of a column between Curved and flat walls Four photos show a column between curved and flat walls. The flat walls cause the curves walls to have more guidance. The human figure placement shows how the columns also fall along in this, with the location and where it stands.
Entering a space between two parallel curved walls, with a column in front of the outer curved wall
Entering a space between a faced flat wall and a curved wall, with a column in front of the flat wall
Entering a space between two parallel curved walls, with a column in front of the inner curved wall
Entering a space between a parallel flat wall and a curved wall, with a column in front of the flat wall
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Category: #43 Curved connection Four photos show two connecting walls from 60-150 degrees with a human figure. As the degrees went up, the wall was more open and flat. The human figure had more room and some sort of guidance on where to walk.
Follow two flat walls that are connected at an angle of 60 degrees smoothly
Follow two flat walls that are connected at an angle of 150 degrees smoothly
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Follow two flat walls that are connected at an angle of 90 degrees smoothly
Follow two flat walls that are connected at an angle of 120 degrees smoothly
Category: #44 Curved wall and S-curve wall Four photos show a column between Curved and flat walls and a human figure. These walls go from 8-16 ft and have inside and outside lighting. The change in lighting causes a change in scenery The first two photos look like the human figure is walking outside while the last two photos looks like the human figure is walking inside.
Curved wall and S-curve wall 8ft high with inside lighting
Curved wall and S-curve wall 8ft high with outside lighting
Curved wall and S-curve wall 16ft high with inside lighting
Curved wall and S-curve wall 16ft high with outside lighting
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Category: #45 1 point perspective pictures: Void on the upside Four photos show a 4’x4’ square void with a height of 8ft, a 8’x8’ square void with a height of 8ft, a 4’ diameter void with a height of 8ft, and a 8’ diameter void with a height of 8ft. The bigger the diameter, the more open and bright the room is for the figure. This is due to the shadow coming in from the open 4’ void.
A 4’x4’ square void with a height of 8ft
A 8’ diameter void with a height of 8ft
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A 8’x8’ square void with a height of 8ft
A 4’ diameter void with a height of 8ft
Category: #46 Void on the upside with columns or walls Four photos show a void on the upside with columns or walls with human figures. 8’x8’ square void with columns, 8’x8’ square void with a facing wall, 8’x8’ square void with a passing wall, and two photos of a 4’x4’ square void with a flat wall aligned with one side and two columns aligned with the opposite side. The columns almost act as a guide for the figures to pass underneath where the light is coming in through.
A 8’x8’ square void with columns
A 8’x8’ square void with a facing wall
A 8’x8’ square void with a passing wall
View for A 4’x4’ square void with a flat wall aligned with one side and two columns aligned with the opposite side
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Category: #47 Void on the downside with columns or walls Six photos show a void on the downside with columns or walls with a human figure. The walls and different points of views cause a variety of shadows and lighting. The human figure is an open room with a void causing there to only allow movement around the room.
A 8’x8’ square void with a facing wall and light from upper floor
A 8’x8’ square void with a facing wall and light from side
A 8’x8’ square void with a facing wall and light from lower floor
A 8’x8’ square void with a passing wall and light from side
A 8’x8’ square void with a passing wall and light from lower floor
A 8’ diameter void with light from lower floor
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Category: #48 Void on the upside with combinations of columns or walls Ten photos show a void on the upside with combinations of columns or walls. The lighting is coming from the center of the room. There is a very open space for the human figure.
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Category: #49 Void between Floating Surfaces Five photos show a void between floating surfaces. The floating surfaces allows there to be many different points of views for the human figures. Also, the lighting is very open. The human figures have a lot more space to walk around on the ground surface.
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Category: #50 Void between curve-linear Surfaces Two photos show a void between curve-linear surfaces. The void is unique, the human figures have plenty of space for movement. The open void allows there to be light and shadow on the ground level.
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Scene #2
Category: #51 Void with a combination of Two photos show a human figure inside a room with a void on the ceiling and two columns. The columns and lighting create an open room where the wall meets perpendicular to the other flat wall. The placement of the columns help show the open room for the human figures.
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Category: #52 Curved vertical surface Two photos show a curved vertical surface (4’ and 8’). As the surface gets bigger, it takes up more room, feeling less empty. The placement of the curves surface seems like the focused point for the human figure.
A 4’wide
A 8’wide 51 1695
Category: #53 Curved vertical surface with an upper floor Five pictures shows a curved surface with a floating surface. While the human figure stands on the floating surface, it is looking down onto the ground level. I feel as if this portrays a certain emotion, due to the placement and the floating surface overlooking the floor.
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Scene #3
Category: #54 Curved vertical surface with a void Five photos show a curved vertical surface with a void. While the human figure is standing below the void, it is dark. While the human figure is standing on top of the void surfaces, it is bright. The shadows cause an outside and inside affect.
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Category: #55 Facing Curved vertical surface Two picture shoe a facing Curved vertical surface with a human figure. In the pictures, the lighting is very dramatic. While the human figure is looking at it, the placement of the curved surface cause dramatic shadows.
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Category: #56 Hanging curved surfaces Four photos show a hanging curved surface. This is interesting to look at, while there is a surface hanging from the ceiling. This put out a fun and spontaneous setting for the photo.
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Category: #57 Surfaces with convexities and concavities Two photos show surfaces with convexities and concavities. As the human figure moves, you can tell how much space the surface takes up. The placement feels empty and very open.
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Scene #2
Category: #58 A sphere with a strong center and centripetal force Four photos show a sphere with a strong center and centripetal force. While the sphere changes, it seems bold. I notice as the large sphere takes up a lot of space, it causes a lot of large shadows from the lighting.
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Category: #59 Surfaces that are twisted and free Three photos show one curved surface that is hanging from the ceiling with a human figure. Since the hanging surface is in in front of the figure, it has little room to move ahead. I feel as if it is interesting to look at for the figure.
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What I learned...
Project #1 “Wall, Column, and Space” - Walls, column, and space combine in many different ways. Project #2 “Hand Drawing” - Learning different drawing types and techniques with tools. Project #3 “Power of Patience” - Learned the patience of knowing the meaning behind a painting. Project #4 “Space Cube” - Learned the concept of how each category combines in many ways. Project #5 “First Portfolio” - Learned how AI can take a while to get the perfect picture you want. Overall - I learned many new way design is worked in hands and skills of new tools. If you could talk to you before these five weeks, what would you like to share with you? - Design comes with so many skills you can learn and make come to life.
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Category #1: Facing surface Paragraph Nine photographs illustrate how the angle of the wall facing the human figure changes in each angle, resulting the wall to narrow closer to the human figure. As the wall changes, the human figure becomes closer to the wall. I had the thought of moving towards the wall (0-20 degrees), but the wall gradually moves away (30-60 degrees), and then the wall was completely in front of me (70-90 degrees), and then I
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Category #2: Facing edge Paragraph Ten photographs illustrate how the wall moves at different angles to meet the human figure in the center. As the wall moves, it makes if makes the human figure closer to the edge of the wall. I think the closer the edge is, the smaller the space making it feel tight.
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Category #3: Blocking wall Paragraph Eleven photographs illustrate how to wall moves closer to the right of the human figure. As the wall moves closer to the right, the human figure loses space in front of them and get blocked. I think the wall blocks the human figure to have space in front of them, as the wall is getting “longer”.
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Category #4: Passing the blocking wall Paragraph Five photographs illustrate how the human figure walls pass a wall. As the human figure walks closer to pass the wall, the more it space it shows forward. I feel this shows how much space there is for the human to walk forwards.
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Category #5: Aligned Wall Paragraph Six photographs illustrate a thin wall becomes closer to the human figure. As the wall comes closer to the left of the human, the less space they have. I feel this illustrates how well a human figure can look next to a wall, showing how much space the have to their right.
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Category #6: Passing the aligned wall Paragraph Six photographs illustrate a human figure walking forwards next to a wall. As the human figure walks forwards, it shows the length of the wall. I felt like it shows how long a hallway can when the human reaches passing level 6.
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Category #7: Walls with different heights Paragraph Nine photos illustrate the height of a human figure behind a wall. As the wall gets taller, the shorter the human figure gets. I feel like this shows how well the change in height of a wall makes a human figure look short or tall.
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Category #8: Floating and faced Wall Paragraph Eight photos illustrate a floating wall moving upwards in front of a human figure. As the wall moves upwards, it appears to show a change in height of open space forwards. I think this makes the human figure seem shorter under a wall.
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Category #9: 8ft high floating and aligned wall Paragraph Four images illustrate a floating wall moving closer to the left side of the human figure. As the floating wall moves left, closer to the human figure, the more depth in height appears. When the wall gradually moves closer to the human, the human figure appears short.
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Category #10: 8ft high floating and faced wall Paragraph Eight pictures illustrate a floating wall moving close to the human figure on their left. As the wall moves right, the human figure can appear to have a blocked view if to look up. The wall moving closer, shows how blocked they are above.
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Category #11: floating horizontal surface Paragraph Six images illustrate a floating horizontal surface becoming more aligned to the center of the human figure. As the floating surface gets closer, the less space they have above. I feel like this can show how much of a view they get above and how light can be blocked.
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Category #12: Horizontal surfaces with different heights Paragraph Twelve photos illustrate how a horizontal surface with different heights make the human figure seem in height. As the surface gradually gets lower, the human figure gets taller. I feel this can make the human figure seem happy they are taller than the other, at –4 height.
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Category #13: Wall surface with an incline Paragraph Eight images illustrate a wall surface with an incline make the human figure appear unbalance. As the wall moves at a more flatter angle, the less balanced the figure seems. I think this can cause confusion if the human figure is balanced or not, a weird illusion.
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Category #14: Inclined wall Paragraph Six photos illustrate an inclined wall tilts towards the human figure. As the wall tilts towards the human figure, the more balanced the figure it. At first the human figure seems unbalanced (inclined level 1), but at inclined level 6 they seem more at balance.
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Category #15: Floating wall surface facing edge with an incline Paragraph Six images illustrate a floating wall surface facing edge with an inclined moving towards the human figure. As the surface becomes more inclined, it shows the height of the human next to the edge of the surface. I feel as if the surface is blocking the human figure in different angles.
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Category #16: Inclined surface to a facing wall Paragraph Nine images illustrate an incline surface to a facing wall in front of a human figure. As the surface inclines to a facing a wall, the more blocked the human is. It shows how balanced the human figure is after it becomes a facing wall.
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Category: #17 Inclined ramp to facing wall Paragraph Nine images illustrate an inclined ramp to a facing wall in front of a human figure. As the surfaces becomes more inclined to become a facing wall, the human figure seems more obstructed. The ramp becoming a facing wall makes me feel like I cant go up the ramp anymore, so I’m blocked now.
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Category: #18 One Column Paragraph Two images illustrate one column and one human figure. The images show a front and side view showing how apart or how tall the human figure is. I like how you can see the height difference or the space between them.
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Category: #19 Two Columns Paragraph Two images illustrate two columns at horizontal and vertical view with a human figure in different directions. As the human is walking between the two columns, the less space you have, and when walking by them the more space you have. I like how you can see how apart the columns are to each other.
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Category: #20 Three Columns Paragraph Two images illustrate three columns and a human figure changing directions. At a horizonal view, there are three gaps in between the columns and vertical view shows how apart the columns are walking next them. I like how you can walk between them or next to them.
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Category: #21 Four Columns Paragraph Two images illustrate four columns and two or one human figure. The columns are wide in the first picture showing how much space there is between two humans and narrow in the second picture showing how less space there is between one human. I would much rather have a wider space than a narrow, because it feels tight when the columns are close.
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Category: #22 One Wall and One Column Paragraph Eight images illustrate one wall and one column, and a human figure at different angles. The changes occurring in these photos show wide or narrow the space looks, and how close the column is to the human figure. I feel awkward that in one of the images the column is close to the wall, rather than further than the wall.
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Category: #23 One Wall and two Columns Paragraph Three images illustrate one wall and two columns, plus a human figure placed in center. As the wall changes directions, the more it shows where the human is headed. I like how the wall changes directions, showing if the human figure is blocked in front or not and shows if its aligned to the columns.
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Category: #24 Two Walls and two Columns Paragraph Two pictures illustrate two walls and two columns, and two human figures placed in different spots. These images show how aligned the columns are to the walls. I like symmetrical things so it like there is less going on in the pictures.
Columns aligned vertically with perpendicular walls
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Columns aligned horizontally with perpendicular walls
Category: #25 Two Walls and two Columns with two lighting conditions_01 Paragraph Six images illustrate two walls and two columns with two lighting conditions, plus a human figure in center. The lighting is shown in two different ways, inside and outside the walls. When lighting is inside, the columns shadows are shown, and when outside, the walls shadows are shown. This makes me feel cool that I can see my shadow when the light is inside the walls, but not when the light is outside.
Walking between vertically aligned columns and perpendicular walls with lighting behind Figure
Walking between vertically aligned columns and perpendicular walls with lighting behind wall
Walking beside vertically aligned columns and perpendicular walls with lighting behind Figure
Walking beside vertically aligned columns and perpendicular walls with lighting behind wall
Walking beside vertically aligned columns and extended perpendicular walls with lighting behind Figure
Walking beside vertically aligned columns and extended perpendicular walls with lighting behind wall
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Category: #26 Two Walls and two Columns with two lighting conditions_02 Paragraph Four images illustrate two walls and two columns with two lighting conditions, and my human figure is placed in center. As the lighting is shown inside, the more space you are shown, and the less lighting the less space is shown. These images make me feel scared, wanting to walk towards the light to see.
Passing horizontally aligned columns to enter the space between two walls with lighting behind Figure
Passing vertically aligned columns to enter the space between two walls with lighting from the inside space
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Passing horizontally aligned columns to enter the space between two walls with lighting from the inside space
Passing vertically aligned columns to enter the space between two walls with lighting behind Figure
Category: #27 Two Walls and two Columns with two lighting conditions_03 Paragraph Six imagines illustrate two walls and two columns with two lighting conditions, plus a human figure in center. When the lighting is inside the walls, the more you see and when the lighting is outside, the more darker it gets. I feel a little creeped out if the lighting was outside rather than inside.
Passing vertically aligned columns to pass a narrow opening between two walls with lighting behind Figure
Passing vertically aligned columns to pass a narrow opening between two walls with lighting from the inside space
Passing vertically aligned columns to pass an intermediate opening between two walls with lighting behind Figure
Passing vertically aligned columns to pass an intermediate opening between two walls with lighting from the inside space
Passing horizontally aligned columns to pass a wide opening between two walls with lighting behind Figure
Passing horizontally aligned columns to pass a wide opening between two walls with lighting from the inside space
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Category: #28 Vertically aligned Two Walls and two Columns Paragraph Two images illustrate a vertically aligned two walls and two columns, plus a human figure in center. The actions occurring in the photos are lighting changes, lighting in the inside and lighting on the outside. This makes me feel amazed how lighting can look at different angles.
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Category: #29 Space composed with 5+ columns and 2 walls Paragraph Six images illustrate 5 columns and 2 walls, plus 3 human figures. As the light shines on the top left, viewing top angle image, it creates shadows through the walls, columns, and figures. This space makes me feel at joy with how the light angles towards the open spaces, creating shadows.
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Category: #30 Faced wall with Connected wall Paragraph Nineteen images illustrate a faced wall with a connected wall, plus a two human figures. The walls start off with a right angle, becoming more wider at angle, making the human figure less blocked at sight to their right. I feel awkward when the walls become wider at angle, because I would like a blocked wall to my right.
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Category: #31 Aligned wall with Connected wall Paragraph Fifth teen imagines illustrate an aligned wall with connected walls, plus two human figures. The action of the walls start at a narrow angle, becoming wider, illustrating the space the human figure can have. When the walls start at narrow, I feel as if I were squished inside a box, wanting more room for myself.
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Category: #32 Facing the connected edge of two walls Paragraph Fifth teen pictures illustrate a human figure facing the connected edge of two walls changing angles. As the wall gradually becomes more wider at angle, the wall becomes closer to the human figure on the right side. The changes in angle make me feel as if the wall blocks more of my space to the right.
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Category: #33 Three connected walls Paragraph Six imagines illustrate three connected walls and a human figure, showing how wide and narrow the walls view. As the wall is wide, the more space and when its narrow the less space. I feel in such a tight space when the walls or more narrow and more free when the walls are wide.
Wide-facing wall with two wings
Narrow-facing wall with two wings
Category: #34 Curved wall inside Paragraph Four images illustrate one large 8ft and 16ft curved wall inside and one small 8ft and 16ft curved inside wall, with a human figure place in center. The first two images show a small curved wall inside at different heights, a narrow space illustrated and height. The other two images show a large curved wall at different heights, illustrating how wide and tall they are with a human figure placed in center. I feel sad if
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Small-curved and 16ft height
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Category: #35 Curved wall outside Paragraph Eight images illustrate two different curved walls facing outside, with a human figure placed in center- as well as changes in height. The human figure illustrates a human figure walking outside the curved wall, showing how wide and narrow the space is leading towards too. I feel like, the wider the wall is, the less confusion there is indicating when the curve ends.
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Passing Small-curved and 8ft height
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Passing Small-curved and 16ft height
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Passing Large-curved and 8ft height
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Passing Large-curved and 16ft height
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Category: #36 Curved Walls and Flat Walls Paragraph Five images illustrate curved walls and flat walls, with a perspective of a human figure walking pass or between them. When the human figure walks pass or between them, it indicates if the wall is flat or curved. My emotions in this image are angry, by walking next to a curved wall.
Facing a flat wall (8fh height) while passing a curved wall (8fh height)
Entering a space between a flat wall (8fh height) and a closed-curved wall (8fh height)
Entering a space between a flat wall (8fh height) and an opened-curved wall (8fh height)
Your coordination in height and openness.
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Entering a space between a flat wall (8fh height) and a half opened-curved wall (8fh height)
Category: #37 Entering into a space between Parallel Curved Walls Paragraph Eight images illustrate a humans perspective entering into space between parallel curved walls. A perspective of walking outside the curves and inside the curves illustrate how much of an angle your walking towards to. My emotions in these images show happiness because it feel like I’m walking into a new path.
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Large-curved and 16ft high inside
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Category: #38 Entering a space between curved mirror walls_01 Paragraph Four images illustrate a humans perspective entering a space between curved mirror walls. These pictures show how wide and narrow the walls look mirrored, towards each other. These images show my emotions are sad because the walls become narrow.
Small-curved and 8ft height
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Small-curved and 16ft height
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Category: #39 Entering a space between curved mirror walls_02 Paragraph Eight images illustrate a humans perspective entering between curved walls, but facing a curved wall with different lighting angles. The different lighting angles, inside or outside, show how much space the human is walking towards. The emotions im feeling are happy when walking in outside lighting and sad when walking with inside lighting, as if I’m walking into darkness.
Small-curved and 8ft high with inside lighting
Small-curved and 8ft high with outside lighting
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Small-curved and 16ft high with outside lighting
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Large-curved and 8ft high with outside lighting
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Large-curved and 16ft high with outside lighting
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Category: #40 One curved wall and one column Paragraph Two images illustrate a human walking between a curved wall and a column. As the human walks between a column and an outside curved wall, the more space the have towards them. As the human figure walks between a column and a inside curved wall, the more blocked they are because they are walking towards an angle. The emotions I’m feeling in these images are happy with in outside wall, but mad with an
Entering a space between a column and curved wall outside
Entering a space between a column and curved wall inside
Category: #41 One curved wall and two columns Paragraph Three images illustrate one curved wall and two columns with different humans perspectives. One curved wall and two columns place in front show how much space is available between them, facing horizontally or vertically. The images make me feel free with how much space I would have available to walk around the columns.
Entering a space between a column of two horizontally aligned and curved wall outside
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Facing the outside of a curved wall with two horizontally aligned columns with insufficient space between them
Entering a space between a column of two vertically aligned and a curved wall outside
Category: #42 Role of a column between Curved and flat walls Paragraph Four images illustrate a role of a column between curved and flat walls. With a humans perspective, it illustrate the space between a wall and a column, showing how flat or curved a wall looks at a facing horizontal angle. The emotions I feel are angry, as if the columns doesn’t belong in this space.
Entering a space between two parallel curved walls, with a column in front of the outer curved wall
Entering a space between a faced flat wall and a curved wall, with a column in front of the flat wall
Entering a space between two parallel curved walls, with a column in front of the inner curved wall
Entering a space between a parallel flat wall and a curved wall, with a column in front of the flat wall
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Category: #43 Curved connection Paragraph Four images illustrate a curved connection. Using a curve wall and connecting it to two flat walls, changing degree angles show how wide and narrow the space looks. The emotions I’m feeling are happiness when the wall opens more wider each time.
Follow two flat walls that are connected at an angle of 60 degrees smoothly
Follow two flat walls that are connected at an angle of 150 degrees smoothly
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Follow two flat walls that are connected at an angle of 90 degrees smoothly
Follow two flat walls that are connected at an angle of 120 degrees smoothly
Category: #44 Curved wall and S-curve wall Paragraph Four images illustrate a curved wall and S curve wall. A human placed in center show the height differences in curved walls with different lighting angles. The emotions I’m feeling are sadness with tall walls, making it seem like the space is so big for one person and angry with short walls making it seem like the ceiling would be right above my head.
Curved wall and S-curve wall 8ft high with inside lighting
Curved wall and S-curve wall 8ft high with outside lighting
Curved wall and S-curve wall 16ft high with inside lighting
Curved wall and S-curve wall 16ft high with outside lighting
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Category: #45 1 point perspective pictures: Void on the upside Paragraph Four pictures illustrate a 1 point perspective with a void on the upside. Different shapes are changed in each photo, small square, big square and a circle above with lighting shined above. The images make me feel at joy when light can be shines through the void and I can stand in center as if I’m the one with all the attention.
A 4’x4’ square void with a height of 8ft
A 8’ diameter void with a height of 8ft
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A 8’x8’ square void with a height of 8ft
A 4’ diameter void with a height of 8ft
Category: #46 Void on the upside with columns or walls Paragraph Four images illustrate a void on the upside columns or walls. Different voids are shown with the changes in walls and columns placement. Many emotions was shown when making these images, but the most I felt was disgust because the void is placed in such a random spot.
A 8’x8’ square void with columns
A 8’x8’ square void with a facing wall
A 8’x8’ square void with a passing wall
View for A 4’x4’ square void with a flat wall aligned with one side and two columns aligned with the opposite side
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Category: #47 Void on the downside with columns or walls Paragraph Six images illustrate a avoid on the downside with columns or walls. The images change with different voids, plus wall placements showing how light can reflect in action. The emotions I feel are fear because the void is on my downside making it seem like I can fall through.
A 8’x8’ square void with a facing wall and light from upper floor
A 8’x8’ square void with a facing wall and light from side
A 8’x8’ square void with a facing wall and light from lower floor
A 8’x8’ square void with a passing wall and light from side
A 8’x8’ square void with a passing wall and light from lower floor
A 8’ diameter void with light from lower floor
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Category: #48 Void on the upside with combinations of columns or walls Paragraph Ten images illustrate a void with many combinations, plus a human figure. The challenge was to make a combinations of columns or walls with a void on the upside, illustrating where light can come through and dance through the walls and columns. Through these images I can feel fear, wondering where the upside void can be located by following the light.
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Category: #49 Void between Floating Surfaces Paragraph Five images illustrate two floating surfaces with three human figures. Light shines through the top, shaping square shadows below the surfaces. These images make me feel confused, thinking there is no safety to the top two human figures.
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Category: #50 Void between curve-linear Surfaces Paragraph Two imagines illustrate a void with many combinations added. Four walls, one surface, two columns, and one human figure. Light is shined through a square cut out, letting an L dancing line shine through. My emotions in this image say “proud” because an L space dancing line was created.
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Category: #51 Void with a combination of Paragraph Two images illustrate a void with my own creation. I personally like simple and basic, and I have a floating surface with an L cut out. My emotions in this creation makes me feel like a loser, hint the L, and I’m not proud that I didn’t put more creativity into it.
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Category: #52 Curved vertical surface Paragraph Two images illustrate a curved vertical surface with a human figure placed in center. The curved vertical surfaces change from a wide surface to a small surfaces, indicating how big or small the human figure looks. I feel joy through the changes in length surfaces as if it changed lengths to fit my human size.
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Category: #53 Curved vertical surface with an upper floor Paragraph Five images illustrate a curved vertical surface with an upper floor. The scenes I develop was by placing my human figure on different levels, and it can show how tall the curved surface can look at different angle perspectives. The emotions in these images made me feel happiness because I feel like I can slide down the curved surface from the top level.
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Category: #54 Curved vertical surface with a void Paragraph Five images illustrate a curved vertical surface with a void. A void can be placed upside and downside, adding a curved surface between the void. I feel fear through these images, because I would be lost as to where the curved surface leads to.
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Category: #55 Facing Curved vertical surface Paragraph Two images illustrate a facing curved vertical surface. A curved vertical surface can be placed going upwards or downwards. I feel anger through these images, feeling blocked when facing the curved surface.
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Category: #56 Hanging curved surfaces Paragraph Four images illustrate a hanging curved surface. Hanging curved surface can seem cool, but the amount of space it creates above you can be a little awkward. My emotion for these developed scenes is joy, because hanging curved walls seem like a cool affect to a space.
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Category: #57 Surfaces with convexities and concavities Paragraph Two images illustrate surfaces with convexities and concavities. By bending surfaces into cool curves, can create cool lighting affects. I feel joy, because with cool lighting affects can make a space more of interest for other.
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Category: #58 A sphere with a strong center and centripetal force Paragraph Four images illustrate a sphere with a strong center and centripetal force. Placing a sphere shape at different angles can create a cool circle shadow in a space. I feel happiness because most times circle shadows are shown.
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Category: #59 Surfaces that are twisted and free Paragraph Three images illustrate surface that are twisted and free. Twisted curves are cool affects to any kind of spaces, and they can create cool lighting affects. Light can bend through curves and create shape shadows. My emotions in these images are happiness because the surfaces seem very free in room spaces.
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Zadie Peters
Po r t fo l i o
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What I learned...
Project #1 “Wall, Column, and Space” - I learned that lighting and shadows can completely tranform a space. I also learned that surfaces are just a building block in a space. Project #2 “Hand Drawing” - I learned about my own capabilities as an artist. I found many ways to shade and create shadows. I also learned how different points of view can transform your view of a space. Project #3 “Power of Patience” - I learned that being patient will reveal rewards the longer you are patient. As we watched our assigned painting for hours, I began to see more than I could’ve even imagined. I saw technique, storytelling, ideation, and representation. Project #4 “Space Cube” - THe Space Cube project showed me that iteration and revisions will allow you to perform your best work. The craftsmanship and creativity will reveal itself along the way. Project #5 “First Portfolio” - I learned that my craftsmanship is extremely important in showing my work. ANother important aspect of showing off your work is the photography. You work must have proper lighting and documentation in order to best present your work. Overall If you could talk to you before these five weeks, what would you like to share with you? - If I could talk to myself before these five weeks, I would tell myself that it is going to be the most intense five weeks you’ve ever experienced. However, the pride that you will carry yourself with after all of your hard work is a feeling like no other. You will be able to look back at your work and feel so much gradification because of the time and effort you have put in.
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Category #1: Facing surface The angles of the facing surface are pivoting into a line that is parallel to the figure. The wall comes into the frame of the photo from the left at an angle. The facing surface photos made me feel closed off. With the angles almost pivoting, I felt as though the wall was beginning to block off more and more of the space. It eventually took over the entire length of the background. This closed-off feeling is causing a sad and secluded feeling.
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Category #2: Facing edge The facing edge walls are rotating in a circular motion. The figure is acting as the center point of the circle as the walls rotate around it. The facing edge reminds me of a clock. I also get the feeling of being watched or looked down on. Because the wall is taller than the figure, it feels sort of intimidating.
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Category #3: Blocking wall The blocking wall starts to shift out of the frame on the left side. This causes the figure to be left as the last thing in the space. The negative space begins to become greater and greater in each photo. This makes me feel uneasy because the wall is causing negative space and is not balanced on either side, messing with my perfectionistic mind.
Opened level 1
Opened level 2
Opened level 3
Opened level 4
Block level 1
Block level 2
Block level 3
Block level 4
Block level 5
Block level 6
Block level 7
6 1758
Category #4: Passing the blocking wall Passing the blocking wall moves forward and backward in the space. This allows the figure to appear as though its walking past the wall and moving throughout the space, rather than the wall moving by itself. This makes me feel anxious because I wonder where the figure is walking to. The space is empty beyond the wall, giving an eerie feeling.
Passing level 1
Passing level 2
Passing level 3
Passing level 4
Passing level 5
7 1759
Category #5: Aligned Wall The aligned wall is staying perpendicular to the figure, but also shifting to the left. The figure gets further from the wall and the space between them becomes greater. More of the open space on the side of the wall is also able to be viewed.
Closed level 1
Closed level 2
Closed level 4
Closed level 5
8 1760
Closed level 3
Category #6: Passing the aligned wall The aligned wall is getting closer and exiting the frame of the photo. This allows the figure to be the only object within the space as leaving the frame. This makes me feel free. I feel as though the wall was confining the figure and now the figure has space.
Passing level 1
Passing level 2
Passing level 3
Passing level 4
Passing level 5
Passing level 6
9 1761
Category #7: Walls with different heights The floating wall is being lifted, allowing more space below. This allows the figure to have more space above it. This makes me feel unrestricted and full of opportunity. The wall gets higher above the figure and gives the feeling of being unrestrained by the wall above.
Wall with 1ft
Wall with 2ft
Wall with 3ft
Wall with 4ft
Wall with 5ft
Wall with 6ft
Wall with 7ft
Wall with 7ft
10 1762
Category #8: Floating and faced Wall The floating wall causes the space to be gradually opened up as the wall gets higher and higher. This makes the figure appear smaller in scale than the wall. This makes me feel bright and open. The wall being raised allows us to see what is on the other side of the wall.
1ft high floating wall
2ft high floating wall
3ft high floating wall
4ft high floating wall
5ft high floating wall
6ft high floating wall
7ft high floating wall
8ft high floating wall
11 1763
Category #9: 8ft high floating and aligned wall The floating and faced wall is hanging above the figure and gradually goes out of the frame to the left, leaving more negative space. The figure is left out of line from the floating wall, when it was originally in line with it. This makes me feel like the wall could fall. If I were in the figure’s position, I would feel as though the wall was too thin and should not be hanging up.
Alignment level 1
Alignment level 4
12 1764
Alignment level 2
Alignment level 3
Category #10: 8ft high floating and faced wall The floating and aligned wall progressively gets further out of the frame, giving the room more empty space. The figure had more and more space as the wall exited the frame. This makes me feel unobstructed. I feel that if this wall were in any other space, it would get in the way of something that needed to be seen. I feel like it is just in the way and is bothersome
Overlap level 1
Overlap level 2
Overlap level 3
Overlap level 4
Overlap level 5
Overlap level 6
Overlap level 7
Overlap level 8
13 1765
Category #11: floating horizontal surface The high floating and faced wall float horizontally, giving the space an emptier look because the surface area that faces the point of view is limited. The wall floats above the figure, giving it a limited and confined space overhead. This makes me feel overwhelmed and gives the space a heavy look. The horizontal position of the wall makes me feel like it could be unstable.
Overlap level 1
Overlap level 2
Overlap level 3
Overlap level 4
Overlap level 5
Overlap level 6
Overlap level 7
Overlap level 8
14 1766
Category #12: Horizontal surfaces with different heights The horizontal surface with different heights makes the space feel inside out. The original floating wall moved down into the ground and virtually flipped the ground inside out. This makes the figure appear as though the ground has risen up and created a hole. This makes me feel confused and twisted. It is kind of confusing to the brain as compared to the other walls.
8ft high horizontal surface
7ft high horizontal surface
6ft high horizontal surface
5ft high horizontal surface
4ft high horizontal surface
3ft high horizontal surface
2ft high horizontal surface
1ft high horizontal surface
-1ft high horizontal surface
-2ft high horizontal surface
-3ft high horizontal surface
-4ft high horizontal surface 15 1767
Category #13: Wall surface with an incline The wall surface with an incline is placed at an awkward angle, not parallel or perpendicular to the war or the figure. However, it make the figure have a sort of bubble surrounding it. The angled surface floats around it. This makes me feel uplifted in a way. The wall looks large in scale to me and has a particular position that causes the space to feel larger and more open.
10 degree
20 degree
30 degree
40 degree
50 degree
60 degree
70 degree
80 degree
16 1768
Category #14: Inclined wall The inclined wall goes from a more vertical to a more horizontal position, opening the space up to what is on the other side of the wall. This allows the figure to be seen from the other side of the wall. This makes me feel like I am free, yet the wall is hesitant to open all the way, giving me a discouraged feeling.
Inclined level 1
Inclined level 2
Inclined level 3
Inclined level 4
Inclined level 5
Inclined level 6
17 1769
Category #15: Floating wall surface facing edge with an incline The floating wall rotates around while being supended. This wall provides unique angles and positions. The figure acts as the center point for the rotation of the wall. The inside edge is always facing the figure. This floating wall makes me feel bright and awake. It reminds me of the sun rising and setting while the figure shares our point of view of a sunrise and sunset.
Inclined level 1
Inclined level 2
Inclined level 3
Inclined level 4
Inclined level 5
Inclined level 6
18 1770
Category #16: Inclined surface to a facing wall The inclined surface gradually lowers and the incline lessens. The outward facing edge of the inclined surface gets closer to the height of the figure as the angle changes. This inclined surfaced makes me (in the figure’s position) feel like I am going to be squished as the angle gets closer to the height of my head.
10 degree
20 degree
30 degree
40 degree
50 degree
60 degree
70 degree
80 degree
90 degree
19 1771
Category: #17 Inclined ramp to facing wall The inclined ramp gradually gets steeper and steeper. As the angle gets smaller, the figure is further away from the bottom of the ramp. This almost makes me teased. If I were in the figure’s position, I would feel as though the ramp should be getting closer and gradually less steep. However, the ramp is getting steeper and taller and feels further away.
10 degree
20 degree
30 degree
40 degree
50 degree
60 degree
70 degree
80 degree
90 degree
20 1772
Category: #18 One Column The single column makes a statement within the space. It draws attention to the only structure there. This causes the figure to not really be the main point of the scene. This gives me an eerie feeling because there isn’t much to look at and there is no surroundings. The column is just free standing.
Front
Side
Category: #19 Two Columns The two columns create a line procession when facing horizontally. The figure becomes the center of a balanced space. In the vertical line, the space is unbalanced and is unwelcoming. This makes me feel unsure about the space. The horizontal image makes me feel welcomed and wanted, while the vertical image makes me feel pushed away and unwelcome.
Vertical
Horizontal
21 1773
Category: #20 Three Columns The three columns reaction with the lighting give me a scared feeling. The dark lighting cause the columns to disappear into the darkness as they get higher. The figure blends in with the columns, adding to the vertical pattern of the scene. This makes me feel spooked because of the darkness and the rising repetition of the columns.
Vertical
Horizontal
Category: #21 Four Columns The point of view and lighting angle of the four columns create a frame for the space. The square/rectangle shape that the columns create allows the lighting to also be highlighted as it reflects off of the columns, into the center of the frame. This causes the figure to be highlighted as weel because it is outside of the frame, making it look like the odd thing out. This makes me feel daunted and frightened because of the lighting.
Wide
22 1774
Narrow
Category: #22 One Wall and One Column The scattered movement of the wall and the column make me uncomfortable. In the beginning scene, the column and the wall create a walkway between them in my mind. As the column and the wall move closer together, it causes the walkway to be non-existent. The figure is not misplaced in my opinion because the walkway is no longer there. This makes me feel uneasy because of the mixing of the layout.
Condition 1
Condition 2
Condition 3
Condition 4
Condition 5
Condition 6
Condition 7
Condition 8
23 1775
Category: #23 One Wall and two Columns The one wall and two columns create an opposition of shapes. The squared wall opposes with the cylindrical columns, creating an unexpected balance. The two columns put together form a similar size of the wall which allows a balance within the space. The figure becomes the center, allowing the space to be somewhat symmetrical with weight. This makes me feel at peace and calm because the space is balanced.
Condition 1: aligned wall and vertically aligned columns
Condition 2: facing wall and vertically aligned columns
Condition 3: facing wall and horizontally aligned columns
Category: #24 Two Walls and two Columns The two columns perfectly frame the horizontal wall, creating an elegant look. The columns and walls make the figures look short, as compared to their tall size. This makes me feel somewhat intimidated. The tall height makes it look grand and extreme.
Columns aligned vertically with perpendicular walls
24 1776
Columns aligned horizontally with perpendicular walls
Category: #25 Two Walls and two Columns with two lighting conditions_01 The placement of the columns along the wall create a frame or a walkway into the area that lets the light in. This allows the figure to be in control of what happens next. The opening that lets light in makes me feel curious about what is around the corner.
Walking between vertically aligned columns and perpendicular walls with lighting behind Figure
Walking between vertically aligned columns and perpendicular walls with lighting behind wall
Walking beside vertically aligned columns and perpendicular walls with lighting behind Figure
Walking beside vertically aligned columns and perpendicular walls with lighting behind wall
Walking beside vertically aligned columns and extended perpendicular walls with lighting behind Figure
Walking beside vertically aligned columns and extended perpendicular walls with lighting behind wall
25 1777
Category: #26 Two Walls and two Columns with two lighting conditions_02 The columns on either side get closer together, tightening the already dark space. This causes the figure to be within a tighter space. This makes me feel claustrophobic with the smaller spaces and the dark lighting within the majority of the space.
Passing horizontally aligned columns to enter the space between two walls with lighting behind Figure
Passing vertically aligned columns to enter the space between two walls with lighting from the inside space
26 1778
Passing horizontally aligned columns to enter the space between two walls with lighting from the inside space
Passing vertically aligned columns to enter the space between two walls with lighting behind Figure
Category: #27 Two Walls and two Columns with two lighting conditions_03 The changing of the angles of the walls within this space allow the light to hit the space in many different ways. This allows the figure to look like it is in many different spaces instead of the single space. This makes me feel intrigued and interested about the space and its transformations.
Passing vertically aligned columns to pass a narrow opening between two walls with lighting behind Figure
Passing vertically aligned columns to pass a narrow opening between two walls with lighting from the inside space
Passing vertically aligned columns to pass an intermediate opening between two walls with lighting behind Figure
Passing vertically aligned columns to pass an intermediate opening between two walls with lighting from the inside space
Passing horizontally aligned columns to pass a wide opening between two walls with lighting behind Figure
Passing horizontally aligned columns to pass a wide opening between two walls with lighting from the inside space
27 1779
Category: #28 Vertically aligned Two Walls and two Columns The changing of the angles of the walls makes the space feel adventurous. The layers of the walls create space between where it draws the viewer in. It makes us wonder where the figure will go. The figure goes in and out of the light making it seem like it should be the main point of the scene. This makes me feel curious about what is behind the walls and in the unseen space.
Between walls, walking
28 1780
Between columns, walking
Category: #29 Space composed with 5+ columns and 2 walls The right-most wall is changing constantly changing angles, allowing light to come into the space in different ways. The figure stands among the columns, which draws your eye to their height difference. This makes me feel happy and adventurous. The columns resemble a forest in my opinion. The lighting allows the space to look like a sunrise or sunset.
Top view of the space composed
Sequence phase #1
Sequence phase #2
Sequence phase #3
Sequence phase #4
Sequence phase #5
Sequence phase #6
29 1781
Category: #30 Faced wall with Connected wall The outside wall moves out, revealing a hidden space behind. This makes the figure not feel so confined. The original 90-degree angle made me feel like I was at a museum or exhibit of some kind, but after the wall moved around to a 90 degree angle the other direction, it made em feel free and not so restricted.
90 degree
100 degree
110 degree
120 degree
130 degree
140 degree
150 degree
160 degree
170 degree
180 degree
190 degree
200 degree
30 1782
210 degree
220 degree
230 degree
240 degree
250 degree
260 degree
270 degree
31 1783
Category: #31 Aligned wall with Connected wall The farther wall is pivoting out, virtually opening the space up to something new. This allows the figure to not be so confined. This makes me feel full of opportunity; a new space is open to be explored now.
10 degree
20 degree
30 degree
40 degree
50 degree
60 degree
70 degree
80 degree
90 degree
100 degree
110 degree
120 degree
32 1784
130 degree
140 degree
150 degree
160 degree
170 degree
33 1785
Category: #32 Facing the connected edge of two walls This set of walls gradually opens, putting a structure further into the space that we are seeing. The figure now has less empty space than it originally had. It feels like the wall is cutting into the space with a selfish tone. It makes me feel intimidated because the wall comes out of nowhere.
10 degree
20 degree
30 degree
40 degree
50 degree
60 degree
70 degree
80 degree
90 degree
100 degree
110 degree
120 degree
34 1786
130 degree
140 degree
150 degree
160 degree
170 degree
35 1787
Category: #33 Three connected walls These set of walls consists of 3 connected pieces. The walls act as a barrier surrounding the figure. This makes me feel confined and lonely because the figure is the only thing in the space and is separated from the rest of what surrounds the walls. It feels cold and depressing.
Wide-facing wall with two wings
Narrow-facing wall with two wings
Category: #34 Curved wall inside The curved wall from the inside gives us a visually intriguing element because the curve is so smooth. This makes the figure stand out because it does not share that smooth element with the wall. This makes me feel delicate and light because there are no harsh elements in the space.
Small-curved and 8ft height
Large-curved and 16ft height 36 1788
Small-curved and 16ft height
Large-curved and 8ft height
Category: #35 Curved wall outside The outside of the curved wall provides an interesting round element within the space which is something new to look at. This allows the figure to stand out among the rounded elements within the space. This makes me feel mellow and chill because of the absence of sharp edges or angles.
Facing Small-curved and 8ft height
Passing Small-curved and 8ft height
Facing Small-curved and 16ft height
Passing Small-curved and 16ft height
Facing Large-curved and 8ft height
Passing Large-curved and 8ft height
Facing Large-curved and 16ft height
Passing Large-curved and 16ft height
37 1789
Category: #36 Curved Walls and Flat Walls The curved and straight walls provide an opposition within the space that gives balance. This causes the figure to be put between the opposition, acting as a bridge in a sense. This makes me feel like I am pulled in two different directions. The straight wall and curved wall give so much opposition that it confuses me.
Facing a flat wall (8fh height) while passing a curved wall (8fh height)
Entering a space between a flat wall (8fh height) and a closed-curved wall (8fh height)
Entering a space between a flat wall (8fh height) and an opened-curved wall (8fh height)
Your coordination in height and openness.
38 1790
Entering a space between a flat wall (8fh height) and a half opened-curved wall (8fh height)
Category: #37 Entering into a space between Parallel Curved Walls The parallel curved walls add a satisfying repetition to the space. The figure is then given a walkway through the parallel walls. This makes me feel safe and secured because the walls are providing a sense of stability throughout the space.
Small-curved and 8ft high outside
Small-curved and 16ft high outside
Large-curved and 8ft high outside
Large-curved and 16ft high outside
Small-curved and 8ft high inside
Small-curved and 16ft high inside
Large-curved and 8ft high inside
Large-curved and 16ft high inside
39 1791
Category: #38 Entering a space between curved mirror walls_01 The curved mirror walls with light coming in from the inside makes the space look intriguing. This makes the figure the center of attention because it is going through the center of the space. This makes me feel claustrophobic because I find that the opening gets tighter and tighter as the photos progress.
Small-curved and 8ft height
Large-curved and 16ft height
40 1792
Small-curved and 16ft height
Large-curved and 8ft height
Category: #39 Entering a space between curved mirror walls_02 The curved mirror walls add a grand element to the space. I feel that the space would have felt off if the walls were different sizes. This makes the figure look much smaller compared to the size of the walls, belittling it. This makes me feel out of place because I feel like I would find this scene in a fancy museum or event location.
Small-curved and 8ft high with inside lighting
Small-curved and 8ft high with outside lighting
Small-curved and 16ft high with inside lighting
Small-curved and 16ft high with outside lighting
Large-curved and 8ft high with inside lighting
Large-curved and 8ft high with outside lighting
Large-curved and 16ft high with inside lighting
Large-curved and 16ft high with outside lighting
41 1793
Category: #40 One curved wall and one column The curved wall and the column add a visually satisfying element. In the second photo, the wall perfectly curves around the column, as if it were the center. This makes the figure stand perfectly between the center and the outer edge of the curved wall. This makes me feel content and that the space needs no other elements.
Entering a space between a column and curved wall outside
Entering a space between a column and curved wall inside
Category: #41 One curved wall and two columns The curved wall with the two columns experiences balance from all angles. Even though the walls and columns are not symmetrical, the weight of the two provides a satisfaction in each photo. This makes the figure look stabilized in some way. I feel like the space adds stability and the figures are safe. This makes me also feel safe because of the placement of the columns around the curved wall.
Entering a space between a column of two horizontally aligned and curved wall outside
42 1794
Facing the outside of a curved wall with two horizontally aligned columns with insufficient space between them
Entering a space between a column of two vertically aligned and a curved wall outside
Category: #42 Role of a column between Curved and flat walls The column between the curved and flat walls ultimately gets in the way in my opinion. The curvature of the walls provides a walkway in a way and the column just stands in the way. The column however adds a vertical element to the space, giving the figure a similar vertical structure. This makes me feel uncomfortable because of the placement of the column.
Entering a space between two parallel curved walls, with a column in front of the outer curved wall
Entering a space between a faced flat wall and a curved wall, with a column in front of the flat wall
Entering a space between two parallel curved walls, with a column in front of the inner curved wall
Entering a space between a parallel flat wall and a curved wall, with a column in front of the flat wall
43 1795
Category: #43 Curved connection The curved connection adds an unbalanced element to the space which throws me off slightly. It makes the figure look bored and lonely because there isn’t much happening, visually. This makes me feel bored and uninterested.
Follow two flat walls that are connected at an angle of 60 degrees smoothly
Follow two flat walls that are connected at an angle of 150 degrees smoothly
44 1796
Follow two flat walls that are connected at an angle of 90 degrees smoothly
Follow two flat walls that are connected at an angle of 120 degrees smoothly
Category: #44 Curved wall and S-curve wall The curved wall and S-curve wall change directions, sizes, and way that light travels in. It amazes me how the light travels through the curves. This makes the figure stand out among the curvature of the walls. It stands vertically and straight, unlike the walls. This makes me feel curious about where these walls go to. It reminds me of a maze, which kind of adds a chaotic element.
Curved wall and S-curve wall 8ft high with inside lighting
Curved wall and S-curve wall 8ft high with outside lighting
Curved wall and S-curve wall 16ft high with inside lighting
Curved wall and S-curve wall 16ft high with outside lighting
45 1797
Category: #45 1 point perspective pictures: Void on the upside The one point perspective pictures experience change when it comes to the shape of the void. The void goes back and forth between a square and a circle and different sizes of each shape. This causes the figure to be the highlight of the photo and experience different lighting through the void. This makes me feel intimidated because the light coming through the void is so dramatic.
A 4’x4’ square void with a height of 8ft
A 8’ diameter void with a height of 8ft
1798
46
A 8’x8’ square void with a height of 8ft
A 4’ diameter void with a height of 8ft
Category: #46 Void on the upside with columns or walls In this space, the facing wall adds interest to the space because it throws the balance off with its unsymmetrical placement. The columns in the background add dimension to the space. This makes the figure stand out because it is significantly smaller than the rest of the elements in the space. This makes me feel extremely belittled because the space is thrown off in terms of the scale of each surface.
A 8’x8’ square void with columns
A 8’x8’ square void with a facing wall
A 8’x8’ square void with a passing wall
View for A 4’x4’ square void with a flat wall aligned with one side and two columns aligned with the opposite side
47 1799
Category: #47 Void on the downside with columns or walls The void on the downside offers a different view than we are used to viewing. The many different lighting angles give a different ambiance to the space in each picture, giving the figure different observations of the space. This makes me feel unsure about the space because there is such dramatic change between photos.
A 8’x8’ square void with a facing wall and light from upper floor
A 8’x8’ square void with a facing wall and light from side
A 8’x8’ square void with a facing wall and light from lower floor
A 8’x8’ square void with a passing wall and light from side
A 8’x8’ square void with a passing wall and light from lower floor
A 8’ diameter void with light from lower floor
48 1800
Category: #48 Void on the upside with combinations of columns or walls The void changes shapes, allowing the space and light to be altered throughout the series of photos. The mix of curved walls and straight walls adds balance within the space as well. This makes the figure experience different shadows, lighting, and shapes throughout the space.
Scene #1
Scene #2
Scene #3
Scene #4
Scene #5
Scene #6
Scene #7
Scene #8
Scene #9
Scene #10 49 1801
Category: #49 Void between Floating Surfaces The floating surfaces create dimension within the space. It shows height and weight and gives lots of visually appealing images. This allows the figure to be viewed from many heights and angles. This makes me feel slightly frightened. The edges, angles, and shadows are not very friendly.
Scene #1
Scene #2
Scene #4
Scene #5
Scene #3
Category: #50 Void between curve-linear Surfaces IN this scene, the angled square with the circular void gives opportunity for things to be welcomed into it. The organic shape acts as a bridge from the inside to the outside. This causes the figure to be much smaller in scale compared to what is happening around it. This makes me feel seen and have opportunity in front of me. The bridge from the confined interior part of the structure to the outside freedom is very empowering and tells an immense story.
Scene #1 50 1802
Scene #2
Category: #51 Void with a combination of This scene consists of many facing and passing walls. The thin wall that runs through the void adds an interesting visual element that ultimately splits the void in half. This makes the figure experience light in different areas of the space. This makes me feel amused as well as content because there are so many shapes within the space, causing the different edges and finishes to balance.
Scene #1
Scene #2
Category: #52 Curved vertical surface The curved vertical surface gives the space a centralized point to look at. This gives the viewer a highlighted surface to be interested in. This makes me feel wonderous because the lighting draws the eye up the vertical surface.
A 4’wide
A 8’wide 51 1803
Category: #53 Curved vertical surface with an upper floor The curved vertical surface matches the curved wall in the photo which adds balance to the space. The upper floor provides dimension and a reference of scale vertically. This makes me feel refreshed because the upper floor also provides an opposing shape as compared to the curved vertical surface.
Scene #1
Scene #2
Scene #4
Scene #5
52 1804
Scene #3
Category: #54 Curved vertical surface with a void The space with the curved vertical surface contains a visually satisfying image. The shadowed negative space balances well with the light coming in from the void. This makes the figure look like it has many different directions to go. This makes me feel calm because the walls and elements are all very straight and non-distracting.
Scene #1
Scene #2
Scene #3
Scene #4
Scene #5
Category: #55 Facing Curved vertical surface The facing curved surfaces give the space a sense of wonder. The incline is highlighted from the light. This almost calls after the figure which intrigues the viewer. This makes me feel curious about where the ramp/vertical surface leads to.
Scene #1
Scene #2 53 1805
Category: #56 Hanging curved surfaces The hanging curved surfaces ass a certain intriguing element to the space. The shadowing of the curved surface causes the space to feel spooky in a sense. The size of it also causes the human view of the space to be more immense. This makes me feel belittled in a way because the space is so dramatic.
Scene #1
Scene #2
Scene #3
Scene #5
Category: #57 Surfaces with convexities and concavities The half sphere provides a powerful image as it stands alone. It causes the figure to appear very small. This makes me feel empowered while also feeling intimidated by the dramatics of the images.
Scene #1 54 1806
Scene #2
Category: #58 A sphere with a strong center and centripetal force The opposition of the convexities and concavities creates so much dimension within the space. The figure looks almost out of place because the elements within the space are so dramatic. This makes me feel amazed at house the elements can work together to form something of such great visual interest.
Scene #1
Scene #2
Scene #3
Scene #5
Category: #59 Surfaces that are twisted and free The combination of negative space and organic shapes gives the space a very free feeling. In addition, the use of rounded walls makes the space feel much more organic. This causes the figure to experience many unique twists and turns throughout the space. This makes me feel loose and relaxed because of the unbound shapes being used.
Scene #1
Scene #2
Scene #3
55 1807
Summer Reichl FI v e We e k S um m e r S t udi o P or t f ol i o
1808
What I learned...
Project #1 “Wall, Column, and Space” Ͳ dŚŝƐ ĂůƚĞƌĞĚ ƚŚĞ ǁĂLJ / ƉĞƌĐĞŝǀĞ ƚŚĞ ďƵŝůĚŝŶŐƐ ĂŶĚ ƐĐĞŶĞƐ ĂƌŽƵŶĚ͘ / ŐĂŝŶĞĚ ŵƵĐŚ ŬŶŽǁůĞĚŐĞ ĂďŽƵƚ ƉĞƌĐĞƉƟŽŶ ĂŶĚ ƐĐĂůĞ͘ Project #2 “Hand Drawing” Ͳ dŚŝƐ ǁĂƐ ŽŶĞ ŽĨ ŵLJ ŵŽƐƚ ĂƉƉƌŝĐŝĂƚĞĚ ƉƌŽũĞĐƚƐ͘ ĞŝŶŐ ĂďůĞ ƚŽ ĐƌĞĂƟǀĞůLJ ƚƌLJ ŶĞǁ ƚŚŝŶŐƐ ǁŝƚŚ ĚŝīĞƌĞŶƚ ŵĂƚĞƌŝĂůƐ ǁĂƐ ǀĞƌLJ ďĞŶĞĮĐŝĂů ŝŶ ůĞĂƌŶŝŶŐ ĨŽƌ Ă ĚĞƐŝŐŶĞƌ͘ WƌŽũĞĐƚ ηϯ ͞WŽǁĞƌ ŽĨ WĂƟĞŶĐĞ͟ Ͳ / ĞŶũŽLJĞĚ ƚŚŝƐ ƉƌŽũĞĐƚƐ ĨŽƌ ŵĂŶLJ ƌĞĂƐŽŶƐ͕ ďƵƚ ďĞŝŶŐ ĞďůĞ ƚŽ Ɛŝƚ ĂŶĚ ƐƚƵĚLJ Ă ƉĞŝĐĞ ĨŽƌ ŚŽƵƌƐ ŽŶ ĞŶĚ ǁĂƐ ĚŝĸĐƵůƚ ďƵƚ ǀĞƌLJ entertaining. Project #4 “Space Cube” Ͳ >ĞĂƌŶŝŶŐ ƚŚĞ ĐŽŶĐĞƉƚ ŽĨ ŚŽǁ Ă ƌŽŽŵ ĂŶĚ Ă ŚƵŵĂŶ ŇŽǁƐ ƚŚƌŽƵŐŚŽƵƚ ƐƉĂĐĞƐ͘ WƌŽũĞĐƚ ηϱ ͞&ŝƌƐƚ WŽƌƞŽůŝŽ͟ Ͳ dŚŝƐ ǁĂƐ ŵLJ ĮƌƐƚ ƟŵĞ ƉůĂĐŝŶŐ ƐŽ ŵĂŶLJ ĚŝīĞƌĞŶƚ ŵĂƚĞƌŝĂůƐ ŝŶƚŽ Ă ƐĞĐƟŽŶ ůŝŬĞ ƚŚŝƐ͕ &ŝŐƵƌŝŶŐ ŽƵƚ ƚŚĞ ŵŽƐƚ ĞĸĐŝĞŶƚ ǁĂLJ ƚŽ organize my materials was the hardest part. Overall Ͳ dŚŝƐ ůĂƐƚ ĮǀĞ ǁĞĞŬƐ ŚĂƐ ŐŝǀĞŶ ŵĞ ƐŽ ŵƵĐŚ ŝŶƐŝŐŚƚ ŝŶƚŽ ƚŚĞ ǁŽƌůĚ ŽĨ ĚĞƐŝŐŶ ĂŶĚ ƚŚŝŶŬŝŶŐ ůŝŬĞ Ă ĚĞƐŝŐŶĞƌ͘ /Ĩ LJŽƵ ĐŽƵůĚ ƚĂůŬ ƚŽ LJŽƵ ďĞĨŽƌĞ ƚŚĞƐĞ ĮǀĞ ǁĞĞŬƐ͕ ǁŚĂƚ ǁŽƵůĚ LJŽƵ ůŝŬĞ ƚŽ ƐŚĂƌĞ ǁŝƚŚ LJŽƵ͍ DLJ ƌĞŇĞĐƟŽŶ ŽĨ ƚŚŝƐ ĐŽƵƌĐĞ ŝƐ ƚŽ ĞŵƉŚĂƐŝnjĞ ƚŚĞ ƌŝŐŽƌ ĂŶĚ ĂŵŽƵŶƚ ŽĨ ĞŶĞƌŐLJ ĚĞŵĂŶĚĞĚ ĨƌŽŵ ƚŚĞƐĞ ĮƌƐƚ ĮǀĞ ǁĞĞŬƐ͘ dŚŝƐ ŝƐ Ă ƟŵĞ ƚŽ ƚƌƵůLJ ĞŶŐƵůĨ LJŽƵƌƐĞůĨ ŝŶ ƚŚĞ ǁŽƌŬ ĂŶĚ ƚŽ ƌĞŵĞŵďĞƌ ƚŽ ĞŶũŽLJ ƚŚĞ ƉƌŽĐĞƐƐ͘ /ƚ ŝƐ Ă ďůĞƐƐŝŶŐ ĂŶĚ Ă ũŽLJ ƚŽ ŚĂǀĞ ƚŚĞ opportunity to learn about design and to be a part of a class such as this.
1809
Category #1: Facing surface /Ŷ ƚĞŶ ƉŚŽƚŽŐƌĂƉŚƐ / Ăŵ ƐŚŽǁŝŶŐ ĂŶ ŝůůƵƐƚƌĂƟŽŶ ŽĨ ƚŚĞ ǁĂLJ ǁĂůůƐ ĂŶĚ ĂŶŐůĞƐ ĚŝƌĞĐƚůLJ ŝŶŇƵĞŶĐĞ ƚŚĞ ĂƉƉĞĂƌĂŶĐĞ ŽĨ Ă ŚƵŵĂŶ ĮŐƵƌĞ͘ dŚĞ ƐŚŝŌƐ ŝŶ ƚŚĞ ĚĞŐƌĞĞ ŽĨ ƚŚĞ ǁĂůů ƚŚĞ ŚƵŵĂŶ ŝƐ ĨĂĐŝŶŐ ŐƌĂĚƵĂůůLJ ŽďƐƚƌƵĐƚƐ ƚŚĞ ŚƵŵĂŶ ĮŐƵƌĞƐ ƐŝnjĞ ĂŶĚ ƉƌŽƉŽƌƟŽŶƐ͘ /Ŷ ĚĞŐƌĞĞƐ ϬͲϮϬ / ŚĂĚ ƚŚĞ ŽƉƟŽŶ ŽĨ ŵŽǀŝŶŐ ĨŽƌǁĂƌĚ ďĞĨŽƌĞ / ŚĂĚ ƚŽ ƌĞƌŽƵƚĞ ĂŶĚ ƐŚŝŌ ƌŝŐŚƚ ŝŶ ŽƌĚĞƌ ƚŽ ŶŽƚ Śŝƚ ƚŚĞ ǁĂůů ;ϯϬͲϲϬ ĚĞŐƌĞĞƐͿ͕ / ĨĞůƚ ƚŚĞ ŝŶĂďŝůŝƚLJ ƚŽ ŵŽǀĞ ĨŽƌǁĂƌĚ ďĞĐĂƵƐĞ ŽĨ ĚĞŐƌĞĞƐ ϳϬͲϵϬ ďĞĐĂƵƐĞ ƚŚĞ ǁĂůů ǁĂƐ ŝŶ ĨƌŽŶƚ ŽĨ ŵĞ͘
0 degree
10 degree
20 degree
30 degree
40 degree
50 degree
60 degree
70 degree
80 degree
90 degree 1810
Category #2: Facing edge /Ŷ ƚĞŶ ƉŚŽƚŽŐƌĂƉŚƐ / Ăŵ ŝůůƵƐƚƌĂƟŶŐ ƚŚĞ ǁĂLJ ǁĂůůƐ ĂŶĚ ĂŶŐůĞƐ ĚŝƌĞĐƚůLJ ĂīĞĐƚ ƚŚĞ ĂƉƉĞĂƌĂŶĐĞ ŽŶ ƚŚĞ ŚƵŵĂŶ ĮŐƵƌĞ͘ Ɛ ĂŶŐůĞ ŽĨ ƚŚĞ ǁĂůů ƐŚŝŌƐ ƚŚĞ ŚƵŵĂŶ ŝƐ ŐƌĂĚƵĂůůLJ ŽďƐƚƌƵĐƚĞĚ ĂŶĚ Žƌ ƐŚŝŌĞĚ ŝŶ ƉĞƌƐƉĞĐƟǀĞ ƚŽ ƚŚĞ ǁĂůůƐ͘ ĞŐƌĞĞƐ ϬͲϮϬ / ĨĞůƚ ďůŽĐŬĞĚ ďLJ ƚŚĞ ĞĚŐĞ ŽĨ ƚŚĞ ǁĂůů͕ ŚĂǀŝŶŐ ƚŽ ƐŚŝŌ ƌŝŐŚƚ ŝŶ ŽƌĚĞƌ ƚŽ ŐĞƚ ĂƌŽƵŶĚ ŝƚ ;ϯϬͲϱϬ ĚĞŐƌĞĞƐͿ ǁŝƚŚ ĚĞŐƌĞĞƐ ϲϬͲϵϬ / ĨĞůƚ ĐŽŵĨŽƌƚĂďůĞ ƚŽ ŵŽǀĞ ĨƌĞĞůLJ ƉĂƐƚ ƚŚĞ ǁĂůů ǁŝƚŚ ŶŽ ĚŝƐĐŽŵĨŽƌƚ͘
0 degree
10 degree
20 degree
30 degree
40 degree
50 degree
60 degree
70 degree
80 degree
90 degree 1811
Category #3: Blocking wall /Ŷ ϭϭ ƉŚŽƚŽŐƌĂƉŚƐ / ĚĞŵŽŶƐƚƌĂƚĞ ƚŚĞ ĂīĞĐƚ ǁĂůůƐ ĂŶĚ ƚŚĞŝƌ ĂŶŐůĞƐ ĂŶĚ ƚŚĞ ǁĂLJ ƚŚĞŝƌ ĂƉƉĞĂƌĂŶĐĞ ƐŚŝŌƐ ƚŚĞ ƉĞƌƐƉĞĐƟǀĞ ĂŶĚ ƐŝnjĞ ŽĨ Ă ŚƵŵĂŶ ĮŐƵƌĞ͘ ǁĂůů ŝƐ ďůŽĐŬŝŶŐ ƚŚĞ ŚƵŵĂŶƐ ƉĂƚŚ ŵĂŬŝŶŐ /ƚ ƵŶĂďůĞ ƚŽ ƉĂƐƐ ƚŚĞ ǁĂůů͕ ƉŚŽƚŽƐ ϭϱ ĨĞĞů ĂƐ ƚŚŽƵŐŚ ƚŚĞLJ ĂƌĞ ŝŶ Ă ŵƵƐĞƵŵ͕ ĂŶĚ ƚŚĞLJ ĂƌĞ ƐƚƌŽůůŝŶŐ ĂůŽŶĞ ƚŚĞ ǁĂůů ƚŚĞLJ ĂƌĞ ŽďƐƚƌƵĐƚĞĚ ďLJ ǁŝƚŚ ŶŽ ĚŝƐĐŽŵĨŽƌƚ͘ /Ŷ ƉŚŽƚŽƐ ϲͲϭϭ ŝƚ ĨĞĞůƐ ĂƐ ƚŚŽƵŐŚ ƚŚĞ ĮŐƵƌĞ ŝƐ ďĞŐŝŶŶŝŶŐ ƚŚĞŝƌ ĚĞĐĞŶƚ ƚŽ ƉĂƐƐ ƚŚĞ ǁĂůů ƚŚĂƚ ůĞĂĚƐ ŝŶƚŽ ƚŚĞ ŶĞdžƚ ƌŽŽŵ͕ ĂƐ ƚŚĞLJ ǁĂůŬ ƉĂƐƚ ƚŚĞ ůĂƐƚ ƚǁŽ ǁĂůůƐ ƚŚĞLJ ĂƌĞ ĂďůĞ ƚŽ ĨƵůůLJ ƉĂƐƐ ƚŚĞ ǁĂůů ŝŶƚŽ ƚŚĞ ŶĞdžƚ ƌŽŽŵ͘
Opened level 1
Opened level 2
Opened level 3
Opened level 4
Block level 1
Block level 2
Block level 3
Block level 4
Block level 5
Block level 6
Block level 7
1812
Category #4: Passing the blocking wall /Ŷ ĮǀĞ ƉŚŽƚŽŐƌĂƉŚƐ / Ăŵ ŝůůƵƐƚƌĂƟŶŐ ƚŚĞ ĂīĞĐƚ ĂŶĚ ƉĞƌƐƉĞĐƟǀĞ ŽĨ Ă ƉĂƐƐŝŶŐ ǁĂůů ŝŶ ĐŽŵƉĂƌŝƐŽŶ ƚŽ Ă ŚƵŵĂŶ ĮŐƵƌĞ͘ /Ŷ ƉŚŽƚŽƐ ϭͲϮ ƚŚĞ ŚƵŵĂŶ ŝƐ ƐƟůů ŝŶ ĨƌŽŶƚ ŽĨ ƚŚĞ ǁĂůů͕ ŶŽƚ LJĞƚ ƉĂƐƐĞĚ ŝƚ͕ ŝƚ ůŽŽŬƐ ĂƐ ƚŚŽƵŐŚ ƚŚĞ ŚƵŵĂŶ ŝƐ Ă ƐŝŵŝůĂƌ ƐŝnjĞ ƚŽ ƚŚĞ ǁĂůů ĚƵĞ ƚŽ ƚŚĞ ĞīĞĐƚ ƚŚĞ ĂŶŐůĞƐ ŚĂǀĞ ŝŶ ƌĞĨ ŝƐ ƐƟůů ŝŶ ĨƌŽŶƚ ŽĨ ƚŚĞ ǁĂůů͕ ŶŽƚ LJĞƚ ƉĂƐƐĞĚ ŝƚ͕ ŝƚ ůŽŽŬƐ ĂƐ ƚŚŽƵŐŚ ƚŚĞ ŚƵŵĂŶ ŝƐ Ă ƐŝŵŝůĂƌ ƐŝnjĞ ƚŽ ƚŚĞ ǁĂůů ĚƵĞ ƚŽ ƚŚĞ ĞīĞĐƚ ƚŚĞ ĂŶŐůĞƐ ŚĂǀĞ ŝŶ ƌĞĨͲ ĞƌĞŶĐĞ ƚŽ ǁŚĞƌĞ ƚŚĞ ŚƵŵĂŶ ŝƐ ƉĂƐƐŝŶŐ͘ /Ŷ ƉŚŽƚŽƐ ϯͲϱ ƚŚĞ ŚƵŵĂŶ ŝƐ ƉĂƐƐŝŶŐ Žƌ ŚĂƐ ũƵƐƚ ƉĂƐƐĞĚ ƚŚĞ ǁĂůů͕ ƚŚŝƐ ŐŝǀĞƐ ƚŚĞ ŝůůƵƐŝŽŶ ƚŚĂƚ ƚŚĞ ŚƵŵĂŶ ŝƐ ŐĞƫŶŐ ƐŵĂůůĞƌ ĂŶĚ ƚŚĞ ǁĂůů ŝƐ ďĞĐŽŵŝŶŐ ůĂƌŐĞƌ ďĞĐĂƵƐĞ ŽĨ ƚŚĞ ƉĞƌƐƉĞĐƟǀĞ ƚŚĞ ǁĂůů; ĞŝŶŐ ĐůŽƐĞƌ ƚŽ ƚŚĞ ĐĂŵĞƌĂͿ ŚĂƐ ŝŶ ĐŽŵƉĂƌŝƐŽŶ ƚŽ ƚŚĞ ŚƵŵĂŶ ǁŚŽ ŝƐ ŶŽǁ ĨƵƌƚŚĞƌ ĂǁĂLJ ĨƌŽŵ ƚŚĞ ĐĂŵĞƌĂ͘
Passing level 1
Passing level 2
Passing level 3
Passing level 4
Passing level 5
1813
Category #5: Aligned Wall /Ŷ ϲ ƉŚŽƚŽŐƌĂƉŚƐ / ǁŝůů ďĞ ŝůůƵƐƚƌĂƟŶŐ ƚŚĞ ĂīĞĐƚ ĂŶ ĂůŝŐŶĞĚ ǁĂůů ŚĂƐ ŝŶ ĐŽŵƉĂƌŝƐŽŶ ƚŽ Ă ŚƵŵĂŶ ĮŐƵƌĞ͕ ĂŶĚ ŚŽǁ ƚŚĞ ĂŶŐůĞƐ ĂŶĚ ǁĂůůƐ ŽďƐƚƌƵĐƚ ƚŚĞ ĮŐƵƌĞ ĂďŽƵƚ ƚŚĞ ĂƌĞĂ Žƌ ƚŚĞ ƌŽŽŵ͘ /Ŷ ƚŚĞ ĮƌƐƚ ƚǁŽ ƉŚŽƚŽƐ ƚŚĞ ǁĂůů ŝƐ ĂůŵŽƐƚ ĚŝƌĞĐƚůLJ ŝŶ ĨƌŽŶƚ ŽĨ ƚŚĞ ŚƵŵĂŶ ĮŐƵƌĞ ƌĞƐƵůƟŶŐ ŝŶ ĚŝƐĐŽŵĨŽƌƚ ŽĨ ƚŚĞ ĂƌĞĂ ŽĨ ƚŚĞ ƌŽŽŵ Žƌ ǁĂůů͕ ŝƚ ĨĞĞůƐ ĂƐ ƚŚŽƵŐŚ ƚŚĞ ƌŽŽŵ ŝƐ ǀĞƌLJ ƐŵĂůů ĂŶĚ Žƌ ƚŚĞ ŚƵŵĂŶ ŝƐ ŽƵƚ ŽĨ ƉůĂĐĞ͘ Ƶƚ ĂƐ ƚŚĞ ǁĂůů ƐŚŝŌƐ ůĞŌ ŵŽƌĞ ĂŶĚ ŵŽƌĞ ŝƚ ŐŝǀĞƐ ƚŚĞ ĂƉƉĞĂƌĂŶĐĞ ŽĨ Ă ůĂƌŐĞƌ ĂŶĚ ŐƌĞĂƚĞƌ ƐĐĂůĞ ƌŽŽŵ͕ ǁŚĞƌĞ ƚŚĞ ĮŐƵƌĞ ŚĂƐ ĨƌĞĞĚŽŵ ŽĨ ŵŽǀĞŵĞŶƚ ĂŶĚ ĚŽĞƐ ŶŽƚ ŶĞĞĚ ƚŽ ǁŽƌͲ ƌLJ ĂďŽƵƚ ƐŚŝŌŝŶŐ ĂďŽƵƚ ƚŚĞ ƌŽŽŵ ŝŶ ŽƌĚĞƌ ƚŽ ŶŽƚ ƌƵŶ ŝŶƚŽ ƚŚĞ ǁĂůůƐ͘
Closed level 1
Closed level 2
Closed level 4
Closed level 5
1814
Closed level 3
Category #6: Passing the aligned wall /Ŷ ϳ ƉŚŽƚŽŐƌĂƉŚƐ / ǁŝůů ďĞ ŝůůƵƐƚƌĂƟŶŐ ƚŚĞ ĂīĞĐƚ ƚŚĂƚ ƉĂƐƐŝŶŐ ĂŶ ĂůŝŐŶĞĚ ǁĂůů ŚĂƐ ŽŶ ƚŚĞ ƐŚĂƉĞ ĂŶĚ Žƌ ƉĞƌƐƉĞĐƟǀĞ ŽĨ ƚŚĞ ŚƵŵĂŶ ĮŐƵƌĞ͘ /Ŷ ƉŚŽƚŽƐ ϭͲϯ ƚŚĞ ǁĂůů ƐĞĞŵƐ ǀĞƌLJ ůŽŶŐ͕ ĂƐ ŝĨ ƉĂƐƐŝŶŐ ŝƚ ǁŝůů ƚĂŬĞ ŵƵĐŚ ƟŵĞ͕ ŵĂŬŝŶŐ ƚŚĞ ŚƵŵĂŶ ďĞ ŽďƐƚƌƵĐƚĞĚ ƐůŝŐŚƚůLJ ƚŽ ƐĞĞŵ ůĂƌŐĞƌ ĂŶĚ ďƌŽĂĚͲ Ğƌ͘ /Ŷ ƉŚŽƚŽƐ ϰͲϲ ƚŚĞ ŚƵŵĂŶ ŚĂƐ ƉĂƐƐĞĚ ŵƵĐŚ ŽĨ ƚŚĞ ǁĂůů ĂŶĚ ƚŚĞ ǁĂůů ƐĞĞŵƐ ƐŚŽƌƚĞƌ ĂŶĚ ŶŽƚ ƐŽ ůŽŶŐ͘ ŶĚ ŝŶ ƚŚĞ ůĂƐƚ ƚǁŽ ƉŚŽƚŽƐ ƚŚĞ ŚƵŵĂŶ ŚĂƐ ƉĂƐƐĞĚ ƚŚĞ ǁĂůů ĂŶĚ ŚĂƐ ĨƌĞĞĚŽŵ ƚŽ ǁĂůŬ ǁŚĞƌĞǀĞƌ ŝƚ ƉůĞĂƐĞƐ͘
Passing level 1
Passing level 2
Passing level 3
Passing level 4
Passing level 5
Passing level 6
1815
ĂƚĞŐŽƌLJ ηϳ͗ tĂůůƐ ǁŝƚŚ ĚŝīĞƌĞŶƚ ŚĞŝŐŚƚƐ /Ŷ ϵ ƉŚŽƚŽŐƌĂƉŚƐ / ǁŝůů ďĞ ŝůůƵƐƚƌĂƟŶŐ ƚŚĞ ĂīĞĐƚ ƚŚĂƚ ĚŝīĞƌĞŶƚůLJ ƐŝnjĞĚ ǁĂůůƐ ŚĂƐ ŽŶ Ă ŚƵŵĂŶ ĮŐƵƌĞ͘ dŚĞ ŚĞŝŐŚƚƐ ŽĨ ƚŚĞ ǁĂůů ǁŝůů ĐŚĂŶŐĞ ƚŚĞ ůŽŽŬ ŽĨ ƚŚĞ ĮŐƵƌĞ ŐƌĂĚƵĂůůLJ͘ ϭͲϯŌ ŽĨ ǁĂůů ĚŽĞƐ ŶŽƚ ƐĞĞŵ ůŝŬĞ ŵƵĐŚ ŽĨ Ă ĨĞĂƚ ƚŽ ƚŚĞ ŚƵŵĂŶ ĮŐƵƌĞ ƚŚĞLJ ĂƌĞ ĂďůĞ ƚŽ ƐĞĞ ĐůĞĂƌůLJ ŽǀĞƌ ƚŚĞ ǁĂůů ǁŝƚŚ ŶŽ ĚŝƐĐŽŵĨŽƌƚ ďƵƚ ƉĂƐƐŝŶŐ ƚŚĞ ǁĂůů ŝƐ ŶŽƚ Ă ƉŽƐƐŝďŝůŝƚLJ ĂŌĞƌ ĂďŽƵƚ ϯ ĨĞĞƚ͘ Ɛ ƚŚĞ ǁĂůů ƌĞĂĐŚĞƐ ŚĞŝŐŚƚƐ ŽĨ ϰͲϴ ƚŚĞ ǁĂůů ƐĞĞŵƐ ŵƵĐŚ ůĂƌŐĞƌ ŝŶ ĐŽŵƉĂƌŝƐŽŶ ƚŽ ƚŚĞ ŚƵŵĂŶ ĮŐƵƌĞ͘ dŚĞ ĮŐƵƌĞ ŝƐ ƵŶĂďůĞ ƚŽ ĨƌĞĞůLJ ƉĂƐƐ ƚŚĞ ǁĂůů ĂŶĚ ĐĂŶŶŽƚ ĂůƐŽ ƐĞĞ ƉĂƐƚ ƚŚĞ ǁĂůů ĂŶLJŵŽƌĞ͘
tĂůů ǁŝƚŚ ϭŌ
tĂůů ǁŝƚŚ ϮŌ
tĂůů ǁŝƚŚ ϯŌ
tĂůů ǁŝƚŚ ϰŌ
tĂůů ǁŝƚŚ ϱŌ
tĂůů ǁŝƚŚ ϲŌ
tĂůů ǁŝƚŚ ϳŌ
tĂůů ǁŝƚŚ ϳŌ
1816
ĂƚĞŐŽƌLJ ηϴ͗ &ůŽĂƟŶŐ ĂŶĚ ĨĂĐĞĚ tĂůů /Ŷ ϴ ƉŚŽƚŽƐ / ǁŝůů ĚĞŵŽŶƐƚƌĂƚĞ ƚŚĞ ǁĂLJ Ă ŇŽĂƟŶŐ ǁĂůů ĂīĞĐƚƐ ƚŚĞ ĂƉƉĞĂƌĂŶĐĞ ĂŶĚ ƐŝnjĞ ŽĨ ƚŚĞ ŚƵŵĂŶ ĮŐƵƌĞ͘ /Ŷ ƚŚĞ ĮƌƐƚ ĨŽƵƌ ƉŚŽƚŽƐ ƚŚĞ ǁĂůů ŝƐ ĐŽŵƉůĞƚĞůLJ ŝŶ ƚŚĞ ǁĂLJ͕ ƐƵĐŚ ĂƐ Ă ƐƚĂůů Žƌ Ă ŚŝŬŝŶŐ ƚƌĂŝů ŵĂƉ ůŽĐĂƚĞĚ Ăƚ ƚŚĞ ĨƌŽŶƚ ŽĨ ƚŚĞ ƚƌĂŝů ǁŽƵůĚ ƐĞĞŵ͕ ƚŚĞƌĞ ŝƐ ŶŽ ƉĂƐƐŝŶŐ ƚŚƌŽƵŐŚ ŝƚ͘ Ɛ ƚŚĞ ǁĂůů ƌĂŝƐĞƐ ŵŽƌĞ͕ ŝƚ ĨĞĞůƐ ĂƐ ŝĨ ƚŚĞ ŚƵŵĂŶ ŝƐ ŐĞƫŶŐ ƐŵĂůůĞƌ͕ ĂŶĚ ĨĞĞůƐ ĂƐ ƚŚŽƵŐŚ ŚĞ ĐŽƵůĚ Đůŝŵď ƵŶĚĞƌ ŝĨ ŚĞƌ ǁĂŶƚĞĚ ƚŽ͘ /Ŷ ƚŚĞ ůĂƐƚ ƚǁŽ ƉŚŽƚŽƐ ƚŚĞ ŚƵŵĂŶ ŽůĚ ĨƌĞĞůLJ ǁĂůŬ ƵŶĚĞƌ ƚŚĞ ǁĂůů ǁŝƚŚ ůŝƩůĞ ƚŽ ŶŽ ĚŝƐĐŽŵĨŽƌƚ͘
ϭŌ ŚŝŐŚ ŇŽĂƟŶŐ ǁĂůů
ϮŌ ŚŝŐŚ ŇŽĂƟŶŐ ǁĂůů
ϯŌ ŚŝŐŚ ŇŽĂƟŶŐ ǁĂůů
ϰŌ ŚŝŐŚ ŇŽĂƟŶŐ ǁĂůů
ϱŌ ŚŝŐŚ ŇŽĂƟŶŐ ǁĂůů
ϲŌ ŚŝŐŚ ŇŽĂƟŶŐ ǁĂůů
ϳŌ ŚŝŐŚ ŇŽĂƟŶŐ ǁĂůů
ϴŌ ŚŝŐŚ ŇŽĂƟŶŐ ǁĂůů
1817
ĂƚĞŐŽƌLJ ηϵ͗ ϴŌ ŚŝŐŚ ŇŽĂƟŶŐ ĂŶĚ ĂůŝŐŶĞĚ ǁĂůů /Ŷ ĨŽƵƌ ƉŚŽƚŽŐƌĂƉŚƐ / ǁŝůů ŝůůƵƐƚƌĂƚĞ ƚŚĞ ĂīĞĐƚ ƚŚĂƚ Ă ŇŽĂƟŶŐ ĂŶĚ ĂůŝŐŶĞĚ ϴ ĨŽŽƚ ǁĂůů ŚĂƐ ŽŶ Ă ŚƵŵĂŶ ĮŐƵƌŝŶĞ͘ /Ŷ ƚŚĞ ĮƌƐƚ ƚǁŽ ƉŚŽƚŽƐ / Ăŵ ŶŽƚ ƋƵŝƚĞ ƐƵƌĞ ǁŚĂƚ ƚŽ ƚŚŝŶŬ Ăďƚ ƚŚĞŵ͕ ƚŚĞLJ ĨĞĞů ĂƐ ƚŚŽƵŐŚ ƚŚĞLJ ĂƌĞ ǀĞƌLJ ůŽǁ ŚĂŶŐŝŶŐ ďĞĂŵƐ ƚŚĂƚ ĚŽ ŶŽƚ ĐĂƵƐĞ ĂŶLJ ŽďƐƚƌƵĐƟŽŶƐ ƚŽ ƚŚĞ ĮŐƵƌĞƐ ŵŽǀĞŵĞŶƚ ďƵƚ ŵŽƌĞ ƐŽ ĐĂƵƐĞƐ ĚŝƐĐŽŵĨŽƌƚ ŝŶ ƚŚĞ ǀŝƐƵĂů ĂƐƉĞĐƚ ŽĨ ƚŚŝŶŐƐ ƐƵĐŚ ĂƐ ůŽŽŬŝŶŐ ƉĂƐƚ ƚŚĞ ǁĂůů͘ Ɛ ƚŚĞ ǁĂůů ƐŚŝŌƐ Žƌ ƚŚĞ ŚƵŵĂŶ ƐŚŝŌƐ ƚŚĞ ǁĂůů ĚŽĞƐ ŶŽƚ ĨĞĞů ĂƐ ŵƵĐŚ ŝŶ ƚŚĞ ǁĂLJ ĂƐ ŝƚ ĚŝĚ ďĞĨŽƌĞ ďƵƚ /ƚ ĚŽĞƐ ƐƟůů ƐĞĞŵ ƚŽ ĐĂƵƐĞ ĂŶ ŝŶĂďŝůŝƚLJ ƚŽ ƐŽŵĞ ŽĨ ƚŚĞ ǀŝƐƵĂů ĮĞůĚ ŽĨ ƚŚĞ ƌŽŽŵ͘
Alignment level 1
Alignment level 4
1818
Alignment level 2
Alignment level 3
ĂƚĞŐŽƌLJ ηϭϬ͗ ϴŌ ŚŝŐŚ ŇŽĂƟŶŐ ĂŶĚ ĨĂĐĞĚ ǁĂůů /Ŷ ĞŝŐŚƚ ƉŚŽƚŽŐƌĂƉŚƐ / Ăŵ ƐŚŽǁŝŶŐ ƚŚĞ ǁĂƐ Ă ĨĂĐĞĚ ǁĂůů ĂīĞĐƚƐ ƚŚĞ ǀŝĞǁƐ ŽĨ Ă ŚƵŵĂŶ ĮŐƵƌĞ ĂŶĚ ĂůƚĞƌƐ ƚŚĞ ƐŚĂƉĞ ĂŶĚ ƐŝnjĞ ŽĨ ƚŚĞ ĮŐƵƌĞ ŝŶ ĐŽƌƌĞƐƉŽŶĚĞŶĐĞ ƚŽ ƚŚĞ ǁĂůů͘ /Ŷ ƚŚĞ ĮƌƐƚ ƚŚƌĞĞ ƉŚŽƚŽƐ ƚŚĞ ǁĂůů ŝƐ ŽŶůLJ ŝŶ ƚŚĞ ĐŽƌŶĞƌ͕ ƐĞĞŵƐ ĨĂƌ ĂǁĂLJ ĂŶĚ ĚŽĞƐ ŶŽƚ ŽďƐƚƌƵĐƚ ƚŚĞ ŚƵŵĂŶ͕ ŝŶ ƚŚĞ ŶĞdžƚ ƉŚŽƚŽƐ ƚŚĞ ŚƵŵĂŶƐ ǀŝĞǁ ĂŶĚ ǁĂůŬŝŶŐ ĮĞůĚ ŝƐ ƐŚŝŌĞĚ͕ / ŬŶŽǁ ŝƚ ŝƐ Ă ǁĂůů ďƵƚ ŝƚ ĨĞĞůƐ ůŝŬĞ Ă ǀĞƌLJ ůĂƌŐĞ ĚƌĂƉĞ ŝŶ ƚŚĞ ƌŽŽŵ͕ ƐŝŐŶĂůŝŶŐ ŝƚ ƐŚŽƵůĚ ďĞ ǁĂůŬĞĚ ĂƌŽƵŶĚ͕ Žƌ ƚŚĞ ĐĞŶƚĞƌ ĨŽĐƵƐ ŽĨ ƚŚĞ ƌŽŽŵ͘
Overlap level 1
Overlap level 2
Overlap level 3
Overlap level 4
Overlap level 5
Overlap level 6
Overlap level 7
Overlap level 8
1819
ĂƚĞŐŽƌLJ ηϭϭ͗ ŇŽĂƟŶŐ ŚŽƌŝnjŽŶƚĂů ƐƵƌĨĂĐĞ /Ŷ ϴ ƉŚŽƚŽƐ / ǁŝůů ĚĞƉŝĐƚ ƚŚĞ ǁĂLJ Ă ŚŽƌŝnjŽŶƚĂů ƐƵƌĨĂĐĞ ŽďƐƚƌƵĐƚƐ Ă ŚƵŵĂŶ ĮŐƵƌŝŶĞ ŝŶ ĐŽŶƚƌĂƐƚ ƚŽ ƚŚĞ ĂŶŐůĞƐ ŽĨ ƚŚĞ ŚƵŵĂŶ ĂŶĚ ƚŚĞ ƐƵƌĨĂĐĞ͘ /Ŷ ƚŚĞ ĮƌƐƚ ĐŽƵƉůĞ ƉŚŽƚŽƐ ƚŚĞ ŚŽƌŝnjŽŶƚĂů ŇŽĂƟŶŐ ƐƵƌĨĂĐĞ ĨĞĞůƐ ůŝŬĞ Ă ĐĞŝůŝŶŐ ƚŚĞ ŚƵŵĂŶ ŝƐ ƉĂƐƐŝŶŐ ƵŶĚĞƌ͕ ƚŚĞ ƐƵƌĨĂĐĞ ƐĞĞŵƐ ůŽŶŐ ŝŶ ĐŽŵƉĂƌŝƐŽŶ ƚŽ ƚŚĞ ĚŝƐƚĂŶĐĞ ƚŚĞ ŚƵŵĂŶ ǁŽƵůĚ ŚĂǀĞ ƚŽ ǁĂůŬ͘ /Ŷ ƚŚĞ ŶĞdžƚ ĨĞǁ ƉŚŽƚŽƐ ƚŚĞ ŚŽƌŝnjŽŶƚĂů ƐƵƌĨĂĐĞ ƐĞĞŵƐ ŵŽƌĞ ůŝŬĞ Ă ůĞĚŐĞ ŝŶ Ă ŚŽŵĞ͕ ƚŚĂƚ ǁŽƵůĚ ďĞ ďůŽĐŬĞĚ ďLJ ŐƵĂƌĚ ƌĂŝůƐ ŝŶ ŽƌĚĞƌ ƚŽ ƉƌŽƚĞĐƚ ƐŽŵĞŽŶĞ͘ Ɛ ƚŚĞ ĮŐƵƌĞ ƐŚŝŌƐ ƌŝŐŚƚ ƚŚĞ ŚƵŵĂŶ ƐĞĞŵƐ ůŝŐŚƚĞƌ͕ ƚŚĞƌĞ ŝƐ ŶŽ ƐŚĂĚŝŶŐ ŽǀĞƌ ƚŚĞ ŚƵŵĂŶ͘
Overlap level 1
Overlap level 2
Overlap level 3
Overlap level 4
Overlap level 5
Overlap level 6
Overlap level 7
Overlap level 8
1820
ĂƚĞŐŽƌLJ ηϭϮ͗ ,ŽƌŝnjŽŶƚĂů ƐƵƌĨĂĐĞƐ ǁŝƚŚ ĚŝīĞƌĞŶƚ ŚĞŝŐŚƚƐ /Ŷ ƚŚĞƐĞ ƉŚŽƚŽƐ / Ăŵ ĚĞƉŝĐƟŶŐ ƚŚĞ ǁĂLJ ĂŶ ĞůĞǀĂƚĞĚ ƐƵƌĨĂĐĞ ĨĞĞůƐ ŝŶ ĐŽŵƉĂƌŝƐŽŶ ƚŽ Ă ŚƵŵĂŶ ĮŐƵƌĞ͘ tŝƚŚ ĞůĞǀĂƟŽŶ ŽĨ ƐƵƌĨĂĐĞ ϴͲϲ ƚŚĞ ƐƵƌĨĂĐĞ ŝƐ ŶŽƚ ŝŶ ƚŚĞ ǁĂLJ ŽĨ ƚŚĞ ŚƵŵĂŶ ĂŶĚ ƚŚĞ ŚƵŵĂŶ ĐŽƵůĚ ǁĂůŬ ƵŶĚĞƌ ĂŶĚ ĨĂůů ƚŚŽƵŐŚƚ ƚŚĞ ŚŽůĞ͕ ďƵƚ ĂƐ ƚŚĞ ƐƵƌĨĂĐĞ ůŽǁĞƌƐ ƚŚĞ ŚƵŵĂŶ ŝƐ ƵŶĂďůĞ ƚŽ ƉĂƐƐ͕ ϰͲϭ Ō ƚŚĞ ŚƵŵĂŶ ŝƐ ĂďůĞ ƚŽ ƐĞĞ ŽǀĞƌ ƚŚĞ ƐƵƌĨĂĐĞ͕ ĂŶĚ ŝŶ ƚŚĞ ŶĞŐĂƟǀĞ ƐƵƌĨĂĐĞ ƚŚĞ ŚƵŵĂŶ ƐĞĞŵƐ ĂƐ ƚŚŽƵŐŚ ƚŚĞLJ ĐŽƵůĚ ĨĂůů ŽŶƚŽ ƚŚĞ ƐƵƌĨĂĐĞ ŝĨ ƚŚĞLJ ǁĞƌĞ ŶŽƚ ĐĂƌĞĨƵů͘
ϴŌ ŚŝŐŚ ŚŽƌŝnjŽŶƚĂů ƐƵƌĨĂĐĞ
ϳŌ ŚŝŐŚ ŚŽƌŝnjŽŶƚĂů ƐƵƌĨĂĐĞ
ϲŌ ŚŝŐŚ ŚŽƌŝnjŽŶƚĂů ƐƵƌĨĂĐĞ
ϱŌ ŚŝŐŚ ŚŽƌŝnjŽŶƚĂů ƐƵƌĨĂĐĞ
ϰŌ ŚŝŐŚ ŚŽƌŝnjŽŶƚĂů ƐƵƌĨĂĐĞ
ϯŌ ŚŝŐŚ ŚŽƌŝnjŽŶƚĂů ƐƵƌĨĂĐĞ
ϮŌ ŚŝŐŚ ŚŽƌŝnjŽŶƚĂů ƐƵƌĨĂĐĞ
ϭŌ ŚŝŐŚ ŚŽƌŝnjŽŶƚĂů ƐƵƌĨĂĐĞ
ͲϭŌ ŚŝŐŚ ŚŽƌŝnjŽŶƚĂů ƐƵƌĨĂĐĞ
ͲϮŌ ŚŝŐŚ ŚŽƌŝnjŽŶƚĂů ƐƵƌĨĂĐĞ
ͲϯŌ ŚŝŐŚ ŚŽƌŝnjŽŶƚĂů ƐƵƌĨĂĐĞ
ͲϰŌ ŚŝŐŚ ŚŽƌŝnjŽŶƚĂů ƐƵƌĨĂĐĞ 1821
Category #13: Wall surface with an incline /Ŷ ƚŚĞƐĞ ƉŝĐƚƵƌĞƐ / Ăŵ ŝůůƵƐƚƌĂƟŶŐ ƚŚĞ ĂīĞĐƚƐ ƚŚĂƚ ĂŶŐůĞƐ ŚĂǀĞ ŝŶ ĐŽŶƚƌĂƐƚ ƚŽ ƚŚĞ ŚƵŵĂŶ ĮŐƵƌĞ ĂŶĚ ŚŽǁ ŝƚ ŝƐ ŽďƐƚƌƵĐƚĞĚ͘ / ĨĞĞů ůŝŬĞ ůŝŐŚƟŶŐ ƉůĂLJƐ Ă ďŝŐ ƌŽůĞ ŝŶ ƚŚĞƐĞ ƉŚŽƚŽƐ͕ ŝŶ ƚŚĞ ĮƌƐƚ ϰ ƉŚŽƚŽƐ ƚŚĞ ŚƵŵĂŶ ŝƐ ĐŽŵƉůĞƚĞůLJ ƐŚĂĚĞĚ ĂŶĚ ůŽŽŬƐ ĚĂƌŬĞƌ͕ ďƵƚ ŝƐ ƵŶĂďůĞ ƚŽ ǁĂůů ĨƌĞĞůLJ͕ ďƵƚ ĂƐ ƚŚĞ ƐƵƌĨĂĐĞ ƌĂŝƐĞƐ ƚŚĞ ŚƵŵĂŶ ŝƐ ƌĞǀĞĂůĞĚ ďLJ ůŝŐŚƚ ĂŶĚ ŝƐ ĂďůĞ ƚŽ ǁĂůŬ ŵŽƌĞ ĨƌĞĞůLJ͘
10 degree
20 degree
30 degree
40 degree
50 degree
60 degree
70 degree
80 degree
1822
Category #14: Inclined wall /Ŷ ƚŚĞƐĞ ƉŚŽƚŽƐ / Ăŵ ĚĞƉŝĐƟŶŐ ƚŚĞ ǁĂLJ ĂŶŐůĞƐ ŽĨ Ă ǁĂůů ĚŝƌĞĐƚůLJ ĂīĞĐƚ ƚŚĞ ĂƉƉĞĂƌĂŶĐĞ ŽĨ Ă ŚƵŵĂŶ ĮŐƵƌĞ͘ /Ŷ ƚŚĞ ĮƌƐƚ ƚǁŽ ƉŚŽƚŽƐ ƚŚĞ ǁĂůůƐ ƐĞĞŵ ůŽǁ ďƵƚ ǀĞƌLJ ǁŝĚĞ͕ ĂƐƐŝŐŶŝŶŐ ŝƚ ǁĞƌĞ Ă ƌĂŵƉ͘ /Ŷ ƉŚŽƚŽƐ ϯͲϱ ƚŚĞ ǁĂůů ƐĞĞŵƐ ŵƵĐŚ ƚĂůůĞƌ ĂŶĚ ŵĂŬĞ ƚŚĞ ŚƵŵĂŶ ĂƉƉĞĂƌ ƐŚŽƌƚĞƌ ŝŶ ĐŽŵƉĂƌͲ ŝƐŽŶ ƚŽ ƚŚĞ ǁĂůů͘
Inclined level 1
Inclined level 2
Inclined level 3
Inclined level 4
Inclined level 5
Inclined level 6
1823
ĂƚĞŐŽƌLJ ηϭϱ͗ &ůŽĂƟŶŐ ǁĂůů ƐƵƌĨĂĐĞ ĨĂĐŝŶŐ ĞĚŐĞ ǁŝƚŚ ĂŶ ŝŶĐůŝŶĞ /Ŷ ƚŚĞƐĞ ƉŚŽƚŽƐ / Ăŵ ĚĞŵŽŶƐƚƌĂƟŶŐ ƚŚĞ ĂīĞĐƚ ƚŚĂƚ ǁĂůůƐ ĂŶĚ ĂŶŐůĞƐ ŚĂǀĞ ŽŶ Ă ŚƵŵĂŶ ĮŐƵƌĞ͘ dŚĞƐĞ ǁĂůůƐ ƐĞĞŵ ǀĞƌLJ ƵŶĐŽŵĨŽƌƚĂďůĞ ƚŽ ŶĂǀͲ ŝŐĂƚĞ͘ŝ ĨĞĞů ĂƐ ƚŚŽƵŐŚ ƚŚĞLJ ĂƌĞ ĂůǁĂLJƐ ŝŶ ƚŚĞ ǁĂLJ ĂŶĚ ĚŽ ŶŽƚ ƐĞƌǀĞ ŵƵĐŚ ƉƵƌƉŽƐĞ ŵŽƌĞ ƚŚĂŶ ũƵƐƚ ďĞŝŶŐ ƚŚĞƌĞ͘ dŚĞLJ ŵĂŬĞ ƚŚĞ ŚƵŵĂŶ ƐĞĞŵ ƐŵĂůůĞƌ ƚŚĞŵ ƚŚĞLJ ĂƌĞ ůŽǁĞƌ ĂŶĚ ďŝŐŐĞƌ ǁŚĞŶ ƚŚĞLJ ĂƌĞ ŚŝŐŚĞƌ͘
Inclined level 1
Inclined level 2
Inclined level 3
Inclined level 4
Inclined level 5
Inclined level 6
1824
Category #16: Inclined surface to a facing wall /Ŷ ƚŚĞƐĞ ƉŚŽƚŽƐ / ǁŝůů ďĞ ĚĞŵŽŶƐƚƌĂƟŶŐ ƚŚĞ ǁĂLJ Ă ŝŶĐůŝŶĞĚ ǁĂůů ĂīĞĐƚƐ ƚŚĞ ĂƉƉĞĂƌĂŶĐĞ ŽŶ Ă ŚƵŵĂŶ͕ ŝŶ ƚŚĞ ĮƌƐƚ ƚǁŽ ƉŚŽƚŽƐ ƚŚĞ ŝŶĐůŝŶĞĚ ƐƵƌĨĂĐĞ ƐĞĞŵƐ ůŝŬĞ ŝƚ ŝƐ ǀĞƌLJ ƐŚŽƌƚ ĂŶĚ ŵĂŬĞƐ ƚŚĞ ŚƵŵĂŶ ĂƉƉĞĂƌ ƚĂůůĞƌ͘ Ɛ ƚŚĞ ƐƵƌĨĂĐĞ ƌĂŝƐĞƐ ƚŚĞ ƐƵƌĨĂĐĞ ůŽŽŬƐ ůŽŶŐĞƌ ĂŶĚ ƐŬŝŶŶŝĞƌ ŵĂŬŝŶŐ ƚŚĞ ŚƵŵĂŶ ĂƉŶĞĂ ƐŵĂůůĞƌ ĂŶĚ ƐŚŽƌƚĞƌ͘
10 degree
20 degree
30 degree
40 degree
50 degree
60 degree
70 degree
80 degree
90 degree
1825
Category: #17 Inclined ramp to facing wall /Ŷ ƚŚĞƐĞ ƉŚŽƚŽƐ / ǁŝůů ďĞ ĚĞŵŽŶƐƚƌĂƟŶŐ ƚŚĞ ǁĂLJ ƚŚĂƚ Ă ƐƵƌĨĂĐĞ ĂŶĚ Žƌ ZĂŵƉ ĂīĞĐƚƐ ƚŚĞ ĂƉƉĞĂƌĂŶĐĞ ŽŶ Ă ŚƵŵĂŶ ĮŐƵƌĞ͘ /Ŷ ƚŚĞ ĮƌƐƚ ĐŽƵƉůĞ ƉŝĐƚƵƌĞ ƚŚĞ ƌĂŵƉƐ ƐĞĞŵƐ ůŝŬĞ Ă ŚĂŶĚŝĐĂƉ ƌĂŵƉ͕ ƚŚĂƚ ǁŽƵůĚ ďĞ ĞĂƐLJ ƚŽ ǁĂůŬ ŽǀĞƌ ŝŶ ŽƌĚĞƌ ƚŽ ŐĞƚ ƚŽ ƚŚĞ ŶĞdžƚ ĚĞƐƟŶĂƟŽŶ ĂƐ ƚŚĞ ƌĂŵƉ ŐĞƚƐ ƚĂůůͲ Ğƌ ĂŶĚ ŵŽƌĞ ƐƚĞĞƉ ŝƚ ŐŝǀĞƐ ƚŚĞ ĂīĞĐƚ ƚŚĂƚ ƚŚĞ ŚƵŵĂŶ ŝƐ ůŽŽŬŝŶŐ ƵƉ Ăƚ ŝƚ͕ ĂŶĚ ƚŚĂƚ ŝƚ ǁŽƵůĚ ŶŽƚ ďĞ ĞĂƐLJ ƚŽ ƉĂƐƐ͕ ƐŽƌƚ ŽĨ ůŝŬĞ Ă Śŝůů Žƌ ŵŽƵŶƚĂŝŶ ǁŚĞŶ ŚŝŬŝŶŐ͘
10 degree
20 degree
30 degree
40 degree
50 degree
60 degree
70 degree
80 degree
90 degree
1826
Category: #18 One Column /Ŷ ƚǁŽ ƉŚŽƚŽƐ ǁŝƚŚ Ă ƌĞƉƌĞƐĞŶƚĂƟŽŶ ŽĨ Ă ŚƵŵĂŶ ĮŐƵƌĞ ĂŶĚ Ă ĚŽǁĞů ƌŽĚ ĂƐ Ă ĐŽůƵŵŶ / ǁŝůů ŝŶƚƌŽĚƵĐĞ ƚŚĞ ĂīĞĐƚƐ ƚŚĞLJ ŚĂǀĞ ŝŶ ĐŽŶƚƌĂƐƚ ƚŽ ĞĂĐŚŽƚŚĞƌ ĂŶĚ ƚŚĞLJ ǁĂLJ ƚŚĞLJ ĂůƚĞƌ ƚŚĞŝƌ ĂƉƉĞĂƌĂŶĐĞ͘ &ƌŽŵ ƚŚĞ ĨƌŽŶƚ ǀŝĞǁ ŝŶ ƉŚŽƚŽ ŽŶĞ͕ ƚŚĞ ŚƵŵĂŶ ƐĞĞŵƐ ƌĂƚŚĞƌ ůĂƌŐĞ ŝŶ ƐĐĂůĞ ƚŽ ƚŚĞ ĐŽůƵŵŶ͘ Ƶƚ ĂƐ LJŽƵ ƐŚŝŌ ƚŚĞ ĂŶŐůĞ ƚŽ ƚŚĞ ƐŝĚĞ͕ LJŽƵ ƐĞĞ ƚŚĂƚ ƚŚĞ ŚƵŵĂŶ ůŽŽŬƐ ŵƵĐŚ ƐŵĂůůĞƌ ŝŶ ĐŽŵƉĂƌŝƐŽŶ ƚŽ ƚŚĞ ƉŽůĞ ĂŶĚ ƚŚĞ ĚŝƐƚĂŶĐĞ ŽĨ ƚŚĞ ŚƵŵĂŶ ƚŽ ƚŚĞ ƉŽůĞ ƐĞĞŵƐ ƌĂƚŚĞƌ ĨĂƌ ĂǁĂLJ ĂƐ ĐŽŵƉĂŝƌĞĚ ƚŽ ƚŚĞ ĮƌƐƚ ŝŵĂŐĞ ǁŚĞƌĞ ŝƚ ůŽŽŬĞĚ ĂƐ ƚŚŽƵŐŚ ƚŚĞ ŚƵŵĂŶ ǁĂƐ ǀĞƌLJ ĐůŽƐĞ ƚŽ ƚŚĞ ƉŽůĞ͘
Front
Side
Category: #19 Two Columns /Ŷ ƚǁŽ ŝŵĂŐĞƐ / ǁŝůů ďĞ ŝůůƵƐƚƌĂƟŶŐ ƚŚĞ ǁĂLJ ƚǁŽ ĐŽůƵŵŶƐ ĂīĞĐƚ ƚŚĞ ƐŝnjĞ ĂŶĚ ƐŚĂƉĞ ŽĨ ƚŚĞ ŚƵŵĂŶ ĮŐƵƌĞ ĂŶĚ ŚŽǁ Ă ŚŽƌŝnjŽŶƚĂů ǀĞŝǁ ŽĨ Ă ǀĞƌƟͲ ĐĂů ǀĞŝǁ ĂůƚĞƌƐ ƚŚĞ ůŽŽŬ ŽĨ ƚŚĞ ƉŽůĞƐ ĂŶĚ ƚŚĞ ŚƵŵĂŶ͘
sĞƌƟĐĂů
,ŽƌŝnjŽŶƚĂů
1827
Category: #20 Three Columns /Ŷ ƚǁŽ ŝŵĂŐĞƐ / ǁŝůů ďĞ ĚĞŵŽŶƐƚƌĂƟŶŐ ŚŽǁ ƚŚƌĞĞ ƉŽůĞƐ ĂŶĚ Ă ŚƵŵĂŶ ůŽŽŬ Ăƚ ƚǁŽ ĚŝīĞƌĞŶƚ ĂŶŐůĞƐ ĂŶĚ ǀŝĞǁ ƉŽŝŶƚƐ͘ Ɛ ƚŚĞ ĮƌƐƚ ŝŵĂŐĞ ƐŚŽǁƐ Ă ǀĞƌŝĐĂů ŝŵĂŐĞ ŽĨ ƚŚĞ ƉŽůĞƐ ĂŶĚ ƚŚĞ ŚƵŵĂŶ / ĨĞĞů ĂƐ ƚŚŽƵŐŚ / Ăŵ ƉĂƐƐŝŶŐ ƚŚĞŵ͕ ĂŶĚ ƚŚĞ ƉŽůĞ ŶĞĂƌĞƐƚ ƚŽ ŵĞ ƐĞĞŵƐ ƌĂƚŚĞƌ ƐŝŵŝůĂƌ ŝŶ ƐŝnjĞ ƚŽ ƚŚĞ ŚƵŵĂŶ͕ ďƵƚ ƚŚĞ ĨƵƌƚŚĞƐƚ ǁĂLJ ƉŽůĞ ƐĞĞŵƐ ǀĞƌLJ ĨĂŝŶƚ ĂŶĚ ƐŵĂůů ŝŶ ƚŚĞ ĚŝƐƚĂŶĐĞ͘ Ƶƚ ĂƐ ƚŚĞ ĐĂŵĞƌĂ ĂŶŐůĞ ƐŚŝŌƐ ƚŽ ŚŽƌŝnjŽŶƚĂů͕ ƚŚĞ ƉŽůĞƐ ƐŚŝŌ ƚŽ ĚŝīĞƌĞŶƚ ƐŝĚĞƐ ŽĨ ƚŚĞ ŚƵŵĂŶ͕ ŵĂŬŝŶŐ ŝƚ ĨĞĞů ĂƐ ƚŚŽƵŐŚ ŚĞ ŝƐ ǁĂůŬŝŶŐ ƚŚƌŽƵŐŚ Ă ƉĂƚŚ Žƌ Ă ǁĂůŬǁĂLJ ǁŝƚŚ ŵĂŶLJ ůŝŐŚƚ ƉŽůĞƐ Žƌ ƚĞůĞƉŚŽŶĞ ƉŽůĞƐ͘ dŚĞ ŚƵŵĂŶ ŝƐ ƐƟůů ƐŝŵŝůĂƌ ŝŶ ƐŝnjĞ ƚŽ ƚŚĞ ŶĞĂƌĞƐƚ ƉŽůĞ ďƵƚ ƚŚĞ ƉŽůĞƐ ůŽŽŬ ƐŵĂůů ŝŶ ĐŽŶƚƌĂƐƚ ƚŽ ƚŚĞ ŚƵŵĂŶ ĂƐ ƚŚĞLJ ŐŽ ĨƵƌƚŚĞƌ ŝŶ ƚŚĞ ĚŝƐƚĂŶĐĞ͘
sĞƌƟĐĂů
,ŽƌŝnjŽŶƚĂů
Category: #21 Four Columns /Ŷ ƚǁŽ ƉŚŽƚŽƐ / ǁŝůů ďĞ ŝůůƵƐƚƌĂƟŶŐ ŚŽǁ ĨŽƵƌ ĐŽůƵŶŵƐ ŝŶŇƵĞŶĐĞ ƚŚĞ ĞīĞĐƚ ŽŶ ĚŝŵĞŶƟŽŶ ĂŶĚ ƐŝnjĞ ŽĨ ƚŚĞ ŚƵŵĂŶ Ăƚ ĚŝīĞƌĞŶƚ ĐĂŵĞƌĂ ĂŶŐůĞƐ͘ tŚĞŶ ƚŚĞ ĐŽůƵŵƐ ĂƌĞ ůĂƌŐĞ͕ ƚŚĞ ƐƉĂĐĞ ŝŶ ďĞƚǁĞĞŶ ƚŚĞ ŚƵŵĂŶƐ ƐĞĞŵƐ ůĂƌŐĞ ƐƵĐŚ ĂƐ ŝƚ ǁĂƐ Ă ƌŽŽŵ͕ ĂƐ ŝĨ ƚŚĞLJ ĂƌĞ ĨƌĞĞ ƚŽ ŵŽǀĞ ĂďŽƵƚ͕ ũƵƐƚ ƚŽ ĂǀŽŝĚ ƚŚĞ ĐŽůƵŵŶƐ͘ Ƶƚ ǁŚĞŶ ƚŚĞ ĐŽůƵŵŶƐ ďĞĐŽŵĞ ŶĂƌƌŽǁ ƚŚĞ ŝůůƵƐŝŽŶ ŝƚ ŐŝǀĞƐ ŝƐ ŵŽƌĞ ƐŝŵŝůĂƌ ƚŽ ŚĂůůǁĂLJ͕ ƚŚĞ ŚƵŵĂŶ ƐĞĞŵƐ ǀĞƌLJ ƐŵĂůů ŝŶ ĐŽŵƉĂƌŝƐŽŶ ƚŽ ƚŚĞ ĐŽůƵŵŶƐ͘
Wide
1828
Narrow
Category: #22 One Wall and One Column /Ŷ ϴ ƉŚŽƚŽƐ / ǁŝůů ďĞ ŝůůƵƐƚƌĂƟŶŐ ŚŽǁ Ă ĐŽůƵŵŶ ĂŶĚ Ă ǁĂůů ĐŚĂŶŐĞ ƚŚĞ ůŽŽŬ ĂůŽŶŐ ǁŝƚŚ Ă ŚƵŵĂŶ ĮŐƵƌĞ͘ Ɛ ƚŚĞ ĐŽůƵŵŶ ƐŚŝŌƐ ĂǁĂLJ ĨƌŽŵ ƚŚĞ ǁĂůů Žƌ ĂƌŽƵŶĚ ƚŚĞ ƌŽŽŵ ŝƚ ŐŝǀĞƐ ŵĂŶLJ ĚŝīĞƌĞŶƚ ĞīĞĐƚƐ ĂƐ ƚŽ ƚŚĞ ǁĂLJ LJŽƵ ĐĂŶ ĨƌĞĞůLJ ŵŽǀĞ ĂďŽƵƚ ƚŚĞ ƌŽŽŵ͘
ŽŶĚŝƟŽŶ ϭ
ŽŶĚŝƟŽŶ Ϯ
ŽŶĚŝƟŽŶ ϯ
ŽŶĚŝƟŽŶ ϰ
ŽŶĚŝƟŽŶ ϱ
ŽŶĚŝƟŽŶ ϲ
ŽŶĚŝƟŽŶ ϳ
ŽŶĚŝƟŽŶ ϴ
1829
Category: #23 One Wall and two Columns /Ŷ ƚŚƌĞĞ ƉŚŽƚŽƐ / ǁŝůů ďĞ ŝůůƵƐƚƌĂƟŶŐ ŚŽǁ ƚŚĞ ĞīĞĐƚƐ ŽĨ ŽŶĞ ǁĂůů ĂŶĚ ƚǁŽ ĐŽůƵŵŶƐ ŚĂǀĞ ŽŶ ƚŚĞ ĂƉƉĞĂƌĂŶĐĞ ĂŶĚ ƐŚĂƉĞ ŽĨ Ă ŚƵŵĂŶ ĮŐƵƌĞ͘ /Ŷ ƚŚĞ ĮƌƐƚ ƉŚŽƚŽ ŝƚ ƐŚŽǁƐ ŚŽǁ ƚǁŽ ǀĞƌƟĐĂů ĐŽůƵŵŶƐ ĂŶĚ ŽŶĞ ǀĞƌƟĐĂů ǁĂůů ůŽŽŬ ŶĞdžƚ ƚŽ ƚŚĞ ŚƵŵĂŶ͕ ŝƚ ĨĞĞůƐ ƐŽŵĞǁŚĂƚ ůŝŬĞ Ă ŚĂůůǁĂLJ Žƌ Ă ǁĂůŬǁĂLJ͘ /Ŷ ƚŚĞ ŶĞdžƚ ŝŵĂŐĞ LJŽƵ ƐĞĞ Ă ŚŽƌŝnjŽŶƚĂů ǁĂůů ĂŶĚ ƚǁŽ ǀĞƌƟĐĂů ĐŽůƵŵŶƐ͕ ŐŝǀŝŶŐ ƚŚĞ ĂƉƉĞĂƌĂŶĐĞ ŽĨ ƉĂƐƐŝŶŐ ďLJ Ă ǁĂůů Žƌ ƚŚĞ ůŽŽŬ ŽĨ ƚǁŽ ƚĞůĞƉŚŽŶĞ ƉŽůĞƐ Žƌ ůŝŐŚƚ ƉŽůĞƐ͘ /Ŷ ƚŚĞ ƚŚŝƌĚ ƉŚŽƚŽ Ăůů ŝƚĞŵƐ ĂƌĞ ǀĞƌƟĐĂů͕ ƚŚĞ ŚƵŵĂŶ ŝƐ ĨƌĞĞ ƚŽ ƉĂƐƐ ƚŚĞ ǁĂůů ďƵƚ ŵƵĐŚ ŶŽƚ Śŝƚ ƚŚĞ ƉŽůĞ ƚŽ ŚŝƐ ůĞŌ͘
ŽŶĚŝƟŽŶ ϭ͗ ĂůŝŐŶĞĚ ǁĂůů ĂŶĚ ǀĞƌƟĐĂůůLJ ĂůŝŐŶĞĚ ĐŽůƵŵŶƐ
ŽŶĚŝƟŽŶ Ϯ͗ ĨĂĐŝŶŐ ǁĂůů ĂŶĚ ǀĞƌƟĐĂůůLJ ĂůŝŐŶĞĚ ĐŽůƵŵŶƐ
ŽŶĚŝƟŽŶ ϯ͗ ĨĂĐŝŶŐ ǁĂůů ĂŶĚ ŚŽƌŝnjŽŶƚĂůůLJ ĂůŝŐŶĞĚ ĐŽůƵŵŶƐ
Category: #24 Two Walls and two Columns /Ŷ ƚǁŽ ƉŚŽƚŽƐ / ĚĞŵŽŶƐƚƌĂƚĞ ŚŽǁ ƚǁŽ ĐŽůƵŵŶƐ ĂŶĚ ƚǁŽ ǁĂůůƐ ĚŝīĞƌ͕ ǁŚĞŶ ĐŽůƵŵŶƐ ĂůŝŐŶĞĚ ǀĞƌƟĐĂůůLJ ǁŝƚŚ ƉĞƌƉĞŶĚŝĐƵůĂƌ ǁĂůůƐ ĂŶĚ ĐŽůƵŵŶƐ ĂůŝŐŶĞĚ ŚŽƌŝnjŽŶƚĂůůLJ ǁŝƚŚ ƉĞƌƉĞŶĚŝĐƵůĂƌ ǁĂůůƐ ƐŚŝŌ ƚŚĞ ůŽŽŬ ŽĨ ŚƵŵĂŶ ĮŐƵƌĞƐ͘ /Ŷ ƚŚĞ ǀĞƌƟĐĂůůLJ ĂůŝŐŶĞĚ ŝŵĂŐĞ ŝƚ ůŽŽŬƐ ĂƐ ƚŚŽƵŐŚ ƚŚĞ ŚƵŵĂŶ ŝƐ ƉĂƐƐŝŶŐ ďLJ Ă ǁĂůů ƚŽ ǁĂůŬ ƚŽ ĂŶŽƚŚĞƌ ƌŽŽŵ͕ ǁŚĞƌĞĂƐ ŝŶ ƚŚĞ ŚŽƌŝnjŽŶƚĂů ŝŵĂŐĞ ŝƚ ůŽŽŬƐ ĂƐ ƚŚŽƵŐŚ ƚŚĞ ŚƵŵĂŶ ŝƐ ƐƚĂŶĚŝŶŐ ŝŶ ĨƌŽŶƚ ŽĨ Ă ǁĂůů ĂŶĚ ƚŚĞ ĐŽůƵŵŶƐ ĂƌĞ ƐůŝŐŚƚůLJ ŝŶ ĨƌŽŶƚ ŽĨ ƚŚĞŵ͕ ƐŽŵĞǁŚĂƚ ůŝŬĞ Ă ƚĞŶƚ Žƌ ƐŽŵĞƚŚŝŶŐ ĐŽƵůĚ ĂƉƉĞĂƌ ůŝŬĞ͘
ŽůƵŵŶƐ ĂůŝŐŶĞĚ ǀĞƌƟĐĂůůLJ ǁŝƚŚ ƉĞƌƉĞŶĚŝĐƵůĂƌ ǁĂůůƐ
1830
ŽůƵŵŶƐ ĂůŝŐŶĞĚ ŚŽƌŝnjŽŶƚĂůůLJ ǁŝƚŚ ƉĞƌƉĞŶĚŝĐƵůĂƌ walls
ĂƚĞŐŽƌLJ͗ ηϮϱ dǁŽ tĂůůƐ ĂŶĚ ƚǁŽ ŽůƵŵŶƐ ǁŝƚŚ ƚǁŽ ůŝŐŚƟŶŐ ĐŽŶĚŝƟŽŶƐͺϬϭ /Ŷ ŵƵůƟƉůĞ ƉŚŽƚŽƐ / ŝůůƵƐƚƌĂƚĞ ŚŽǁ ƚǁŽ ůŝŐŚƟŶŐƐ ĂīĞĐƚ ƚŚĞ ĂƉƉĞĂƌĂŶĐĞ ŽŶ ǁĂůůƐ ĂŶĚ ĐŽůƵŵŶƐ ŝŶ ĐŽŵƉĂƌŝƐŽŶ ƚŽ Ă ŚƵŵĂŶ ĮŐƵƌĞ͘ /Ŷ ŝŵĂŐĞ ŽŶĞ ŝƚ ůŽŽŬƐ ĂƐ ƚŚŽƵŐŚ ƚŚĞ ŚƵŵĂŶ ŝƐ ĐĂƐƵĂůůLJ ǁĂůŬŝŶŐ ƚŚƌŽƵŐŚ Ă ŵĂŬĞ ƐŚŝŌ ŚĂůů ƚŽǁĂƌĚ Ă ĚĂƌŬĞƌ ƌŽŽŵ͕ ĂƐ ƚŚĞ ůŝŐŚƚ ĐŚĂŶŐĞƐ ƐŝĚĞƐ ŝƚ ůŽŽŬƐ ůŝŬĞ ŚĞ ŝƐ ĞŶƚĞƌŝŶŐ ŝŶƚŽ Ă ůŝŐŚƚĞƌ ƌŽŽŵ͘ /Ŷ ƚŚĞ ŶĞdžƚ ƚǁŽ ƉŚŽƚŽƐ ƚŚĞ ĐŽůƵŵŶƐ ĂƌĞ ŝŶ ĨƌŽŶƚ ŽĨ ƚŚĞ ǁĂůů ŵĂŬŝŶŐ ƚŚĞ ŚƵŵĂŶ ĂƉƉĞĂƌ ĨƵƌƚŚĞƌ ĨƌŽŵ ƚŚĞ ǁĂůů͕ ŝŶ ƚŚĞ ƐĞĐŽŶĚ ůŝŐŚƟŶŐ ŝƚ ůŽŽŬƐ ƐƵƉĞƌ ďĂĐŬ ůŝƚ͘ ŝŶ ƚŚĞ ƚŚŝƌĚ ĂŶŐůĞƐ ƚŚĞ ďĂĐŬ ǁĂůů ŝƐ ŵƵĐŚ ůĂƌŐĞƌ ŵĂŬŝŶŐ ƚŚĞ ƌŽŽŵ ĂƉƉĞĂƌ ďŝŐŐĞƌ͘
tĂůŬŝŶŐ ďĞƚǁĞĞŶ ǀĞƌƟĐĂůůLJ ĂůŝŐŶĞĚ ĐŽůƵŵŶƐ ĂŶĚ ƉĞƌƉĞŶĚŝĐƵůĂƌ ǁĂůůƐ ǁŝƚŚ ůŝŐŚƟŶŐ ďĞŚŝŶĚ &ŝŐƵƌĞ
tĂůŬŝŶŐ ďĞƚǁĞĞŶ ǀĞƌƟĐĂůůLJ ĂůŝŐŶĞĚ ĐŽůƵŵŶƐ ĂŶĚ ƉĞƌƉĞŶĚŝĐƵůĂƌ ǁĂůůƐ ǁŝƚŚ ůŝŐŚƟŶŐ ďĞŚŝŶĚ ǁĂůů
tĂůŬŝŶŐ ďĞƐŝĚĞ ǀĞƌƟĐĂůůLJ ĂůŝŐŶĞĚ ĐŽůƵŵŶƐ ĂŶĚ ƉĞƌƉĞŶĚŝĐƵůĂƌ ǁĂůůƐ ǁŝƚŚ ůŝŐŚƟŶŐ ďĞŚŝŶĚ &ŝŐƵƌĞ
tĂůŬŝŶŐ ďĞƐŝĚĞ ǀĞƌƟĐĂůůLJ ĂůŝŐŶĞĚ ĐŽůƵŵŶƐ ĂŶĚ ƉĞƌƉĞŶĚŝĐƵůĂƌ ǁĂůůƐ ǁŝƚŚ ůŝŐŚƟŶŐ ďĞŚŝŶĚ ǁĂůů
tĂůŬŝŶŐ ďĞƐŝĚĞ ǀĞƌƟĐĂůůLJ ĂůŝŐŶĞĚ ĐŽůƵŵŶƐ ĂŶĚ ĞdžƚĞŶĚĞĚ ƉĞƌƉĞŶĚŝĐƵůĂƌ ǁĂůůƐ ǁŝƚŚ ůŝŐŚƟŶŐ ďĞŚŝŶĚ &ŝŐƵƌĞ
tĂůŬŝŶŐ ďĞƐŝĚĞ ǀĞƌƟĐĂůůLJ ĂůŝŐŶĞĚ ĐŽůƵŵŶƐ ĂŶĚ ĞdžƚĞŶĚĞĚ ƉĞƌƉĞŶĚŝĐƵůĂƌ ǁĂůůƐ ǁŝƚŚ ůŝŐŚƟŶŐ ďĞŚŝŶĚ wall
1831
ĂƚĞŐŽƌLJ͗ ηϮϲ dǁŽ tĂůůƐ ĂŶĚ ƚǁŽ ŽůƵŵŶƐ ǁŝƚŚ ƚǁŽ ůŝŐŚƟŶŐ ĐŽŶĚŝƟŽŶƐͺϬϮ /Ŷ ĨŽƵƌ ƉŚŽƚŽƐ / ŝůůƵƐƚƌĂƚĞ ŚŽǁ ůŝŐŚƟŶŐ ĂŶĚ ĚŝīĞƌŝŶŐ ǁĂůůƐ ĂŶĚ ĐŽůƵŵŶƐ ĂīĞĐƚ ƚŚĞ ůŽŽŬ ŽŶ Ă ŚƵŵĂŶ ĮŐƵƌĞ͘ /Ŷ ƚŚĞ ĮƌƐƚ ŝŵĂŐĞ ƚŚĞ ŚƵŵĂŶ ŝƐ ƉĂƐƐŝŶŐ ƚŚŽƵŐŚ Ă ĚŝŵůLJ ůŝƚ ƌŽŽŵ ǁĂůŬŝŶŐ ƚŽǁĂƌĚƐ ĂŶ Ğdžŝƚ͘ /Ŷ ƚŚĞ ƐĞĐŽŶĚ ŝŵĂŐĞ ƚŚĞ ŚƵŵĂŶ ŝƐ ĞŶƚĞƌŝŶŐ Ă ǀĞƌLJ ůŝƚ ƌŽŽŵ͘ tŚĞŶ ƚŚĞ ĐŽůƵŵŶƐ ĂƌĞ ǀĞƌƟĐĂů ƚŽ ƚŚĞ ǁĂůůƐ ŝƚ ůŽŽŬƐ ĂƐ ŝĨ ƚŚĞ ŚƵŵĂŶ ŝƐ ƉĂƐƐŝŶŐ ƚŚĞ ĐŽůƵŵŶƐ͘ /Ŷ ƚŚĞ ďĂĐŬ ůŝƚ ƌŽŽŵ ŝƚ ůŽŽŬƐ ƐŝŵŝůĂƌ ďƵƚ ƚŚĞ ƐŚĂĚŽǁƐ ĐŚĂŶŐĞ ĚŝƌĞĐƟŽŶ͘
WĂƐƐŝŶŐ ŚŽƌŝnjŽŶƚĂůůLJ ĂůŝŐŶĞĚ ĐŽůƵŵŶƐ ƚŽ ĞŶƚĞƌ ƚŚĞ ƐƉĂĐĞ ďĞƚǁĞĞŶ ƚǁŽ ǁĂůůƐ ǁŝƚŚ ůŝŐŚƟŶŐ ďĞŚŝŶĚ &ŝŐƵƌĞ
WĂƐƐŝŶŐ ǀĞƌƟĐĂůůLJ ĂůŝŐŶĞĚ ĐŽůƵŵŶƐ ƚŽ ĞŶƚĞƌ ƚŚĞ ƐƉĂĐĞ ďĞƚǁĞĞŶ ƚǁŽ ǁĂůůƐ ǁŝƚŚ ůŝŐŚƟŶŐ ĨƌŽŵ ƚŚĞ inside space
1832
WĂƐƐŝŶŐ ŚŽƌŝnjŽŶƚĂůůLJ ĂůŝŐŶĞĚ ĐŽůƵŵŶƐ ƚŽ ĞŶƚĞƌ ƚŚĞ ƐƉĂĐĞ ďĞƚǁĞĞŶ ƚǁŽ ǁĂůůƐ ǁŝƚŚ ůŝŐŚƟŶŐ ĨƌŽŵ ƚŚĞ inside space
WĂƐƐŝŶŐ ǀĞƌƟĐĂůůLJ ĂůŝŐŶĞĚ ĐŽůƵŵŶƐ ƚŽ ĞŶƚĞƌ ƚŚĞ ƐƉĂĐĞ ďĞƚǁĞĞŶ ƚǁŽ ǁĂůůƐ ǁŝƚŚ ůŝŐŚƟŶŐ ďĞŚŝŶĚ &ŝŐƵƌĞ
ĂƚĞŐŽƌLJ͗ ηϮϳ dǁŽ tĂůůƐ ĂŶĚ ƚǁŽ ŽůƵŵŶƐ ǁŝƚŚ ƚǁŽ ůŝŐŚƟŶŐ ĐŽŶĚŝƟŽŶƐͺϬϯ /Ŷ ƚŚĞƐĞ ŝŵĂŐĞƐ / Ăŵ ƐŚŽǁŝŶŐ ƚŚĞ ǁĂLJ ƚŚĂƚ ůŝŐŚƟŶŐ ĂŶĚ ĚŝīĞƌŝŶŐ ƐŚĂƉĞƐ ĂŶĚ ǁĂůůƐ ĂŶĚ ĐŽůƵŵŶƐ ĐŚĂŶŐĞ ƚŚĞ ůŽŽŬ ĂŶĚ ĂƉƉĞĂƌĂŶĐĞ ŽĨ ƚŚĞ ŚƵŵĂŶ ĮŐƵƌĞ͘ /Ŷ ƚŚĞ ĮƌƐƚ ƉŚŽƚŽƐ ƚŚĞ ŚƵŵĂŶ ŝƐ ǁĂůŬŝŶŐ ƉĂƐƚ Ă ǁĂůů ŝŶƚŽ ĂŶŽƚŚĞƌ ƌŽŽŵ͕ ŝŶ ƚŚĞ ŶĞdžƚ ƚǁŽ ƉŚŽƚŽƐ ƚŚĞ ŚƵŵĂŶ ŝƐ ĚŽŝŶŐ ƚŚĞ ƐĂŵĞ ďƵƚ ŚĂƐ ƉĂƐƐĞĚ ƚŚĞ ĮƌƐƚ ǁĂůů ĂŶĚ ŝƐ ŝŶ ƚŚĞ ƌŽŽŵ͕ ŝŶ ƚŚĞ ƚŚƌŝƐƚ ŝŵĂŐĞƐ ƚŚĞ ŚƵŵĂŶ ůŽŽŬƐ ůĂƌŐĞ ŝŶ ĐŽŵƉĂƌŝƐŽŶ ƚŽ ƚŚĞ ǁĂůůƐ ĂŶĚ ĐŽůƵŵŶƐ ďƵƚ ƚŚĞ ƌŽŽŵ ƚŽ ŵŽǀĞ ĨƌĞĞůLJ ƐĞĞŵƐ ůĂƌŐĞƌ͘
WĂƐƐŝŶŐ ǀĞƌƟĐĂůůLJ ĂůŝŐŶĞĚ ĐŽůƵŵŶƐ ƚŽ ƉĂƐƐ Ă ŶĂƌƌŽǁ ŽƉĞŶŝŶŐ ďĞƚǁĞĞŶ ƚǁŽ ǁĂůůƐ ǁŝƚŚ ůŝŐŚƟŶŐ ďĞŚŝŶĚ &ŝŐƵƌĞ
WĂƐƐŝŶŐ ǀĞƌƟĐĂůůLJ ĂůŝŐŶĞĚ ĐŽůƵŵŶƐ ƚŽ ƉĂƐƐ Ă ŶĂƌƌŽǁ ŽƉĞŶŝŶŐ ďĞƚǁĞĞŶ ƚǁŽ ǁĂůůƐ ǁŝƚŚ ůŝŐŚƟŶŐ ĨƌŽŵ ƚŚĞ inside space
WĂƐƐŝŶŐ ǀĞƌƟĐĂůůLJ ĂůŝŐŶĞĚ ĐŽůƵŵŶƐ ƚŽ ƉĂƐƐ ĂŶ ŝŶƚĞƌ WĂƐƐŝŶŐ ǀĞƌƟĐĂůůLJ ĂůŝŐŶĞĚ ĐŽůƵŵŶƐ ƚŽ ƉĂƐƐ ĂŶ ŝŶƚĞƌŵĞĚŝĂƚĞ ŽƉĞŶŝŶŐ ďĞƚǁĞĞŶ ƚǁŽ ǁĂůůƐ ǁŝƚŚ ůŝŐŚƟŶŐ ďĞŚŝŶĚ &ŝŐƵƌĞ
WĂƐƐŝŶŐ ǀĞƌƟĐĂůůLJ ĂůŝŐŶĞĚ ĐŽůƵŵŶƐ ƚŽ ƉĂƐƐ ĂŶ ŝŶƚĞƌWĂƐƐŝŶŐ ǀĞƌƟĐĂůůLJ ĂůŝŐŶĞĚ ĐŽůƵŵŶƐ ƚŽ ƉĂƐƐ ĂŶ ŝŶƚĞƌ ŵĞĚŝĂƚĞ ŽƉĞŶŝŶŐ ďĞƚǁĞĞŶ ƚǁŽ ǁĂůůƐ ǁŝƚŚ ůŝŐŚƟŶŐ ĨƌŽŵ ƚŚĞ ŝŶƐŝĚĞ ƐƉĂĐĞ
WĂƐƐŝŶŐ ŚŽƌŝnjŽŶƚĂůůLJ ĂůŝŐŶĞĚ ĐŽůƵŵŶƐ ƚŽ ƉĂƐƐ Ă ǁŝĚĞ ŽƉĞŶŝŶŐ ďĞƚǁĞĞŶ ƚǁŽ ǁĂůůƐ ǁŝƚŚ ůŝŐŚƟŶŐ ďĞŚŝŶĚ &ŝŐƵƌĞ
WĂƐƐŝŶŐ ŚŽƌŝnjŽŶƚĂůůLJ ĂůŝŐŶĞĚ ĐŽůƵŵŶƐ ƚŽ ƉĂƐƐ Ă ǁŝĚĞ ŽƉĞŶŝŶŐ ďĞƚǁĞĞŶ ƚǁŽ ǁĂůůƐ ǁŝƚŚ ůŝŐŚƟŶŐ ĨƌŽŵ the inside space
1833
ĂƚĞŐŽƌLJ͗ ηϮϴ sĞƌƟĐĂůůLJ ĂůŝŐŶĞĚ dǁŽ tĂůůƐ ĂŶĚ ƚǁŽ ŽůƵŵŶƐ /Ŷ ƚǁŽ ŝŵĂŐĞƐ ƚŚĞ ŚƵŵĂŶ ŝƐ ďĞŝŶŐ ŐƌĂĚƵĂůůLJ ŽďƐƚƌƵĐƚĞĚ ďLJ ǁĂůůƐ ĂŶĚ ĐŽůƵŵŶƐ͘ tŚŝůĞ ƚŚĞ ŚƵŵĂŶ ŝƐ ǁĂůŬŝŶŐ ďĞƚǁĞĞŶ ƚŚĞ ǁĂůůƐ ƚŚĞƌĞ ĨĞĞůƐ ůŝŬĞ ƚŚĞƌĞ ŝƐ ŶŽƚ ŵƵĐŚ ĨƌĞĞĚŽŵ ƚŽ ƌŽĂŵ ĂďŽƵƚ ĂŶĚ ƚŚĞ ǁĂůŬŝŶŐ ŵƵƐƚ ďĞ ŵŽƌĞ ŵĞƟĐƵůĂƚĞ͘ tŚĞŶ ŚĞ ǁĂůŬƐ ďĞƚǁĞĞŶ ƚŚĞ ĐŽůƵŵŶƐ ƚŚĞƌĞ ĨĞĞůƐ ůŝŬĞ ŵƵĐŚ ŵŽƌĞ ƌŽŽŵ ďƵƚ ƚŽ ďĞ ĐĂƌĞĨƵů ĨŽƌ ƚŚĞ ĐŽůƵŵŶ ŝŶ ƚŚĞ ĐĞŶƚĞƌ͘
Between walls, walking
1834
ĞƚǁĞĞŶ ĐŽůƵŵŶƐ͕ ǁĂůŬŝŶŐ
Category: #29 Space composed with 5+ columns and 2 walls /Ŷ ƚŚŝƐ / ǁŝůů ďĞ ŝůůƵƐƚƌĂƟŶŐ ŚŽǁ Ă ŚƵŵĂŶ ƉĂƐƐŝŶŐ ƚŚƌŽƵŐŚ ŵƵůƟƉůĞ ǁĂůůƐ ĂŶĚ ĐŽůƵŵŶƐ ŝƐ ĂůƚĞƌƐ Žƌ ŐƌĂĚƵĂůůLJ ŽďƐƚƌƵĐƚĞĚ͕ / ĐƌĞĂƚĞĚ Ă ƐŚĂƉĞ ƐŝŵŝůĂƌ ďƵƚ ĚŝīĞƌĞŶƚ ƚŽ Ă ŚĞĂƌƚ͕ ǁŚĞƌĞ ŝƚ ĨĞĞůƐ ĂƐ ƚŚŽƵŐŚ LJŽƵ ĂƌĞ ƚƌLJŝŶŐ ƚŽ ŶĂǀŝŐĂƚĞ ƚŚĞ ƉĂƚŚƐ ĂŶĚ ĚĞƐŝƌĞƐ ŽĨ ƚŚĞ ŚĞĂƌƚ͘ dŚĞ ĐŽůƵŵŶƐ ĂƌĞ ŝŶ ƉůĂĐĞ ĂƐ ƐŽƌƚ ŽĨ ďŽƵŶĚĂƌŝĞƐ ďƵƚ ƚŚĞ ŚƵŵĂŶ ŚĂƐ ĨƌĞĞĚŽŵ ƚŽ ǁĂůŬ ǁŚĞƌĞǀĞƌ͕ ƚŚĞƌĞ ĂƌĞ ǁĂůůƐ ŝŶ ƉůĂĐĞ ĂƐ ŽďƐƚĂĐůĞƐ ƚŚĂƚ ŵĂLJ ŶĞĞĚ ƚŽ ďĞ ƉĂƐƐĞĚ ŝŶ ŽƌĚĞƌ ƚŽ ŵĂŬĞ ŝƚ ƚŽ ƚŚĞ ŶĞdžƚ ĂƌĞĂ͘
dŽƉ ǀŝĞǁ ŽĨ ƚŚĞ ƐƉĂĐĞ ĐŽŵƉŽƐĞĚ
^ĞƋƵĞŶĐĞ ƉŚĂƐĞ ηϭ
^ĞƋƵĞŶĐĞ ƉŚĂƐĞ ηϮ
^ĞƋƵĞŶĐĞ ƉŚĂƐĞ ηϯ
^ĞƋƵĞŶĐĞ ƉŚĂƐĞ ηϰ
^ĞƋƵĞŶĐĞ ƉŚĂƐĞ ηϱ
^ĞƋƵĞŶĐĞ ƉŚĂƐĞ ηϲ
1835
Category: #30 Faced wall with Connected wall /Ŷ ŵĂŶLJ ŝŵĂŐĞƐ / ǁŝůů ďĞ ŝůůƵƐƚƌĂƟŶŐ ƚŚĞ ĂīĞĐƚƐ Ă ĨĂĐĞĚ ǁĂůů ǁŝƚŚ Ă ĐŽŶŶĞĐƚĞĚ ǁĂůů ƐŚŝŌŝŶŐ ďĞƚǁĞĞŶ ĂŶŐůĞƐ ϵϬͲϮϳϬ ĂůƚĞƌ ƚŚĞ ĂƉƉĞĂƌĂŶĐĞ ŽĨ Ă ŚƵŵĂŶ ĮŐƵƌĞ͘ /Ŷ ƚŚĞ ĮƌƐƚ ĐŽƵƉůĞ ŝŵĂŐĞƐ ŝƚ ůŽŽŬƐ ůŝŬĞ ƚŚĞ ŚƵŵĂŶ ŝƐ ŝŶ Ă ĐůŽƐĞĚ ƌŽŽŵ͕ ĂƐ ƚŚĞ ǁĂůůƐ ŽƉĞŶ ƚŚĞ ƌŽŽŵ ŽƉĞŶƐ ĂŶĚ Ăƚ ƚŚĞ ĞŶĚ ŝƚ ƐĞĞŵƐ ĂƐ ƚŚŽƵŐŚ ƚŚĞ ŚƵŵĂŶ ŝƐ ŝŶ Ă ĂůŵŽƐƚ ƚŽƚĂůůLJ ŽƉĞŶ ƌŽŽŵ͘
90 degree
100 degree
110 degree
120 degree
130 degree
140 degree
150 degree
160 degree
170 degree
180 degree
190 degree
200 degree
1836
210 degree
220 degree
230 degree
240 degree
250 degree
260 degree
270 degree
1837
Category: #31 Aligned wall with Connected wall /Ŷ ŵƵůƟƉůĞ ŝŵĂŐĞƐ / ǁŝůů ďĞ ĚĞŵŽŶƐƚĂƟŶŐ ŚŽǁ ǁŚĞŶ ĂŶ ĂůŝŐŶĞĚ ǁĂůů ĂŶĚ Ă ĐŽŶŶĞĐƚĞĚ ǁĂůů ĐŚĂŶŐĞ ĂŶŐůĞƐ ƐŽ ĚŽĞƐ ƚŚĞ ůŽŽŬ ŽĨ ƚŚĞ ŚƵŵĂŶ͘ /Ŷ ƚŚĞ ĮƌƐƚ ŝŵĂŐĞƐ ƚŚĞ ĐŽƌŶĞƌ ŽĨ ƚŚĞ ĂƌĞĂ ƐĞĞŵƐ ǀĞƌLJ ƐŵĂůů ĂŶĚ ƚŚĞ ŚƵŵĂŶ ƐĞĞŵƐ ǀĞƌLJ ďŝŐ ďƵƚ ĂƐ ƚŚĞ ǁĂůůƐ ŽƉĞŶ ƚŚĞ ŚƵŵĂŶ ƐĞĞŵƐ ƚŽ ůŽŽŬ ƐŵĂůůĞƌ ŝŶ ĐŽŵƉĂƌŝƐŽŶ ƚŽ ƚŚĞ ǁĂůůƐ͘
10 degree
20 degree
30 degree
40 degree
50 degree
60 degree
70 degree
80 degree
90 degree
100 degree
110 degree
120 degree
1838
130 degree
140 degree
150 degree
160 degree
170 degree
1839
Category: #32 Facing the connected edge of two walls /Ŷ ŵƵůƟƉůĞ ŝŵĂŐĞƐ / ǁŝůů ŝůůƵƐƚƌĂƚĞ ŚŽǁ ƚŚĞ ůŽŽŬ ŽĨ Ă ĨĂĐŝŶŐ ǁĂůů ĂŶĚ ƚŚĞ ĞĚŐĞ ŽĨ ƚŚĞ ǁĂůů ŽďƐƚƌƵĐƚ Ă ŚƵŵĂŶ ĮŐƵƌĞ͘ /Ŷ ƚŚĞ ĮƌƐƚ ĨĞǁ ƉŚŽƚŽƐ ƚŚĞ ŚƵŵĂŶ ƐĞĞŵƐ ůĂƌŐĞ ĂŶĚ ƚŚĞ ĞĚŐĞ ƐĞĞŵƐ ǀĞƌLJ ǀĞƌLJ ƐŵĂůů͕ ĂƐ ƚŚĞ ǁĂůů ŐƌĂĚƵĂůůLJ ŽƉĞŶƐ ŝƚ ŐŝǀĞƐ ƚŚĞ ĂƉƉĞĂƌĂŶĐĞ ŽĨ Ă ĐůŽƐĞƌ ǁĂůů͘
10 degree
20 degree
30 degree
40 degree
50 degree
60 degree
70 degree
80 degree
90 degree
100 degree
110 degree
120 degree
1840
130 degree
140 degree
150 degree
160 degree
170 degree
1841
Category: #33 Three connected walls /Ŷ ŵƵůƟƉůĞ ŝŵĂŐĞƐ / ǁŝůů ĚĞƉŝĐƚ ŚŽǁ Ă ŚƵŵĂŶ ĮŐƵƌĞ ůŽŽŬ ĂŶĚ ŝƐ ŽďƐƚƌƵĐƚĞĚ ďLJ ϯ ǁĂůůƐ ƚŚĂƚ ƐŚŝŌ ĨƌŽŵ ŶĂƌƌŽǁ ƚŽ ǁŝĚĞ͘ /Ŷ ƚŚĞ ǁŝĚĞ ŝŵĂŐĞƐ ƚŚĞ ƌŽŽŵƐ ƐĞĞŵƐ ůĂƌŐĞ ŝŶ ĐŽŵƉĂƌŝƐŽŶ ƚŽ ƚŚĞ ŚƵŵĂŶ ĂƐ ƚŚĞ ƌŽŽŵ ďĞĐŽŵĞƐ ŶĂƌƌŽǁ ƚŚĞ ŚƵŵĂŶ ƐĞĞŵƐ ůĂƌŐĞƌ ŝŶ ƚŚĞ ƌŽŽŵ͘
tŝĚĞͲĨĂĐŝŶŐ ǁĂůů ǁŝƚŚ ƚǁŽ ǁŝŶŐƐ
EĂƌƌŽǁͲĨĂĐŝŶŐ ǁĂůů ǁŝƚŚ ƚǁŽ ǁŝŶŐƐ
Category: #34 Curved wall inside dŚŝƐ ĂƌĞĂ ĨĞĞůƐ ƉůĂLJĨƵů ĂŶĚ ůŝŬĞ ŝƚ ǁŽƵůĚ ďĞ Ă ƉĂƌƚ ŽĨ ĂŶ ŝůůƵƐŝŽŶ Ăƚ Ă ĐĂƌŶŝǀĂů͘
^ŵĂůůͲĐƵƌǀĞĚ ĂŶĚ ϴŌ ŚĞŝŐŚƚ
>ĂƌŐĞͲĐƵƌǀĞĚ ĂŶĚ ϭϲŌ ŚĞŝŐŚƚ 1842
^ŵĂůůͲĐƵƌǀĞĚ ĂŶĚ ϭϲŌ ŚĞŝŐŚƚ
>ĂƌŐĞͲĐƵƌǀĞĚ ĂŶĚ ϴŌ ŚĞŝŐŚƚ
Category: #35 Curved wall outside dŚĞ ŚƵŵĂŶ ŝƐ ůŽŽŬŝŶŐ Ăƚ ĐƵƌǀĞĚ ǁĂůůƐ͘ dŚĞ ŚƵŵĂŶ ŵƵƐƚ ĐŚĂŶŐĞ ƚŚĞ ǁĂLJ ƚŚĞLJ͛ƌĞ ĨĂĐŝŶŐ ŝŶ ŽƌĚĞƌ ƚŽ ƉĂƐƐ ŝƚ͘
&ĂĐŝŶŐ ^ŵĂůůͲĐƵƌǀĞĚ ĂŶĚ ϴŌ ŚĞŝŐŚƚ
WĂƐƐŝŶŐ ^ŵĂůůͲĐƵƌǀĞĚ ĂŶĚ ϴŌ ŚĞŝŐŚƚ
&ĂĐŝŶŐ ^ŵĂůůͲĐƵƌǀĞĚ ĂŶĚ ϭϲŌ ŚĞŝŐŚƚ
WĂƐƐŝŶŐ ^ŵĂůůͲĐƵƌǀĞĚ ĂŶĚ ϭϲŌ ŚĞŝŐŚƚ
&ĂĐŝŶŐ >ĂƌŐĞͲĐƵƌǀĞĚ ĂŶĚ ϴŌ ŚĞŝŐŚƚ
WĂƐƐŝŶŐ >ĂƌŐĞͲĐƵƌǀĞĚ ĂŶĚ ϴŌ ŚĞŝŐŚƚ
&ĂĐŝŶŐ >ĂƌŐĞͲĐƵƌǀĞĚ ĂŶĚ ϭϲŌ ŚĞŝŐŚƚ
WĂƐƐŝŶŐ >ĂƌŐĞͲĐƵƌǀĞĚ ĂŶĚ ϭϲŌ ŚĞŝŐŚƚ
1843
Category: #36 Curved Walls and Flat Walls dŚĞ ĚŝīĞƌĞŶĐĞ ŽĨ ƚŚĞ ǁĂůůƐ ĂŶĚ ƚŚĞ ŚƵŵĂŶ͛Ɛ ƉƌĞƐĞŶĐĞ ŝƐ ĚŝƐƚŽƌƚĞĚ ďLJ ƚŚĞ ǀŝĞǁ ĂŶĚ ƉŽƐŝƟŽŶ ŽĨ ƚŚĞ ŚƵŵĂŶ ĮŐƵƌĞ͘ dŚĞ ϭϲͲĨŽŽƚ ǁĂůů ĂŶĚ ƚŚĞ ƐŚŽƌƚ ǁĂůů ĚŝƐƚŽƌƚƐ ƚŚĞ ŚƵŵĂŶ ĮŐƵƌĞ ĂŶĚ ŵĂŬĞƐ ƚŚĞ ĂƌĞĂ ĨĞĞů ǀĞƌLJ ŽĚĚ͘
&ĂĐŝŶŐ Ă ŇĂƚ ǁĂůů ;ϴĬ ŚĞŝŐŚƚͿ ǁŚŝůĞ ƉĂƐƐŝŶŐ Ă ĐƵƌǀĞĚ ǁĂůů ;ϴĬ ŚĞŝŐŚƚͿ
ŶƚĞƌŝŶŐ Ă ƐƉĂĐĞ ďĞƚǁĞĞŶ Ă ŇĂƚ ǁĂůů ;ϴĬ ŚĞŝŐŚƚͿ ĂŶĚ Ă ĐůŽƐĞĚͲĐƵƌǀĞĚ ǁĂůů ;ϴĬ ŚĞŝŐŚƚͿ
ŶƚĞƌŝŶŐ Ă ƐƉĂĐĞ ďĞƚǁĞĞŶ Ă ŇĂƚ ǁĂůů ;ϴĬ ŚĞŝŐŚƚͿ ĂŶĚ ĂŶ ŽƉĞŶĞĚͲĐƵƌǀĞĚ ǁĂůů ;ϴĬ ŚĞŝŐŚƚͿ
zŽƵƌ ĐŽŽƌĚŝŶĂƟŽŶ ŝŶ ŚĞŝŐŚƚ ĂŶĚ ŽƉĞŶŶĞƐƐ͘
1844
ŶƚĞƌŝŶŐ Ă ƐƉĂĐĞ ďĞƚǁĞĞŶ Ă ŇĂƚ ǁĂůů ;ϴĬ ŚĞŝŐŚƚͿ ĂŶĚ Ă ŚĂůĨ ŽƉĞŶĞĚͲĐƵƌǀĞĚ ǁĂůů ;ϴĬ ŚĞŝŐŚƚͿ
Category: #37 Entering into a space between Parallel Curved Walls dŚĞ ĚŝīĞƌĞŶĐĞ ŽĨ ƚŚĞ ƉĂƌĂůůĞů ĐƵƌǀĞĚ ǁĂůůƐ ŝƐ ŐƌĞĂƚ ŽŶ ƚŚĞ ĂůƚĞƌĂƟŽŶ ĂŶĚ ůŽŽŬ ŽĨ ƚŚĞ ŚƵŵĂŶ ĮŐƵƌĞ͘ dŚĞ ůĂƌŐĞ ƉĂƌĂůůĞů ĐƵƌǀĞĚ ǁĂůůƐ ƐĞĞŵ ůŝŬĞ ƚŚĞ ŚƵŵĂŶ ŝƐ ǁĂůŬŝŶŐ ŝŶƚŽ Ă ŵĂnjĞ͘
^ŵĂůůͲĐƵƌǀĞĚ ĂŶĚ ϴŌ ŚŝŐŚ ŽƵƚƐŝĚĞ
^ŵĂůůͲĐƵƌǀĞĚ ĂŶĚ ϭϲŌ ŚŝŐŚ ŽƵƚƐŝĚĞ
>ĂƌŐĞͲĐƵƌǀĞĚ ĂŶĚ ϴŌ ŚŝŐŚ ŽƵƚƐŝĚĞ
>ĂƌŐĞͲĐƵƌǀĞĚ ĂŶĚ ϭϲŌ ŚŝŐŚ ŽƵƚƐŝĚĞ
^ŵĂůůͲĐƵƌǀĞĚ ĂŶĚ ϴŌ ŚŝŐŚ ŝŶƐŝĚĞ
^ŵĂůůͲĐƵƌǀĞĚ ĂŶĚ ϭϲŌ ŚŝŐŚ ŝŶƐŝĚĞ
>ĂƌŐĞͲĐƵƌǀĞĚ ĂŶĚ ϴŌ ŚŝŐŚ ŝŶƐŝĚĞ
>ĂƌŐĞͲĐƵƌǀĞĚ ĂŶĚ ϭϲŌ ŚŝŐŚ ŝŶƐŝĚĞ
1845
ĂƚĞŐŽƌLJ͗ ηϯϴ ŶƚĞƌŝŶŐ Ă ƐƉĂĐĞ ďĞƚǁĞĞŶ ĐƵƌǀĞĚ ŵŝƌƌŽƌ ǁĂůůƐͺϬϭ dŚĞ ŚƵŵĂŶ ŝƐ ƉĂƐƐŝŶŐ ĐƵƌǀĞĚ ǁĂůůƐ͘ dŚĞ ŚƵŵĂŶ ĨĞĞůƐ ůŝŬĞ ƚŚĞLJ ĂƌĞ ǁĂůŬŝŶŐ ƚŚƌŽƵŐŚ ůĂƌŐĞ ĐŽŶĐƌĞƚĞ ĐŽůƵŵŶƐ ůŝŬĞ ŝŶ ŚŝŐŚ ƌŝƐĞƐ͘
^ŵĂůůͲĐƵƌǀĞĚ ĂŶĚ ϴŌ ŚĞŝŐŚƚ
>ĂƌŐĞͲĐƵƌǀĞĚ ĂŶĚ ϭϲŌ ŚĞŝŐŚƚ
1846
^ŵĂůůͲĐƵƌǀĞĚ ĂŶĚ ϭϲŌ ŚĞŝŐŚƚ
>ĂƌŐĞͲĐƵƌǀĞĚ ĂŶĚ ϴŌ ŚĞŝŐŚƚ
ĂƚĞŐŽƌLJ͗ ηϯϵ ŶƚĞƌŝŶŐ Ă ƐƉĂĐĞ ďĞƚǁĞĞŶ ĐƵƌǀĞĚ ŵŝƌƌŽƌ ǁĂůůƐͺϬϮ dŚĞ ĚŝīĞƌŝŶŐ ŚĞŝŐŚƚƐ ŽĨ ƚŚĞ ĐƵƌǀĞĚ ǁĂůůƐ ĂīĞĐƚ ƚŚĞ ǁĂLJ ƚŚĞ ŚƵŵĂŶ ĮŐƵƌĞ ůŽŽŬƐ͘ dŚĞ ƚĂůů ĐƵƌǀĞĚ ǁĂůůƐ ĂƌĞ ǀĞƌLJ ůĂƌŐĞ ĂŶĚ ŵĂŬĞ ŚƵŵĂŶƐ ƐŵĂůůĞƌ͘
^ŵĂůůͲĐƵƌǀĞĚ ĂŶĚ ϴŌ ŚŝŐŚ ǁŝƚŚ ŝŶƐŝĚĞ ůŝŐŚƟŶŐ
^ŵĂůůͲĐƵƌǀĞĚ ĂŶĚ ϴŌ ŚŝŐŚ ǁŝƚŚ ŽƵƚƐŝĚĞ ůŝŐŚƟŶŐ
^ŵĂůůͲĐƵƌǀĞĚ ĂŶĚ ϭϲŌ ŚŝŐŚ ǁŝƚŚ ŝŶƐŝĚĞ ůŝŐŚƟŶŐ
^ŵĂůůͲĐƵƌǀĞĚ ĂŶĚ ϭϲŌ ŚŝŐŚ ǁŝƚŚ ŽƵƚƐŝĚĞ ůŝŐŚƟŶŐ
>ĂƌŐĞͲĐƵƌǀĞĚ ĂŶĚ ϴŌ ŚŝŐŚ ǁŝƚŚ ŝŶƐŝĚĞ ůŝŐŚƟŶŐ
>ĂƌŐĞͲĐƵƌǀĞĚ ĂŶĚ ϴŌ ŚŝŐŚ ǁŝƚŚ ŽƵƚƐŝĚĞ ůŝŐŚƟŶŐ
>ĂƌŐĞͲĐƵƌǀĞĚ ĂŶĚ ϭϲŌ ŚŝŐŚ ǁŝƚŚ ŝŶƐŝĚĞ ůŝŐŚƟŶŐ
>ĂƌŐĞͲĐƵƌǀĞĚ ĂŶĚ ϭϲŌ ŚŝŐŚ ǁŝƚŚ ŽƵƚƐŝĚĞ ůŝŐŚƟŶŐ
1847
Category: #40 One curved wall and one column KŶĞ ĐƵƌǀĞĚ ǁĂůů ĂŶĚ ŽŶĞ ĐŽůƵŵŶ ĂīĞĐƚƐ ƚŚĞ ŚƵŵĂŶ ĮŐƵƌĞ ŐƌĞĂƚůLJ͘ dŚĞ ƐŚŝŌ ŽĨ ƚŚĞ ĐŽůƵŵŶ ďƌŝŶŐƐ ŐƌĞĂƚ ĐŽŶĨƵƐŝŽŶ ƚŽ ƚŚĞ ĂƌĞĂ͘
ŶƚĞƌŝŶŐ Ă ƐƉĂĐĞ ďĞƚǁĞĞŶ Ă ĐŽůƵŵŶ ĂŶĚ ĐƵƌǀĞĚ ǁĂůů ŽƵƚƐŝĚĞ
ŶƚĞƌŝŶŐ Ă ƐƉĂĐĞ ďĞƚǁĞĞŶ Ă ĐŽůƵŵŶ ĂŶĚ ĐƵƌǀĞĚ wall inside
Category: #41 One curved wall and two columns /Ŷ ƚŚĞƐĞ ŝŵĂŐĞƐ / Ăŵ ŝůůƵƐƚƌĂƟŶŐ ƚŚĞ ĞīĞĐƚƐ ŽĨ ĐŽůƵŵŶƐ ĂŶĚ ƉĂƐƐŝŶŐ ǀƐ ĨĂĐŝŶŐ ŽŶ Ă ĐƵƌǀĞĚ ǁĂůů ĂŶĚ Ă ŚƵŵĂŶ ĮŐƵƌĞ͘ dŚĞ ŚƵŵĂŶ ĮŐƵƌĞ ŝƐ ĂůƚĞƌĞĚ ďLJ ƚŚĞ ůŽŽŬ ŽĨ ĚŝīĞƌŝŶŐ ǁĂůůƐ͕ ĐŽůƵŵŶƐ͕ ĂŶĚ ĐƵƌǀĞĚ ǁĂůůƐ͘ dŚĞ ǁĂLJ ƚŚĞ ŚƵŵĂŶ ŝƐ ĨĂĐŝŶŐ ĚŝƐƚŽƌƚƐ ƚŚĞ ŚƵŵĂŶ ĮŐƵƌĞ ŐƌĞĂƚůLJ͘
ŶƚĞƌŝŶŐ Ă ƐƉĂĐĞ ďĞƚǁĞĞŶ Ă ĐŽůƵŵŶ ŽĨ ƚǁŽ ŚŽƌŝnjŽŶƚĂůůLJ ĂůŝŐŶĞĚ ĂŶĚ ĐƵƌǀĞĚ ǁĂůů ŽƵƚƐŝĚĞ
1848
&ĂĐŝŶŐ ƚŚĞ ŽƵƚƐŝĚĞ ŽĨ Ă ĐƵƌǀĞĚ ǁĂůů ǁŝƚŚ ƚǁŽ ŚŽƌŝnjŽŶƚĂůůLJ ĂůŝŐŶĞĚ ĐŽůƵŵŶƐ ǁŝƚŚ ŝŶƐƵĸĐŝĞŶƚ ƐƉĂĐĞ between them
ŶƚĞƌŝŶŐ Ă ƐƉĂĐĞ ďĞƚǁĞĞŶ Ă ĐŽůƵŵŶ ŽĨ ƚǁŽ ǀĞƌƟĐĂůůLJ ĂůŝŐŶĞĚ ĂŶĚ Ă ĐƵƌǀĞĚ ǁĂůů ŽƵƚƐŝĚĞ
ĂƚĞŐŽƌLJ͗ ηϰϮ ZŽůĞ ŽĨ Ă ĐŽůƵŵŶ ďĞƚǁĞĞŶ ƵƌǀĞĚ ĂŶĚ ŇĂƚ ǁĂůůƐ /Ŷ ƚŚĞƐĞ ŝŵĂŐĞƐ ƚŚĞ ƌŽůĞ ƚŚĂƚ Ă ĐŽůƵŵŶ ŚĂƐ ŽŶ ƚŚĞ ǁĂůůƐ ĂīĞĐƚƐ ƚŚĞ ǁĂLJ Ă ŚƵŵĂŶ ĮŐƵƌĞ ŝƐ ƉĞƌĐĞŝǀĞĚ͘ dŚĞ ƉƌĞƐĞŶĐĞ ŽĨ ƚŚĞ ĐŽůƵŵŶ ƚŽƚĂůůLJ ĂůƚĞƌƐ ƚŚĞ ĞŶĞƌŐLJ ŽĨ ƚŚĞ ĂƌĞĂ ĂŶĚ ďƌŝŶŐƐ ŝŶ ĐŽŶĨƵƐŝŽŶ ŽŶ ĚŝƐĐŽŵĨŽƌƚ͘
ŶƚĞƌŝŶŐ Ă ƐƉĂĐĞ ďĞƚǁĞĞŶ ƚǁŽ ƉĂƌĂůůĞů ĐƵƌǀĞĚ ǁĂůůƐ͕ ǁŝƚŚ Ă ĐŽůƵŵŶ ŝŶ ĨƌŽŶƚ ŽĨ ƚŚĞ ŽƵƚĞƌ ĐƵƌǀĞĚ wall
ŶƚĞƌŝŶŐ Ă ƐƉĂĐĞ ďĞƚǁĞĞŶ Ă ĨĂĐĞĚ ŇĂƚ ǁĂůů ĂŶĚ Ă ĐƵƌǀĞĚ ǁĂůů͕ ǁŝƚŚ Ă ĐŽůƵŵŶ ŝŶ ĨƌŽŶƚ ŽĨ ƚŚĞ ŇĂƚ ǁĂůů
ŶƚĞƌŝŶŐ Ă ƐƉĂĐĞ ďĞƚǁĞĞŶ ƚǁŽ ƉĂƌĂůůĞů ĐƵƌǀĞĚ ǁĂůůƐ͕ ǁŝƚŚ Ă ĐŽůƵŵŶ ŝŶ ĨƌŽŶƚ ŽĨ ƚŚĞ ŝŶŶĞƌ ĐƵƌǀĞĚ wall
ŶƚĞƌŝŶŐ Ă ƐƉĂĐĞ ďĞƚǁĞĞŶ Ă ƉĂƌĂůůĞů ŇĂƚ ǁĂůů ĂŶĚ Ă ĐƵƌǀĞĚ ǁĂůů͕ ǁŝƚŚ Ă ĐŽůƵŵŶ ŝŶ ĨƌŽŶƚ ŽĨ ƚŚĞ ŇĂƚ ǁĂůů
1849
ĂƚĞŐŽƌLJ͗ ηϰϯ ƵƌǀĞĚ ĐŽŶŶĞĐƟŽŶ /Ŷ ƚŚĞƐĞ ŝŵĂŐĞƐ / Ăŵ ŝůůƵƐƚƌĂƟŶŐ ƚŚĞ ĂīĞĐƚƐ ƚŚĂƚ ĐƵƌǀĞĚ ǁĂůůƐ ŚĂǀĞ ŽŶ Ă ŚƵŵĂŶ ĮŐƵƌĞ͘ Ɛ ƚŚĞ ĂƌĞĂ ŽƉĞŶƐ ƚŚĞ ŚƵŵĂŶ ĮŐƵƌĞ ŝƐ ŽďƐƚƌƵĐƚĞĚ͘ dŚŝƐ ĂƌĞĂ ĨĞĞůƐ ŽƉĞŶ ĂŶĚ ůĂƌŐĞ͘
&ŽůůŽǁ ƚǁŽ ŇĂƚ ǁĂůůƐ ƚŚĂƚ ĂƌĞ ĐŽŶŶĞĐƚĞĚ Ăƚ ĂŶ ĂŶŐůĞ ŽĨ ϲϬ ĚĞŐƌĞĞƐ ƐŵŽŽƚŚůLJ
&ŽůůŽǁ ƚǁŽ ŇĂƚ ǁĂůůƐ ƚŚĂƚ ĂƌĞ ĐŽŶŶĞĐƚĞĚ Ăƚ ĂŶ ĂŶŐůĞ ŽĨ ϭϱϬ ĚĞŐƌĞĞƐ ƐŵŽŽƚŚůLJ
1850
&ŽůůŽǁ ƚǁŽ ŇĂƚ ǁĂůůƐ ƚŚĂƚ ĂƌĞ ĐŽŶŶĞĐƚĞĚ Ăƚ ĂŶ ĂŶŐůĞ ŽĨ ϵϬ ĚĞŐƌĞĞƐ ƐŵŽŽƚŚůLJ
&ŽůůŽǁ ƚǁŽ ŇĂƚ ǁĂůůƐ ƚŚĂƚ ĂƌĞ ĐŽŶŶĞĐƚĞĚ Ăƚ ĂŶ ĂŶŐůĞ ŽĨ ϭϮϬ ĚĞŐƌĞĞƐ ƐŵŽŽƚŚůLJ
Category: #44 Curved wall and S-curve wall /Ŷ ƚŚĞƐĞ ŝŵĂŐĞƐ ŝ Ăŵ ŝůůƵƐƚƌĂƟŶŐ ƚŚĞ ĞīĞĐƚƐ ƚŚĂƚ ƐͲĐƵƌǀĞĚ ǁĂůůƐ ŚĂǀĞ ŽŶ Ă ŚƵŵĂŶ ĮŐƵƌĞ͘ Ɛ ƚŚĞ ůŝŐŚƟŶŐ ĂŶĚ ŚƵŵĂŶ ƐŚŝŌƐ ŝƚ ĚŝƐƚŽƌƚƐ ƚŚĞ ŚƵŵĂŶ͘ dŚĞ ĐƵƌǀĞĚ ǁĂůůƐ ĨĞĞůƐ ůŝŬĞ Ă ŶĂƌƌŽǁ ƉĂƚŚ ƚŚĞ ŚƵŵĂŶ ĮŐƵƌĞ ŝƐ ďĞŝŶŐ ůĞĚ ĚŽǁŶ͘
ƵƌǀĞĚ ǁĂůů ĂŶĚ ^ͲĐƵƌǀĞ ǁĂůů ϴŌ ŚŝŐŚ ǁŝƚŚ ŝŶƐŝĚĞ ůŝŐŚƟŶŐ
ƵƌǀĞĚ ǁĂůů ĂŶĚ ^ͲĐƵƌǀĞ ǁĂůů ϴŌ ŚŝŐŚ ǁŝƚŚ ŽƵƚƐŝĚĞ ůŝŐŚƟŶŐ
ƵƌǀĞĚ ǁĂůů ĂŶĚ ^ͲĐƵƌǀĞ ǁĂůů ϭϲŌ ŚŝŐŚ ǁŝƚŚ ŝŶƐŝĚĞ ůŝŐŚƟŶŐ
ƵƌǀĞĚ ǁĂůů ĂŶĚ ^ͲĐƵƌǀĞ ǁĂůů ϭϲŌ ŚŝŐŚ ǁŝƚŚ ŽƵƚƐŝĚĞ ůŝŐŚƟŶŐ
1851
ĂƚĞŐŽƌLJ͗ ηϰϱ ϭ ƉŽŝŶƚ ƉĞƌƐƉĞĐƟǀĞ ƉŝĐƚƵƌĞƐ͗ sŽŝĚ ŽŶ ƚŚĞ ƵƉƐŝĚĞ ůů ƚŚĞ ĚŝīĞƌŝŶŐ ǀŽŝĚƐ ĂŶĚ ŝŵĂŐĞƐ ƐŚŽǁ Ă ĐŽŶƚƌĂƐƚ ďĞƚǁĞĞŶ ƚŚĞ ŚƵŵĂŶ ĮŐƵƌĞ ĂŶĚ ƚŚĞ ǁĂLJ ǀŽŝĚƐ ĂůƚĞƌ ƚŚĞ ůŽŽŬ ŽĨ ƚŚĞ ŚƵŵĂŶ ĮŐƵƌĞ͘ dŚĞ ŚƵŵĂŶ ĮŐƵƌĞ ůŽǀĞƐ ƚŚĞ ĂƌĞĂ ǁŝƚŚ ƚŚĞ ƐŵĂůůĞƌ ǀŽŝĚ ďĞĐĂƵƐĞ ŽĨ ŚŽǁ ŽƉĞŶ ĂŶĚ ůĂƌŐĞ ƚŚĞ ĂƌĞĂ ĨĞĞůƐ͘
ϰ͛džϰ͛ ƐƋƵĂƌĞ ǀŽŝĚ ǁŝƚŚ Ă ŚĞŝŐŚƚ ŽĨ ϴŌ
ϴ͛ ĚŝĂŵĞƚĞƌ ǀŽŝĚ ǁŝƚŚ Ă ŚĞŝŐŚƚ ŽĨ ϴŌ
1852
ϴ͛džϴ͛ ƐƋƵĂƌĞ ǀŽŝĚ ǁŝƚŚ Ă ŚĞŝŐŚƚ ŽĨ ϴŌ
ϰ͛ ĚŝĂŵĞƚĞƌ ǀŽŝĚ ǁŝƚŚ Ă ŚĞŝŐŚƚ ŽĨ ϴŌ
Category: #46 Void on the upside with columns or walls dŚĞ ĐŽůƵŵŶƐ ĂŶĚ ǁĂůůƐ ĂƌĞ Ăůů ĚŝīĞƌŝŶŐ ĂŶĚ ĂůƚĞƌ ƚŚĞ ǁĂLJ ƚŚĞ ŚƵŵĂŶ ĮŐƵƌĞ ůŽŽŬƐ͘ dŚĞ ƌŽŽŵ ǁŝƚŚ Ă ƚŽŶ ŽĨ ĐŽůƵŵŶƐ ĨĞĞů ǀĞƌLJ ĐůŽƐĞĚ Žī ĂŶĚ ůŝŬĞ ƚŚĞƌĞ ŝƐ ŶŽƚ ŵƵĐŚ ƌŽŽŵ ƚŽ ƌŽĂŵ ĞǀĞŶ ƚŚŽƵŐŚ ŝƚ ŝƐ Ă ǀĞƌLJ ůĂƌŐĞ ƌŽŽŵ͘
ϴ͛džϴ͛ ƐƋƵĂƌĞ ǀŽŝĚ ǁŝƚŚ ĐŽůƵŵŶƐ
ϴ͛džϴ͛ ƐƋƵĂƌĞ ǀŽŝĚ ǁŝƚŚ Ă ĨĂĐŝŶŐ ǁĂůů
ϴ͛džϴ͛ ƐƋƵĂƌĞ ǀŽŝĚ ǁŝƚŚ Ă ƉĂƐƐŝŶŐ ǁĂůů
sŝĞǁ ĨŽƌ ϰ͛džϰ͛ ƐƋƵĂƌĞ ǀŽŝĚ ǁŝƚŚ Ă ŇĂƚ ǁĂůů ĂůŝŐŶĞĚ ǁŝƚŚ ŽŶĞ ƐŝĚĞ ĂŶĚ ƚǁŽ ĐŽůƵŵŶƐ ĂůŝŐŶĞĚ ǁŝƚŚ ƚŚĞ opposite side
1853
Category: #47 Void on the downside with columns or walls dŚĞ ĚŝīĞƌŝŶŐ ǀŽŝĚƐ Ăůů ĨĞĞů ǀĞƌLJ ĚŝīĞƌŝŶŐ ŝŶ ĐŽŶƚƌĂƐƚ ǁŝƚŚ ůŝŐŚƟŶŐ ĂŶĚ ƚŚĞ ƉŽƐŝƟŽŶ ŽĨ ƚŚĞ ŚƵŵĂŶ ĮŐƵƌĞ͘ dŚĞ ĂƌĞĂƐ ĨĞĞů ǀĞƌLJ ŽƉĞŶ ďƵƚ ĂůƐŽ ǀĞƌLJ ƐŵĂůů ĚƵĞ ƚŽ ƚŚĞ ǀĂƐƚŶĞƐƐ ŽĨ ƚŚĞ ǀŽŝĚƐ͘
ϴ͛džϴ͛ ƐƋƵĂƌĞ ǀŽŝĚ ǁŝƚŚ Ă ĨĂĐŝŶŐ ǁĂůů ĂŶĚ ůŝŐŚƚ ĨƌŽŵ ƵƉƉĞƌ ŇŽŽƌ
ϴ͛džϴ͛ ƐƋƵĂƌĞ ǀŽŝĚ ǁŝƚŚ Ă ĨĂĐŝŶŐ ǁĂůů ĂŶĚ ůŝŐŚƚ ĨƌŽŵ ƐŝĚĞ
ϴ͛džϴ͛ ƐƋƵĂƌĞ ǀŽŝĚ ǁŝƚŚ Ă ĨĂĐŝŶŐ ǁĂůů ĂŶĚ ůŝŐŚƚ ĨƌŽŵ ůŽǁĞƌ ŇŽŽƌ
ϴ͛džϴ͛ ƐƋƵĂƌĞ ǀŽŝĚ ǁŝƚŚ Ă ƉĂƐƐŝŶŐ ǁĂůů ĂŶĚ ůŝŐŚƚ ĨƌŽŵ ƐŝĚĞ
ϴ͛džϴ͛ ƐƋƵĂƌĞ ǀŽŝĚ ǁŝƚŚ Ă ƉĂƐƐŝŶŐ ǁĂůů ĂŶĚ ůŝŐŚƚ ĨƌŽŵ ůŽǁĞƌ ŇŽŽƌ
ϴ͛ ĚŝĂŵĞƚĞƌ ǀŽŝĚ ǁŝƚŚ ůŝŐŚƚ ĨƌŽŵ ůŽǁĞƌ ŇŽŽƌ
1854
ĂƚĞŐŽƌLJ͗ ηϰϴ sŽŝĚ ŽŶ ƚŚĞ ƵƉƐŝĚĞ ǁŝƚŚ ĐŽŵďŝŶĂƟŽŶƐ ŽĨ ĐŽůƵŵŶƐ Žƌ ǁĂůůƐ dŚŝƐ ŚĂƐ ŵĂŶLJ ĚŝīĞƌĞŶƚ ĂƌĞĂƐ͘ / ůŽǀĞ ƚŚĞ ĂƌĞĂ ǁŝƚŚ ƚŚĞ ŚĂŶŐŝŶŐ ĐƵƌǀĞĚ ǁĂůůƐ͘ dŚĞ ƌŽŽŵ ĨĞĞůƐ ƐŽ ĞůĞǀĂƚĞĚ ĂŶĚ ƉůĂLJĨƵů͘
^ĐĞŶĞ ηϭ
^ĐĞŶĞ ηϮ
^ĐĞŶĞ ηϯ
^ĐĞŶĞ ηϰ
^ĐĞŶĞ ηϱ
^ĐĞŶĞ ηϲ
^ĐĞŶĞ ηϳ
^ĐĞŶĞ ηϴ
^ĐĞŶĞ ηϵ
^ĐĞŶĞ ηϭϬ 1855
ĂƚĞŐŽƌLJ͗ ηϰϵ sŽŝĚ ďĞƚǁĞĞŶ &ůŽĂƟŶŐ ^ƵƌĨĂĐĞƐ ůů ƚŚĞ ĚŝīĞƌĞŶƚ ůĞǀĞůƐ ĂŶĚ ǀŝĞǁƐ ŽĨ ƚŚŝƐ ĂƌĞĂ ĚŝƐƚŽƌƚƐ ƚŚĞ ŚƵŵĂŶ ĮŐƵƌĞ͘ dŚĞ ĂƌĞĂ ĨĞĞůƐ ůŝŬĞ Ă ƉůĂLJŐƌŽƵŶĚ͕ Žƌ EĞǁ zŽƌŬ ŝƚLJ͘
^ĐĞŶĞ ηϭ
^ĐĞŶĞ ηϮ
^ĐĞŶĞ ηϰ
^ĐĞŶĞ ηϱ
Category: #50 Void between curve-linear Surfaces dŚŝƐ ĂƌĞĂ ƌĞŵŝŶĚƐ ŵĞ ŽĨ Ă ŵŝƌƌŽƌ ƉŽŽů͕ ƚŚĞ ŚƵŵĂŶ ŝƐ ůŽŽŬŝŶŐ ďĂĐŬ Ăƚ ŽƚŚĞƌ ǀĞƌƐŝŽŶƐ ŽĨ ŝƚƐĞůĨ͘
^ĐĞŶĞ ηϭ 1856
^ĐĞŶĞ ηϮ
^ĐĞŶĞ ηϯ
ĂƚĞŐŽƌLJ͗ ηϱϭ sŽŝĚ ǁŝƚŚ Ă ĐŽŵďŝŶĂƟŽŶ ŽĨ /Ŷ ƚŚĞƐĞ ƉůĂLJĨƵů ŝŵĂŐĞƐ ƚŚĞ ŚƵŵĂŶ ĮŐƵƌĞ ŝƐ ƐƵƌƌŽƵŶĚĞĚ ďLJ Ăůů ƚLJƉĞƐ ŽĨ ǁĂůů͕ ĐŽůƵŵŶ͕ ĂŶĚ ŇŽŽƌ ǀĂƌŝĂƟŽŶƐ͘ dŚĞ ǀŽŝĚ ŝŶ ƚŚĞ ĐĞŝůŝŶŐ ƌĞŵŝŶĚƐ ŵĞ ŽĨ Ă ŵŽŽŶ ůŝŐŚƚ ǀŽŝĚ ƚŚĂƚ ĐĂƐƚƐ ƉůĂLJĨƵů ƐŚĂĚŽǁƐ ŽŶ ƚŚĞ ƌŽŽŵ͘
^ĐĞŶĞ ηϭ
^ĐĞŶĞ ηϮ
ĂƚĞŐŽƌLJ͗ ηϱϮ ƵƌǀĞĚ ǀĞƌƟĐĂů ƐƵƌĨĂĐĞ dŚĞ ŚƵŵĂŶ ĮŐƵƌĞ ŝƐ ĨĂĐŝŶŐ Ă ǀĞƌƟĐĂů ĐƵƌǀĞĚ ƐƵƌĨĂĐĞ Žƌ ǁĂůů͘ dŚĞ ŚƵŵĂŶ ŝƐ ŽďƐƚƌƵĐƚĞĚ ďLJ ƚŚĞ ĚŝīĞƌŝŶŐ ŝŶ ǁĂůů ƐŝnjĞƐ͘ dŚĞ ǁĂůů ĨĞĞůƐ ůŝŬĞ Ă ƐƚĞĞƉ ĂŶĚ ĐƵƌǀĞĚ ǁĂůů ŝŶ ĐŽŵƉĂƌŝƐŽŶ ƚŽ ƚŚĞ ŚƵŵĂŶ ĮŐƵƌĞ͘
A 4’wide
A 8’wide 1857
ĂƚĞŐŽƌLJ͗ ηϱϯ ƵƌǀĞĚ ǀĞƌƟĐĂů ƐƵƌĨĂĐĞ ǁŝƚŚ ĂŶ ƵƉƉĞƌ ŇŽŽƌ /Ŷ ƚŚĞƐĞ ŝŵĂŐĞƐ / ǁŝůů ďĞ ŝůůƵƐƚƌĂƟŶŐ ƚŚĞ ĞīĞĐƚƐ ŽĨ Ă ĐƵƌǀĞĚ ǀĞƌƟĐĂů ƐƵƌĨĂĐĞ ĂŶĚ ĂŶ ƵƉƉĞƌ ŇŽŽĚ ŽŶ Ă ŚƵŵĂŶ ĮŐƵƌĞ͘ dŚĞ ŚƵŵĂŶ ŝƐ ĚŝƐƚŽƌƚĞĚ ďĂƐĞĚ ŽŶ ƚŚĞ ĞīĞĐƚ ŽĨ ƚŚĞ ĐƵƌǀĞ ĂŶĚ ŇŽŽƌ ŚĞŝŐŚƚ͘ dŚĞ ŝŵĂŐĞƐ ǁŝƚŚ ƚŚĞ ƐŚĂƌƉ ĐƵƌǀĞ ĂŶĚ ĞůĞǀĂƚĞĚ ŇŽŽƌ ƚŚĞ ŚƵŵĂŶ ĨĞĞůƐ ƐŵĂůů ĂŶĚ ƚŚĞ ƌŽŽŵ ĨĞĞůƐ ůŝŬĞ Ă ǁĂǀĞ Žƌ ĐƌĞĂƟǀĞ ĂƌĞĂ͘
^ĐĞŶĞ ηϭ
^ĐĞŶĞ ηϮ
^ĐĞŶĞ ηϰ
^ĐĞŶĞ ηϱ
1858
^ĐĞŶĞ ηϯ
ĂƚĞŐŽƌLJ͗ ηϱϰ ƵƌǀĞĚ ǀĞƌƟĐĂů ƐƵƌĨĂĐĞ ǁŝƚŚ Ă ǀŽŝĚ /Ŷ ŵƵůƟƉůĞ ŝŵĂŐĞƐ / ǁŝůů ďĞ ŝůůƵƐƚƌĂƟŶŐ ƚŚĞ ĞīĞĐƚƐ ŽĨ ǁĂůůƐ ĂŶĚ ǀŽŝĚƐ ŽŶ Ă ŚƵŵĂŶ ĮŐƵƌĞ͘ Ɛ ƚŚĞ ƌŽŽŵ ŝƐ ĐŚĂŶŐĞĚ ďLJ ĚŝīĞƌŝŶŐ ǀĞƌƟĐĂů ƐƵƌĨĂĐĞƐ ĂŶĚ ĚŝīĞƌŝŶŐ ǀŽŝĚƐ ƚŚĞ ŚƵŵĂŶ ŝƐ ĚŝƐƚŽƌƚĞĚ͘ ůů ŽĨ ƚŚĞƐĞ ŝŵĂŐĞƐ ĨĞĞů ǀĞƌLJ ƉůĂLJĨƵů ĂŶĚ ĞŶũŽLJĂďůĞ ƚŽ ďĞ ŝŶ ƚŚĞ ŚƵŵĂŶ ĨĞĞůƐ ůƵdžƵƌŝŽƵƐ ĂŶĚ ůŝŬĞ ƚŚĞLJ ĂƌĞ ŝŶ Ă ŶŝĐĞ ŚŽƚĞů͘
^ĐĞŶĞ ηϭ
^ĐĞŶĞ ηϮ
^ĐĞŶĞ ηϯ
^ĐĞŶĞ ηϰ
^ĐĞŶĞ ηϱ
ĂƚĞŐŽƌLJ͗ ηϱϱ &ĂĐŝŶŐ ƵƌǀĞĚ ǀĞƌƟĐĂů ƐƵƌĨĂĐĞ /Ŷ ƚŚĞƐĞ ŝŵĂŐĞƐ / ǁŝůů ďĞ ŝůůƵƐƚƌĂƟŶŐ ƚŚĞ ĞīĞĐƚƐ ƚŚĂƚ ĚŝīĞƌĞŶƚ ƐƵƌĨĂĐĞƐ ŚĂǀĞ ŽŶ Ă ŚƵŵĂŶ ĮŐƵƌĞ͘ dŚĞ ŚƵŵĂŶ ĮŐƵƌĞ ŝƐ ĂůƚĞƌĞĚ ĂŶĚ ĚŝƐƚŽƌƚĞĚ ďĂƐĞĚ ŽŶ ƚŚĞ ĞīĞĐƚ ŽĨ ƚŚĞ ĚŝīĞƌĞŶƚ ƐŚĂƉĞƐ ĂŶĚ ůŽŽŬƐ ŽĨ ƚŚĞ ƌŽŽŵ͘ /Ŷ ƚŚĞ ĂƌĞĂ ǁŝƚŚ Ă ůĂƌŐĞ ǀŽŝĚ ƚŚĞ ŚƵŵĂŶ ĨĞĞůƐ ůŝŬĞ ŚĞ ŝƐ ŝŶ Ă ĐĂǀĞ ǁŝƚŚ Ă ůĂƌŐĞ ǁĂƚĞƌĨĂůů͘
^ĐĞŶĞ ηϭ
^ĐĞŶĞ ηϮ 1859
Category: #56 Hanging curved surfaces ͗ /Ŷ ĨŽƵƌ ŝŵĂŐĞƐ / ǁŝůů ďĞ ŝůůƵƐƚƌĂƟŶŐ ƚŚĞ ĞīĞĐƚƐ ƚŚĂƚ ŚĂŶŐŝŶŐ ĐƵƌǀĞĚ ƐƵƌĨĂĐĞƐ ŚĂǀĞ ŽŶ ƚŚĞ ƐŚĂƉĞ ŽĨ ƚŚĞ ŚƵŵĂŶ ĮŐƵƌĞ͘ dŚĞ ĂƌĞĂ ĂůƚĞƌƐ ƚŚĞ ŚƵŵĂŶ ĮŐƵƌĞ ĂƐ ƚŚĞ ƐŚĂƉĞƐ ĂƌŽƵŶĚ ƚŚĞ ĮŐƵƌĞ ĐŚĂŶŐĞƐ͘ /Ŷ ƚŚĞ ŝŵĂŐĞ ǁŝƚŚ ƚŚĞ ŚĂŶŐŝŶŐ ĂƌĐŚ ƚŚĞ ŚƵŵĂŶ ƐĞĞŵƐ ƐŵĂůů ĂŶĚ ŝƚ ĨĞĞůƐ ůŝŬĞ ĂŶ ŝƚĞŵ ŝŶ ĂŶ Ăƌƚ ŵƵƐĞĂŵ͘
^ĐĞŶĞ ηϭ
^ĐĞŶĞ ηϮ
^ĐĞŶĞ ηϯ
^ĐĞŶĞ ηϱ
ĂƚĞŐŽƌLJ͗ ηϱϳ ^ƵƌĨĂĐĞƐ ǁŝƚŚ ĐŽŶǀĞdžŝƟĞƐ ĂŶĚ ĐŽŶĐĂǀŝƟĞƐ ͗ /Ŷ ƚǁŽ ƉŚŽƚŽƐ / ǁŝůů ďĞ ŝůůƵƐƚƌĂƟŶŐ ƚŚĞ ĞīĞĐƚƐ ƚŚĂƚ ĐŽŶǀĞdžŝƟĞƐ ŚĂǀĞ ŽŶ Ă ŚƵŵĂŶ ĮŐƵƌĞ͘ Ɛ ƚŚĞ ĂƌĞĂ ŝƐ ĂůƚĞƌĞĚ ďLJ ůŝŐŚƚ ĂŶĚ ƚŚĞ ƐŚĂƉĞ ŽĨ ƚŚĞ ǁĂůůƐ ƚŚĞ ŚƵŵĂŶ ŝƐ ĐŚĂŶŐĞĚ ĂŶĚ ĂůƚĞƌĞĚ͘ dŚĞ ŚƵŵĂŶ ƐĞĞŵƐ ƐƋƵŝƐŚĞĚ ĂŶĚ ƚƌĂƉƉĞĚ ŝŶ ƚŚĞ ƐĞĐŽŶĚ ŝŵĂŐĞ ǁŝƚŚ ƚŚĞ ŚŽƌŝnjŽŶƚĂů ĐŽŶǀĞdžŝƟĞƐ͘
^ĐĞŶĞ ηϭ 1860
^ĐĞŶĞ ηϮ
Category: #58 A sphere with a strong center and centripetal force ͗ /Ŷ ƚŚĞƐĞ ŝŵĂŐĞƐ / ǁŝůů ďĞ ŝůůƵƐƚƌĂƟŶŐ ƚŚĞ ĞīĞĐƚƐ ƚŚĂƚ Ă ƐƉŚĞƌĞ ĂŶĚ Ă ŚĂůĨ ƐƉŚĞƌĞ ŚĂǀĞ ŽŶ ƚŚĞ ĞīĞĐƚƐ ŽĨ ƚŚĞ ĂƌĞĂ ŝŶ ĐŽŵƉĂƌŝƐŽŶ ƚŽ ƚŚĞ ŚƵŵĂŶ ĮŐƵƌĞ͘ dŚĞ ĨƵůůŶĞƐƐ ĂŶĚ ƉůĂĐĞŵĞŶƚ ŽĨ ƚŚĞ ƐƉŚĞƌĞ ĂůƚĞƌƐ ƚŚĞ ŚƵŵĂŶ ĮŐƵƌĞ ŐƌĞĂƚůLJ͘ /Ŷ ƚŚĞ ŝŵĂŐĞƐ ǁŝƚŚ ƚŚĞ ŚƵŵĂŶ ƐƚĂŶĚŝŶŐ ďLJ ƚŚĞ ŚĂůĨ ƐƉŚĞƌĞ ƚŚĞ ŚƵŵĂŶ ƐĞĞŵƐ ƐŵĂůů ŝŶ ĐŽŶƚƌĂƐƚ ƚŽ ƐƵĐŚ Ă ůĂƌŐĞ ŽďũĞĐƚ͘
^ĐĞŶĞ ηϭ
^ĐĞŶĞ ηϮ
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Category: #59 Surfaces that are twisted and free
/Ŷ ƚŚƌĞĞ ƉŚŽƚŽƐ / ǁŝůů ďĞ ŝůůƵƐƚƌĂƟŶŐ ƚŚĞ ĞīĞĐƚƐ ŽĨ ĐƵƌǀĞĚ ǁĂůůƐ ĂŶĚ ĐĞŝůŝŶŐƐ ŝŶ ĐŽŵƉĂƌŝƐŽŶ ƚŽ ƚŚĞ ŚƵŵĂŶ ĮŐƵƌĞ͘ dŚĞ ŚƵŵĂŶ ĮŐƵƌĞ ŝƐ ĂůƚĞƌĞĚ ďLJ ƚŚĞ ĚŝīĞƌŝŶŐ ǁĂůůƐ ĂŶĚ ĂŶŐůĞƐ ŽĨ ƚŚĞ ĐƵƌǀĞƐ͘ /Ŷ ƚŚĞ ŝŵĂŐĞƐ ƚŚĞ ƌŽŽŵ ĨĞĞůƐ ǀĞƌLJ ƉůĂLJĨƵů ĂŶĚ ŝƚ ĨĞĞůƐ ůŝŬĞ Ă ĐƌĞĂƟǀĞůLJ ĨƌĞĞŝŶŐ ƐƉĂĐĞ͘
^ĐĞŶĞ ηϭ
^ĐĞŶĞ ηϮ
^ĐĞŶĞ ηϯ
1861
Lydia Rivera Port foli o 1862
1
What I learned...
Project #1 “Wall, Column, and Space” - I learned how to take one point perspective pictures, the importance of using the correct materials and how forms affect space. This project also taught me how to cut foam correctly. Project #2 “Hand Drawing” -This project taught me how to draw in different views, hand-eye coordination, and how to have intention behind color. Project #3 “Power of Patience” - This assignment opened my eyes to the beauty of art and art analysis. It taught me that everyone perceives things differently and we cannot always influence what others see. Overall, it taught me that patience is a powerful tool in starting the process to understand art and design. Project #4 “Space Cube” - From this project, I learned how to consider form and volume to maximize the space’s use. It also honed my cutting skills to the point where I can tell when to stop and what angle to position my knife to get the cleanest cut. Project #5 “First Portfolio” - This project taught me the importance of having well written and clear descriptions that accompany my work. I learned the importance of iteration and that it is okay to go back and fix previous designs to the point where I am proud of it. Overall - I learned many foundational concepts – such as how to draw in perspectives views, how to compose professional pin-ups, how to cut through foam cleanly and precisely, how color affects space, the importance of volume and form, and how powerful AI and other technological tools are, and will be, incorporated in design. I learned how to get in the zone and focus on the task at hand, how to manage my time, and how to ask for help when I do not fully understand a concept. If you could talk to you before these five weeks, what would you like to share with you? - It is ok to be creative and venture off into ideas and concepts that you have not done before. Do not play it safe. It might mean more work, but the end results will be worth it. You are going to go through some tough times mentaly and even physically; however, it looks like this is what you were supposed to do. You have made friendships, you pulled an all-nighter, and you have learned so many new things. You will get through this.
1 1863
Category #1: Facing surface Ten photographs illustrating how the angle of a wall facing a human change gradually. As the wall changes, the view of the human figure slowly gets obstructed. In the beginning, I had a clear view in front of me and mobility, however, as the wall changed angles, it ended up fully obstructing me from moving forward and seeing past the wall.
0 degree
10 degree
20 degree
30 degree
40 degree
50 degree
60 degree
70 degree
80 degree
90 degree 4 1864
Category #2: Facing edge Ten photographs illustrating how a the angle of a wall facing a human changes gradually. As the wall changes, the view of the human figure slowly gets obstructed. As the wall kept changing its angle, my view was slightly obstructed; however, by stepping to the side I could easily solve the problem.
0 degree
10 degree
20 degree
30 degree
40 degree
50 degree
60 degree
70 degree
80 degree
90 degree 5 1865
Category #3: Blocking wall Eleven photographs illustrating how a the angle of a wall facing a human changes gradually. As the wall changes, the view of the human figure slowly gets obstructed. In the beginning, I had a clear view in front of me and mobility, however, as the wall changed angles, it ended up fully blocking me from moving forward and seeing past the wall.
Opened level 1
Opened level 2
Opened level 3
Opened level 4
Block level 1
Block level 2
Block level 3
Block level 4
Block level 5
Block level 6
Block level 7
6 1866
Category #4: Passing the blocking wall Five photographs illustrate a sedentary wall. As the person continues walking forward, they are able to get from the front side of the wall to the back side. As I approach the wall, I am hit with the sense to get to the other side. It is completely possible since I can move around the wall that is blocking me.
Passing level 1
Passing level 2
Passing level 3
Passing level 4
Passing level 5
7 1867
Category #5: Aligned Wall Five photographs illustrating how a wall moves to obstruct the view and path of a man. As the wall changes, the view of the human figure slowly gets obstructed. As the wall kept coming closer to my line of sight, my view was slightly obstructed; however, by stepping to the side I could easily solve the problem.
Closed level 1
Closed level 2
Closed level 4
Closed level 5
8 1868
Closed level 3
Category #6: Passing the aligned wall Six photographs illustrate a sedentary wall. As the person continues walking forward, they are able to get from the front side of the wall to the back side. As I approach the wall, I am hit with the sense to get to the other side. It is completely possible since the wall is not blocking my way, I am simple walking past it.
Passing level 1
Passing level 2
Passing level 3
Passing level 4
Passing level 5
Passing level 6
9 1869
Category #7: Walls with different heights Eight photographs illustrating a wall growing in size vertically n front of a person. As the wall grows in height, the view of the person negatively correlates with it. At the beginning, I fell as if I could easily step over the wall, however, as it grows vertically, I am no longer able to step past in and it feels like I am caged in or in front of a fence I cant climb over.
Wall with 1ft
Wall with 2ft
Wall with 3ft
Wall with 4ft
Wall with 5ft
Wall with 6ft
Wall with 7ft
Wall with 7ft
10 1870
Category #8: Floating and faced Wall Eight photographs illustrating how a wall changes positions by floating upwards in front of a human. As the wall floats up, the line of sight of the person positively correlates the wall. I feel as if the wall going up is like a curtain being opened. As if something great will appear on the other side. However, when I am faced with the steady wall, it blocks my path and the only way through is going under the wall.
1ft high floating wall
2ft high floating wall
3ft high floating wall
4ft high floating wall
5ft high floating wall
6ft high floating wall
7ft high floating wall
8ft high floating wall
11 1871
Category #9: 8ft high floating and aligned wall Four photographs illustrating how a floating wall changes positions to align on top of a human. As the wall changes positions horizontally, it ends up aligning parallelly to the person standing beneath the wall. As the wall changes positions and aligns itself above me, I am filled with dread as I imagine the wall falling down on me.
Alignment level 1
Alignment level 4
12 1872
Alignment level 2
Alignment level 3
Category #10: 8ft high floating and faced wall Eight photographs illustrating how a floating wall changes positions horizontally to face a person. As the wall moves to the right, it ends up aligning parallelly to the person standing beneath the wall. As I approach the floating wall above me, I have the feeling that I might b able to jump and hit my head on the edge of the wall.
Overlap level 1
Overlap level 2
Overlap level 3
Overlap level 4
Overlap level 5
Overlap level 6
Overlap level 7
Overlap level 8
13 1873
Category #11: floating horizontal surface Eight photographs illustrating how a floating horizontal wall changes positions to the right to be positioned on top of a person. As the wall moves to the right, it aligns on top of the person. As the wall gets closer to being fully over me, I am hit with its shadow and it feels like a cloud has gone over me.
Overlap level 1
Overlap level 2
Overlap level 3
Overlap level 4
Overlap level 5
Overlap level 6
Overlap level 7
Overlap level 8
14 1874
Category #12: Horizontal surfaces with different heights Twelve photographs illustrate how a piece of the floor slowly falls down and trough the floor, as well as two people position in the middle whole as the platform of the main man goes up. As the floating surface descends, the platform where the main person stand on goes up. As I see the surface come down into the floor, through the floor, and then past down the floor, I get the sense as if I were also moving up wards.
8ft high horizontal surface
7ft high horizontal surface
6ft high horizontal surface
5ft high horizontal surface
4ft high horizontal surface
3ft high horizontal surface
2ft high horizontal surface
1ft high horizontal surface
-1ft high horizontal surface
-2ft high horizontal surface
-3ft high horizontal surface
-4ft high horizontal surface 15 1875
Category #13: Wall surface with an incline Eight photographs illustrating how a diagonal wall moves to the left as to come to a eighty degree angle besides a human. As the wall moves to down to the left, the side view of the person is obstructed. At the beginning, when the wall is above me, Ifeel as though I can move freely; however, as the wall descends to the left, I feel as though I am being forced to look ahead and not to my left.
10 degree
20 degree
30 degree
40 degree
50 degree
60 degree
70 degree
80 degree
16 1876
Category #14: Inclined wall Six photographs illustrating how the angles of a slanted wall increase, moving and blocking the left view of a person. As the angle of the wall increases, the wall gets closer to being parallel to the person. As the wall gets closer to a ninety degree angle, the wall keeps getting closer to me. I feel as if at any moment, the wall can get pushed to far to the right and squish me.
Inclined level 1
Inclined level 2
Inclined level 3
Inclined level 4
Inclined level 5
Inclined level 6
17 1877
Category #15: Floating wall surface facing edge with an incline Six photographs illustrating how the angles of a slanted floating wall increase, moving up and over the human. As the angle of the wall increases, the wall gets closer to being directly over the person. As the slanted wall floats above me, the angles get bigger and I get the feeling that it could completely go around me.
Inclined level 1
Inclined level 2
Inclined level 3
Inclined level 4
Inclined level 5
Inclined level 6
18 1878
Category #16: Inclined surface to a facing wall Nine photographs illustrating the incline of a surface from the point closest to the man going upwards. As the wall goes up, the bottom if the wall is revealed and it blocks the view of the human. When the wall inclines, I fell as such it is revealing something worth seeing underneath. It does not matter that it block my view because it gave me a new one.
10 degree
20 degree
30 degree
40 degree
50 degree
60 degree
70 degree
80 degree
90 degree
19 1879
Category: #17 Inclined ramp to facing wall Eight photographs illustrating the incline of a wall from the point farthest of the man going upwards. As the wall goes up, the persons view gets completely blocked by the wall. As the wall goes up, I am left feeling as if I am being shut out from seeing something. My view is completely blocked and I cant see much of anything because the wall is so close to me.
10 degree
20 degree
30 degree
40 degree
50 degree
60 degree
70 degree
80 degree
90 degree
20 1880
Category: #18 One Column Two photographs illustrating two perspectives of a column slightly obstructs the path of a person. As the human moves forward, the column stays in place; therefore, the human must be the one to move out of the way. As I approach the column, I get feeling of sturdiness. I also like the way it allows me to go either left or right of it. It does not block my path
Front
Side
Category: #19 Two Columns Two photographs illustrating how two columns aligned horizontally change into aligning vertically. As the walls change, the do not obstruct the persons view or path. As I approach the horizontally aligned columns, I feel as though I am walking through an entrance. As the move to the right and align vertically, I feel as though the space for me to walk in opened up.
Vertical
Horizontal
21 1881
Category: #20 Three Columns Two photographs illustrating three columns and how they align vertically and then move so that they align horizontally. As the walls change, the do not obstruct the persons view or path. At first, I feel as if I can walk freely; however, as the columns move and are now aligned horizontally, a path has been created for me that I should follow.
Vertical
Horizontal
Category: #21 Four Columns Two pictures illustrating how four columns start off in a wide position around two people and become narrow only allowing one person to stan in between them. As the columns get wider, the amount of people decrease. I am looking at another person right in front of me as four columns start of wide around us and then start to narrow in. The I move out of frame because I am hit with a sudden burst of claustrophobia.
Wide
22 1882
Narrow
Category: #22 One Wall and One Column Eight photographs illustrating a sedentary wall as well as a column that moves from left to right and front and back. As the column moves, it never blocks the view path of the person; however, it does make the human move from left to right to be able to walk by. As I see the column move I am either left feeling like I could walk freely or will have to walk in the constraints the column is making.
Condition 1
Condition 2
Condition 3
Condition 4
Condition 5
Condition 6
Condition 7
Condition 8
23 1883
Category: #23 One Wall and two Columns Three photographs illustrating the relationship between a moving wall and two columns in front of a human. As the wall and columns move, it either limits or expands the pathway of the person. In the first condition, I have one way to go. In the second and third conditions, I could either go straight or take a turn, it gives me options to chose.
Condition 1: aligned wall and vertically aligned columns
Condition 2: facing wall and vertically aligned columns
Condition 3: facing wall and horizontally aligned columns
Category: #24 Two Walls and two Columns Two photographs illustrating the change of two columns while two walls stay in the same place as two people occupy space. As the columns move, they do not block the view or path of any human. As the columns change, I am left feeling as if the person behind them is in some secluded area.
Columns aligned vertically with perpendicular walls
24 1884
Columns aligned horizontally with perpendicular walls
Category: #25 Two Walls and two Columns with two lighting conditions_01 Six photographs illustrating a change in light conditions and columns placement as two walls stay in place and a human walks by. As the light and columns change, the person is either left in the dark, or has a slightly obstructed path if they choose to turn right. As I sense the light change and am left in the dark, the space feels eerie. As the columns change positions, I might have to shimmy my way through the right side opening if I choose to go down there.
Walking between vertically aligned columns and perpendicular walls with lighting behind Figure
Walking between vertically aligned columns and perpendicular walls with lighting behind wall
Walking beside vertically aligned columns and perpendicular walls with lighting behind Figure
Walking beside vertically aligned columns and perpendicular walls with lighting behind wall
Walking beside vertically aligned columns and extended perpendicular walls with lighting behind Figure
Walking beside vertically aligned columns and extended perpendicular walls with lighting behind wall
25 1885
Category: #26 Two Walls and two Columns with two lighting conditions_02 Four photographs illustrating a change in light conditions and columns placement as two walls stay in place and a human walks by. As the light and columns change, the person is either left in the dark, or has to make their way past a column close by. As I sense the light change and am left in the dark, the space feels eerie. As the columns change positions, I might have to squeeze past a columns to continue going through my path.
Passing horizontally aligned columns to enter the space between two walls with lighting behind Figure
Passing vertically aligned columns to enter the space between two walls with lighting from the inside space
26 1886
Passing horizontally aligned columns to enter the space between two walls with lighting from the inside space
Passing vertically aligned columns to enter the space between two walls with lighting behind Figure
Category: #27 Two Walls and two Columns with two lighting conditions_03 Six photographs illustrating how the walls, columns and light conditions change to go from a narrow walkway to a wide walkway. As the walls, columns and light conditions change, they can either have a narrow, an intermediate or wide opening for the human to walk past. I am glad that the space between the walls opens up; however, I have to be careful when walking when the light changes from behind to in front of me.
Passing vertically aligned columns to pass a narrow opening between two walls with lighting behind Figure
Passing vertically aligned columns to pass a narrow opening between two walls with lighting from the inside space
Passing vertically aligned columns to pass an intermediate opening between two walls with lighting behind Figure
Passing vertically aligned columns to pass an intermediate opening between two walls with lighting from the inside space
Passing horizontally aligned columns to pass a wide opening between two walls with lighting behind Figure
Passing horizontally aligned columns to pass a wide opening between two walls with lighting from the inside space
27 1887
Category: #28 Vertically aligned Two Walls and two Columns Two photographs illustrating a change in columns as two walls are aligned vertically as a person walks by. As the columns move, the positively impact the space the human has to move around. As the columns move, I am left with a greater space to move and I do not feel constrained between walls and columns.
Between walls, walking
28 1888
Between columns, walking
Category: #29 Space composed with 5+ columns and 2 walls Seven photographs illustrating the relationship between two walls, five columns and a changing light configuration to how a person can navigate through them. As the light configuration changes, it correlates with the route the person will take through the space. Since the walls and columns do not move, I left with multiple different paths to navigate this space. As the light changes, I feel like it is best to follow it as no not be left in the dark.
Top view of the space composed
Sequence phase #1
Sequence phase #2
Sequence phase #3
Sequence phase #4
Sequence phase #5
Sequence phase #6
29 1889
Category: #30 Faced wall with Connected wall Nineteen photographs illustrating how a wall starting at right angle slowly starts to get more obtuse until it reaches 270 degrees in the presence of two people. As the angle of the wall starts to get bigger, the space the two people occupy expands. As I see the angle of the wall go from ninety to 270, I am left with the feeling of being freed, as the space opens up.
90 degree
100 degree
110 degree
120 degree
130 degree
140 degree
150 degree
160 degree
170 degree
180 degree
190 degree
200 degree
30 1890
210 degree
220 degree
230 degree
240 degree
250 degree
260 degree
270 degree
31 1891
Category: #31 Aligned wall with Connected wall Seventeen photographs illustrating how a wall starting at an acute angle, facing towards two people, becomes an obtuse angle. As the angle of the wall starts to get bigger, the two people previously inside the angled walls are free. As the angle of the wall starts at ten degrees, my path is blocked and I feel extremely claustrophobic; however, as the angle widens reaching 170 degrees, the other person and I are free to go right or straight.
10 degree
20 degree
30 degree
40 degree
50 degree
60 degree
70 degree
80 degree
90 degree
100 degree
110 degree
120 degree
32 1892
130 degree
140 degree
150 degree
160 degree
170 degree
33 1893
Category: #32 Facing the connected edge of two walls Seventeen photographs illustrating how two walls at an acute angle, facing away from a human, open up into an obtuse angle. As the angle of the wall continue to get bigger, the wall will end up blocking the human from continuing to the right. As I see the approaching wall, starting at ten degrees and ending up at 170 degrees, to my right, it blocks my path to walk right.
10 degree
20 degree
30 degree
40 degree
50 degree
60 degree
70 degree
80 degree
90 degree
100 degree
110 degree
120 degree
34 1894
130 degree
140 degree
150 degree
160 degree
170 degree
35 1895
Category: #33 Three connected walls Two photographs illustrating a wide-facing wall with two wings and a couple inside, and a narrow-facing wall with two wings and a couple inside. The wings narrowing in negatively affects the space the humans have inside the walls. In the beginning, I feel open and free. As the wings start to close in, a sense of claustrophobia kicks in and I feel tight and compact with this other person in here.
Wide-facing wall with two wings
Narrow-facing wall with two wings
Category: #34 Curved wall inside Four photographs illustrating four curved walls in a variety of heights and lengths. As the wall the wall changes lengths, it impacts the amount of space the human has to move around inside it. As the height changes, it makes the human feel smaller. As the walls change from getting wider and taller, I either feel a bit claustrophobic when the wall is tightly curved or free to move around when it is a larger curve. Also, when the wall gets higher, I feel as though it is a true wall I can not get over.
Small-curved and 8ft height
Large-curved and 16ft height 36 1896
Small-curved and 16ft height
Large-curved and 8ft height
Category: #35 Curved wall outside Eight photographs illustrating different curved walls ranging in height as a human walks by or stands in front of. When the human is standing in front of the wall, the wall is too tall to climb over so it blocks its path; however, it can easily walk by it. As I approach these curved walls, they range from long of short curves, as well as tall or normal sized walls. They do block my path but I am easily able to walk around them.
Facing Small-curved and 8ft height
Passing Small-curved and 8ft height
Facing Small-curved and 16ft height
Passing Small-curved and 16ft height
Facing Large-curved and 8ft height
Passing Large-curved and 8ft height
Facing Large-curved and 16ft height
Passing Large-curved and 16ft height
37 1897
Category: #36 Curved Walls and Flat Walls Five photographs illustrating how a person walks by a series of closed or opened curved walls and a sedentary flat wall. Depending on whether or not the curved wall is opened or closed, the human has a better view of the person inside the curved wall as they walk parallel to the flat wall. As I approach to walk side by side with the flat wall, I must move around a curved wall. The space is narrow so I feel closed off and bound. As I continue, the wall opens up and I feel free to move round.
Facing a flat wall (8fh height) while passing a curved wall (8fh height)
Entering a space between a flat wall (8fh height) and a closed-curved wall (8fh height)
Entering a space between a flat wall (8fh height) and an opened-curved wall (8fh height)
Your coordination in height and openness.
38 1898
Entering a space between a flat wall (8fh height) and a half opened-curved wall (8fh height)
Category: #37 Entering into a space between Parallel Curved Walls Eight photographs illustrating how a series of parallel curved wall differing in height, lighting, and whether or not the human is inside or outside the walls. As the walls change positions, the relationship between them and the human does not change because there is always a path for the human to get out of the curved walls. As I enter the curved wall from the outside, I eel as though I am entering something secret. As I am inside now, I can see another person standing here and the light is better reflected on us I feel open and round.
Small-curved and 8ft high outside
Small-curved and 16ft high outside
Large-curved and 8ft high outside
Large-curved and 16ft high outside
Small-curved and 8ft high inside
Small-curved and 16ft high inside
Large-curved and 8ft high inside
Large-curved and 16ft high inside
39 1899
Category: #38 Entering a space between curved mirror walls_01 Four photographs illustrating a person walking in between space created by two curved walls differing in height and diameter. As the diameter of the walls gets bigger, the space the human has to walk through is longer.
Small-curved and 8ft height
Large-curved and 16ft height
40 1900
Small-curved and 16ft height
Large-curved and 8ft height
Category: #39 Entering a space between curved mirror walls_02 Eight photographs illustrating how the lighting changes between mirrored curved walls varying in height and diameter. As the lighting changed, the human appears to be left in the dark or in the light. As I see the light change, I feel as though I am being guided to where the light shines the brightest.
Small-curved and 8ft high with inside lighting
Small-curved and 8ft high with outside lighting
Small-curved and 16ft high with inside lighting
Small-curved and 16ft high with outside lighting
Large-curved and 8ft high with inside lighting
Large-curved and 8ft high with outside lighting
Large-curved and 16ft high with inside lighting
Large-curved and 16ft high with outside lighting
41 1901
Category: #40 One curved wall and one column Two photographs illustrating the relationship between a column and a curved wall. As the wall and columns change positions from closed to opened, the human is either left in the dark or has an opened space in the light. In the beginning, as I walk in the dark, I feel confined by the column and the curved wall. Later, I feel open and bright as I walk in the inside of the curved wall with the columns to my right.
Entering a space between a column and curved wall outside
Entering a space between a column and curved wall inside
Category: #41 One curved wall and two columns Three photographs illustrating the relationship between a curved wall and two columns as they wove from around the wall to just on the left side. As the columns move, it determines how many humans are visible and the amount of space they have to walk by. Firstly, as I walk by the curved wall I have a column to my left and a person and a column to my right, I feel as though I can go straight or right.
Entering a space between a column of two horizontally aligned and curved wall outside
42 1902
Facing the outside of a curved wall with two horizontally aligned columns with insufficient space between them
Entering a space between a column of two vertically aligned and a curved wall outside
Category: #42 Role of a column between Curved and flat walls Four photographs illustrating how a column is in between curved walls or flat walls. As the walls change positions, it limits the space the person has to walk by the column. As I walk through the space between the walls and the column, I am displeased with the amount of space there is for me to walk through
Entering a space between two parallel curved walls, with a column in front of the outer curved wall
Entering a space between a faced flat wall and a curved wall, with a column in front of the flat wall
Entering a space between two parallel curved walls, with a column in front of the inner curved wall
Entering a space between a parallel flat wall and a curved wall, with a column in front of the flat wall
1903 43
Category: #43 Curved connection Four photographs illustrating how the angle of a curved wall increases gradually. As the walls angle gets wider, the amount of space that is available for the human to move in increases. As I see the angle of the wall go from sixty degrees to 150, I feel open due to the amount of space that frees up.
Follow two flat walls that are connected at an angle of 60 degrees smoothly
Follow two flat walls that are connected at an angle of 150 degrees smoothly
44 1904
Follow two flat walls that are connected at an angle of 90 degrees smoothly
Follow two flat walls that are connected at an angle of 120 degrees smoothly
Category: #44 Curved wall and S-curve wall Four photographs illustrating curved walls in the shape of an “S” differing in height and length. As the wall changes in length, it makes the passage the human has to walk longer. The heigh does not negatively or positively impact the human. As I walk through the “S” shape curved walls, the longer they are, the more tired and annoyed I get to walk so much, however, the changes in height do not bother me.
Curved wall and S-curve wall 8ft high with inside lighting
Curved wall and S-curve wall 8ft high with outside lighting
Curved wall and S-curve wall 16ft high with inside lighting
Curved wall and S-curve wall 16ft high with outside lighting
45 1905
Category: #45 1 point perspective pictures: Void on the upside Four photographs illustrating a one point perspective shot of different sizes and shapes of voids as ceilings. As the void changes, it directly impacts the size and shape of the light casted on the human. As I stand beneath the voids. I am confused as to how I will get above ground again. However; the different shadows casted on me are a cool experience.
A 4’x4’ square void with a height of 8ft
A 8’ diameter void with a height of 8ft
46 1906
A 8’x8’ square void with a height of 8ft
A 4’ diameter void with a height of 8ft
Category: #46 Void on the upside with columns or walls Seven photographs illustrating different perspectives of a void with columns and walls that change positions. As the walls and perspectives change it either better illustrates the human in a different position than before, or shows the human casted under the light emitted from the void. As I walk through this space, I like the light coming through the void atop.
A 8’x8’ square void with columns
A 8’x8’ square void with a facing wall
A 8’x8’ square void with a passing wall
View for A 4’x4’ square void with a flat wall aligned with one side and two columns aligned with the opposite side
47 1907
Category: #47 Void on the downside with columns or walls Six photographs illustrating a void as the floor with changing walls, lighting and columns. As the walls and lighting change, it either opens up the amount of space the man can fall through the floor or illuminates the space differently. As I look down at the void on the floor, I am perplexed as to why it is there. I feel as though it could be dangerous for little kids. As well as, the wall going through the void is vexing to me.
A 8’x8’ square void with a facing wall and light from upper floor
A 8’x8’ square void with a facing wall and light from side
A 8’x8’ square void with a facing wall and light from lower floor
A 8’x8’ square void with a passing wall and light from side
A 8’x8’ square void with a passing wall and light from lower floor
A 8’ diameter void with light from lower floor
48 1908
Category: #48 Void on the upside with combinations of columns or walls The first five photographs illustrate a circular void as a room with one curved wall, one flat wall and two columns. The varying perspective do not impact the human; however, the columns located parallel to the flat wall do limit the humans mobility. As I walk through this space, I know to steer left because I do not want to be enclosed between the columns. The next five photographs illustrate a square void as a roof with a tightly curved wall, a looser curved wall and two columns. As the perspectives change, it does not impact the human at all. As I walk through this space, I feel enclosed.
Scene #1
Scene #2
Scene #3
Scene #4
Scene #5
Scene #6
Scene #7
Scene #8
Scene #9
Scene #10 49 1909
Category: #49 Void between Floating Surfaces Five photographs illustrating a story of revenge by utilizing two sedentary floating surfaces and a void to cast a shadow. In this instance, the humans are the one moving and the environment stays the same. As I see that my friend sits on the edge of her roof, I feel as though I need to tell them to come down. As I get closer the, I see that their younger sibling is coming up behind them and end up pushing them of the roof while saying “Purple is better than pink”. Apparently they had gotten into an argument earlier in the day about which color is the best.
Scene #1
Scene #2
Scene #4
Scene #5
Scene #3
Category: #50 Void between curve-linear Surfaces Two photographs illustrating a void between a curved and linear surface with different perspectives. The different perspectives change the positioning of the human figures. As I start out on top of the void, I can not entirely distinguish the shape. Besides that, I do not like heights so I go under the void and keep an eye on the other humans to make sure they do not fall through.
Scene #1 50 1910
Scene #2
Category: #51 Void with a combination of Two photographs illustrating a void with a combination of columns, walls and lighting. As the lighting comes through the void, it either illuminates or leaves the human in the dark. As I stand in the middle of this space, I feel drawn to continue forward when the light is aimed behind the wall I am standing in front of.
Scene #1
Scene #2
Category: #52 Curved vertical surface Two photographs illustrating a curved vertical surface varying in width. As the surface changes in width, it changes the distance the human has to travel to get around it. As I stand before this curves surface, I feel as though I can sit on it and slide down it.
A 4’wide
A 8’wide 51 1911
Category: #53 Curved vertical surface with an upper floor Five photographs illustrating a vertical curved wall with an upper surface and a curved wall. As the human moves from the lower to upper floor, it will encounter a curve wall and an edge. As I move upwards, I feel as though I could easily fall off of the edge because the curved wall is close to the edge making me walk near it to be able to walk by.
Scene #1
Scene #2
Scene #4
Scene #5
52 1912
Scene #3
Category: #54 Curved vertical surface with a void Five photographs illustrating a circular void with a curved vertical surface coming through the void and a change in lighting. As the lighting changes, the human is drawn to follow it, forcing it to go on the upper surface of the void. As the light guides me to go from underneath the void to on top of it, I am hit with the feeling of sliding down the curved surface, as if it were a slide.
Scene #1
Scene #2
Scene #3
Scene #4
Scene #5
Category: #55 Facing Curved vertical surface Two photographs illustrating a curved surface going through a circular void with different perspectives and lighting that changes. As the lighting changes from in front to behind the void, it does not directly impact the human. As I feel the light change positions, it makes the void feel mysterious to me.
Scene #1
Scene #2 53 1913
Category: #56 Hanging curved surfaces Four photographs illustrating different hanging curved surfaces surrounding a human. As the hangings change, it limits the amount of space the human has to walk by. As I start in a tunnel, I feel safe. As I continue, I can see that there are hanging globes around me; I feel as though I am in space. Lastly, as I confront a slanted hanging cylindrical surface I feel as though I am under investigation.
Scene #1
Scene #2
Scene #3
Scene #5
Category: #57 Surfaces with convexities and concavities Two photographs illustrating surfaces with convexities and concavities with a change in lighting. As the surfaces move, it blocks the path the human has to get through the space. As I walk by two parallelly curved surfaces, I have ample space top continue my path. However, as I turn the corner, I am met with a new curved surface. There is a small cavity in which I am supposed to continue on. I will have contort myself to be able to fit past the curved surface.
Scene #1 1914 54
Scene #2
Category: #58 A sphere with a strong center and centripetal force Five photographs illustrating a sphere on a cycle of going through a circular void and coming back down. As the sphere goes up and down, it blocks and frees up the space for the human to walk by. As the sphere appears whole in front of me, it blocks my path making me feel displeased. However, as it goes through the void, it frees up my space making me feel open.
Scene #1
Scene #2
Scene #3
Scene #5
Category: #59 Surfaces that are twisted and free Three photographs illustrating twisted and free surfaces with a column. As the perspectives move, it shows the path the human takes and when its path is blocked. As I begin in front of a cave like surface, I feel enclosed, but not in a bad way. As I continue to the right, I am faced with a twisted surface that lies close to the back side if the caved like surface, leaving a tight space for me to go through. Lastly, as I make my way around the twisted surface, I encounter a column out of nowhere. It makes me confused as to why it was placed there.
Scene #1
Scene #2
Scene #3
55 1915
Ka leig h Satter white Port foli o 1916
1
What I learned...
Project #1 “Wall, Column, and Space” Project #2 “Hand Drawing” Project #3 “Power of Patience” Project #4 “Space Cube” Project #5 “First Portfolio” Overall If you could talk to you before these five weeks, what would you like to share with you? -
1 1917
Category #1: Facing surface In a series of ten photographs, a wall gradually shifts its angle, increasingly obstructing a human figure. Each image captures the figure encountering the wall’s changing positions, leading to different levels of obstruction. I felt a sense of forward momentum, able to move ahead despite the slight obstruction. This continued until the wall reached between 40 and 50 degrees, where it began to block my path significantly. Eventually, as the wall moved directly in front of me, ranging from 60 to 90 degrees, I was forced to stop.
0 degree
10 degree
20 degree
30 degree
40 degree
50 degree
60 degree
70 degree
80 degree
90 degree 4 1918
Category #2: Facing edge . In a sequence of ten photographs, the edge of a wall shifts leftward, changing its angle relative to a human figure. As the wall’s angle transforms, the human figure’s perspective becomes increasingly unobstructed. When the wall’s edge was primarily in front of me, between 0 and 30 degrees, I felt constricted. However, as the wall continued to pivot leftward, creating angles from 40 to 70 degrees, more space opened up around me. Eventually, when the wall reached angles between 80 and 90 degrees, it was positioned directly to my left.
0 degree
10 degree
20 degree
30 degree
40 degree
50 degree
60 degree
70 degree
80 degree
90 degree 5 1919
Category #3: Blocking wall In a series of eleven pictures, a wall gradually moves leftward, increasingly obstructing the view of a human figure until it aligns directly in front of them. As the wall shifts, the visibility of the human figure diminishes, ultimately leaving only the wall visible from the front. At first, there was little opportunity for forward movement as the wall began to travel. This feeling intensified as the wall approached the center of my view. When it aligned directly in front of me, I found myself completely stationary, unable to move forward.
Opened level 1
Opened level 2
Opened level 3
Opened level 4
Block level 1
Block level 2
Block level 3
Block level 4
Block level 5
Block level 6
Block level 7
6 1920
Category #4: Passing the blocking wall A human figure is shown progressively passing a stationary wall approaching from the left in five photographs. As the figure moves past, the wall’s obstruction gradually diminishes, eventually disappearing from view. The wall remains fixed as the human figure walks by it, allowing a clear path to proceed. Each progression makes my perspective less cluttered, and the view ahead opens up, free from the wall’s previous obstruction.
Passing level 1
Passing level 2
Passing level 3
Passing level 4
Passing level 5
7 1921
Category #5: Aligned Wall A series of six photographs depicts a wall moving horizontally until its center aligns directly with the human figure’s position. The human figure remains stationary throughout this sequence while the wall gradually shifts positions. As the wall advances, my view becomes increasingly restricted. Initially, I had a broader perspective, but as the wall’s edge approached and eventually aligned with my center, my perspective narrowed significantly, resulting in a direct face-to-face obstruction.
Closed level 1
Closed level 2
Closed level 4
Closed level 5
8 1922
Closed level 3
Category #6: Passing the aligned wall In six photographs, a human figure walks past a stationary wall positioned on the left. The wall remains fixed as the figure moves along, using the wall as a guiding point. Initially, the wall aligns closely with the human figure. As I continued walking, the wall provided a reference point until I eventually passed beyond its opposite side, emerging into an unobstructed space.
Passing level 1
Passing level 2
Passing level 3
Passing level 4
Passing level 5
Passing level 6
9 1923
Category #7: Walls with different heights In eight photos, a wall is depicted gradually increasing in height until it eventually towers above the human figure. The human figure stands centrally positioned as the wall’s height ascends. As the wall grew from 1 to 5 feet, I maintained a relatively straightforward line of vision, with the wall reaching up to shoulder height. However, as the wall rose, surpassing 6 to 8 feet, my perspective became increasingly obstructed. At its maximum height, the wall completely blocked my view.
Wall with 1ft
Wall with 2ft
Wall with 3ft
Wall with 4ft
Wall with 5ft
Wall with 6ft
Wall with 7ft
Wall with 7ft
10 1924
Category #8: Floating and faced Wall A series of eight photos shows a floating wall rising to different heights while facing a human figure. As the wall elevates, it eventually surpasses the figure’s height, gradually clearing the view. At first, the wall obstructs my perspective, limiting my ability to move forward. However, as the wall ascends beyond my eye level, space opens up, providing a more expansive view. Once the wall rises above my point of view, the scene becomes unobstructed.
1ft high floating wall
2ft high floating wall
3ft high floating wall
4ft high floating wall
5ft high floating wall
6ft high floating wall
7ft high floating wall
8ft high floating wall
11 1925
Category #9: 8ft high floating and aligned wall In four photos, an eight-foot-high floating wall aligns with a stationary human figure. The wall to the left gradually moves until it aligns directly above the figure. At first, my path seemed open and unobstructed. However, as the wall shifted closer to the center, it began to align overhead. This movement lessened its obstructive effect, and the wall started feeling more like a protective awning than a barrier.
Alignment level 1
Alignment level 4
12 1926
Alignment level 2
Alignment level 3
Category #10: 8ft high floating and faced wall In a series of eight photographs, a human figure faces an eight-foot-high floating wall moving horizontally into their view, approaching the center. Throughout the sequence, there was always a possibility to move forward, but the level of obstruction increased as the right edge of the wall approached the center. By the time the wall became centered in the final photos, the obstruction was at its maximum.
Overlap level 1
Overlap level 2
Overlap level 3
Overlap level 4
Overlap level 5
Overlap level 6
Overlap level 7
Overlap level 8
13 1927
Category #11: floating horizontal surface Eight photographs depict a horizontal surface floating above a centered human figure, moving gradually from left to right. Throughout the sequence, there was ample freedom to move forward. But, as the surface centered directly above, it compacted the space around the figure, altering the spatial perception.
Overlap level 1
Overlap level 2
Overlap level 3
Overlap level 4
Overlap level 5
Overlap level 6
Overlap level 7
Overlap level 8
14 1928
Category #12: Horizontal surfaces with different heights In a series of twelve pictures, horizontal surfaces float at various heights above and below ground within the view of a human figure. As these surfaces vary in vertical positioning, they create different perceptions of space. When the floating surface was below ground level, I felt a sense of added depth to the space. The photos displaying the surfaces floating above ground level created a distinct sense of division within the space.
8ft high horizontal surface
7ft high horizontal surface
6ft high horizontal surface
5ft high horizontal surface
4ft high horizontal surface
3ft high horizontal surface
2ft high horizontal surface
1ft high horizontal surface
-1ft high horizontal surface
-2ft high horizontal surface
-3ft high horizontal surface
-4ft high horizontal surface 15 1929
Category #13: Wall surface with an incline In eight photos, a floating wall surface inclines around and above a stationary human figure, moving from left to right at varying angles. At first, there was a sense of freedom to move forward freely. However, as the surface rose at an incline above me, it increasingly restricted my ability to move freely.
10 degree
20 degree
30 degree
40 degree
50 degree
60 degree
70 degree
80 degree
16 1930
Category #14: Inclined wall In six photos, an inclined wall rises beside a still human figure at various angles. The wall, positioned to the left, increases in height vertically. The first several photos depict the wall angled closer to the ground, creating a sense of ample room to move. As the wall’s incline increased, it began to divide the surrounding space, reducing any sense of freedom within the area.
Inclined level 1
Inclined level 2
Inclined level 3
Inclined level 4
Inclined level 5
Inclined level 6
17 1931
Category #15: Floating wall surface facing edge with an incline In six photos, a human figure is seen beside the edge of a floating wall surface with varying inclines, depicted moving from left to right and overhead. The figure remains centered as the wall’s edge inclines. There was a possibility of moving forward as the wall’s edge floated at different inclines. However, as the incline of the wall’s edge peaked diagonally above, it increasingly obstructed the passage.
Inclined level 1
Inclined level 2
Inclined level 3
Inclined level 4
Inclined level 5
Inclined level 6
18 1932
Category #16: Inclined surface to a facing wall In nine photographs, an inclined surface steadily rises until becoming a facing wall in front of a human figure. The surface increases in vertical height at varying degrees. Initially, I could not move forward with the inclined surface closer to the ground. But as the surface rose, more space opened, allowing me to advance freely.
10 degree
20 degree
30 degree
40 degree
50 degree
60 degree
70 degree
80 degree
90 degree
19 1933
Category: #17 Inclined ramp to facing wall In nine photographs, an inclined ramp gradually rises towards a facing wall before a centered human figure. The wall’s incline increases throughout the sequence, eventually standing vertically in front of the figure. There was potential to move forward initially as the wall’s angle remained closer to the ground. However, as the wall’s incline continually increased, it obstructed my path.
10 degree
20 degree
30 degree
40 degree
50 degree
60 degree
70 degree
80 degree
90 degree
20 1934
Category: #18 One Column Two photographs depict a human figure and a single column. In one photograph, the figure faces the column directly, while in the other, the figure views the column from the side. When viewed from the side, the column appears notably larger and more prominent than when viewed from the front.
Front
Side
Category: #19 Two Columns Two photographs illustrate a human figure and two columns. In one photo, the figure views the two columns arranged vertically, while the figure views them placed horizontally in the other. When viewed vertically, the columns serve as guiding points for the human figure. When viewed horizontally, they create the impression of a doorway or markings of an entrance.
Vertical
Horizontal
21 1935
Category: #20 Three Columns The two photos shown display a human figure viewing three columns. In one photograph, the human figure faces the columns vertically, and the other faces the three horizontally. When viewing the columns vertically, they feel like they are marking a walkway, but they appear as separate entryways when viewing them horizontally.
Vertical
Horizontal
Category: #21 Four Columns In two photographs, the human figure takes center stage within four columns. One photo showcases the human figure within more narrowly placed columns, while the other positions the human figure among wider-spaced columns. The broader columns create a sense of marking the corners of a room or space, while the narrower positions act more like boundaries.
Wide
22 1936
Narrow
Category: #22 One Wall and One Column A human figure is within range of one wall and column in eight photographs. In each photo, the human figure resides in different locations based on the various placements of the singular column. While the column’s placement was closer to the wall, it provoked feelings of additional support, but when the column was further from the wall, it felt more like a guide post.
Condition 1
Condition 2
Condition 3
Condition 4
Condition 5
Condition 6
Condition 7
Condition 8
23 1937
Category: #23 One Wall and two Columns Three photographs depict a human figure positioned between one wall and two columns. The columns in two photos stand vertically, while the columns are placed horizontally in the third. When the human figure walks between the horizontal or vertical wall and columns, it provides a sense of direction. The horizontally placed columns, on the other hand, feel more like a doorway.
Condition 1: aligned wall and vertically aligned columns
Condition 2: facing wall and vertically aligned columns
Condition 3: facing wall and horizontally aligned columns
Category: #24 Two Walls and two Columns In two photos, a human figure views two columns and two walls. In both pictures, the walls are perpendicular; one photograph depicts the columns placed vertically, while the other shows the columns placed horizontally. When the columns are vertical to one another, they create a sectioned-off space; when they are horizontal, they feel like markings of the room’s corners.
Columns aligned vertically with perpendicular walls
24 1938
Columns aligned horizontally with perpendicular walls
Category: #25 Two Walls and two Columns with two lighting conditions_01 Six photographs show a human figure with two walls, two columns, and two lighting conditions. The walls in all photos are perpendicular to one another, but in two, they extend. The human figure is walking either between or beside the vertically aligned columns, with either lighting coming from behind the wall or the figure. When the walls extend, it creates the feeling that there is another space on the other side of the wall, especially with the lighting behind the wall rather than the human figure.
Walking between vertically aligned columns and perpendicular walls with lighting behind Figure
Walking between vertically aligned columns and perpendicular walls with lighting behind wall
Walking beside vertically aligned columns and perpendicular walls with lighting behind Figure
Walking beside vertically aligned columns and perpendicular walls with lighting behind wall
Walking beside vertically aligned columns and extended perpendicular walls with lighting behind Figure
Walking beside vertically aligned columns and extended perpendicular walls with lighting behind wall
25 1939
Category: #26 Two Walls and two Columns with two lighting conditions_02 Four photos show a human figure walking beside or between two columns in front of two walls. In two images, the lighting comes from behind the human figure, while in the other two, it comes from behind the wall. When the human figure walks beside the columns, they feel directional, but when walking between the horizontally placed columns, they feel like an entryway.
Passing horizontally aligned columns to enter the space between two walls with lighting behind Figure
Passing vertically aligned columns to enter the space between two walls with lighting from the inside space
26 1940
Passing horizontally aligned columns to enter the space between two walls with lighting from the inside space
Passing vertically aligned columns to enter the space between two walls with lighting behind Figure
Category: #27 Two Walls and two Columns with two lighting conditions_03 A human figure is the viewer in six photographs, observing two columns and two walls under lighting conditions. In four pictures, the human figure walks beside two vertical columns, and in two photos, the human figure walks between horizontal columns. When walking beside the vertical columns with the lighting coming from behind the wall, the space expands beyond what lies behind the two walls. However, when the lighting is behind the figure, it makes the space feel more conclusive.
Passing vertically aligned columns to pass a narrow opening between two walls with lighting behind Figure
Passing vertically aligned columns to pass a narrow opening between two walls with lighting from the inside space
Passing vertically aligned columns to pass an intermediate opening between two walls with lighting behind Figure
Passing vertically aligned columns to pass an intermediate opening between two walls with lighting from the inside space
Passing horizontally aligned columns to pass a wide opening between two walls with lighting behind Figure
Passing horizontally aligned columns to pass a wide opening between two walls with lighting from the inside space
27 1941
Category: #28 Vertically aligned Two Walls and two Columns Two photos demonstrate a human figure walking between two walls or two columns. The two columns are vertical to one another while the human figure walks between or beside the columns. When the figure walks between the vertical columns, they feel like markings of the start of a new space, while when walking beside the two columns, they provide a sense of direction.
Between walls, walking
28 1942
Between columns, walking
Category: #29 Space composed with 5+ columns and 2 walls Seven photographs illustrate a human figure viewing six columns and two walls. In several photos, the human figure is walking between columns, while in the other pictures, it views the structure from outside the arrangement of columns. When the human figure is within the space inside the columns, the columns appear and feel almost like boundaries. They mark a particular path when viewing from outside the columns.
Top view of the space composed
Sequence phase #1
Sequence phase #2
Sequence phase #3
Sequence phase #4
Sequence phase #5
Sequence phase #6
29 1943
Category: #30 Faced wall with Connected wall A human figure viewing a faced wall with a connected wall is present in nineteen images. The human figure remains positioned as one connecting wall travels from 90 to 270 degrees. When the connecting walls angle began nearing 270 degrees, there appeared only to be one facing wall.
90 degree
100 degree
110 degree
120 degree
130 degree
140 degree
150 degree
160 degree
170 degree
180 degree
190 degree
200 degree
30 1944
210 degree
220 degree
230 degree
240 degree
250 degree
260 degree
270 degree
31 1945
Category: #33 Three connected walls Two pictures showcase the impact of wall positioning on the human figure within the space created by three connected walls. In one photo, the facing wall and two wings are narrow, while the wings extend in a broader position in the other. Inside, the narrower wall creates a feeling of encasement around the figure, while when the walls are more expansive, they make the space more open.
Wide-facing wall with two wings
Narrow-facing wall with two wings
Category: #34 Curved wall inside Four photographs depict a human figure inside two different heights of curved walls. In half of the images, the human figure is inside an eight-foot-high curved wall; in the other two images, the human figure remains inside a sixteen-foot-high curved wall. The space feels separate inside the shorter curved wall, while the taller curved wall performs more like a shield.
Small-curved and 8ft height
Large-curved and 16ft height 32 1946
Small-curved and 16ft height
Large-curved and 8ft height
Category: #35 Curved wall outside Eight pictures illustrate a human figure facing or passing the outside of two different-sized curved walls. Half the images present the figure about an eight-foot-high curved wall, while the other half situates the human figure within the range of a sixteen-foot-high curved wall. The shorter curved wall instills a sense of containment when facing or passing, while the taller curved wall stirs curiosity.
Facing Small-curved and 8ft height
Passing Small-curved and 8ft height
Facing Small-curved and 16ft height
Passing Small-curved and 16ft height
Facing Large-curved and 8ft height
Passing Large-curved and 8ft height
Facing Large-curved and 16ft height
Passing Large-curved and 16ft height
33 1947
Category: #36 Curved Walls and Flat Walls Four photos show a human figure about one curved and one flat wall. In one image, the human figure faces the flat wall that lies behind the outside of a curved wall, while in the other three images, the human figure enters the space between a flat and curved wall. The two photos that display the half and fully-opened curved walls provide more character than when facing the flat and curved walls.
Facing a flat wall (8fh height) while passing a curved wall (8fh height)
Entering a space between a flat wall (8fh height) and an opened-curved wall (8fh height)
34 1948
Entering a space between a flat wall (8fh height) and a closed-curved wall (8fh height)
Entering a space between a flat wall (8fh height) and a half opened-curved wall (8fh height)
Category: #37 Entering into a space between Parallel Curved Walls Eight images display a human figure entering a space between parallel curved walls. The human figure resides within the space between two different heights of curved walls. The space between the eight-foot-high curved walls creates a feeling similar to a hallway, but when between the space of the sixteen-foot-high curved walls, the area feels blocked off.
Small-curved and 8ft high outside
Small-curved and 16ft high outside
Large-curved and 8ft high outside
Large-curved and 16ft high outside
Small-curved and 8ft high inside
Small-curved and 16ft high inside
Large-curved and 8ft high inside
Large-curved and 16ft high inside
35 1949
Category: #38 Entering a space between curved mirror walls_01 In four photos, a human figure enters a space between two different sizes of curved mirror walls. Two images show the human figure between eight-foot-high curved walls and the other two between sixteen-foot-high curved walls. When residing in the space between the shorter curved walls, they feel like they lead into another inside space; when in between the higher curved walls, it feels like they may lead to an outside space.
Small-curved and 8ft height
Large-curved and 16ft height
36 1950
Small-curved and 16ft height
Large-curved and 8ft height
Category: #39 Entering a space between curved mirror walls_02 Presented in eight photographs is a human figure moving through the space between curved mirror walls of varying sizes. The figure transitions between eight-foot-high curved mirror walls and sixteen-foot-high curved walls, which are either small or significantly curved. The space between the smaller curved walls evokes a more directional feel, while the space between the more giant curved walls offers a more guiding or relaxed feel.
Small-curved and 8ft high with inside lighting
Small-curved and 8ft high with outside lighting
Small-curved and 16ft high with inside lighting
Small-curved and 16ft high with outside lighting
Large-curved and 8ft high with inside lighting
Large-curved and 8ft high with outside lighting
Large-curved and 16ft high with inside lighting
Large-curved and 16ft high with outside lighting
37 1951
Category: #40 One curved wall and one column Two photos show a human figure entering a space between one column and one curved wall. In one picture, the human figure enters a space between a column and the outside of a curved wall, and the other displays the figure entering a space between one column and the inside of a curved wall. The space between the outside of a curved wall feels closed off, but it feels more inviting when between the inside of a curved wall and a column.
Entering a space between a column and curved wall outside
Entering a space between a column and curved wall inside
Category: #41 One curved wall and two columns Three photos depict the interaction between a human figure and the curved wall and columns. The figure enters the space between a curved wall and two columns in two images, while the third photo captures the figure facing the outside of the curved wall. When placed vertically, the columns form a walkway, and when horizontally, they present two different passage options.
Entering a space between a column of two horizontally aligned and curved wall outside
38 1952
Facing the outside of a curved wall with two horizontally aligned columns with insufficient space between them
Entering a space between a column of two vertically aligned and a curved wall outside
Category: #42 Role of a column between Curved and flat walls Four photographs illustrate a human figure entering space within variations of the placement of a singular column and curved and flat walls. In two photos, the human figure enters the space between parallel curved walls and a column on the inside or outside of a curved wall. Another image shows the human figure entering the space between a parallel curved and flat wall. When the column is near the inside or outside of the curved wall, it feels like a guidepost; when it is in front of the flat wall, it creates a doorway.
Entering a space between two parallel curved walls, with a column in front of the outer curved wall
Entering a space between a faced flat wall and a curved wall, with a column in front of the flat wall
Entering a space between two parallel curved walls, with a column in front of the inner curved wall
Entering a space between a parallel flat wall and a curved wall, with a column in front of the flat wall
39 1953
Category: #43 Curved connection A human figure follows two flat walls connecting at various degrees, as depicted in four photos. The human figure walks beside one of two flat walls that conjoin at different angles in each of the four photos. As the angle at which the flat walls meet increased, increasing amounts of space created a sense of openness.
Follow two flat walls that are connected at an angle of 60 degrees smoothly
Follow two flat walls that are connected at an angle of 150 degrees smoothly
40 1954
Follow two flat walls that are connected at an angle of 90 degrees smoothly
Follow two flat walls that are connected at an angle of 120 degrees smoothly
Category: #45 1 point perspective pictures: Void on the upside Four pictures demonstrate a human figure standing beneath various-sized voids with different shapes. The human figure remains underneath square and circular voids of two sizes with a height of eight feet. The small and large square void gives the impression of a sky window, and the circular voids resemble the exact appearance of a spotlight.
A 4’x4’ square void with a height of 8ft
A 8’x8’ square void with a height of 8ft
A 4’ diameter void with a height of 8ft
A 8’ diameter void with a height of 8ft
41 1955
Category: #50 Void between curve-linear Surfaces Two images depict a human figure standing on the upside or downside of a surface containing a void. The human figure views a void of a curve-linear surface from the upside in one photo and from above in the other two images. From the upside, the light coming through the void is similar to the shape of a lightning bolt.
Scene #1 42 1956
Scene #2
Category: #51 Void with a combination of Two photographs depict multiple human figures residing within a space containing various elements, including a void. Human figures stand above and beneath the void and are in the company of numerous walls and columns. The figures remaining on the upside of the void have a clear view of its square shape, while the human figures above instead overlook the ground level.
Scene #1
Scene #2
Category: #52 Curved vertical surface Two photographs depict a human figure standing before a curved vertical surface. One image portrays the human figure standing in front of a four-inch wide surface, and the other an eight-inch wide curved vertical surface. While standing in front of the four-inch curved vertical surface, its characteristics resemble the appearance of a slide in some ways.
A 4’wide
A 8’wide 43 1957
Category: #54 Curved vertical surface with a void Four images demonstrate several different curved vertical surfaces in combination with a void. In three photographs, the human figure remains on the upside of the void, while the human figure views from above in the other two. When standing underneath the void, with the curved vertical surface, there feels to be an increase in the amount of light on ground level.
Scene #1
Scene #2
Scene #3
Scene #4
Scene #5
Category: #55 Facing Curved vertical surface In two images, a human figure faces a curved vertical surface. The human figure faces two curved vertical surfaces, one photo depicting a void. When facing the curved vertical surface displayed through a void, there feels to be added height to the structure.
Scene #1 44 1958
Scene #2
Category: #56 Hanging curved surfaces Four images illustrate a human figure standing beneath various curved surfaces. In all four photos, the human figure stands beneath one or more curved surfaces. Viewing the curved surfaces from below provides the same feeling of fabric loosely draping from above.
Scene #1
Scene #2
Scene #3
Scene #5
Category: #57 Surfaces with convexities and concavities Two pictures demonstrate a human being viewing surfaces with convexities and concavities. The human figure stands above a void while viewing the two curved surfaces. Standing beside the most outer curved surface provides a sense of the outermost boundary about the second curved surface remaining above the void in the center.
Scene #1
Scene #2 45 1959
Sydney Schandua Port foli o 1960
1
What I learned...
Project #1 “Wall, Column, and Space” - During our first project, I learned a lot about how the environment we are in can affect your emotions. We were asked to create 59 categories of different environments and reflect on how that environment affects our emotion. I think the big take away I got from this project was to create a space that has some sort of emotion behind it because then you are creating a space with a purpose. Project #2 “Hand Drawing” - Our second project was hand drawing and I am not the best at drawing so I was a little nervous about how my final product would look. Over the last 5 weeks I think my craftsmanship grew a lot and I was slowly starting to learn the basics of how to draw. I still think there is a lot of room for improvement but I learned a lot and have confidence that my drawings will continue to get better with practice. Project #3 “Power of Patience” - Power of Patients was our third project and I think this project really opened my eyes. Instead of thinking you know everything about the painting just from a first glance, I learned that you must spend time to get a deep understanding of why the artist painted what he did. I think I can relate this project to everyday life. Instead of judging someone or something by the cover, you must take time to learn the facts and not assume. Project #4 “Space Cube” - During our fourth project, I felt that there were many aspects that I learned throughout the whole process. I learned more about how a space can affect your emotion, I learned that failure is okay and you can keep trying until you are satisfied with the final product, and I also learned a lot about making sure we use the correct scale throughout our work. I think I grew a lot during this project and understood what we need to do as designers to represent our work. Project #5 “First Portfolio” - Our fifth and final project was working with an AI image generator, during this process I learned many ways you can transform your image into a fantasy place. Through this process I learned new technology and what AI can do to my work with just a few clicks on my computer. I think the AI generator is another great way to represent your work. Overall - Overall, these past 5 weeks have had a lot of ups and downs. There was not a second of my day that I was thinking about the studio and what else I needed to complete. I figured out how to manage my time and learned how to work fast and efficiently. I made a lot of friends and felt that I became close with my instructors which helped me through the 5 weeks. I am extremely proud of myself that I completed everything to the best of my ability and can’t wait to look back on this portfolio in a couple of years and reminisce on where everything started. If you could talk to you before these five weeks, what would you like to share with you? - If I could talk to myself before the 5 weeks started, I would tell myself to try and stay calm and not overthink or stress. At times, there can be a lot of work but there is no reason to overthink and be negative. I also would want to tell myself not to complain as much as I did because that was not a good mindset, I need to keep a positive mindset and think about how cool my project will look at the end of the day. I would also want to say that you are a strong woman and you can do anything you put your mind to.
1 1961
Category #1: Facing surface Ten photographs show how the angle of the wall changes and affects the human figure. The human figure then became obstructed by the walls as they changed. As the walls moved I felt that I was becoming trapped and had nowhere to go because the wall eventually blocked me.
0 degree
10 degree
20 degree
30 degree
40 degree
50 degree
60 degree
70 degree
80 degree
90 degree 4 1962
Category #2: Facing edge Ten photographs show how the wall moves from the left and ends right in front of the human figure. As the wall moves from the left the human becomes obstructed but can still see from its peripheral vision. Most of my vision was blocked as the wall moved in front of me but I could still see, it wasn’t as enjoyable with the wall so close to me.
0 degree
10 degree
20 degree
30 degree
40 degree
50 degree
60 degree
70 degree
80 degree
90 degree 5 1963
Category #3: Blocking wall Eleven photographs show how a blocking wall moves from the left and blocks the human figure. As the wall moves from the left the figure is blocked and doesn’t have anywhere to go. As the wall moved in front of my vision I was left staring at a blank wall and had no where to go, I felt trapped and small.
Opened level 1
Opened level 2
Opened level 3
Opened level 4
Block level 1
Block level 2
Block level 3
Block level 4
Block level 5
Block level 6
Block level 7
6 1964
Category #4: Passing the blocking wall Five photographs show a human figure walking past a blocking wall on the left. As the figure walks past the wall it becomes smaller and darker from the shadow of the wall. As I walk past the blocking wall, I feel powerful because I didn’t let the wall block me in.
Passing level 1
Passing level 2
Passing level 3
Passing level 4
Passing level 5
7 1965
Category #5: Aligned Wall Five photographs show an aligned wall sliding over from the left and comes into my line of vision. As the wall moves closer to the figure, the figure appears to look thinner because of how skinny the wall is. I was enjoying a peaceful movement until a wall came and blocked part of my view.
Closed level 1
Closed level 2
Closed level 4
Closed level 5
8 1966
Closed level 3
Category #6: Passing the aligned wall Six photographs show an aligned wall on the left and the human figure walking past. As the figure walks past the wall, it appears to be getting smaller because the wall is much taller. As I walk past this huge wall I feel small and claustrophobic because the wall is towering over me.
Passing level 1
Passing level 2
Passing level 3
Passing level 4
Passing level 5
Passing level 6
9 1967
Category #7: Walls with different heights Eight photographs show walls with different heights as the human figure stands there and becomes blocked by the walls. At first the figure appears large compared to the wall but as the wall continues to get higher it becomes smaller. As I am looking into a flower bed, out of nowhere the wall starts to shoot up from the ground blocking my view.
Wall with 1ft
Wall with 2ft
Wall with 3ft
Wall with 4ft
Wall with 5ft
Wall with 6ft
Wall with 7ft
Wall with 7ft
10 1968
Category #8: Floating and faced Wall Eight photographs show floating walls and a human figure. The human figure appears to be getting thinner as the walls move up higher. The walls blocked the figures view but as the walls went higher the view cleared up for the figure. I was looking at a billboard but suddenly, the board started to raise higher and it was no longer in my point of view.
1ft high floating wall
2ft high floating wall
3ft high floating wall
4ft high floating wall
5ft high floating wall
6ft high floating wall
7ft high floating wall
8ft high floating wall
11 1969
Category #9: 8ft high floating and aligned wall Four photographs show a high floating wall and a human figure below it. The wall slowing moves and become aligned with the human figure. The human figure appears to be getting bigger as the wall moves right above it. I was on a walk when I suddenly saw a big wall moving towards me, luckily it was taller than me so it didn’t infer with my walk.
Alignment level 1
Alignment level 4
12 1970
Alignment level 2
Alignment level 3
Category #10: 8ft high floating and faced wall Eight photographs show a high floating wall and a human figure standing below it. The wall comes down from the top left conner and almost blocks the human figures view. I was out enjoying my day when a poster appears in front of me, it was much taller than me so I have to look up at the poster to read the message.
Overlap level 1
Overlap level 2
Overlap level 3
Overlap level 4
Overlap level 5
Overlap level 6
Overlap level 7
Overlap level 8
13 1971
Category #11: floating horizontal surface Eight photographs show a high floating surface and a human figure underneath it. The surface is coming from the left said and makes it way above the figure. The figure becomes shaded by the surface and appears to be taller. As I was enjoying my time outside, there was a surface that appeared and gave me some shade so I could cool down.
Overlap level 1
Overlap level 2
Overlap level 3
Overlap level 4
Overlap level 5
Overlap level 6
Overlap level 7
Overlap level 8
14 1972
Category #12: Horizontal surfaces with different heights Twelve photographs show horizontal surfaces with different heights and a human figure standing in front of them. The surfaces start at the top and make their way through a hole in the ground and then go underground. The human figure appears to become bigger as the surfaces go lower. I was out for a walk when I noticed there was a hole in the ground, I stopped and looked up and the ground was slowing coming down.
8ft high horizontal surface
7ft high horizontal surface
6ft high horizontal surface
5ft high horizontal surface
4ft high horizontal surface
3ft high horizontal surface
2ft high horizontal surface
1ft high horizontal surface
-1ft high horizontal surface
-2ft high horizontal surface
-3ft high horizontal surface
-4ft high horizontal surface 15 1973
Category #13: Wall surface with an incline Eight photographs show a wall on the left side with an incline and a human figure underneath. The human figures looks like it is crowded with the wall that close and inclined, it also appears to become smaller as the wall is above him. I was enjoying my walking outside when I suddenly got claustrophobic as the wall was coming closer to my head.
10 degree
20 degree
30 degree
40 degree
50 degree
60 degree
70 degree
80 degree
16 1974
Category #14: Inclined wall Six photographs show an inclined wall coming from the ground up and a human figure standing next to the wall. The human figures seems to be getting taller as the wall becomes more upright. I was standing out side when a wall suddenly became close to me and made me feel small.
Inclined level 1
Inclined level 2
Inclined level 3
Inclined level 4
Inclined level 5
Inclined level 6
17 1975
Category #15: Floating wall surface facing edge with an incline Six photographs show a floating wall to the left of the human figure. As the wall counties to move up at an incline, the wall seems to become thinner because of the angle. I was standing inside when the wall started to move and it looked like a needle was trying to poke me but it was just the wall at an angle.
Inclined level 1
Inclined level 2
Inclined level 3
Inclined level 4
Inclined level 5
Inclined level 6
18 1976
Category #16: Inclined surface to a facing wall Nine photographs show a inclined surface and a human figure standing in front. The surface moves up at the front of the surface and becomes a blocking wall. As the wall moves up the figures appears smaller and because the wall becomes taller. I was sitting at my desk when the front of it starts to rise up against the wall and blocks my view.
10 degree
20 degree
30 degree
40 degree
50 degree
60 degree
70 degree
80 degree
90 degree
19 1977
Category: #17 Inclined ramp to facing wall Nine photographs show an inclined ramp and a human figure standing in front of it. The ramp starts to raise against the wall becoming a very steep ramp, the figure in front of the ramp appears to be smaller as the ramp raises. I was about to walk up a ramp but then it began to raise and became to steep for me to easily walk up it, the ramp blocked my pathway.
10 degree
20 degree
30 degree
40 degree
50 degree
60 degree
70 degree
80 degree
90 degree
20 1978
Category: #18 One Column Two photographs show one column from two different angles, as well as a human figure. From the front view, the human figure appears to be tall and big. From the side view, the human figure appears smaller and further away from the column. As I was out for my nightly walk, I walked past a lamp post.
Front
Side
Category: #19 Two Columns Two photographs show two different angles of two columns and a human figure. The vertical angle seems to be more clear that there are two columns. The horizontal view it is a bit difficult to see the second column because it is directly behind the first column. As I was walking, I decided to go in between two columns.
Vertical
Horizontal
21 1979
Category: #20 Three Columns Two photographs show two different show two different set ups of columns and a human figure. In the vertical view, it is difficult to see the column towards the back because of the columns in front of it. In the horizontal view, it is easier to see all of the columns since they are staggered. As I walked pasted this columns I was curious on why they were staggered so I walked straight through the middle of them.
Vertical
Horizontal
Category: #21 Four Columns Two photographs show two different ways to place columns and human figures to show the difference. In the first picture the columns are more spread out creating a wide area for people to enter. The second photo, it is a much narrower set up and looks like a hallway. As I was walking through my hallway, I stopped and realized how narrow the hallway was and how it would be an uncomfortable space to stay in for a long period of time.
Wide
22 1980
Narrow
Category: #22 One Wall and One Column Eight photographs show different positions of the column and the human figure. The column switches positions in every photo creating an illusion of how big or small the human figure may look. As I was enjoying my walk, the column ahead of me began to move all over the place. I had to dodge the column so it wouldn’t hit me.
Condition 1
Condition 2
Condition 3
Condition 4
Condition 5
Condition 6
Condition 7
Condition 8
23 1981
Category: #23 One Wall and two Columns Three photographs show one wall changing positions and two columns also changing there position. The human figure looks bigger in the first photo because the wall lines up with is body, in the other photos the figure becomes smaller because more of the wall is shown. As I was walking outside, the wall next to me changed the direction it was facing and the columns started to move as well. This made me feel uncomfortable and small.
Condition 1: aligned wall and vertically aligned columns
Condition 2: facing wall and vertically aligned columns
Condition 3: facing wall and horizontally aligned columns
Category: #24 Two Walls and two Columns Two photographs show two walls and two columns with two human figures. In the first photos there are two human figures and a column but in the next picture you get another column that completes the image that comes across. My friend and I were walking in a museum together and exploring all the different elements of the architecture.
Columns aligned vertically with perpendicular walls
24 1982
Columns aligned horizontally with perpendicular walls
Category: #25 Two Walls and two Columns with two lighting conditions_01 Six photographs show a human figure walking with different lighting. In three of the photos, the light is coming from the left side and in the other three the light is coming from behind the wall on the right. As I was walking through a hallway, I got sacred because the lighting was making it creepy.
Walking between vertically aligned columns and perpendicular walls with lighting behind Figure
Walking between vertically aligned columns and perpendicular walls with lighting behind wall
Walking beside vertically aligned columns and perpendicular walls with lighting behind Figure
Walking beside vertically aligned columns and perpendicular walls with lighting behind wall
Walking beside vertically aligned columns and extended perpendicular walls with lighting behind Figure
Walking beside vertically aligned columns and extended perpendicular walls with lighting behind wall
25 1983
Category: #26 Two Walls and two Columns with two lighting conditions_02 Four photographs show two walls and how the lighting changes. The human figure walks closing to the wall that is blocking him and as he walks the lighting changed from the left to the right. I was trying to walk into the lighted hallway, but I was confused because the lighting kept changing. I almost ran right into the wall.
Passing horizontally aligned columns to enter the space between two walls with lighting behind Figure
Passing vertically aligned columns to enter the space between two walls with lighting from the inside space
26 1984
Passing horizontally aligned columns to enter the space between two walls with lighting from the inside space
Passing vertically aligned columns to enter the space between two walls with lighting behind Figure
Category: #27 Two Walls and two Columns with two lighting conditions_03 Six photographs show two walls and two columns with different lighting. The human figure appears to be walking through some sort of building as the walls and columns change as the figure continues to walk. As I walk through the building the walls and columns are moving and I am having a hard time figuring out where I need to go. The lighting changes with every step I take as well.
Passing vertically aligned columns to pass a narrow opening between two walls with lighting behind Figure
Passing vertically aligned columns to pass a narrow opening between two walls with lighting from the inside space
Passing vertically aligned columns to pass an intermediate opening between two walls with lighting behind Figure
Passing vertically aligned columns to pass an intermediate opening between two walls with lighting from the inside space
Passing horizontally aligned columns to pass a wide opening between two walls with lighting behind Figure
Passing horizontally aligned columns to pass a wide opening between two walls with lighting from the inside space
27 1985
Category: #28 Vertically aligned Two Walls and two Columns Two photographs show two walls and two columns at different angels. As the human figure continues to walk the walls move apart and create a better opening as well as the columns. As I was walking down the hallway, it suddenly become much bigger and not so claustrophobic.
Between walls, walking
28 1986
Between columns, walking
Category: #29 Space composed with 5+ columns and 2 walls Six photographs show a sequence with five columns and two walls. The human figure is placed in many different point of views so that he can see all of the angles of the columns and walls. As I was observing the five columns and the uneven walls, I was inspired and realized that anything can be turned into design.
Top view of the space composed
Sequence phase #1
Sequence phase #2
Sequence phase #3
Sequence phase #4
Sequence phase #5
29 1987
Category: #30 Faced wall with Connected wall Nineteen photographs show the wall turning at certain degrees with a human figure not moving. As the human figure stands there the walls move and the figure is no longer blacked or trapped within the walls. I was enjoying a nice day inside when my walls started to move and I was suddenly outside.
90 degree
100 degree
110 degree
120 degree
130 degree
140 degree
150 degree
160 degree
170 degree
180 degree
190 degree
200 degree
30 1988
210 degree
220 degree
230 degree
250 degree
260 degree
270 degree
31 1989
Category: #31 Aligned wall with Connected wall Seventeen photographs show different angles of the walls and how they move. Their are two human figures standing in the same place to show the difference between each degree. As I was standing in a corner with my friend, I was starting to get claustrophobic and was about to leave. Suddenly the walls starting to become wider and I didn’t need to leave because the walls moved for me.
10 degree
20 degree
30 degree
40 degree
50 degree
60 degree
70 degree
80 degree
90 degree
100 degree
110 degree
120 degree
32 1990
130 degree
140 degree
150 degree
160 degree
170 degree
33 1991
Category: #32 Facing the connected edge of two walls Seventeen photographs show different angles of the walls and how it started off thin and became thicker. The human figure stands there as a guide to show how much the walls grow wider with every degree. As I was standing outside looking at a corner, it started to move and no longer was a corner and just became a plain wall.
10 degree
20 degree
30 degree
40 degree
50 degree
60 degree
70 degree
80 degree
90 degree
100 degree
110 degree
120 degree
34 1992
130 degree
140 degree
150 degree
160 degree
170 degree
35 1993
Category: #33 Three connected walls Two photographs show three walls that are all connected. There are two human figures to show how the wall starts with wide walls but then close in and become narrow. As I was standing inside with my friend we noticed the walls closing in on us and we became concerned.
Wide-facing wall with two wings
Narrow-facing wall with two wings
Category: #34 Curved wall inside Four photographs show a curved wall in different sizes. The human figure stands in the middle of the wall and appears smaller when the curved wall is taller and taller when the curved wall is shorter. I was standing in front of a curved wall when it suddenly shot up and became much taller than me and made me feel small.
Small-curved and 8ft height
Large-curved and 16ft height 36 1994
Small-curved and 16ft height
Large-curved and 8ft height
Category: #35 Curved wall outside Eight photographs show curved walls different sizes and different angles. The human figure stans in front of the curved wall and then on the left side to show the comparison. As I stand in front of a curved wall, I walked to the left of it to really see how this wall compares to my body size.
Facing Small-curved and 8ft height
Passing Small-curved and 8ft height
Facing Small-curved and 16ft height
Passing Small-curved and 16ft height
Facing Large-curved and 8ft height
Passing Large-curved and 8ft height
Facing Large-curved and 16ft height
Passing Large-curved and 16ft height
37 1995
Category: #36 Curved Walls and Flat Walls Five photographs show a curved wall as well as a flat wall and how different kinds of walls can effect your perspective. There are two human figures to show how the curve wall shapes one of them and the other stands next to the flat wall. As my friend and I look at these two different walls, we realized that a curved wall can really shape someone and a flat wall doesn’t do too much to the body shape.
Facing a flat wall (8fh height) while passing a curved wall (8fh height)
Entering a space between a flat wall (8fh height) and an opened-curved wall (8fh height)
38 1996
Entering a space between a flat wall (8fh height) and a closed-curved wall (8fh height)
Entering a space between a flat wall (8fh height) and a half opened-curved wall (8fh height)
Category: #37 Entering into a space between Parallel Curved Walls Eight photographs show a human figure entering a space between two curved walls. As the human figure enters between the walls, there is another human figure standing in front of one of the curved walls. As I was walking in a hallway and enters a cool room with different curved walls, my friend scared me because she was hidden behind the curved wall.
Small-curved and 8ft high outside
Small-curved and 16ft high outside
Large-curved and 8ft high outside
Large-curved and 16ft high outside
Small-curved and 8ft high inside
Small-curved and 16ft high inside
Large-curved and 8ft high inside
Large-curved and 16ft high inside
39 1997
Category: #38 Entering a space between curved mirror walls_01 Four photographs show two curved walls that mirror each other as they change heights. The human figure stands in between the walls and watched how they grow higher and longer. As I stand in between these walls, I start to feel really small and almost like I’m about to get crushed.
Small-curved and 8ft height
Large-curved and 16ft height
40 1998
Small-curved and 16ft height
Large-curved and 8ft height
Category: #39 Entering a space between curved mirror walls_02 Eight photographs show two curved walls mirroring each other and the walls create a hallway. The human figure starts to walk down into the lighted hallway because the curved walls lead the figure that way. I was walking in a dark room and saw that this hallway was lit up and decided to follow the outline of the walls to led me to the light.
Small-curved and 8ft high with inside lighting
Small-curved and 8ft high with outside lighting
Small-curved and 16ft high with inside lighting
Small-curved and 16ft high with outside lighting
Large-curved and 8ft high with inside lighting
Large-curved and 8ft high with outside lighting
Large-curved and 16ft high with inside lighting
Large-curved and 16ft high with outside lighting
41 1999
Category: #40 One curved wall and one column Two photographs show one curved wall and a column at different angles. The human figure appears to be walking outside in the first photo but in the second it looks like he is walking inside. As I am walking outside I walking in between a curved wall and a column but as I turn the coroner I am suddenly inside and the column is on the other side of me.
Entering a space between a column and curved wall outside
Entering a space between a column and curved wall inside
Category: #41 One curved wall and two columns Three photographs show one curved wall and two columns at different angels. There are two human figures, one of the appears to be walking around the curved wall in between the curved wall and columns and the other one is standing in the middle of the curved wall. As I walk around this curved wall I suddenly see a beautiful girl.
Entering a space between a column of two horizontally aligned and curved wall outside
42 2000
Facing the outside of a curved wall with two horizontally aligned columns with insufficient space between them
Entering a space between a column of two vertically aligned and a curved wall outside
Category: #42 Role of a column between Curved and flat walls Four photographs show a curved wall and a flat wall with columns. The human figure looks to be walking in a path when both of the walls are curved, but when one of them is flat is appears to be blocking the figure from the path. As I was walking down a path, a flat wall suddenly appeared and I was blocked in and had no way to go.
Entering a space between two parallel curved walls, with a column in front of the outer curved wall
Entering a space between a faced flat wall and a curved wall, with a column in front of the flat wall
Entering a space between two parallel curved walls, with a column in front of the inner curved wall
Entering a space between a parallel flat wall and a curved wall, with a column in front of the flat wall
43 2001
Category: #43 Curved connection Four photographs show a curved wall and how it becomes straighter with each picture. The human figure stands in the same spot so you can really see the difference in the degree of the wall. As I stand still looking at the curved wall, it suddenly begins to straiten out and it was cool to see how the different degrees effected my body.
Follow two flat walls that are connected at an angle of 60 degrees smoothly
Follow two flat walls that are connected at an angle of 150 degrees smoothly
44 2002
Follow two flat walls that are connected at an angle of 90 degrees smoothly
Follow two flat walls that are connected at an angle of 120 degrees smoothly
Category: #44 Curved wall and S-curve wall Four photographs show a curved wall and an s shaped curved wall with different heights. The human figure appears big when the walls are shorter and shorter when the walls are tall. As I walk down this hallway I suddenly feel extremely small because the walls are so tall.
Curved wall and S-curve wall 8ft high with inside lighting
Curved wall and S-curve wall 8ft high with outside lighting
Curved wall and S-curve wall 16ft high with inside lighting
Curved wall and S-curve wall 16ft high with outside lighting
45 2003
Category: #45 1 point perspective pictures: Void on the upside Four photographs show a different sizes of voids that are upside down as it brings light into the room. The human figure stands in the middle of the light. As I stand in the room the sunlight hits me and it feels warm through the skylight.
A 4’x4’ square void with a height of 8ft
A 8’ diameter void with a height of 8ft
46 2004
A 8’x8’ square void with a height of 8ft
A 4’ diameter void with a height of 8ft
Category: #46 Void on the upside with columns or walls Four photographs show different sizes of voids and walls and columns all set up in different ways. The human figure appears to be walking around and exploring the different set ups. As I am walking through an interesting room, I seem to get a little lost because of all of the walls and columns. The lighting also makes it more complexed.
A 8’x8’ square void with columns
A 8’x8’ square void with a facing wall
A 8’x8’ square void with a passing wall
View for A 4’x4’ square void with a flat wall aligned with one side and two columns aligned with the opposite side
47 2005
Category: #47 Void on the downside with columns or walls Six photographs show a void on the downside and one wall. The human figure stands close to the void as the lighting and wall around the figure change. As I stand close to the edge, I get a little worried I might fall through the hole because the wall and lighting continues to change around me.
A 8’x8’ square void with a facing wall and light from upper floor
A 8’x8’ square void with a facing wall and light from side
A 8’x8’ square void with a facing wall and light from lower floor
A 8’x8’ square void with a passing wall and light from side
A 8’x8’ square void with a passing wall and light from lower floor
A 8’ diameter void with light from lower floor
48 2006
Category: #48 Void on the upside with combinations of columns or walls Ten photographs show five walls and a void coming from the top, there are also two columns. The human figure stands in different parts of the room as the columns also move around the figure. As I move around the room the columns seem to be following me, this room may be haunted.
Scene #1
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Scene #10 49 2007
Category: #49 Void between Floating Surfaces Five photographs show two walls that are different heights and also different angles. There are three human figures standing on each level of the walls and you can see them from all sorts of angles. As I stand on the ground I see two other people looking down on me and I feel as if I am being watched.
Scene #1
Scene #2
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Scene #3
Category: #50 Void between curve-linear Surfaces Two photographs show one wall with a void and different angles of the void. There are three human figures two of them are standing on top of the void looking down at the other figure on the surface. As I stand on the ground, I noticed a weird shape in the sky and was memorized by how different it was.
Scene #1 50 2008
Scene #2
Category: #51 Void with a combination of Two photographs show five walls and 2 voids in different angles. There are two human figures, one standing on the ground looking up through the void and the other standing close to the void. As I was standing in an interesting room, I noticed all of the cool details the designer must have put into this room to make it special.
Scene #1
Scene #2
Category: #52 Curved vertical surface Two photographs show a small and a large curved vertical surface. The human figure stands in front of the curved surface and you can the figure looks larger standing in front of the small surface and he looks smaller standing in front of the large surface. As I was standing in front of the curved surface I was amazing at how a wall could curve like that.
A 4’wide
A 8’wide 51 2009
Category: #53 Curved vertical surface with an upper floor Five photographs show one curved vertical surface and a upper floor to have a different view of the curved wall. The human figure stands on top of the upper floor, he appears very large standing on top of a platform. As I stand on top of the elevated surface I feel that I can have a clear view of the curved wall and really understand the build.
Scene #1
Scene #2
Scene #4
Scene #5
52 2010
Scene #3
Category: #54 Curved vertical surface with a void Five photographs show a curved surface going through a void. The human figure stands in all different areas to get a clear perspective of the build. As I stand on an elevated surface, I feel tall and I can see everything that is happening with the curved wall and the void.
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Scene #5
Category: #55 Facing Curved vertical surface Two photographs show a figure facing a curved vertical surface, one surface is small and the other surface is larger. The human figure stands in the middle of the surface and appears to be large when it is standing in front of the smaller surface and smaller when standing in front of the larger surface. As I stand in front of these cool walls, I start to feel a little small because the wall appears to be much larger than me.
Scene #1
Scene #2 53 2011
Category: #56 Hanging curved surfaces Four photographs show different angles of hanging curved surfaces. The human figure stands underneath a curved surface and appears to look small under a closed surface. As I stand underneath a bridge, I get scared because I can’t see the sky and feel trapped.
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Category: #57 Surfaces with convexities and concavities Two photographs show a hanging surface with a curved wall underneath. The human figure stands underneath the hanging wall and next to the curved wall. As I stand underneath a bridge, I feel safe knowing there is a wall to help hold up the bridge.
Scene #1 54 2012
Scene #2
Category: #58 A sphere with a strong center and centripetal force Four photographs show a sphere with a void to show different perspectives. The human stands in different positions and appears bigger in some photos but smaller in others, depending on the sphere and where it is placed. As I stand on a elevated surface with the void, I look at a sphere and realize how cool and different a sphere looks from the top.
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Category: #59 Surfaces that are twisted and free Three photographs show different shaped surfaces that are twisted and free. A human figure stands in the same place so you can see how the surfaces change around the figure. As I stand and look at these floating surfaces, I am truly curious and want to understand how people make things like this in real life.
Scene #1
Scene #2
Scene #3
55 2013
J E SSI CA SCH N E L L E Port folio
2014
1
Project #1 “Wall, Column, and Space”
What I learned...
- With this being the introductory project of the semester - and also my first architectural project ever - it laid the foundation perfectly for what I would need to know moving forward. With limited supplies, I was able to create scenes in which you could visibly see and feel how elements impacted the overall mood of the scene/space. Stripping the elements to their barest state allowed me to fundamentally understand the characteristics and offerings of each of them. Project #2 “Hand Drawing” - Drawing in general has never come very intuitive to me, so I was unsure how I would perform in the more artistic aspects of this semester. However, the projects were structured in a way that allowed me to build off the basic skills I did know to create a dynamic and interesting outcome. Likewise, perfection was not the end goal - clarity and concept was - so the pressure of creating the best, most pristine piece of art faded away overtime. I really enjoyed this project because it took me out of my comfort zone and pushed me to continue striving to improve techniques, try new materials, and have fun with it. Project #3 “Power of Patience” - It was exactly what it sounds like, the power of patience. Looking back, this was one of my favorite days overall because I have never sat and admired a painting for such an extended amount of time before. After three hours, I had discovered two and half pages worth of new details within one 36” x 22” painting, which I had thought would be impossible beforehand. Since this project, I have found myself viewing every single piece of art or design I encounter with a new mindset of “why?“. Project #4 “Space Cube” - This project will forever have a special place in my heart - my first architectural models. Overall, it taught me the power of iteration. Every model I produced - from the original sequence model, to space cubes 1, 2, and 3 - I truly believed couldn’t get any better than the last one, but they did. Yes, in smaller and more subliminal ways each time, but in ways that impact the overall space much more than you even realize. In addition, drawing our first architectural plans of the space cube was so impactful in my process of bringing 3D to 2D because I had a physical object to model and look at from every angle to guide me along the way. Project #5 “First Portfolio” - For four weeks prior, everything I had created was done manually. So, switching to technology one, and then technology that essentially handles the design process for me, was quite a shift. I found it difficult to hand the reins over and let the machine do all the design decisions for me because I had been so particular up to this point. However, everything that I had been desiging for four weeks prior had the opportunity to come to life and become a real interior space. It was extremely eye opening in the fact that it created spaces that I would have never imagined and opened my mind to endless possibilities. Overall - Honestly, I doubted every single assignment that was given to us and the intention behind it, but they always proved important and critical to my design journey. Design school is unlike any other institution in the fact that they aren’t teaching you right versus wrong, they’re teaching you how to form your own mindset. To flip everything you know upside down and view it from a position of curiosity, not blind assumption. That’s what I gained overall this semester, literally a new view on life itself. If you could talk to you before these five weeks, what would you like to share with you? - You definitely didn’t know what you signed up for. This is going to be the most physically, mentally, emotionally, and spirtually draining five weeks of your life. You are going to question everything you know about both yourself and the world around you. You are going to question whether this is even right for you. BUT, you will walk away a completely different person. A more mature and intelligent adult, an intrigued student, and a respected designer. You will prove to yourself that you can do anything you set your mind to. You will be truly proud of what you accomplished and what is to come. And by the end, you’ll know it was all worth it.
1 2015
Category #1: Facing surface The series of photographs display how as the wall moves more behind the human figure, it blocks him from being able to move forward. As the wall changes, the human figure becomes trapped. I could move forward between 0-40 degrees but no longer could from 50-90 degrees.
0 degree
10 degree
20 degree
30 degree
40 degree
50 degree
60 degree
70 degree
80 degree
90 degree 4 2016
Category #2: Facing edge The photographs show how a 90-degree wall gradually changes angles to a facing edge. As the wall changes, the human figure goes from being directly beside the wall to facing the wall. I had an open view for the majority of the angles, but was obstructed by zero-degrees.
0 degree
10 degree
20 degree
30 degree
40 degree
50 degree
60 degree
70 degree
80 degree
90 degree 5 2017
Category #3: Blocking wall The collection of photographs illustrates a wall gradually moving until it becomes a blocking wall. As the wall changes, the human figure’s view becomes obstructed. I had an open view until photo five and ended up looking in the middle of the wall by the end.
Opened level 1
Opened level 2
Opened level 3
Opened level 4
Block level 1
Block level 2
Block level 3
Block level 4
Block level 5
Block level 6
Block level 7
6 2018
Category #4: Passing the blocking wall The series of photographs showcases the passing of a blocking wall. As the wall changes, the human figure seems to walk as though going through a doorway. I started in front of the wall and gradually moved until it was behind me, leaving me satisfied and happy.
Passing level 1
Passing level 2
Passing level 3
Passing level 4
Passing level 5
7 2019
Category #5: Aligned Wall The six photographs show an aligned wall gradually moving. As the wall changes, the human figure loses space and his view becomes obstructed. At the beginning, I had a comfortable amount of distance between me and the wall, but by the fifth level, I was uncomfortable
Closed level 1
Closed level 2
Closed level 4
Closed level 5
8 2020
Closed level 3
Category #6: Passing the aligned wall The photographs illustrate the passing of an aligned wall. As the wall changes, the human figure retains the ability to walk and see clearly. I had no trouble functioning in this space and am therefore happy and satisfied.
Passing level 1
Passing level 2
Passing level 3
Passing level 4
Passing level 5
Passing level 6
9 2021
Category #7: Walls with different heights The collection of photographs displays walls with increasing heights. As the wall changes, the human figure’s view becomes obstructed. I had a clear view for most of the wall heights, up until the 6-foot mark, and then my view was obstructed, making me feel disappointed.
Wall with 1ft
Wall with 2ft
Wall with 3ft
Wall with 4ft
Wall with 5ft
Wall with 6ft
Wall with 7ft
Wall with 7ft
10 2022
Category #8: Floating and faced Wall The series of photographs demonstrate a floating and faced wall gradually gaining height. As the wall changes, the human figure’s view becomes clear, unobstructed. I was trapped facing the wall, slowly gaining a view until it’s finally clear by the 6 foot mark, making me feel happy.
1ft high floating wall
2ft high floating wall
3ft high floating wall
4ft high floating wall
5ft high floating wall
6ft high floating wall
7ft high floating wall
8ft high floating wall
11 2023
Category #9: 8ft high floating and aligned wall The photographs showcase an 8 foot high floating and aligned wall gradually changing. As the wall changes, the human figure’s view becomes obstructed. I had the possibility to move in the first two frames but was blocked by the wall in the last two, and I felt unable to move forward.
Alignment level 1
Alignment level 4
12 2024
Alignment level 2
Alignment level 3
Category #10: 8ft high floating and faced wall The collection of photographs shows an 8 ft high floating and faced wall slowly sliding above the human figure’s head. As the wall changes, the human figure gains a shadow and a short, slim ceiling. I feel that as the wall comes overtop, I lose head space and am no longer comfortable.
Overlap level 1
Overlap level 2
Overlap level 3
Overlap level 4
Overlap level 5
Overlap level 6
Overlap level 7
Overlap level 8
13 2025
Category #11: floating horizontal surface The series of photographs illustrates a floating horizontal surface that gradually covers the head of the human figure. As the wall changes, the human figure gains an overcast shadow. Through the changes, the light source becomes obstructed from above and makes me feel anxious.
Overlap level 1
Overlap level 2
Overlap level 3
Overlap level 4
Overlap level 5
Overlap level 6
14 2026
Category #12: Horizontal surfaces with different heights The photographs showcase a horizontal surface coming from above and going below the floor. As the wall changes, the human figure gains light exposure from above. I felt towered over until the five-foot mark, had the wall directly behind me for 1-5 feet, and then had negative space behind/below me from –1 to –4 feet.
8ft high horizontal surface
7ft high horizontal surface
6ft high horizontal surface
5ft high horizontal surface
4ft high horizontal surface
3ft high horizontal surface
2ft high horizontal surface
1ft high horizontal surface
-1ft high horizontal surface
-2ft high horizontal surface
-3ft high horizontal surface
-4ft high horizontal surface 15 2027
Category #13: Wall surface with an incline The photographs illustrate how a wall surface gradually increases both height and incline. As the wall changes, the human figure gains a gradual overcast shadow. The light from above becomes more and more cut off throughout the changes, making me feel anxious and boxed in.
10 degree
20 degree
30 degree
40 degree
50 degree
60 degree
70 degree
80 degree
16 2028
Category #14: Inclined wall The series of photographs shows how an inclined wall gradually gains incline. As the wall changes, the human figure becomes more parallel to the wall. The slow rise in incline is almost frightening as it rises from the ground.
Inclined level 1
Inclined level 2
Inclined level 3
Inclined level 4
Inclined level 5
Inclined level 6
17 2029
Category #15: Floating wall surface facing edge with an incline The collection of photographs displays how the incline of a floating wall surface gradually changes. As the wall changes, the human figure becomes more impacted by the wall. At the beginning, the incline was small and low to the ground, but as the wall progresses, the incline grows and rises further off the ground.
Inclined level 1
Inclined level 2
Inclined level 3
Inclined level 4
Inclined level 5
Inclined level 6
18 2030
Category #16: Inclined surface to a facing wall The photographs illustrate how an inclined surface to a facing wall gradually changes. As the wall changes, the human figure gains, once again, a gradual overcast shadow. The changes make me feel anxious because the wall is towering over you.
10 degree
20 degree
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60 degree
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80 degree
90 degree
19 2031
Category: #17 Inclined ramp to facing wall The series of photographs showcases how an inclined ramp to a facing wall gradually changes. As the wall becomes more steep, the human figure is unable to use it. I had the possibility of going up the ramp from 0-50 degrees, but couldn’t continue afterward, leading to frustration.
10 degree
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90 degree
20 2032
Category: #18 One Column The two photographs show a singular column in relation to a human figure. In the first photo, the human figure is walking forward and to the left of the column, illustrating how a column allows for openness within a space. In the second photo, the human figure is left-faced and aligned with the column, demonstrating how although it is in front of you, it does not block you in.
Front
Side
Category: #19 Two Columns The two photographs demonstrate the relationship between two columns. In the first photo, the human figure is in the center of side to side columns, making an entrance and fostering a feeling of welcoming. In the second photo, the human figure is to the left of front to back columns, making it seem that he is outside of the space.
Vertical
Horizontal
21 2033
Category: #20 Three Columns The two photographs illustrate the relationship between three columns, both front to back and side to side. In the first photo, the human figure is to the left of the front to back columns, which makes the space seem grand and as though you’re walking next to it. In the second photo, the human figure is in the middle of the side to side columns, in turn creating a well balanced feeling.
Vertical
Horizontal
Category: #21 Four Columns The two photographs showcase the relationship between four columns, both widely and narrowly apart from each other. In the first photo, the human figure is in the center of the wide columns, creating a feeling that the space is important and distinguished. In the second photo, the columns are now narrowly surrounding the human figure, creating a sense of tightness in a closed space.
Wide
22 2034
Narrow
Category: #22 One Wall and One Column The collection of photographs showcase the relationship between one edge-facing wall and one column. When the column is to the right of the human figure but closer to the wall, the space feels narrow and uncomfortable. However, when the column is further away from the wall, the human figure has more space between the wall and therefore feels more comfortable. On the other hand, when the column is directly next to the wall, it doesn’t invade the space at all.
Condition 1
Condition 2
Condition 3
Condition 4
Condition 5
Condition 6
Condition 7
Condition 8
23 2035
Category: #23 One Wall and two Columns The photographs illustrate one wall functioning with two columns. As the walls and columns change, the human figure retains the ability to walk and see with no obstructions. When the facing edge wall is accompanied by front to back columns, it provides a comfortable, porch feeling. When the wall becomes faced, it feels as though you are walking into a new space. Then when the columns shift to be side to side, the space feels welcoming.
Condition 1: aligned wall and vertically aligned columns
Condition 2: facing wall and vertically aligned columns
Condition 3: facing wall and horizontally aligned columns
Category: #24 Two Walls and two Columns The two photographs display two perpendicular walls with an opening between them and two columns side by side in front of the facing wall. In the first photo, the human figure has a column to the right of him with the start of the wall directly behind it, leading to a doorway/ entrance feel. In the second photo, two human figures are seen using the same space in different ways. The right subject is standing in front of a wall and between two columns, creating a sense of central focus. The left figure is seen still walking into the doorway.
Columns aligned vertically with perpendicular walls
24 2036
Columns aligned horizontally with perpendicular walls
Category: #25 Two Walls and two Columns with two lighting conditions_01 The photographs showcase two walls and two columns with opposing lighting conditions. When the columns are on the left of the human figure, the space feels similar to a hallway but when the columns are on the right, the space feels as though you’re on the outside of it. Similarly, the lighting behind the man makes it feel as though he’s in the room, but the lighting in front of the man makes it feel as though he’s outside of it.
Walking between vertically aligned columns and perpendicular walls with lighting behind Figure
Walking between vertically aligned columns and perpendicular walls with lighting behind wall
Walking beside vertically aligned columns and perpendicular walls with lighting behind Figure
Walking beside vertically aligned columns and perpendicular walls with lighting behind wall
Walking beside vertically aligned columns and extended perpendicular walls with lighting behind Figure
Walking beside vertically aligned columns and extended perpendicular walls with lighting behind wall
25 2037
Category: #26 Two Walls and two Columns with two lighting conditions_02 The collection of photographs illustrate a wall in front of another, starting halfway in the space, providing a hallway and how lighting plays into the space. The photos with the lighting behind the subject make the human figure feel he’s within the space and the lighting in front of the human illuminates a hallway. The front to back columns provide a soft separation of spaces. The side to side columns provide an entrance.
Passing horizontally aligned columns to enter the space between two walls with lighting behind Figure
Passing vertically aligned columns to enter the space between two walls with lighting from the inside space
26 2038
Passing horizontally aligned columns to enter the space between two walls with lighting from the inside space
Passing vertically aligned columns to enter the space between two walls with lighting behind Figure
Category: #27 Two Walls and two Columns with two lighting conditions_03 The series of photographs display two aligned walls with an opening between them and two columns and how lighting plays into the space. The light shifts from behind the human figure – seeming as though the human is leaving a room - to in front of it, where it seems he is entering a room. The straight back columns give the space a gentle separation whilst the side to side columns provide an entrance feeling.
Passing vertically aligned columns to pass a narrow opening between two walls with lighting behind Figure
Passing vertically aligned columns to pass a narrow opening between two walls with lighting from the inside space
Passing vertically aligned columns to pass an intermediate opening between two walls with lighting behind Figure
Passing vertically aligned columns to pass an intermediate opening between two walls with lighting from the inside space
Passing horizontally aligned columns to pass a wide opening between two walls with lighting behind Figure
Passing horizontally aligned columns to pass a wide opening between two walls with lighting from the inside space
27 2039
Category: #28 Vertically aligned Two Walls and two Columns The two photographs illustrate two vertically aligned walls and columns within them. In the first photo, the human figure is outside of the space and in the dark, intrigued by the light emanating from within. The second photo shows the human figure inside of the room and amongst the columns, now in the light source, and walking forward.
Between walls, walking
28 2040
Between columns, walking
Category: #29 Space composed with 5+ columns and 2 walls The array of photographs demonstrate how a human functions in a space crowded with columns. As the human figure moves through the walls, he is met with many columns to avoid. I felt annoyed to have to navigate through a maze of columns and struggled to fit throughout and within the parameters of the space.
Top view of the space composed
Sequence phase #1
Sequence phase #2
Sequence phase #3
Sequence phase #4
Sequence phase #5
Sequence phase #6
29 2041
Category: #30 Faced wall with Connected wall The photographs showcase the gradual shifting of a faced wall with a connected wall. As the walls change, the human figure goes from being in the corner of a room to being on the same corner, only outside of it. I was facing a 90 degree joint and slowly gained light and openness as the wall moved to a symmetrical position, making me feel intrigued and happy.
90 degree
100 degree
110 degree
120 degree
130 degree
140 degree
150 degree
160 degree
170 degree
180 degree
190 degree
200 degree
30 2042
210 degree
220 degree
230 degree
240 degree
250 degree
260 degree
270 degree
31 2043
Category: #31 Aligned wall with Connected wall The collection of photographs show the gradual widening of two joined walls. As the walls change, the human figure gains more light, room, and sight distance. It began with two walls at an open angle and hinged to open the room to 180 degrees. The opening made me feel joyful and excited for what was to be revealed.
10 degree
20 degree
30 degree
40 degree
50 degree
60 degree
70 degree
80 degree
90 degree
100 degree
110 degree
120 degree
32 2044
130 degree
140 degree
150 degree
160 degree
170 degree
33 2045
Category: #32 Facing the connected edge of two walls The series of photographs display the gradual opening and closing of two walls, starting at the edges. As the walls shift, the human figure’s view becomes obstructed. I started facing the edges of two aligned walls, but gradually the second wall hinged to create a 180 degree surface, only twice as long now.
10 degree
20 degree
30 degree
40 degree
50 degree
60 degree
70 degree
80 degree
90 degree
100 degree
110 degree
120 degree
34 2046
130 degree
140 degree
150 degree
160 degree
170 degree
35 2047
Category: #33 Three connected walls The photographs illustrate the space difference between three connected walls. When the walls are wide, the human figure is flooded with light and the room is more open and inviting. When the walls are narrow, the human figure is closed off and the light doesn’t bounce off the walls in the same fashion.
Wide-facing wall with two wings
Narrow-facing wall with two wings
Category: #34 Curved wall inside The series of photographs displays the inside of a curved wall at different heights and lengths. When the curves are small in length, the human figure seems to be on the inside of a curved alcove. When the curves are large in length, the human figure seems to be in an entirely curved room.
Small-curved and 8ft height
Large-curved and 16ft height 36 2048
Small-curved and 16ft height
Large-curved and 8ft height
Category: #35 Curved wall outside The series of photographs illustrates the progression of height on the outside of a curved wall. When the curves are large, the human figure seems small, creating a grand space. When the curves are small, the human figure seems large, creating an average height space with the character of a curved wall.
Facing Small-curved and 8ft height
Passing Small-curved and 8ft height
Facing Small-curved and 16ft height
Passing Small-curved and 16ft height
Facing Large-curved and 8ft height
Passing Large-curved and 8ft height
Facing Large-curved and 16ft height
Passing Large-curved and 16ft height
37 2049
Category: #36 Curved Walls and Flat Walls The five photographs display the relationship between curved and flat walls. A faced wall makes the human figure seem he is inside of the space, walking alongside the walls. An edge-facing wall makes the human figure seem he is walking through a hallway. The combination of the edge-faced wall and open-curved wall makes the curved wall seem of importance.
Facing a flat wall (8fh height) while passing a curved wall (8fh height)
Entering a space between a flat wall (8fh height) and a closed-curved wall (8fh height)
Entering a space between a flat wall (8fh height) and an opened-curved wall (8fh height)
Your coordination in height and openness.
38 2050
Entering a space between a flat wall (8fh height) and a half opened-curved wall (8fh height)
Category: #37 Entering into a space between Parallel Curved Walls The series of photographs showcase the inside and outside views of entering a space between parallel curved walls. When the human figure is on the outside of the curves, it feels as though he’s outside of the space itself, entering it actually. However, when the human figure is on the inside of the curves, it feels as though he’s on the inside of the space itself, but exiting it now. In addition, the light source coming from inside the hallways creates interest and a welcoming ambiance.
Small-curved and 8ft high outside
Small-curved and 16ft high outside
Large-curved and 8ft high outside
Large-curved and 16ft high outside
Small-curved and 8ft high inside
Small-curved and 16ft high inside
Large-curved and 8ft high inside
Large-curved and 16ft high inside
39 2051
Category: #38 Entering a space between curved mirror walls_01 The four photographs illustrate entering a space between curved side to side mirror walls with an opening in the middle. When the curves are 8’, the human figure is similar in height to the walls but the curves feel as though they are going to reveal a big open space once exiting. When the curves are 16’, the human figure is small in relation to the walls, which creates a feeling of a grandiose space.
Small-curved and 8ft height
Large-curved and 16ft height
40 2052
Small-curved and 16ft height
Large-curved and 8ft height
Category: #39 Entering a space between curved mirror walls_02 The collection of photographs displays entering a space between a curved mirror wall at 8’ and 16’ heights. When the curves are 8’, the human figure is close in height to the walls and seems to be entering a new room, creating a feeling of openness and the curves creating a gentle push to continue following them. When the curves are 16’, the human figure is seemingly much smaller within the space now, creating a dramatic, grand welcome to continue onward.
Small-curved and 8ft high with inside lighting
Small-curved and 8ft high with outside lighting
Small-curved and 16ft high with inside lighting
Small-curved and 16ft high with outside lighting
Large-curved and 8ft high with inside lighting
Large-curved and 8ft high with outside lighting
Large-curved and 16ft high with inside lighting
Large-curved and 16ft high with outside lighting
41 2053
Category: #40 One curved wall and one column The two photographs showcase the relationship between one curved wall and one column. In the first photo, the human figure is entering a space between a column and a curved wall, as though he’s walking outside the building or room. In the second photo, the human figure is entering a space inside of a column and curved wall, as though he’s now inside of the room and walking alongside the wall.
Entering a space between a column and curved wall outside
Entering a space between a column and curved wall inside
Category: #41 One curved wall and two columns The three photos demonstrate the relationship between one curved wall and two columns. In photo one, the human figure is entering a space between a column of two horizontally aligned and curved wall outside and has no obstructions to continue his path, creating a feeling of welcoming, like an entrance. In photo two, the human figure is facing the outside of a curved wall with two horizontally aligned columns with insufficient space between them, creating a feeling that this is an important space, protected/supported by the columns. In photo three, the human figure is entering a space between a column of two vertically aligned and a curved wall outside, creating a space gently separated from the larger room and making it feel as though you are walking alongside a wall.
Entering a space between a column of two horizontally aligned and curved wall outside
42 2054
Facing the outside of a curved wall with two horizontally aligned columns with insufficient space between them
Entering a space between a column of two vertically aligned and a curved wall outside
Category: #42 Role of a column between Curved and flat walls The photographs illustrate the role of a column between curved and flat walls. When the walls are curved and the column on the left or right, the human figure remains unobstructed and the space seems to be a corridor, creating interest as what’s to come if you continue the path. When one wall is curved and the other straight, it feels as though you are simply entering a new space.
Entering a space between two parallel curved walls, with a column in front of the outer curved wall
Entering a space between a faced flat wall and a curved wall, with a column in front of the flat wall
Entering a space between two parallel curved walls, with a column in front of the inner curved wall
Entering a space between a parallel flat wall and a curved wall, with a column in front of the flat wall
43 2055
Category: #43 Curved connection The four photographs show the gradual progression of a curved connection wall hinging back. As the wall changes, the human figure gains a straighter walking path. At the beginning (60 degrees), the curve made me feel as though I was already in a room, with the gentle curve creating a smooth transition from one wall to another. As the wall continued to turn out, it revealed the end of the space, making it feel as though you just walked alongside the curve and are now exiting the space.
Follow two flat walls that are connected at an angle of 60 degrees smoothly
Follow two flat walls that are connected at an angle of 150 degrees smoothly
44 2056
Follow two flat walls that are connected at an angle of 90 degrees smoothly
Follow two flat walls that are connected at an angle of 120 degrees smoothly
Category: #44 Curved wall and S-curve wall The series of photographs displays the relationship between a curved wall on the right and an s-curve wall on the left, creating a “pathway”. When the walls are 8’, the human figure seems as though they are walking down a baseline, “normalized” hallway, especially inviting when the lighting is positioned to shine through the hallway from behind. When the walls are 16’, the human figure now seems to be walking down a much more grand and dramatic hallway, making the space feel exciting and intriguing.
Curved wall and S-curve wall 8ft high with inside lighting
Curved wall and S-curve wall 8ft high with outside lighting
Curved wall and S-curve wall 16ft high with inside lighting
Curved wall and S-curve wall 16ft high with outside lighting
45 2057
Category: #45 1 point perspective pictures: Void on the upside The four photographs illustrate a square or circle void of 4’ or 8’ sizing on the upside with above lighting. When the void is 4’ diameter or 4’x4’ - the smaller sizing – the human figure is lit up by the void light from above, making the space feel comforting and as though the void is a skylight. When the void is 8’ diameter or 8’x8’ - the larger sizing – the human figure no longer receives direct and full lighting, making the space feel larger and more dramatic.
A 4’x4’ square void with a height of 8ft
A 8’ diameter void with a height of 8ft
46 2058
A 8’x8’ square void with a height of 8ft
A 4’ diameter void with a height of 8ft
Category: #46 Void on the upside with columns or walls The collection of photographs explores a void on the upside with walls and columns below. When columns are placed front to back, the human figure has an unobstructed path with the void light creating a feeling of separation of spaces. The addition of a passing wall continues to add further separation of spaces. However, the addition of a facing wall does the opposite and instead creates one large, open space.
A 8’x8’ square void with columns
A 8’x8’ square void with a facing wall
A 8’x8’ square void with a passing wall
View for A 4’x4’ square void with a flat wall aligned with one side and two columns aligned with the opposite side
47 2059
Category: #47 Void on the downside with columns or walls The six photographs display a void on the downside with facing or passing walls passing through that void. When the wall is faced, the human figure is the center of attention and the light bounces off the wall to brighten him up. When the wall is passing, the wall is now the center of attention and retains the majority of the light bouncing through the space. I feel that when the light is coming from below the void, an emotional response of danger is produced. However, when the light is coming from the above, I feel happy to be under a “skylight”.
A 8’x8’ square void with a facing wall and light from upper floor
A 8’x8’ square void with a facing wall and light from side
A 8’x8’ square void with a facing wall and light from lower floor
A 8’x8’ square void with a passing wall and light from side
A 8’x8’ square void with a passing wall and light from lower floor
A 8’ diameter void with light from lower floor
48 2060
Category: #48 Void on the upside with combinations of columns or walls The photographs showcase the dynamic between a void on the upside with combinations of columns or walls underneath. When a wall is placed edge-faced, the space feels like a hallway or separated space. When a wall is placed faced, the void light flooding in is more concentrated and clear and feels more like a skylight. Columns placed throughout the space allow the human figure to feel inside of a separated space and the void placement more understandable.
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Category: #49 Void between Floating Surfaces The collection of photographs shows the relationship of a void between floating surfaces. As the floating surfaces shift, the human figure on the ground level is unbothered and unobstructed by anything happening above it, not including the light changes. I feel a modern vibe is displayed throughout each picture, making me feel joyful to wonder how they are floating.
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Category: #50 Void between curve-linear Surfaces The two photographs illustrate the void between curve-linear surfaces. When the human figure is below the void, he is staring up at two people and remains out of the void light, giving an eerie feeling. When the human figure is above the void, he is staring across to the two people and is now part of the light, creating a feeling of continuity.
Scene #1 50 2062
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Category: #51 Void with a combination of The two photographs showcase a void with a combination of two columns, one small-curved 8’ wall, one small-curved 16’ wall, one horizontal wall, and a 4’x4’ square void ceiling. As the viewpoint shifts, the human figure remains in the light flooding in from above, demonstrating the light differences amongst the space. I feel intrigued and amazed amongst the space because there are so many different layers of shadows and lights.
Scene #1
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Category: #52 Curved vertical surface The two photographs display a curved vertical surface. When the surface is 4’ wide, the human figure is unable to continue moving forward. In addition, the width is not much larger than the figure itself so it creates a small curved area overall. When the surface is 8’ wide, the human figure is still unable to move forward, but the larger width makes the curve feel grand, similar to an amphitheater.
A 4’wide
A 8’wide 51 2063
Category: #53 Curved vertical surface with an upper floor The series of photographs displays a curved vertical surface with an upper floor. When the human figure is on the ground level with the upper floor above him, he is overshadowed by upper floor and unable to move forward because of the intense sloped curve. When the human figure is on the upper floor, the floor somewhat hides the fact the back surface is curved, making it appear as a ramp. Overall, the scenes make me feel an intense excited feeling.
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52 2064
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Category: #54 Curved vertical surface with a void The collection of photographs display a curved vertical surface with a void either above or below. When the void is the ceiling and the curved surface is coming through the hole, the human figure is able to use the curved surface as a ramp and move to the upper floor, fostering a feeling of playfulness. When the void is the floor and the curved surface remains coming through the hole, the human figure is, once again, able to use the curved surface as a “slide” and travel to the ground floor, creating a feeling of joyful and playfulness.
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Category: #55 Facing Curved vertical surface The two photographs showcase a 8’ curved wall with a 8’ wide curved vertical surface in front of it. In the first photo, the human figure is able to use the curved vertical surface as a ramp and travel upwards to a different location, creating a feeling of joyfulness. In the second photo, the curved vertical surface travels over the human figure’s head and comes back towards the camera, leaving the figure unable to move forward, however, it creates a playful and enticing environment.
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Category: #56 Hanging curved surfaces The photographs illustrate the role of hanging curved surfaces. As the walls are overhead the human figure, he remains out of the light source but retains the ability to move and function in the space. Regardless of the height or shaped background, I remained in the dark spots of the space, but the hanging surfaces make me feel like I’m in the focal point of the space, creating a feeling of excitement and intrigue as to how they are hanging.
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Category: #57 Surfaces with convexities and concavities The two photographs showcase surfaces with convexities and concavities. As the walls shift from wide to narrow, the human figure struggles to walk through the space. I had plenty of space in the first photo, the walls were less intensely curved and it made me feel comfortable and intrigued. In the second photo, however, the walls became more concaved and I struggled to fit through the narrow sections, making me feel uncomfortable in the space.
Scene #1 54 2066
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Category: #58 A sphere with a strong center and centripetal force The series of photographs illustrate a sphere with a strong center and centripetal force. When the human figure is standing next to the sphere, he could walk around it, in fact, the circular nature invites you to. When the human figure is below the sphere, he retains the ability to walk but now remains in the shadows of the sphere. I didn’t enjoy the sphere being the same size as the void in the ceiling because it made me feel like it could fall through the ceiling. However, when the sphere is the center of a larger void, the light that spreads on the outside of the sphere makes me feel like I’m at the center of the solar system, creating excitement and intrigue.
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Category: #59 Surfaces that are twisted and free The three photographs display hanging curved surfaces, increasing in number as they advance. As the number of hanging surfaces increase, the human figure gains walkability. The hanging surfaces started low, almost to the ground, and made me feel obstructed, but as they increased in number, they also increased in height. By the end, I felt that the hanging surfaces became a feature of the ceiling and made the space feel funky and relaxing.
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55 2067
Ga b rielle Port foli o 2068
1
What I learned...
Project #1 “Wall, Column, and Space” Project #2 “Hand Drawing” Project #3 “Power of Patience” Project #4 “Space Cube” Project #5 “First Portfolio” Overall If you could talk to you before these five weeks, what would you like to share with you? -
1 2069
Category #1: Facing surface Ten photographs portray how the wall angle allows the human figure to view the wall from different perspectives, and the wall will block the human figure as the angle increases. As the angle of the wall increases, the human figure begins to have obstructed vision and can no longer walk forward. Whenever the wall was at zero degrees, I was able to walk forward, but as the angle of the wall began to increase, I had to step aside to walk past the wall, and at ninety degrees I was no longer able to move forward.
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90 degree 4 2070
Category #2: Facing edge Ten photographs show us how a wall can split the space in front of the human figure into two, and as it moves it opens a larger space in front of the human figure. As the angle of the wall increases, a large space is opened in front of the human figure. Whenever the wall sits at zero degrees, I feel I have a choice to walk on either side of the wall, but as the angle increased, I felt an urge to stay on the side that felt like it was opening.
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90 degree 5 2071
Category #3: Blocking wall Eleven photographs demonstrate how a wall can progressively slide in front of the human figure, resulting in a steady obstruction of the human figure. As the wall changes position, the human figure becomes confined. I had the option to walk forward, but as the wall progressively closed in on me, I felt as though I had to run to make it to the other side, and at the highest block level, I felt confined.
Opened level 1
Opened level 2
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Opened level 4
Block level 1
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Block level 7
6 2072
Category #4: Passing the blocking wall Five photographs show us how as the human figure passes the wall, it results in a new space being opened as the human figure is leaving the current space. As the walls change, the human figure progressively passes into a new space. As the wall was in front of me, I was curious about what was behind the wall and I also had room to walk forward, and as I passed the blocking wall I felt as though I was able to continue walking in a new space.
Passing level 1
Passing level 2
Passing level 3
Passing level 4
Passing level 5
7 2073
Category #5: Aligned Wall Five photographs illustrate to us how the position of the wall in front of the human figure gradually moves into the pathway of the human figure. As the walls change, the human figure must dodge the wall to walk forward. I had the possibility to walk forward during the first few closed levels, but as the wall reached the highest closed level, I had to dodge the wall to the right.
Closed level 1
Closed level 2
Closed level 4
Closed level 5
8 2074
Closed level 3
Category #6: Passing the aligned wall Six photographs demonstrate how the position of the wall to the side of the human figure gradually changes, resulting in a gradual change in the perspective of the human figure looking at the wall. As the walls change, the human figure sees a different perspective of the wall to the left. As I moved forward, I saw that there was a wall parallel to me on the left, and as I walked next to it, I had the opportunity to see the wall from different perspectives.
Passing level 1
Passing level 2
Passing level 3
Passing level 4
Passing level 5
Passing level 6
9 2075
Category #7: Walls with different heights Eight photographs illustrate how the height of the wall in front of the human figure gradually increases, resulting in a steady obstruction of the human figure. As the height of the wall changes, the human figure becomes steadily obstructed. I had the possibility to move forward over the wall whenever it was short, but as the wall increased in height, I felt unable to move forward and confined.
Wall with 1ft
Wall with 2ft
Wall with 3ft
Wall with 4ft
Wall with 5ft
Wall with 6ft
Wall with 7ft
Wall with 7ft
10 2076
Category #8: Floating and faced Wall Eight photographs illustrate how the height of the wall in front of the human figure gradually increases, resulting in a steady opening for the human figure to walk in. As the height of the wall changes, the human figure becomes steadily unobstructed. When the wall was low to the ground, I felt I had to crawl to move forward, but as the wall was raised, I was able to continue forward by walking.
1ft high floating wall
2ft high floating wall
3ft high floating wall
4ft high floating wall
5ft high floating wall
6ft high floating wall
7ft high floating wall
8ft high floating wall
11 2077
Category #9: 8ft high floating and aligned wall Four photographs demonstrate how the position of the wall over the human figure gradually shifts to the left, resulting in the wall being directly over the human figure. As the position of the wall shifts, the human figure is walking closer to being under it. I was able to continue walking the entire time, but as the position of the wall shifted, I was gradually unable to see the side of the wall, and I felt unable to see the wall whenever it was directly above me.
Alignment level 1
Alignment level 4
12 2078
Alignment level 2
Alignment level 3
Category #10: 8ft high floating and faced wall Eight photographs illustrate how the position of the floating wall in front of the human figure gradually shifts to the right, resulting in the wall being in front the human figure. As the position of the wall shifts, the human figure can walk under it. I was able to continue walking the entire time, but as the position of the wall shifted, I felt as though I may have to duck down to not hit my head on the wall.
Overlap level 1
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Overlap level 8
13 2079
Category #11: floating horizontal surface Eight photographs illustrate how the position of the floating wall in front of the human figure gradually shifts to the right, resulting in the wall being directly over the human figure. As the position of the wall shifts, the human figure can see what is under the wall and have a shelter overtop. I was able to continue walking the entire time, but as the position of the wall shifted, I felt sheltered with the wall being over me.
Overlap level 1
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Overlap level 7
Overlap level 8
14 2080
Category #12: Horizontal surfaces with different heights Twelve photographs demonstrate how a wall can progressively lower into a hole and be placed underground in front of the human figure, resulting in a gradual formation of a . As the wall changes height, the human figure can step onto the platform whether that be up or down. I felt unable to move forward whenever the platform was high, but as it lowered, I was able to step up onto it, and as it went into the hole, I was able to step down into the hole.
8ft high horizontal surface
7ft high horizontal surface
6ft high horizontal surface
5ft high horizontal surface
4ft high horizontal surface
3ft high horizontal surface
2ft high horizontal surface
1ft high horizontal surface
-1ft high horizontal surface
-2ft high horizontal surface
-3ft high horizontal surface
-4ft high horizontal surface 15 2081
Category #13: Wall surface with an incline Eight photographs demonstrate how the angle of a wall can gradually change, resulting in an alteration from the wall being over the human figure to the side of the human figure. As the angle of the wall changes, the human figure is walking beside the wall rather than under it. I had the wall above me before the angle changed, but after the changes the wall no longer served as a shelter to me and was beside me, and I was unable to go left.
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16 2082
Category #14: Inclined wall Six photographs illustrate how the incline of the wall parallel to the human figure changes, resulting in a steady obstruction of the human figure. As the incline changes, the human figure becomes steadily obstructed. I had the option to walk up the incline at level one, but as the incline level increased, I was no longer able to walk up it, and once the incline level peaked, I was unable to walk in that direction.
Inclined level 1
Inclined level 2
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Inclined level 4
Inclined level 5
Inclined level 6
17 2083
Category #15: Floating wall surface facing edge with an incline Six photographs demonstrate how a floating wall edge facing the human figure gradually changes, resulting in the edge being pointed at the human figure from different positions. As the incline of the wall changes, the edge points towards the human figure from different directions and opens more space. I was unable to move to the left whenever the wall was barely inclined, but as the wall was raised a new space was opened and I felt free to move in any direction.
Inclined level 1
Inclined level 2
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Inclined level 5
Inclined level 6
18 2084
Category #16: Inclined surface to a facing wall Nine photographs illustrate how the angle of the inclined ramp progressively changes, resulting in more space being opened for the human figure. As the angle of the incline changes, the human figure becomes able to walk forward more. I was unable to move forward whenever the ramp blocked me, but as it was raised, I was able to move until the vertical wall confined me.
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19 2085
Category: #17 Inclined ramp to facing wall Nine photographs illustrate how the angle of the inclined ramp progressively changes, resulting in a ramp growing until the human figure can no longer walk up it. As the angle of the incline changes, and the ramp turns into a wall, the human figure is unable to walk up the ramp. I had the possibility to walk up the ramp at a low angle, but as the angle was raised it became steep, and once the ramp reached ninety degrees, I was no longer able to walk up it because it is a wall.
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20 2086
Category: #18 One Column Two photographs illustrate how the column guides the human figure to continue walking in one direction. As the human figure walks towards the column, it pushes him to continue walking forward instead of diverting directions. As I approached the column, I felt unable to move in that direction, but as I passed the column, I felt able to move in any direction.
Front
Side
Category: #19 Two Columns Two photographs demonstrate the difference between two vertical and horizontal columns, and how they help align the human figure’s pathway. As the human figure walks toward the vertical columns, it signals the human figure to continue walking in between the columns. As the human figure walks toward the horizontal columns, it signals the human figure to continue walking alongside the columns. I felt guided to walk in between the vertical columns, and as I walked alongside the horizontal columns, I felt guided to follow the direction of it.
Vertical
Horizontal
21 2087
Category: #20 Three Columns Two photographs demonstrate the difference between three vertical and horizontal columns, and how they help align the human figure’s pathway. As the human figure walks toward the vertical columns, it signals the human figure to continue walking alongside the columns. As the human figure walks toward the horizontal columns, the human figure enters a triangle shape. I felt guided to walk alongside the vertical columns, and as I walked towards the horizontal columns, I felt confused where to walk.
Vertical
Horizontal
Category: #21 Four Columns Two photographs illustrate the difference between a wide arrangement of columns and a narrow arrangement of columns, and how it can affect the perspective of the human figure. As the columns shift from being wide to narrow, the human figure has a tighter pathway, and the second human figure has a stronger focal point. Whenever the four columns were wide, I felt as though I could walk around the second human figure, but as the walls became narrow, I felt as though my walk was directed in to the second human figure.
Wide
22 2088
Narrow
Category: #22 One Wall and One Column Eight photographs demonstrate the difference in placement of a column and a wall, and how this affects the pathway of the human figure. As the position of the column changes, the human figure is guided in different variations. Whenever the column was placed farther away, I felt able to walk freely, but as the column moved closer, I felt as though I had to dodge the column.
Condition 1
Condition 2
Condition 3
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Condition 8
23 2089
Category: #23 One Wall and two Columns Three photographs illustrate how the placement of one wall and two columns changes the human figure’s perspective. In the first condition, the alignment suggests a hallway to a room. In the second condition, the alignment suggests an opening of a new space past the wall and to the left. In the third condition, the alignment suggests an opening of a new space past the structures. In all three photographs I felt as though I was entering new rooms, but the first condition had an elongated entrance.
Condition 1: aligned wall and vertically aligned columns
Condition 2: facing wall and vertically aligned columns
Condition 3: facing wall and horizontally aligned columns
Category: #24 Two Walls and two Columns Two photographs demonstrate how two walls and two columns change the focal point from one wall to another. In the first alignment the vertical columns emphasize the vertical wall, as well as the male human figure. In the second alignment the horizontal columns emphasize the horizontal wall, as well as the female human figure. Whenever the columns were positioned in the first condition, I felt more drawn to walk between the walls. Whenever the columns were positioned in the second condition, I felt drawn to stay in the space I am in.
Columns aligned vertically with perpendicular walls
24 2090
Columns aligned horizontally with perpendicular walls
Category: #25 Two Walls and two Columns with two lighting conditions_01 Six photographs portray how columns can deter the human figure from walking close to the wall, as well as how the light draws the human figure to the next space. As the position of the two columns change, the human figure walks further from the wall. I felt as though I should walk in between the wall and the columns, but as the columns moved, I felt unable to walk in that space. The light from behind the wall draws me to see what is in the next room.
Walking between vertically aligned columns and perpendicular walls with lighting behind Figure
Walking between vertically aligned columns and perpendicular walls with lighting behind wall
Walking beside vertically aligned columns and perpendicular walls with lighting behind Figure
Walking beside vertically aligned columns and perpendicular walls with lighting behind wall
Walking beside vertically aligned columns and extended perpendicular walls with lighting behind Figure
Walking beside vertically aligned columns and extended perpendicular walls with lighting behind wall
25 2091
Category: #26 Two Walls and two Columns with two lighting conditions_02 Four photographs demonstrate how two walls and two columns can be adjusted to impact the entrance that the human figure walks through, resulting in a sharper turn into the new space. As the columns change, the human figure must make a sharper turn into the new space. I feel more confined whenever I walk beside the vertically aligned columns, as they restrict me from wandering behind them. With the horizontally aligned columns I felt as though I had more freedom.
Passing horizontally aligned columns to enter the space between two walls with lighting behind Figure
Passing vertically aligned columns to enter the space between two walls with lighting from the inside space
26 2092
Passing horizontally aligned columns to enter the space between two walls with lighting from the inside space
Passing vertically aligned columns to enter the space between two walls with lighting behind Figure
Category: #27 Two Walls and two Columns with two lighting conditions_03 Six photographs illustrate how two walls and two columns along with altered lighting conditions can change the focal point of the room that the human figure is in. As the lighting conditions change inside the space, the human figure appears as it is walking towards the light rather than away from it. I felt drawn to stay in my current space when the light was behind me, but as the light came from inside the space, I began to have curiosity about what is inside the space in front of me.
Passing vertically aligned columns to pass a narrow opening between two walls with lighting behind Figure
Passing vertically aligned columns to pass a narrow opening between two walls with lighting from the inside space
Passing vertically aligned columns to pass an intermediate opening between two walls with lighting behind Figure
Passing vertically aligned columns to pass an intermediate opening between two walls with lighting from the inside space
Passing horizontally aligned columns to pass a wide opening between two walls with lighting behind Figure
Passing horizontally aligned columns to pass a wide opening between two walls with lighting from the inside space
27 2093
Category: #28 Vertically aligned Two Walls and two Columns Two photographs demonstrate how two vertically aligned walls and columns can be seen in two different perspectives, depending on which way the human figure walks in between them. As the human figure walks in between the walls, the human figure has a narrower and more guided pathway. As the human figure walks in between the columns, the human figure has a looser pathway to follow. I felt less able to make me choose my own pathway whenever I walked in between the columns, and I also felt like I was on a mission to the next space,
Between walls, walking
28 2094
Between columns, walking
Category: #2 9 Space com posed with 5+ colum ns and 2 walls even photographs demonstrate how two walls and six columns create a sense of opportunity for human figures. The column formation in the back is perpendicular to the le wall to resemble an entrance into a new space that the human figure can walk through. The column formation to the right resembles a box of opportunity for the human figure to walk around more before walking to the next room. s am standing looking at the walls and columns, felt confused where should go next.
op view of the pa e ompo ed
e ue e pha e
e ue e pha e
e ue e pha e
e ue e pha e
e ue e pha e
e ue e pha e
29 2095
Category: #30 Faced wall with Connected wall Nineteen photographs illustrate how the angle of a faced wall and connected wall gradually changes, resulting in the human figure transitioning from being inside of the walls to the outside. As the angle of the two walls increases, the walls no longer surround the human figure. I felt confined in between two walls when the angle was at ninety degrees, but as the angle increased, I felt intrigued to see what was behind the walls.
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30 2096
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31 2097
Category: #31 Aligned wall with Connected wall Seventeen photographs portray to us how the angle of an aligned wall and connected wall gradually changes, resulting in both the human figures being unconfined. As the angle of the two walls increases, the walls gradually no longer surround both human figures. I felt confined in between two walls when the angle was at ten degrees, but as the angle increased, I felt free to continue walking forward.
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32 2098
130 degree
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33 2099
Category: #32 Facing the connected edge of two walls Seventeen photographs illustrate how the connected edge of two walls changes in angle, and gradually pushes the human figure to move away. As the angle increases, the walls approach the human figure signaling for the human figure to move away from the walls. I felt as though I could walk on either side of the walls whenever the angle was at 10 degrees, but as the angle increased, I was pushed to the left and I could no longer choose which path to take.
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34 2100
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35 2101
Category: #33 Three connected walls Two photographs demonstrate the difference between a wide-facing and narrow-facing wall with two wings, and how this closes in on the space in which the human figure is located. As the walls become narrow, more attention and closeness are drawn to the human figure. I felt like I could have a casual conversation whenever the space was bigger, but as the space became narrower it felt more personal and intentional.
Wide-facing wall with two wings
Narrow-facing wall with two wings
Category: #34 Curved wall inside Four photographs demonstrate how different heights and lengths of a curved wall can impact the human figure, resulting in different emotions brought upon the human figure. As the height of the wall increases, the walls surrounding the human figure feel more dramatic. As the length of the walls increase, the space changes from personal to public. I felt more intentional in the small curve, as to when I was in the large curve, I felt more invited. The large curve felt grand, and it made me feel small.
Small-curved and 8ft height
Large-curved and 16ft height 36 2102
Small-curved and 16ft height
Large-curved and 8ft height
Category: #35 Curved wall outside Eight photographs demonstrate how the different perspectives of an outside curved wall can impact the human figure, resulting in the human figure feeling small. As the human figure walked towards the facing curves, the human figure had the opportunity to move either direction around the curve. The size of the curve made the choice feel more important. As the human figure passed the curve, the size of the curve impacted how small the human figure feels. I felt small as I walked by the curves with a greater height, and it felt like an obstacle.
Facing Small-curved and 8ft height
Passing Small-curved and 8ft height
Facing Small-curved and 16ft height
Passing Small-curved and 16ft height
Facing Large-curved and 8ft height
Passing Large-curved and 8ft height
Facing Large-curved and 16ft height
Passing Large-curved and 16ft height
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Category: #36 Curved Walls and Flat Walls Four photographs illustrate how curved walls and flat walls can work together to bring emphasis to different aspects of a space, grabbing the attention of the human figure. As the human figure approaches the closed-curved wall, the human figure becomes curious. As the human figure approaches an open-curved wall, the human figure’s attention is drawn to the inside of the curve. I felt excited approaching the closed curve to see what was on the other side. I felt as though I was leaving the space as I followed the direction of the flat wall.
Facing a flat wall (8fh height) while passing a curved wall (8fh height)
Entering a space between a flat wall (8fh height) and a closed-curved wall (8fh height)
Entering a space between a flat wall (8fh height) and an opened-curved wall (8fh height)
Your coordination in height and openness.
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Entering a space between a flat wall (8fh height) and a half opened-curved wall (8fh height)
Category: #37 Entering into a space between Parallel Curved Walls Eight photographs demonstrate how different heights and lengths of curved walls create different emotions from the human figure as the human figure enters and stands within the space. As the human figure enters the smaller and shorter curve, the space feels more personal. As the human figure enters the larger and longer curve, the space feels more dramatic and public. I felt more welcome in the large space than I did in the small space.
Small-curved and 8ft high outside
Small-curved and 16ft high outside
Large-curved and 8ft high outside
Large-curved and 16ft high outside
Small-curved and 8ft high inside
Small-curved and 16ft high inside
Large-curved and 8ft high inside
Large-curved and 16ft high inside
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Category: #38 Entering a space between curved mirror walls_01 Four photographs illustrate how different heights and lengths of curved mirror walls can change how the human figure feels when the human figure enters the space. As the human figure enters the smaller and shorter mirrored curves, the space feels looser. As the human figure enters the larger and longer mirrored curve, the space feels tighter and closer quartered. I felt more intimidated to walk in between the larger and taller mirrored curves.
Small-curved and 8ft height
Large-curved and 16ft height
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Small-curved and 16ft height
Large-curved and 8ft height
Category: #39 Entering a space between curved mirror walls_02 Eight photographs illustrate how different heights and lengths of curved mirror walls can change how the human figure feels when the human figure enters the space with two different types of lighting. As the human figure enters the space with inside lighting, the space draws in the human figure. As the human figure enters the space with outside lighting, the space feels ominous to enter. I felt more excited to walk into the space with inside lighting, because it felt as though I was being drawn to enter.
Small-curved and 8ft high with inside lighting
Small-curved and 8ft high with outside lighting
Small-curved and 16ft high with inside lighting
Small-curved and 16ft high with outside lighting
Large-curved and 8ft high with inside lighting
Large-curved and 8ft high with outside lighting
Large-curved and 16ft high with inside lighting
Large-curved and 16ft high with outside lighting
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Category: #40 One curved wall and one column Two photographs illustrate how one curved wall, and one column adds guidance to where the human figure is walking. As the human figure walks between the outside column and curved wall, the human figure appears to be leaving a space. As the human figure walks between the inside column and the curved wall, the human figure appears to be entering a new space. I felt more invited as I was walking in the inside space rather than the outside space.
Entering a space between a column and curved wall outside
Entering a space between a column and curved wall inside
Category: #41 One curved wall and two columns Three photographs illustrate how one curved wall, and two columns instill symmetry among the curved wall that the human figures are surrounding. As the columns are positioned symmetrically, the human figure gains a sense of evenness throughout the space. I felt very calm walking around the space because of the symmetry that it has.
Entering a space between a column of two horizontally aligned and curved wall outside
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Facing the outside of a curved wall with two horizontally aligned columns with insufficient space between them
Entering a space between a column of two vertically aligned and a curved wall outside
Category: #42 Role of a column between Curved and flat walls Four photographs portray to us how different placements of columns can direct the human figure away from certain walls. As the human figure moves forward, the human figure dodges the side with the column. I felt guided as I walked with a column on either side, and I chose the side that did not have a column to walk through.
Entering a space between two parallel curved walls, with a column in front of the outer curved wall
Entering a space between a faced flat wall and a curved wall, with a column in front of the flat wall
Entering a space between two parallel curved walls, with a column in front of the inner curved wall
Entering a space between a parallel flat wall and a curved wall, with a column in front of the flat wall
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Category: #43 Curved connection Four photographs illustrate how a curved wall can open, resulting in an opening for the human figure to walk through. As the angle of the walls increases, the human figure can move forward. I felt guided to follow the path of the wall whenever it was at 60 degree, but as the angle increased the path became more straight and I followed the path.
Follow two flat walls that are connected at an angle of 60 degrees smoothly
Follow two flat walls that are connected at an angle of 150 degrees smoothly
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Follow two flat walls that are connected at an angle of 90 degrees smoothly
Follow two flat walls that are connected at an angle of 120 degrees smoothly
Category: #44 Curved wall and S-curve wall Four photographs portray to us how a curved wall and an s-curve wall can be different heights, resulting in a looser and tighter entrance for the human figure to enter through. As the height of the curves increase, the human figure has a more dramatic pathway. The inside lighting makes me feel nervously drawn to the new place, while the outside lighting makes me feel as though I am walking in a normal hallway.
Curved wall and S-curve wall 8ft high with inside lighting
Curved wall and S-curve wall 8ft high with outside lighting
Curved wall and S-curve wall 16ft high with inside lighting
Curved wall and S-curve wall 16ft high with outside lighting
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Category: #45 1 point perspective pictures: Void on the upside Four photographs portray to us how different sizes and shapes of upside voids can produce different lighting effects on the human figure. As the shape and size of the void changes, the human figure is standing in a different shadow outline. I felt like I had a spotlight on me with the smaller square void, but with the larger ones I felt as though there was just a skylight.
A 4’x4’ square void with a height of 8ft
A 8’ diameter void with a height of 8ft
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A 8’x8’ square void with a height of 8ft
A 4’ diameter void with a height of 8ft
Category: #46 Void on the upside with columns or walls Four photographs illustrate how a void on the upside placed against facing and passing walls can illuminate the designated wall as well as the human figure. As the void is above the space, the ground beneath is illuminated. I felt like something grand was above me as I walked toward the facing wall with a void above it, but walking beside the passing wall felt as though I was merely walking under a skylight.
A 8’x8’ square void with columns
A 8’x8’ square void with a facing wall
A 8’x8’ square void with a passing wall
View for A 4’x4’ square void with a flat wall aligned with one side and two columns aligned with the opposite side
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Category: #47 Void on the downside with columns or walls Six photographs portray to us how a void on the downside placed against facing and passing walls can emphasize a hole in the ground beneath the human figure. As the human figure walked closer to the downside void, the human figure had to dodge the hole. Depending on the light, the space was illuminated from the side or the floor. I felt nervous to walk close to the downside void because I did not want to fall into the void. The facing wall helped me recognize the void as it is more prominent than the passing wall.
A 8’x8’ square void with a facing wall and light from upper floor
A 8’x8’ square void with a facing wall and light from side
A 8’x8’ square void with a facing wall and light from lower floor
A 8’x8’ square void with a passing wall and light from side
A 8’x8’ square void with a passing wall and light from lower floor
A 8’ diameter void with light from lower floor
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Category: #48 Void on the upside with combinations of columns or walls Ten photographs demonstrate how columns and walls can either emphasize or attempt to hide the void on the upside, resulting in the human figure sometimes walking in the light from the void. As the human figure walked between the columns and walls beneath the void, the human figure had light cast onto them. I enjoyed walking between the columns and walls that had the void directly above them, as they illuminated the space and made it livelier.
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Category: #49 Void between Floating Surfaces Five photographs illustrate how floating surfaces can impact the human figure in relation to what surface the human figure is standing on. As the height of the floating surfaces increases, the human figure on the surface may seem very small. I felt I was being watched whenever I was walking in the void beneath the two floating surfaces.
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Category: #50 Void between curve-linear Surfaces Two photographs illustrate how an organic curve void on the upside can create unique lighting that casts down on the human figure. The curves in the void may also be used to resemble something of value. As the pattern of the void changes, the shadows cast down on the human figure matches. I felt interested as I walked towards the void and wondered about the meaning behind it.
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Category: #51 Void with a combination of Two photographs demonstrate how a void with a combination of walls, columns, and curves can intrigue the human figure as to what is above them and on the other side of the walls. As the human figure walks through the space, new space and depth is unlocked. I felt interested to explore the space around and above me as I walked through the void.
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Category: #52 Curved vertical surface Two photographs demonstrate how two different widths of curved vertical surfaces can make the facing wall of the human figure seem more dramatic. As the human figure walks towards the narrower surface, it appears more like a ramp. As the human figure walks towards the wider surface, it appears more like a tunnel wall. I felt more drawn to the narrower surface because it resembled a ramp.
A 4’wide
A 8’wide 51 2117
Category: #53 Curved vertical surface with an upper floor Five photographs illustrate how a curved vertical surface with an upper floor can give the illusion of a bigger drop-off down below. As the human figure approaches the edge of the upper floor, the drop-off seems more impending with there being a curve. I felt fearful standing on the upper floor, nervous that I would fall.
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Category: #54 Curved vertical surface with a void Five photographs illustrate how a curved vertical surface with a void can make the void seem climbable. As the human figure walks towards the vertical surface, it appears that the human figure can move up or down it. I felt interested to see if I could slide down the curved vertical surface or climb up it. It seemed like a playable area.
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Category: #55 Facing Curved vertical surface Two photographs illustrate how a facing curved vertical surface with a void can seem like a pathway or the termination of a pathway. As the human figure walks towards the vertical surface, it appears that the human figure can move up it or can no longer move. I felt curious to go up to the surface, but as the wall terminated, I felt forced to turn around.
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Category: #56 Hanging curved surfaces Four photographs demonstrate how hanging curved surfaces in different positions can resemble different structures. As the surface is on the downside, the human figure appears to be walking through a tunnel. As the hanging wall is on the upside, the ceiling appears to be caving down on the human figure. I felt excited walking through the tunnel shaped surface, but I felt fearful walking under the ceiling that appears to be falling.
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Category: #57 Surfaces with convexities and concavities Two photographs portray surfaces with convexities and concavities, and how one pushes in, and the other one pushes outward. With a convexity, the human figure has the option to go inside, but with the concavity the human figure is already inside. I felt nervous walking in both the concavity and convexity because it led to an unknown space.
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Category: #58 A sphere with a strong center and centripetal force Four photographs illustrate how a sphere with a strong center and centripetal force illustrates how different shapes can add different texture to the space. As the spheres are included in the spaces, the human gains a sense of roundness and volume. I felt amazed looking at a sphere of that size, as the shape represents value.
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Category: #59 Surfaces that are twisted and free Three photographs illustrate how surfaces that are twisted and free can add unique depth and texture compared to other spaces. As the surfaces become abstract, the human figure has a bigger variety of structures to explore. I felt both excited to explore the space because it is unique. I also felt fearful because it is different and unfamiliar.
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F orre st Sieb ert L an d s c ap e A rc h i te c t u re P o rtf o l i o 2122
1
What I learned...
Project #1 “Wall, Column, and Space” Project #2 “Hand Drawing” Project #3 “Power of Patience” Project #4 “Space Cube” Project #5 “First Portfolio” Overall If you could talk to you before these five weeks, what would you like to share with you? -
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Category #1: Facing surface
Throughout nine photos a wall begins shifting towards me 10 degrees at a time, changing my position with the wall, where light is being shined, and how my relation spatially is affected by the change. As the wall changes, shade was portrayed upon me, up until the end in which the wall was completely in front of me. At the beginning I felt comfort and security since I had a broad and overall extensive view, but as time progressed my field of view and the feeling of having security and sense of what was ahead diminished, leaving me anxious of what might be beyond the wall.
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Category #2: Facing edge
Throughout ten pictures a wall’s edge is shifting ten degrees in front of me, affecting at which angle the wall is perceived, how it is affected light reflectance, while also obstructing the view ahead. As the wall is moving the lighting portrayed upon me is changing, I am overall harder to see through, while also my view is diminishing. As the wall is shifting, I am feeling a sense of security, in the beginning I am unsure what might be behind the wall, but as it moves the right, I am slowly able to see that nothing is changing other than the walls position which gives me a sense of relief.
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Category #3: Blocking wall Eleven photos show the perspective of a wall as it moves across my view, from left to right. As the wall moves my view diminishes to the left with each photo. This makes me feel as if once this wall has made its way across my face slowly blocking my view, that something will be on the other side, almost as if it was a train passing by and once it has passed new people are on the other side, it makes me feel curious and intrigued.
Opened level 1
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Opened level 4
Block level 1
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Category #4: Passing the blocking wall Through five images, I am portrayed moving past a wall, causing a change of lighting and shadows on the ground and me. As I move past the wall my shadow and the walls shadow become one, while up until the very end my body is being shaded as well. This scenario makes me feel mysterious and determined as if I am wandering off on a mission, I am not fearful though as I have gotten past the wall safely.
Passing level 1
Passing level 2
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Passing level 4
Passing level 5
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Category #5: Aligned Wall Throughout six pictures a straight wall is moving to the right, up until it is fully aligned with my eyes. As it shifts to the right, the shadow of the wall is moving closer towards me, while my vision to my left is also diminishing. I feel uncertain as firstly, since the wall is so close my vision around the wall is never complete, plus by the time it is in front of me, I am completely blinded from both sides, so overall I feel a bit uneasy and anxious on what might be going on around the wall.
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Closed level 3
Category #6: Passing the aligned wall Through these six photos, the wall portrays an obstacle and blockage to the left while supplying shadows on the right side. I am slowly traveling past the wall, as I get further through, I am gradually being covered by a shadow and able to view what is ahead to the left better. As I walk past the wall, I relieve my curiosity and calm myself by the relief of shadows, while also learning what is ahead to the left.
Passing level 1
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Passing level 5
Passing level 6
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Category #7: Walls with different heights These eight photos show how as the wall gets taller it slowly blocks off the view behind and begins casting the shadow of me upon it. As the wall gets taller my view diminishes, eventually fully blocking my perspective of what is behind the wall. As the wall gets taller my anxiety gets higher as I am just beginning to be blocked off, since the wall is so long, I also have no peripheral vision around which makes me feel overall clueless and worried about what may be going on behind the wall.
Wall with 1ft
Wall with 2ft
Wall with 3ft
Wall with 4ft
Wall with 5ft
Wall with 6ft
Wall with 7ft
Wall with 7ft
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Category #8: Floating and faced Wall Throughout eight photos, the environment experiences more space become available, and light to seep in as the wall lifts. As the wall lifts, I experience a better visual ahead, light no longer reflects on me, and overall, I have more space to work with. Emotionally, as the wall lifts, I feel relief and in control knowing what is ahead of me, it almost reminds me of lifting the garage door to beautiful weather outside.
1ft high floating wall
2ft high floating wall
3ft high floating wall
4ft high floating wall
5ft high floating wall
6ft high floating wall
7ft high floating wall
8ft high floating wall
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Category #9: 8ft high floating and aligned wall Throughout four photos, a floating wall is moving to the right altering the lighting and shadows portrayed upon the area. As the wall moves above me, I can see above me to the left better and the shadow is moving off me. Emotionally, this situation is stressful, where is the wall moving, why is it above me, will it fall...a ton of unknowns are in this situation, and none really fall in my favor.
Alignment level 1
Alignment level 4
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Alignment level 2
Alignment level 3
Category #10: 8ft high floating and faced wall Throughout these 7 photos it is shown how while the horizonal wall moves to the right, the overall feel of the area, shadows, and lighting alter significantly. As the walls move, I personally began getting covered in shadows while also losing visual clarity above me. This scenario also makes me feel curious about what exactly is going on, it is almost like a cloud covering the sun, which makes me wonder if I will get rained on, will the sun pop back out, what is going to happen...I feel greatly curious.
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Category #11: floating horizontal surface Through these eight photos, a ledge shifts to the right, portraying a shadow on the ground underneath, and altering the center of attention. For me, the ledge is not bothersome until it gets directly above me, because it is high enough above me it does not affect peripheral and or take out my line of sight, until it is directly above and portrays a shadow and grabs my attention that it is blocking my view above. Emotionally, the ledge once again is very bothersome or noticeable until it is directly above me since I can see exactly what is going on, but as it gets directly above me it strikes me with curiosity wondering if it will fall over, or if there is anything up on top.
Overlap level 1
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Category #12: Horizontal surfaces with different heights Throughout theses twelve photos a square space is lowered continuously to the point to where even the surface is elevated around it, it portrays a major change in the environment the lower it gets causing a whole in the ground and altering the center of attention continuously. For me it affects how big I feel as it lowers, I feel bigger and have more of a view of what is in this space. Personally, it makes me feel empowered as it lowers, when it is above me, I feel little and intimidated, but as it lowers into the ground, I began feeling superior of the space and feel as if I am watching over and taking care of whatever may be inside it.
8ft high horizontal surface
7ft high horizontal surface
6ft high horizontal surface
5ft high horizontal surface
4ft high horizontal surface
3ft high horizontal surface
2ft high horizontal surface
1ft high horizontal surface
-1ft high horizontal surface
-2ft high horizontal surface
-3ft high horizontal surface
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Category #13: Wall surface with an incline Throughout eight photos, a floating wall turns right, starting to cover me and portrays a shadow on the ground, altering the view and how it is portrayed. I am beginning to be shaded by this wall as it practically turns into a roof, it is beginning to block my view from above and open what I can see to the right. The wall gives me the feel of a garage door opening, it gives me relief knowing I can now see to my left, but also puts me on edge considering it is a floating surface sitting above my head.
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Category #14: Inclined wall Throughout six photos a wall is being lifted altering the openness of the environment, and how big the area feels. For me it alters where I want to be, my vision to the left, and how big I feel. Emotionally I am relaxed with this situation, its movements have not altered much for me other than my vision, but I was able to see that way before hand, so overall it just makes me feel smaller and less in control of the situation.
Inclined level 1
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Category #15: Floating wall surface facing edge with an incline Through six photos a wall shifts clockwise while being elevated in the air, changing the dynamic of the area through lighting and area digestion. For me the wall shifting gave me less space and caused a blockage to my left. Emotionally, the wall shifting just made me uncomfortable as it got more in my space while also made me feel smaller and intimidated me as it was taller than me.
Inclined level 1
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Category #16: Inclined surface to a facing wall Through nine photos a thin strip of what could be considered a floor or wall is lifted towards the back wall, opening the space while also minimizing the shadows portrayed on the ground. The effect on me is the opening of area within, and I am no longer experiencing any shadows. Emotionally, I am relieved by the opening of space, but nervous and fearful to move around, considering that it may fall on me.
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Category: #17 Inclined ramp to facing wall Throughout nine photos a thin wall and or ramp like surface is elevated towards the back wall altering how the space is perceived and what it could be used, in the beginning it could walked up or walked under, but as it rises it becomes practically unusable. For me, as the ramp elevates it loses sense of purpose while also making me look smaller but does open the space for me. Emotionally, the ramp in its beginning stages brought me joy and spiced up the area as I could run up it, sit under it, or even slide down, it had many uses and made me feel good, but as it raised it lost purpose, and overall just gave me anxiety that it may tip over on me.
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Category: #18 One Column Through these two pictures, the column interrupts the plain area it is placed upon, making new shadows while also causing the environment to work with it. As I am on different sides distances the column seems larger or smaller, while also portrays a shadow upon me. The feeling this column gives me is curiosity, what is it’s use, do I climb it, lean on it, use it for shade?
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Category: #19 Two Columns
Through two pictures the relationship of placement portrays how the two columns are perceived. If the two columns are side by side parallel to the side of you it seems as if they make a wall and path, when they are in front of you directly side by side it seems like an entry or fence. The placement of these columns makes feel as if I am being sent in a specific direction based off placement, if they are ahead making what seems like an entry way, I feel the need to go that way, if they are almost parallel to my side it seems as if they are pushing straight ahead.
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Category: #20 Three Columns These two photos signify the difference environmentally when three columns are placed either in a row or staggering, causing a difference in feel and where it seems you need to be placed. The first photo shows that with a staggering feel it almost seems as if between columns is where you should be, when they are in a row to the side of me, I see the need to not come in between them. Like the two columns, when three are put in a line it gives it the feel of a fence, making me want to walk straight as if they are leading me to something, when the three columns are staggered I feel the need to be between them, run around them, or even hang something up like a hammock and rest.
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Category: #21 Four Columns These two photos show the use of having two columns in a row, whether it be narrow or wide it gives a sense of where you need to be within this environment. The two columns narrowly constructed on each side with the lady at the end signify the need to walk between, while the two columns separated widely on each side make it seem as if either person can go either way and or stay in the middle of them. The feeling I get from these photos is the sense of importance, the lady at the end seems like a prize, either she is awarding you something or in the second photo the man is walking up to her.
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Category: #22 One Wall and One Column
These eight photos show how the placement of a wall and column can significantly alter the focus and thought of purpose for the area. Depending on the distance of the pole and wall and where it is in terms of my placement, it may seem like a doorway, or a streetlight next to a retaining wall, the column being to close the wall may also make it less fitting to walk by the wall. The feeling I get from these photos solely depends on the placement of the column, if it is far away and not right next to the wall it makes me curious as if it is an entrance, if it similar disposition but closer to me I feel the need to check around as if I am not sure what is ahead, when it is next to the wall it reminds me of a light pole on a sidewalk making me feel comfort and security.
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Category: #23 One Wall and two Columns These three photos show how much an environment can alter simply based off whether walls are parallel, adjacent, and in line with other factors like columns. These photos show how when the two columns are in line parallel with the wall it almost seems like a walkway, if the wall is not parallel then the walkway feel diminishes, when you flip them, and both are facing you it almost seems like an entrance. These shifts and changes in the environment make me feel welcomed in picture one and three, but not welcome in picture two.
Condition 1: aligned wall and vertically aligned columns
Condition 2: facing wall and vertically aligned columns
Condition 3: facing wall and horizontally aligned columns
Category: #24 Two Walls and two Columns Throughout two photos a picture is taken in two different positions of a wall adjacent to two columns and another wall, between the two pictures the environment has a different focal point depending on position giving a different sense of space. From my perspective, I am more or a side attraction, not necessarily in the middle of the focal point of the scenario, but the beam and wall make me feel separated from the rest of the environment. Emotionally, I feel as if I am insignificant, I get the feeling as if it is a photo shoot and I am just walking by more so as a bystander, separated from the main attraction being the lady in front of the wall on the other side of the column.
Columns aligned vertically with perpendicular walls
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Columns aligned horizontally with perpendicular walls
Category: #25 Two Walls and two Columns with two lighting conditions_01
Through six photos two columns, two walls, and a change of lighting are used to alter how big the space is, what the focal point is, and what the use of the space is, as it alters depending on how close the columns are to the wall changes the function of the area, the lighting being either behind or in front changes the focal point. For me, being between the columns and wall makes it seem as if I need to move on, if both are too my side then I have way more room and can move around more freely, when the lighting is ahead of me and not behind me I feel the need to move towards the light, and also if the columns are closer to the wall it removes the feeling of me needing to walk down them or be between them. Emotionally, the feeling from each scene can be altered slightly but overall, it would be curiosity and freedom, the space is open enough to move around freely while also having the option to be between the walls and columns, head towards the lighting, and even just stay put.
Walking between vertically aligned columns and perpendicular walls with lighting behind Figure
Walking between vertically aligned columns and perpendicular walls with lighting behind wall
Walking beside vertically aligned columns and perpendicular walls with lighting behind Figure
Walking beside vertically aligned columns and perpendicular walls with lighting behind wall
Walking beside vertically aligned columns and extended perpendicular walls with lighting behind Figure
Walking beside vertically aligned columns and extended perpendicular walls with lighting behind wall
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Category: #26 Two Walls and two Columns with two lighting conditions_02 Through these four photos the relation of two columns two walls facing the same way formulate a change in scenery with lighting coming from either behind or in front of the wall, depending on the lighting location it alters where the focal point is, if it is coming from behind the wall it makes it seem as if the focal point is out of sight and vice versa, depending on the column placement it affects if the environment seems like a path or an entrance. For me, depending on the lighting it felt as if I was exiting or entering the place, while the two columns altered how I felt about staying still or to keep moving. Emotionally, if the light was behind the walls, it gave me great curiosity, if the columns were in line as if they were a gate, it made me feel welcomed, but when it was adjacent to the direction of the walls, I felt unwelcome and the need to keep moving.
Passing horizontally aligned columns to enter the space between two walls with lighting behind Figure
Passing vertically aligned columns to enter the space between two walls with lighting from the inside space
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Passing horizontally aligned columns to enter the space between two walls with lighting from the inside space
Passing vertically aligned columns to enter the space between two walls with lighting behind Figure
Category: #27 Two Walls and two Columns with two lighting conditions_03
Through these six photos two walls sitting a few inches apart practically parallel with two columns placed in different configurations portray how the placement of columns and lighting can make the space seem open or closed and also welcoming or not, if a column is placed in the middle of the space between the wall it adds the affect that it should not be passed, if it is open then it seems like an entrance, with the lighting if it is behind the walls then it is welcoming, if not then it seems as if that is not an entrance. In my perspective relative to where I am in the photo, if the wall has a column in between the space then I feel the need not to pass, if it is dark behind the wall, then it seems as if that is the limit to my boundary, and if it is both then I definitely do not feel the need to go that way. Emotionally, the two walls symbolize an entrance which gives me the feeling of it being welcoming, especially when the light is coming from in front of me, when the light is behind or a column is in the way I feel as if heading through is dangerous and the environment is telling me beyond there I am not where I am supposed to be.
Passing vertically aligned columns to pass a narrow opening between two walls with lighting behind Figure
Passing vertically aligned columns to pass a narrow opening between two walls with lighting from the inside space
Passing vertically aligned columns to pass an intermediate opening between two walls with lighting behind Figure
Passing vertically aligned columns to pass an intermediate opening between two walls with lighting from the inside space
Passing horizontally aligned columns to pass a wide opening between two walls with lighting behind Figure
Passing horizontally aligned columns to pass a wide opening between two walls with lighting from the inside space
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Category: #28 Vertically aligned Two Walls and two Columns These two photos show how when two parallel walls in a linear sequence with a space in between them can seem different depending on how to columns are placed within the area, firstly if the columns are placed parallel next to one wall it crowds on side of the space making it seem as it is not to be inhabited, while if the columns are placed next to both walls kind of offset it makes it seem like an entrance and opens the space and focal point back to the middle. For me these columns almost seem like a obstacle and direct me in how I should pass through the gap between the walls. Emotionally, I feel as if I am being directed and controlled in the situation, The columns essentially show me where not to go.
Between walls, walking
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Between columns, walking
Category: #29 Space composed with 5+ columns and 2 walls
These seven photos show the how the placement of diagonal walls and six columns placed almost in line on each side affect the focal point of space and show its purpose within the area, between the columns and space within the wall it seems like a route of passage flowing traffic, to the left or right of each of the columns depending on the side of the area, it obtains the feel of a lounging space or rest area out of the way of movement. For me I feel as if I am in a lobby or a ballroom, within the beams I feel the need to move and stay active, but off to the sides against the wall I began feeling like I should lean against the column or wall and relax and watch the show in the center. Emotionally, this is a very controlled environment and depending on the area there is a purpose, so it provides comfort and security knowing where to be depending on if I want to move around, leave, or rest.
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Category: #30 Faced wall with Connected wall Through nineteen photos the difference in two walls joint in the corner angled differently from ninety to two-hundred-seventy degrees is portrays how at certain angles and whichever ways the walls are facing can change the environment significantly, either making the space seem super open, or even very closed, towards the end of the series it even makes the area seem limited as it blocks off a large amount of space. For me, I seem very small when the angle is less and then also much bigger and more free when the walls are widened out. Emotionally, I go through many emotions throughout the changes, when the angle is towards me and closed, I feel intimidated and trapped, when it is open and wide I feel free and safe, but once it flips over creating a space separate from me, I feel very curious.
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Category: #31 Aligned wall with Connected wall Throughout seventeen photos two walls connected in the corner facing towards the person began opening, as they are tightly closed the space is tight and crammed portraying the focal point easily, as they open it begins making the space much wider and easily accessible and allowing the space to feel much more free. From my perspective, my vision was lacking in the beginning, and I hardly had space to move, but as it opened up, I was given space to move and access my surroundings. Emotionally I felt very claustrophobic, and anxious, but as it opened up, I felt joy and happiness knowing that I could move and feel free, it also brought another person into perspective which gave me comfort.
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Category: #32 Facing the connected edge of two walls Throughout seventeen photos two walls connected in the corner facing away from the person began opening, as the walls are at a small angle, there is a space separated from the main area disrupting the area up until it opens to one hundred and eighty degrees making two separate areas. From my perspective, I have a good feel for the area and feel free to move as is, but as the wall opens my area diminishes. Emotionally, this whole scenario is stressful, firstly I have no clue what is going on inside that small area, as it opens my area gets smaller so I lose less control and visuals of the area and gain more stress and anxiety of what might be going on.
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Category: #33 Three connected walls These six photos portray three different perspectives from a narrower space conjoined by three walls and wider one, the wider one has more perspective and overall has more of a focal point. For me, the wider space is easier to maneuver and has more of a meaningful use of space as there is a lady within. With the wider space I feel happiness and joy as if I have come to meet the women here. When it is narrower and just me, I almost feel engulfed and cornered.
Wide-facing wall with two wings
Narrow-facing wall with two wings
Category: #34 Curved wall inside Throughout these three photos each curve is displayed altering in height and width, altering the lighting within the curve, but overall, the focal point and center of attraction stay the same. From my perspective I am in the middle of the curve and feel as if I am the center of attraction as you follow the curve from either side it leads to me. Emotionally, I feel confident and happy, it is almost as if I am taking a photo or up on a stage being congratulated, the curve kind of puts a border on where to look but also leads into the center which is where I am.
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Small-curved and 16ft height
Large-curved and 8ft height
Category: #35 Curved wall outside Through eight photos show the difference in environment when a curved wall is placed, the change is each is height and width totaling with four different photos, depending on the height and width of the wall the overall space to work around is much different, but overall, the center of attention remains the same. In my eyes depending on if I am to the side or straight in front of the curved wall my feeling is different, when I am beside it, it almost feels bigger and more important than me, but when I am in front I feel as if we are even scale and my overall area of vision is better while feeling bigger. Emotionally I have two emotions depending on position and height, if I’m to its side I feel intimidated and small, if I am in front of it, I feel as if I am superior and it belongs to me, almost like I am showing the curved wall off.
Facing Small-curved and 8ft height
Passing Small-curved and 8ft height
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Passing Small-curved and 16ft height
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Passing Large-curved and 8ft height
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Passing Large-curved and 16ft height
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Category: #36 Curved Walls and Flat Walls
These five photos show how the environment and focal points can change based off a straight wall and a curve and how being the walls being flipped in different positions and configurations change how big the area feels and what it is used for, if the wall is running from front to back and not side to side it blocks off the area significantly, if the curve wall is either flipped away and not towards it may seem like more a blockage than entrance. For me, depending on my position, and if the inside of the curved wall is facing towards me as well, the wall is running right to left rather than from front to back I feel much freer and more open to move around, while the area also seems more inviting. Emotionally, when the curve is facing towards me I feel much more comfortable, plus the lady is here once again making me feel less isolated even if the straight wall is blocking me from going left, but I will say when this combination is used I feel as if I am on a path and have a goal needed to be done but if the wall is left to right it seems more like a relaxed space.
Facing a flat wall (8fh height) while passing a curved wall (8fh height)
Entering a space between a flat wall (8fh height) and a closed-curved wall (8fh height)
Entering a space between a flat wall (8fh height) and an opened-curved wall (8fh height)
Your coordination in height and openness.
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Entering a space between a flat wall (8fh height) and a half opened-curved wall (8fh height)
Category: #37 Entering into a space between Parallel Curved Walls Through eight photos two curved walls are placed side by side almost flowing into one another making a spiral like shape, changing in length and height, when the inside is not visible it seems as if it is an entrance and it the focal point, when the inside is visible, the focal point seems to be the middle. In my position, when on the outside of the curved walls I feel the need to enter, when the walls are shorter it seems even more accessible, but at the same time does not have much impact other than the fact that I feel short, when I am on the inside I feel the need to relax and stay almost as if I have made it my destination. Emotionally, I feel curious when on the outside as I need to see what is going on within, when I am on the inside, I feel very relaxed and calm as if I have made it where I am meant to be.
Small-curved and 8ft high outside
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Large-curved and 16ft high outside
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Category: #38 Entering a space between curved mirror walls_01
These four photos show the environmental change when there are two curved walls next to each other changing in height and distance between the two, the main thing that stays the same is the focal point being in between the two, and also the overall area around, but one thing is that when the beams are taller it makes the area seem bigger even though it is not. For me, being in between the two walls, the main difference is the distance between and height, when it is tall I feel small and more crowded, and when it is closer together, I also feel much more crowded losing much area to work with as well as peripheral vision. Emotionally, I feel as if I am going to be squeezed together, my anxiety is high, I feel tiny, and I only have two ways to move, there is definitely a negative effect going on by the two walls.
Small-curved and 8ft height
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Category: #39 Entering a space between curved mirror walls_02 Through these eight photos a difference in lighting, change in heights, as well as width are used to change the focal point of the environment, the main factor altering the feel is the lighting as it makes it seem as if something is ahead, the height of walls also make the environment feel smaller, but when they are wider is adds a larger sense to the surroundings. From my perspective, I feel tiny, but especially when the walls are taller and wider, I feel small and jammed in between the two walls. Emotionally, if the lighting is coming from ahead, I feel very curious, but when behind I am at my limits and do not want to go ahead as it makes me feel cautious and weary.
Small-curved and 8ft high with inside lighting
Small-curved and 8ft high with outside lighting
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Small-curved and 16ft high with outside lighting
Large-curved and 8ft high with inside lighting
Large-curved and 8ft high with outside lighting
Large-curved and 16ft high with inside lighting
Large-curved and 16ft high with outside lighting
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Category: #40 One curved wall and one column These two photos show how the inside of the curve seems more spacious than the outside, with the column in the middle it makes seem like a circular path, while on the outside it seems like a straight path. For me the aspect of being on the inside of the curved wall is much more inviting and seems like a path I would rather take than to work around the curve. Emotionally, the space inside the curve is much more inviting and has a much more fluent feel, giving me a good feeling, and reminding me almost of a roundabout rather than a stop sign like the other scene which is something I would much rather deal with.
Entering a space between a column and curved wall outside
Entering a space between a column and curved wall inside
Category: #41 One curved wall and two columns These three photos portray how the displacement of two columns around a wide curved wall can change the feel of it significantly, if both the beams are on each side with enough room to get through it makes the environment feel very spacious and free flowing, if the columns are slightly pushed in and can be traveled through it almost seems like a blocked and somewhat congests the space, if they are both on one side parallel, it seems like a double entry and feels by far the most spacious and useful. For me, being able to travel between the columns and curved wall it is very guiding and comfortable used for travel, but once these columns are pushed in to the point where you cannot travel between they seem like a barrier and change the feel to a spectacle along a path rather than being part of the path. Emotionally, I feel free flowing, joyous, and comfortable when I can move and travel wherever around the wall, but the second that is taken away I feel constricted and cautious to make sure I do not get to close to the wall.
Entering a space between a column of two horizontally aligned and curved wall outside
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Facing the outside of a curved wall with two horizontally aligned columns with insufficient space between them
Entering a space between a column of two vertically aligned and a curved wall outside
Category: #42 Role of a column between Curved and flat walls The environment is being affected by either an almost spiral shaped entry with a column, a straight wall with a curved entry and a column with both walls being adjusted either in the way the run or their height, these four photos show how depending on which situation the entry is more inviting, and or a more direct route. For me I feel the most comfortable walking into the shorter spiral wall with the column, in this case the column almost seems like a marker for the entry way which makes it seem as if the routes are the desired path which is good. Emotionally, I feel comfortable in all situations and have a good feeling about taking either entry as they seem like the correct routes to go.
Entering a space between two parallel curved walls, with a column in front of the outer curved wall
Entering a space between a faced flat wall and a curved wall, with a column in front of the flat wall
Entering a space between two parallel curved walls, with a column in front of the inner curved wall
Entering a space between a parallel flat wall and a curved wall, with a column in front of the flat wall
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Category: #43 Curved connection
These four photos portray how the angle of connection of two straight walls can affect how the space feels and what is could be used for, when the walls conjoin in a sharper angle the space feels more so as an area to stay, when the angle is greater it feels like a path against the wall. From my point of view, I feel the need to stay against the wall and travel down it when the angle is greater, but once it sharpens up, I feel the need to stick around and hang out. Emotionally, traveling across the wall feels more useful and comfortable and as when the angle lessens, I get the sense of loneliness and nowhere to go.
Follow two flat walls that are connected at an angle of 60 degrees smoothly
Follow two flat walls that are connected at an angle of 150 degrees smoothly
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Follow two flat walls that are connected at an angle of 90 degrees smoothly
Follow two flat walls that are connected at an angle of 120 degrees smoothly
Category: #44 Curved wall and S-curve wall Through these four photos the perception of an S-curved wall is creating a path with a circular wall making what seems like almost a maze or trail through the woods, the main difference between the four is the lighting come from the path and the heights of the walls having a variation with all four, when the light is coming from ahead in the path it makes it more inviting, but when the walls are also taller it adds a mysterious affect. For me personally, the effect of lighting is what attracts or pushes me away from the path, while the heights do not necessarily affect much other than how big I feel, but since the path is so curvy and unpredictable height does not affect my train of thought on entering or not too much. Emotionally, the unpredictability of the path intrigues me, but also makes me nervous chaining together a roller coaster of emotions on what may happen.
Curved wall and S-curve wall 8ft high with inside lighting
Curved wall and S-curve wall 8ft high with outside lighting
Curved wall and S-curve wall 16ft high with inside lighting
Curved wall and S-curve wall 16ft high with outside lighting
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Category: #45 1 point perspective pictures: Void on the upside Through eight photos, a void from above is used to portray how the lighting coming through it portrays the focal points of the environment. For me, if I am standing to the side of the light shining in, the focal point itself is the void, when I am standing within the void I feel as if I am the focal point. Emotionally, this gives me much happiness and satisfaction as I watch the light seep through, it is very interesting and seems almost if the sun is shining down on me.
A 4’x4’ square void with a height of 8ft
A 8’ diameter void with a height of 8ft
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A 8’x8’ square void with a height of 8ft
A 4’ diameter void with a height of 8ft
Category: #46 Void on the upside with columns or walls Through six photos a void is portrayed with the addition of two columns or a wall coming through the void itself, when the columns are in use it helps highlight the void as the focal point even more, when a wall is coming through the void it makes the focal point be whatever is beyond it. For me personally, when I am facing the two columns with void in between it makes the void seem as if it is the path to take somehow, when the wall is coming through, I feel the need to learn what is on the other side of the void. Emotionally, I feel great curiosity and urgency to learn what is on the other side of the void.
A 8’x8’ square void with columns
A 8’x8’ square void with a facing wall
A 8’x8’ square void with a passing wall
View for A 4’x4’ square void with a flat wall aligned with one side and two columns aligned with the opposite side
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Category: #47 Void on the downside with columns or walls These six photos show the view of the top of the void with a ceiling and in some cases a wall going down through the void, the light coming up from the void makes it super bright and most definitely the focal point. From my standpoint, the void is very interesting, and I feel the need to find a way to travel through it, it seems like a phenomenon. Emotionally, I am very delighted by the lighting and the view it portrays strikes me with curiosity to see what is on the other side.
A 8’x8’ square void with a facing wall and light from upper floor
A 8’x8’ square void with a facing wall and light from side
A 8’x8’ square void with a facing wall and light from lower floor
A 8’x8’ square void with a passing wall and light from side
A 8’x8’ square void with a passing wall and light from lower floor
A 8’ diameter void with light from lower floor
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Category: #48 Void on the upside with combinations of columns or walls
These eight photos portray different perspectives of a room formulated by two walls, a void on top, and two columns, environmentally it is a closed area with two columns and an entry way signifying where to travel with the focal point being the void shining down. For me, as I travel through, I feel comfortable and being able to identify where to walk, where to rest, and what to look for being the void as where to look, the columns and doorway on where to walk, and by the walls on where to rest. Emotionally, this environment is very relaxed and easily identifiable for what its uses are, it is spacious and unique formulating and stable mindset when entering.
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Category: #49 Void between Floating Surfaces These five photos portray a multi-level environment where three ledges are formulating in a circle creating the focal point in the middle, all the ledges being different heights help keep the space open and uncrowded. From my perspective, I am in the middle looking upon two guys sitting on the ledge, the whole scene is very relaxed and very free flowing. Emotionally, I feel very unified and comfortable, knowing I am in a circle with two others seeming to enjoy the scene.
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Category: #50 Void between curve-linear Surfaces These two photos portray two perspectives from the bottom and top a uniquely shaped void, the void is most definitely the focal point in both photos as it was the environment gravitates around. For me the void is very interesting and almost seems like a body of water with me and my buddy just hanging out by it, while the person below is getting an interesting view more than likely curious what it looks like from above. Emotionally, this shape is very free flowing and calm, so it makes me feel very happy and cozy, especially considering I also have someone else to enjoy the scene with me.
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Category: #51 Void with a combination of The environment created by the two walls, with two overhanging roofs, with a gap in between and column holding up one section create a very unique fixture of lighting in shadows, formulating the focal point to be in between the two roofs on the ground where it is brightest. Personally, I think this area is very cozy and offers a little bit of everything as it has a doorway, shaded area out of the walkway, as well as a column to lean on and rest creating a very diverse and multi-use environment for people. Emotionally, this area is very relaxing and calm with the ability to walk through and still maintain plenty of room while also having the option to relax in either light and or shade.
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Category: #52 Curved vertical surface These two photos show a smooth curved surface going upwards either away or towards me, the environment created is slightly different with both, the similarities would be the focal point being the curved surface and what the curved surface does to the area, creating a division in space between the back wall and the person, and the difference would be which way the curve is going. For my perspective of the two curves, when it is going away it makes me feel much larger and almost seems like an obstacle to climb, but when it is coming back over top of my head it makes me feel tiny and it just a blockage within my vision. Emotionally, when the curved surface is coming back over my head it intimidates me, and
makes me feel very minimal to the area, but when it is ahead of me going the opposite direction, it feels like a task needed to be accomplished and makes me feel big and courageous.
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Category: #53 Curved vertical surface with an upper floor These five pictures portray an elevated flat space with a curved surface coming downwards, creating a super open and free flowing environment, the focal point is somewhat a mixture of both surfaces depending on the angle taken. This environment makes me feel great, and my positions within are very comfortable and fit in with the surroundings well. I feel a lot of joy and charisma from these scenes as they are easy going and just seem like a fun waterpark area with a ledge and what looks like a slide.
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Category: #54 Curved vertical surface with a void The environment created throughout these scenes is a combination of a void, curved surface, curved wall, and a flat wall, these combinations create a really diverse and interesting atmosphere with no direct focal point in any of the photos, the main correlation of focal points would have to be the curved surface and void combination in each scene. The way this environment makes me feel is very fun and adventurous as each perspective I’ve been in has been unique in position and surroundings. The feeling I get from this would be giddy and happy as it seems everyone in these settings are having a great time.
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Category: #55 Facing Curved vertical surface
The environment created from these two scenarios are opposites as it a combination of a void, curved wall, and curved surface, but in one the surface is coming back towards me causing a lack of space and creating a walkway up the focal point of the void, while in the other the surface is going the opposite direction leaving the area very open and causing the focal point to be the curved wall. The first scene makes me feel cramped and the need to go up the ramp, while the second seems more like a relaxed place in the shade. Overall, my emotions alternate from both as I feel the need to move in the first, while staying put in the second.
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Category: #56 Hanging curved surfaces The four photos use a combination of a curved smooth surface, two flat walls, and a curved wall rotated around, the focal point in all scenes is the curved surface and wall creating round and easy going geometric in each of the scenes. These scenes make me feel super fun as if I am at the park messing around on the jungle gym due to how they are put together. My emotions are joy and happiness as these scenes bring out a fun and creative atmosphere.
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Category: #57 Surfaces with convexities and concavities These two photos portray an abstract and unique focal point being the combination of the two smooth curved surfaces being offset by each other. The feeling I get from these scenes is artistic and creative, which are two things I love. The emotions I get from these scenes are happiness and immense imagination to form a great blend of creativity.
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Category: #58 A sphere with a strong center and centripetal force These four photos use half cylinders and a flat wall to create an open but circular focused area, making the focal point the half cylinders. I enjoy these scenes as it seems like the cylinders are a work of art and being appreciated by either me or the other guys in each shot, giving it a museum or art gallery feel. The emotions I get from these scenes are appreciation and respect, which brings me a great sense of joy.
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Category: #59 Surfaces that are twisted and free
These three photos use a curved wall placed as a bridge, the curved smooth surface, and an extended ledge over a flat wall to make a super uniquely shaped area, the focal point is every factor in the sense that they produce a flow of shape that works really well with the area and what it could be used for, there is a ledge to sit on, a bridge to walk across or even use as a bench, and well as smooth surface to slide down and or walk. This area also brings together great unity as it has a very social purpose, bringing together me and two other people while offering an array of functions for us. This area gives me joy and enthusiasm, as it reminds me of a park.
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Kelsey Slinkard Port foli o
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What I learned...
Project #1 “Wall, Column, and Space” I learned how to recreate and assemble mulitple interior scenes that portrayed unique architectural elements. With the use of light depiction, curved angles, and structural height, these created movement through the use of images. This project created the basis for our future space cube. Project #2 “Hand Drawing” I learned the importance of line thickness, stroke and attention to line detail. With the illustration of drawing, I understood how important of an element line can portray in my pieces. Hand drawing is an expressive portrayel without the use of physical objects. Project #3 “Power of Patience” I learned through the power of patience that it takes time and dedication to understand a work of art. Art has underlying meaning and emotion through the artist’s impression. The long process of visualization connections underlying cues that are hidden at first glance surface. Project #4 “Space Cube” I learned how to estblish my ideas through the use of volume and space. By working with physical models, I had to overcome the struggles of construction assembly and explore the three-dimensional principles that illustrate the model. By working through a process of recreating models, I understood the precision it takes to develop a final outcome. Project #5 “First Portfolio” I learned that technological advancments and programs can bring my artwork to life and a new scenery. Working with AI allowed me to embellish a new emotion and story from the base creation I made. It opened my eyes to a new world and design presentation. Overall I truly have enjoyed my first Interior Architecture and Design semester. It came with lots of succesion and struggles. However, I learned throughout the way that desing works in flexible ways. My instructors helped guide my way and pushed my boundaries in a positive way. Learning through mulitple projects with hands on assignments or technology infused, overall I embraced many old and new talents. If you could talk to you before these five weeks, what would you like to share with you? I would tell myself that it’s not as stressful as it may seem. It may be overwhelming in the beginning few weeks, but friends are what made it better. I couldn’t have continued this process if it weren’t for the connections I made. The students around me are doing the same projects that I’m doing. Having that support and resource helped me in many ways. I could rely on them if I had questions, or they’d for my opinion for their work and so forth. I would also tell myself that the dedication is worth it. The amount of time spent on so many projects turned out well in the long run. I’m proud of the work I developed and rushing to get it done was not the path I took. I truly enjoyed this semester and I’m going to remember my first design semeseter to be a good one.
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Category #1: Facing surface Ten photographs illustrate the visuals of perception, creating an angle from different positions that create multiple shadow elements. As the wall changes, it abstracts the shape of light that comes across the figure. As I began to walk forward to move across the space, the wall blocked my path entirely and I couldn’t pass through it.
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Category #2: Facing edge Ten photographs illustrate the projection of angle, creating a visual that shows the conception of position of direction in objects. As the wall angles narrower from the standpoint, it creates a more open space and less shadow element on the human figure. As I tried to avoid the wall in front of me, I moved over to the right to avoid contact and the wall turned away from me.
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Category #3: Blocking wall 10 photographs illustrate the visual of conception, creating a visual that takes over most of the space and hides a large imagery. As the walls move over to the right, the overall space is used up more and captures the center view on the human figure. As I tried to walk passed the wall, it moved right in front of me abruptly and covered my path I planned to take.
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Category #4: Passing the blocking wall 5 photographs illustrate the elements of size, creating a different perspective of the same environment with a closer viewpoint. As the person walks past the wall, the conception that the wall gets bigger analyzes the movement as they go past the wall. As I took a stroll around the building, I went past a wall to get where I wanted to.
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Passing level 5
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Category #5: Aligned Wall 5 photographs illustrate the alignment of the wall, creating a visual aspect with display that arranges the wall from different angles. As the wall turns and angles toward the right, it’s vertically aligned with the human figure. As I tried to move right past the turning wall, it moved in front of me and created a straight line from where I stood.
Closed level 1
Closed level 2
Closed level 4
Closed level 5
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Closed level 3
Category #6: Passing the aligned wall 6 photographs illustrate the passing of the aligned wall, creating shadow and light elements that are different throughout the space. As the human figure passes the wall, the angle and source of light depicts variety where the figure stands. As I walked passed the aligned wall, it covered the light that created shadows before it was blocked.
Passing level 1
Passing level 2
Passing level 3
Passing level 4
Passing level 5
Passing level 6
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Category #7: Walls with different heights 8 photographs illustrate the difference in height of many walls, the vertical height of growing walls fill the space to create a different elemental form. As the wall grows higher in the space, it visually makes the human figure seem smaller in height. As the wall grew in front me, I felt shorter in comparison to its tall height.
Wall with 1ft
Wall with 2ft
Wall with 3ft
Wall with 4ft
Wall with 5ft
Wall with 6ft
Wall with 7ft
Wall with 7ft
10 2184
Category #8: Floating and faced Wall 8 photographs illustrate a floating and faced wall gradually changing in height, depicting the use of space and lighting. As the wall ascends upwards, the human figure visually decreases in size. As the wall ascends the wall, the space looked to be taller as if it grew.
1ft high floating wall
2ft high floating wall
3ft high floating wall
4ft high floating wall
5ft high floating wall
6ft high floating wall
7ft high floating wall
8ft high floating wall
11 2185
Category #9: 8ft high floating and aligned wall 4 photographs illustrate a high floating wall that moves from center perspective, gradually changing the visual as a whole and developing new images. As the floating wall above angels from the left towards center, it changes shadows that covers the human figure. As I walk and ascend forward, the floating walls shadow moves past and across me.
Alignment level 1
Alignment level 4
12 2186
Alignment level 2
Alignment level 3
Category #10: 8ft high floating and faced wall 8 photographs illustrate a high floating faced wall that gradually moves center, creating a new space element as it ascends in the middle. As the floating wall moves left to center, it moves the focal point of the human figure to a shared point of the wall and human. As I’m standing in the space, a floating ascends from the left and floats directly in front of me.
Overlap level 1
Overlap level 2
Overlap level 3
Overlap level 4
Overlap level 5
Overlap level 6
Overlap level 7
Overlap level 8
13 2187
Category #11: floating horizontal surface 8 photographs illustrate a floating horizontal surface that gradually moves center, creating a line element above the human figure. As the horizontal surface moves above the human figure, it depicts the lines and shadowing that covers the figure. As I stood in the shiny sun, a huge floating surface covered the sunlight and blocked my before shadow.
Overlap level 1
Overlap level 2
Overlap level 3
Overlap level 4
Overlap level 5
Overlap level 6
Overlap level 7
Overlap level 8
14 2188
Category #12: Horizontal surfaces with different heights 12 photographs illustrate a horizontal surface that gradually moves down and though the surface floor, creating a visual of shape. As the human figure stands still, the floating surface ascends down and goes through the floor, creating new shapes within the space. As I stood there with amazement, a surface floated down and ascended through the floor.
8ft high horizontal surface
7ft high horizontal surface
6ft high horizontal surface
5ft high horizontal surface
4ft high horizontal surface
3ft high horizontal surface
2ft high horizontal surface
1ft high horizontal surface
-1ft high horizontal surface
-2ft high horizontal surface
-3ft high horizontal surface
-4ft high horizontal surface 15 2189
Category #13: Wall surface with an incline 8 photographs illustrate the incline of a surface wall, creating new lines and shapes within the lighting of the space. As the wall moves around the space up at the top, the lines and shapes of shadows depict differently on the human figure. As I stand there confused, the surface wall inclined and eventually turned above me.
10 degree
20 degree
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80 degree
16 2190
Category #14: Inclined wall 6 photographs illustrate a wall gradually inclining upwards, creates new value to the light and shadow used in the space. As the wall inclines higher and straight up, the shadow continues to grow and cover the human figure itself. As the wall next to me began to lift up, the space began to slightly darken as the wall covered the light source.
Inclined level 1
Inclined level 2
Inclined level 3
Inclined level 4
Inclined level 5
Inclined level 6
17 2191
Category #15: Floating wall surface facing edge with an incline 6 photographs illustrate the movement in angle of the floating wall, gradually moving it’s angle towards the human figure itself. As the wall moves almost 90 degrees, it affects the focal point of the human figure to the ascending shadows that are new created. As I stand in the space, a wall starts to angle it way towards me in a unfamiliar and strange way.
Inclined level 1
Inclined level 2
Inclined level 3
Inclined level 4
Inclined level 5
Inclined level 6
18 2192
Category #16: Inclined surface to a facing wall 6 photographs illustrate the movement in angle of the floating wall, gradually moving it’s angle towards the human figure itself. As the wall moves almost 90 degrees, it affects the focal point of the human figure to the ascending shadows that are new created. As I stand in the space, a wall starts to angle it way towards me in a unfamiliar and strange way.
10 degree
20 degree
30 degree
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90 degree
19 2193
Category: #17 Inclined ramp to facing wall 9 photographs illustrate an incline of a ramp that gradually moves upward, affecting the light and lines of the visual aspect. As the wall moves upwards vertically, it open up more room for light to seem in and create new lines that depict the human. The wall in front began to rise up in front of me, almost like it was coming to attack me.
10 degree
20 degree
30 degree
40 degree
50 degree
60 degree
70 degree
80 degree
90 degree
20 2194
Category: #18 One Column 2 photographs illustrate a two-point perspective of the space, giving a wide range of understanding of the area. As the column stays planted in front of the figure, it adds to the empty surrounding space. As I walk by the column next to me, I am confused as to why it is there.
Front
Side
Category: #19 Two Columns 2 photographs illustrate the change in columns both vertically and horizontally. As the columns are moved two different ways, it elevates the space and where the figure stands. The room felt oddly differently when the columns were placed in different positions.
Vertical
Horizontal
21 2195
Category: #20 Three Columns 2 photographs illustrate a shadow element within three columns, creating illusions within the light source itself. As the columns stand in different spots of the space, it stands out of the way of the center point, the figure. As I begin to walk, there are many columns in front of me that are scattered, but oddly satisfying.
Vertical
Horizontal
Category: #21 Four Columns 2 photographs illustrate the element of line and how the distance in columns can affect a floorplan. The distance of columns affects the human figure because it changes the center of attention based off its depth. As I stand there shyly, I feel as though these columns direct the attention on me.
Wide
22 2196
Narrow
Category: #22 One Wall and One Column 8 photographs illustrate the element of shape, creating new form within the space itself. As the light is depicted differently as the column moves, it created different shapes that create variety. As I’m walking to avoid the column in front of me, it makes me feel erratic as I’m constantly avoiding it.
Condition 1
Condition 2
Condition 3
Condition 4
Condition 5
Condition 6
Condition 7
Condition 8
23 2197
Category: #23 One Wall and two Columns 3 photographs illustrate the use of horizontal and vertical walls, creating different images with objects and the figure. The movement of the wall creates newly shaped environments with the use of the same things. As I stand there, the columns and wall move around oddly and felt like I was in a new room every change.
Condition 1: aligned wall and vertically aligned columns
Condition 2: facing wall and vertically aligned columns
Condition 3: facing wall and horizontally aligned columns
Category: #24 Two Walls and two Columns 2 photographs illustrate the visual element of how two walls and two columns can effectively change a space. From different viewpoints, you can visualize a change from the columns and view of the center towards the woman figure. As I walk past the woman, she stands there quietly, and I wonder if I’ve disturbed her.
Columns aligned vertically with perpendicular walls
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Columns aligned horizontally with perpendicular walls
Category: #25 Two Walls and two Columns with two lighting conditions_01 6 photographs illustrate the element of value, the lighting changes the same space and creates something new. Even though there are multiple changes to the space, the lighting affects the entire environment and brings a whole new idea. As I was walking past to turn the corner, the lights went out and felt scared.
Walking between vertically aligned columns and perpendicular walls with lighting behind Figure
Walking between vertically aligned columns and perpendicular walls with lighting behind wall
Walking beside vertically aligned columns and perpendicular walls with lighting behind Figure
Walking beside vertically aligned columns and perpendicular walls with lighting behind wall
Walking beside vertically aligned columns and extended perpendicular walls with lighting behind Figure
Walking beside vertically aligned columns and extended perpendicular walls with lighting behind wall
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Category: #26 Two Walls and two Columns with two lighting conditions_02 4 photographs illustrate the evaluation of light source, creating a new image with every object change. The light seeming through inside the room creates long shadows on the human figure. As I’m walking out of the creepy darkness, I’m embraced by the bright light in front of me.
Passing horizontally aligned columns to enter the space between two walls with lighting behind Figure
Passing vertically aligned columns to enter the space between two walls with lighting from the inside space
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Passing horizontally aligned columns to enter the space between two walls with lighting from the inside space
Passing vertically aligned columns to enter the space between two walls with lighting behind Figure
Category: #27 Two Walls and two Columns with two lighting conditions_03 6 photographs illustrate the gradual change in alignment of different walls. The angle of each wall changes effects the focus on the human figure. As I pass by many walls, the ever changing walls creates a hallucination that I see repeating.
Passing vertically aligned columns to pass a narrow opening between two walls with lighting behind Figure
Passing vertically aligned columns to pass a narrow opening between two walls with lighting from the inside space
Passing vertically aligned columns to pass an intermediate opening between two walls with lighting behind Figure
Passing vertically aligned columns to pass an intermediate opening between two walls with lighting from the inside space
Passing horizontally aligned columns to pass a wide opening between two walls with lighting behind Figure
Passing horizontally aligned columns to pass a wide opening between two walls with lighting from the inside space
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Category: #28 Vertically aligned Two Walls and two Columns 2 photographs illustrate the space in a long depth with vertical walls, allowing for a better understanding. Depending on which side the walls are facing, it changes the direction in which the figure seem to be going. As I walk past these long walls, light shines upon me as I continue to move forward.
Between walls, walking
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Between columns, walking
Category: #29 Space composed with 5+ columns and 2 walls 7 photographs illustrate the element of space and how it’s functionally used with many wall and objects in the way of the figure. As the human figure turns, the view point changes as well which creates new ways to look from a standpoint. As I walked past these columns, I turn to surprisingly find someone behind the wall.
Top view of the space composed
Sequence phase #1
Sequence phase #2
Sequence phase #3
Sequence phase #4
Sequence phase #5
Sequence phase #6
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Category: #30 Faced wall with Connected wall 19 photographs illustrate the gradual change in the connected wall, creating a rotation like image among the movement. As the walls gradually move, the human figure stays the center of movement. As I stair at the corner of the walls, I feel dizzy as it moves around my body.
90 degree
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170 degree
180 degree
190 degree
200 degree
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210 degree
220 degree
230 degree
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250 degree
260 degree
270 degree
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Category: #31 Aligned wall with Connected wall 17 photographs illustrate the gradual movement of the aligned walls, creating a wider space as it changes. As the walls begin to create a bigger space, the human figure are seen directly and becomes the center. As I stare at the women in front of me, I feel like the walls are moving and I’m in the Maze Runner.
10 degree
20 degree
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60 degree
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90 degree
100 degree
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120 degree
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130 degree
140 degree
150 degree
160 degree
170 degree
33 2207
Category: #32 Facing the connected edge of two walls 17 photographs illustrate the element of shape, creating new forms as the wall gradually angles. The change in angle of the wall affects the human by taking more of the space. As the wall began to open up, I felt smaller like the room around me.
10 degree
20 degree
30 degree
40 degree
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60 degree
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34 2208
130 degree
140 degree
150 degree
160 degree
170 degree
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Category: #33 Three connected walls 2 photographs illustrate the element of space, providing two examples of wide and narrow areas. When the room is wider, it occupies less space and gives consideration to a figure’s surroundings. As I stand in a wide room, I feel more comfortable and relaxed.
Wide-facing wall with two wings
Narrow-facing wall with two wings
Category: #34 Curved wall inside 4 photographs illustrate the element of lines, creating an image that uses the concept of curves in the wall. The curved wall redirect the light on the human figure, creating more of a focus on the center of the curve. I feel safe and protected when I’m surrounded in this half sphere.
Small-curved and 8ft height
Large-curved and 16ft height 36 2210
Small-curved and 16ft height
Large-curved and 8ft height
Category: #35 Curved wall outside 8 photographs illustrate the element of shape, the round edges of the walls create a rounded texture and special awareness of the area. Depending on the size of curved wall, it depicts how the human figure it portrayed in every angle. I wall strangely around this wall, but feel like I’m walking in circles.
Facing Small-curved and 8ft height
Passing Small-curved and 8ft height
Facing Small-curved and 16ft height
Passing Small-curved and 16ft height
Facing Large-curved and 8ft height
Passing Large-curved and 8ft height
Facing Large-curved and 16ft height
Passing Large-curved and 16ft height
37 2211
Category: #36 Curved Walls and Flat Walls 5 photographs illustrate the use of flat and curved walls, adding the element of line as a new concept in a variety of ways. The walls created new shapes within the area, adding room-like spaces for human figure as an example. As I walk down the hall, I’m surprised to find this woman around the corner of this rounded wall.
Facing a flat wall (8fh height) while passing a curved wall (8fh height)
Entering a space between a flat wall (8fh height) and a closed-curved wall (8fh height)
Entering a space between a flat wall (8fh height) and an opened-curved wall (8fh height)
Your coordination in height and openness.
38 2212
Entering a space between a flat wall (8fh height) and a half opened-curved wall (8fh height)
Category: #37 Entering into a space between Parallel Curved Walls 8 photographs illustrate the use of small and large curved walls to express an element of height and length. The room size feels longer on the human figure as the curved walls get bigger. I walk around this circled maze and almost feel dizzy going around so many curves.
Small-curved and 8ft high outside
Small-curved and 16ft high outside
Large-curved and 8ft high outside
Large-curved and 16ft high outside
Small-curved and 8ft high inside
Small-curved and 16ft high inside
Large-curved and 8ft high inside
Large-curved and 16ft high inside
39 2213
Category: #38 Entering a space between curved mirror walls_01 4 photographs illustrate the concept of mirroring walls, creating a symmetrical view of the space. The symmetrical use of the walls creates a center point on the human figure that stands on the “mirror line.” I am very curious as to what these similar walls will lead me to.
Small-curved and 8ft height
Large-curved and 16ft height
40 2214
Small-curved and 16ft height
Large-curved and 8ft height
Category: #39 Entering a space between curved mirror walls_02 8 photographs illustrate the use of mirror walls through an entering angle, giving a new perspective of an area we cannot see. The use of curved walls creates an element that the human figure seems to be entering a mysterious room. I walk towards this light, curious as to what could be between these walls.
Small-curved and 8ft high with inside lighting
Small-curved and 8ft high with outside lighting
Small-curved and 16ft high with inside lighting
Small-curved and 16ft high with outside lighting
Large-curved and 8ft high with inside lighting
Large-curved and 8ft high with outside lighting
Large-curved and 16ft high with inside lighting
Large-curved and 16ft high with outside lighting
41 2215
Category: #40 One curved wall and one column 2 photographs illustrate the use of a curved wall and column, creating a variety of objects within the same space. By adding the column, it adds more depth vertically with the human figure used in the space. I walk around this column wondering why it’s in the middle of the room.
Entering a space between a column and curved wall outside
Entering a space between a column and curved wall inside
Category: #41 One curved wall and two columns 3 photographs illustrate the use of a curved wall and two columns, adding symmetry with the two columns and the wall splitting the space. The two lines add length to the room as a whole and make the human figure look smaller in speculation. I turn past a woman who is standing so elegantly in the light of the curved wall.
Entering a space between a column of two horizontally aligned and curved wall outside
42 2216
Facing the outside of a curved wall with two horizontally aligned columns with insufficient space between them
Entering a space between a column of two vertically aligned and a curved wall outside
Category: #42 Role of a column between Curved and flat walls 4 photographs illustrate the use of curved and flat walls, while implicating a use of a column along the edges. The columns create a navigation path for the human figure to follow or go around in the space. I see an open room and wonder where this light is coming from.
Entering a space between two parallel curved walls, with a column in front of the outer curved wall
Entering a space between a faced flat wall and a curved wall, with a column in front of the flat wall
Entering a space between two parallel curved walls, with a column in front of the inner curved wall
Entering a space between a parallel flat wall and a curved wall, with a column in front of the flat wall
43 2217
Category: #43 Curved connection 4 photographs illustrate the use of angles of a connected wall, adding depth and lines to the room itself. As the angle of room increases, it makes the room look larger for the figure to walk around in. As I’m following the edges of this curved wall, I feel like this will continue to go on forever.
Follow two flat walls that are connected at an angle of 60 degrees smoothly
Follow two flat walls that are connected at an angle of 150 degrees smoothly
44 2218
Follow two flat walls that are connected at an angle of 90 degrees smoothly
Follow two flat walls that are connected at an angle of 120 degrees smoothly
Category: #44 Curved wall and S-curve wall 4 photographs illustrate the use of line and vertical depth with the size difference of curved walls. The wall size of the curve affects the human because it creates a bigger or smaller space depending on the size of the curve. These curved walls make me feel like I’m in a maze that I hope to get out of soon.
Curved wall and S-curve wall 8ft high with inside lighting
Curved wall and S-curve wall 8ft high with outside lighting
Curved wall and S-curve wall 16ft high with inside lighting
Curved wall and S-curve wall 16ft high with outside lighting
45 2219
Category: #45 1 point perspective pictures: Void on the upside 4 photographs illustrate the element of shape and light, mixing elements that create images from the objects around. The source of light and shape of the walls create an shadow that either hides or outshines the human figure wherever it stands. I walk out from under the roof and I’m blindly by how bright the light is shining down upon me.
A 4’x4’ square void with a height of 8ft
A 8’ diameter void with a height of 8ft
46 2220
A 8’x8’ square void with a height of 8ft
A 4’ diameter void with a height of 8ft
Category: #46 Void on the upside with columns or walls 4 photographs illustrate the use of columns, walls, and upside-down voids by creating an imaginary room with the objects used in total. The human figure is depicted to look like it walk in different directions of a room, creating an element of understanding the space more. As I walk around these enclosed halls, I’m very curious as to all the skylights I’m passing by.
A 8’x8’ square void with columns
A 8’x8’ square void with a facing wall
A 8’x8’ square void with a passing wall
View for A 4’x4’ square void with a flat wall aligned with one side and two columns aligned with the opposite side
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Category: #47 Void on the downside with columns or walls 6 photographs illustrate the element use of lighting, creating different perspectives and shades. The human is depicted differently based on the direction the source of light comes from. I look down below me as if I’ve hit a treasure of gold!
A 8’x8’ square void with a facing wall and light from upper floor
A 8’x8’ square void with a facing wall and light from side
A 8’x8’ square void with a facing wall and light from lower floor
A 8’x8’ square void with a passing wall and light from side
A 8’x8’ square void with a passing wall and light from lower floor
A 8’ diameter void with light from lower floor
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Category: #48 Void on the upside with combinations of columns or walls 10 photographs illustrate the use of perspective and light the scenes develop in. The sense of direction and light allow for a path that allows you to follow the human figure moving. I walk around many corners of these halls to find I’m in somewhat of a labyrinth.
Scene #1
Scene #2
Scene #3
Scene #4
Scene #5
Scene #6
Scene #7
Scene #8
Scene #9
Scene #10 49 2223
Category: #49 Void between Floating Surfaces 5 photographs illustrate the use of floating surfaces around the space, creating a visual of height and depth. With the many uses of multiple human figures, the details go into more depth about the objects surrounding them. I feel anxious and scared as these many people are staring down at me from above.
Scene #1
Scene #2
Scene #4
Scene #5
Scene #3
Category: #50 Void between curve-linear Surfaces 2 photographs illustrate the use of linear and curving voids upon the surfacing that create undertones of lighting. With the human figures placed above the void, you can see the visual depth of the space itself as the light shines down. This abyss of darkness below me makes me nervous as to what could be down below.
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Scene #2
Category: #51 Void with a combination of 2 photographs illustrate the combinations of open ceilings, columns and ramp walls that create an imaginary space from within. The human is surrounded by all objects that encloses it off to the outside world. I feel cramped and spooked looking ahead at the darkness in front of me.
Scene #1
Scene #2
Category: #52 Curved vertical surface 2 photographs illustrate the use of curved vertical surfaces that adds formal movement to the wall and lighting. The curved of the vertical surface plays against the light which adds depth to the human figure. This tall curved wall in front of me looks like I’m about to be engulfed.
A 4’wide
A 8’wide 51 2225
Category: #53 Curved vertical surface with an upper floor 5 photographs illustrate the use of form and shape, creating multiple shapes with the surrounding objects. The vertical surfaces create different shapes around the human figure. As I walk through this mysterious tunnel, I’m afraid to look down from this tall platform I’m upon.
Scene #1
Scene #2
Scene #4
Scene #5
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Scene #3
Category: #54 Curved vertical surface with a void 5 photographs illustrate the use of vertical surfaces with a void, creating height within the images and depth of the space. The use of the void and curved surface allows the human figure to travel up the sloped surface. I walk up this mysterious vertical surface and sit down to look up at where it leads.
Scene #1
Scene #2
Scene #3
Scene #4
Scene #5
Category: #55 Facing Curved vertical surface 2 photographs illustrate a facing curved vertical surface, obstructing the light shining above. As the vertical surface curves over the space, the human figure does not receive any light due to the surface covering it. I looked up at this strange, curved wall, confused as to what its purpose was.
Scene #1
Scene #2 53 2227
Category: #56 Hanging curved surfaces 4 photographs illustrate the use of a hanging curved surface, symbolizing a cylindrical shape above the human figure. The hanging curved surface acts as a round form that depicts the shadows of the human figure below. This round surface above my head seems to look like it’s incaving above me.
Scene #1
Scene #2
Scene #3
Scene #5
Category: #57 Surfaces with convexities and concavities 2 photographs illustrate the use of surfaces with convexities and concavities, adding curvature the overall space. The use of multiple rounded surfaces takes away the open space for the human figure. I walk through this odd tunnel and feel trapped inside the small space.
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Scene #2
Category: #58 A sphere with a strong center and centripetal force 4 photographs illustrate the use of a sphere with a strong center and centripetal force, acting as a spherical form building and moving through objects. The rounded sphere adds variety to the overall open space that is shared with the human figure. I’m oddly curious as this giant sphere is growing and moving around.
Scene #1
Scene #2
Scene #3
Scene #5
Category: #59 Surfaces that are twisted and free 3 photographs illustrate the use of twisted and free moving walls, creating a diverse space with many surroundings. The surroundings of the surfaces create an inside labyrinth for the human figure. I feel like I’m lost, walking around all these walls and objects in my way.
Scene #1
Scene #2
Scene #3
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O l iv i a S m it h Port fol i o
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What I learned...
Project #1 “Wall, Column, and Space” - I learned to do everything, even the small details, with intention. Taking over 300 pictures of foam board structures felt super repetitive at the time, but looking back, it set me up for success to create my space cube. Project #2 “Hand Drawing” - I learned how to draw different types of floor plans, draw from different perspectives, and how to use different mediums such as charcoal. I haven’t always been the best at drawing, but these small project taught me that not every drawing I make has to be perfect. Project #3 “Power of Patience” - This project taught me (ironically enough) patience. I never thought I would go to a museum and stare at one painting for three hours. However, I noticed so many things I never would’ve had I not done this exercise. Project #4 “Space Cube” - The space cube taught me how to perfect my craft, how to feel a specifc emotion by looking at a simple picture, and how to make a space flow. I learned the importance of iteration in the modeling process. Had we not been required to make three versions of our space cube I would not have gotten as good of a result as I did. Project #5 “First Portfolio” - Making this portfolio has been a full circle moment. Seeing everything I was able to accomplish in these short 5 weeks is amazing. I learned that hard work pays off and I’m so proud of myself! Overall - I’ve learned to more than I could have imagined in these short five weeks. I now know that sometime to you have to sacrafice perfection in order to acheive completion. With this, I have grown excellent time management skills. Most importantly I have learned more about myself and who I am as a person. I have learned how to deal with pressure, hard deadlines, and taking critiques and I tried my best to do it with grace. If you could talk to you before these five weeks, what would you like to share with you? - If I could talk to myself before these five week I would tell myself these things: - Put yourself out there and make friends! - Everything is cumulitive, so always give 100% effort - It’s okay to take a break every once and a while. - Don’t be afraid to get to know your instructors. They are there to help you succeed!
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Category #1: Facing surface The ten photographs demonstrating facing surface show the angle of the wall getting increasingly bigger and in turn getting close to the human figure, obstructing its view. As the degree of the wall changes, the human figures view becomes obstructed. The facing surface wall had no affect on my emotions until it hit 50 degrees where is was blocking my view and I then felt trapped.
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Category #2: Facing edge These ten photos show the increasing angle of the edge of the wall as it slightly obstructs the human figure’s view. As the facing edge wall moves, it slightly obstructs the view. As the edge of the wall moved directly in front of me (0 degree) I felt like my path was split and that I would have to choose which way to go.
0 degree
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90 degree
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Category #3: Blocking wall These ten photos show the increasing angle of the edge of the wall as it slightly obstructs the human figure’s view. As the facing edge wall moves, it slightly obstructs the view. As the edge of the wall moved directly in front of me (0 degree) I felt like my path was split and that I would have to choose which way to go.
Opened level 1
Opened level 2
Opened level 3
Opened level 4
Block level 1
Block level 2
Block level 3
Block level 4
Block level 5
Block level 6
Block level 7
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Category #4: Passing the blocking wall These five photos show the human figure passing a stationary wall to the left. As the wall moves closer it begins to gradually look larger in regards to the human figure. The wall is stationary so I felt I was able to walk right past it.
Passing level 1
Passing level 2
Passing level 3
Passing level 4
Passing level 5
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Category #5: Aligned Wall The edge of the wall is facing the human figure and gradually moves as a whole from the left to the right. As the wall moves it gets closer to the human figure and begins to obstruct the view. I could move forward until the last picture when the wall moved directly in front and I felt stuck.
Closed level 1
Closed level 2
Closed level 4
Closed level 5
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Closed level 3
Category #6: Passing the aligned wall The wall is stationary to the left as the human figure passes it. The wall gets closer and looks larger as the human figure passes the wall. With the wall being stationary and to the left it was not in my way and I felt I was able to move forward.
Passing level 1
Passing level 2
Passing level 3
Passing level 4
Passing level 5
Passing level 6
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Category #7: Walls with different heights In these eight photos the wall “grows” bigger in each photo. The wall gets bigger and the height change is seen in relation to the height of the human figure. I feel I could easily step of the wall in the first two pictures. After that, the wall starts to obstruct my view and by picture 9 I feel like I’m being towered over.
Wall with 1ft
Wall with 2ft
Wall with 3ft
Wall with 4ft
Wall with 5ft
Wall with 6ft
Wall with 7ft
Wall with 7ft
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Category #8: Floating and faced Wall In these 8 photos the wall in placed near the ground and rises with each photo. At first the human figure is obstructed by the wall, but then as the wall rises the human figure has room to go under. I feel obstructed by the 1ft-6ft floating wall, but by the 7ft and 8ft floating wall I feel as if I could just walk underneath.
1ft high floating wall
2ft high floating wall
3ft high floating wall
4ft high floating wall
5ft high floating wall
6ft high floating wall
7ft high floating wall
8ft high floating wall
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Category #9: 8ft high floating and aligned wall The wall begins floating with its edge toward the human figure and moves from the right to the left. As the floating wall moves it moves closer the human figure, but the view is not obstructed by it. Since the wall is floating, I feel it has no affect on my path.
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Alignment level 4
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Alignment level 2
Alignment level 3
Category #10: 8ft high floating and faced wall The wall is floating at 8ft and moves from the left to the right. The floating wall moves towards the human figure obstructing the view but not the path. The wall moves from the right to left, but since it is floating at 8ft I can still move below it.
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Category #11: floating horizontal surface In these 8 photos the wall is faced horizontally with the edge facing the human figure. It’s floating and gradually moving left in each photo. The floating wall is towards the human figure and ends directly above it. The horizontal angle of the wall makes it feel like a shelf I could walk right under.
Overlap level 1
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Category #12: Horizontal surfaces with different heights In these photos with a floating wall that starts 8ft about the surface and descends through the surface to –4ft. As the floating wall makes its descent the human figure becomes obstructed. I could walk under the wall until it reached 6ft high and then after I would be obstructed by it until it goes through the surface and then I would feel like I would fall into the negative space.
8ft high horizontal surface
7ft high horizontal surface
6ft high horizontal surface
5ft high horizontal surface
4ft high horizontal surface
3ft high horizontal surface
2ft high horizontal surface
1ft high horizontal surface
-1ft high horizontal surface
-2ft high horizontal surface
-3ft high horizontal surface
-4ft high horizontal surface
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Category #13: Wall surface with an incline The wall is shown starting to the left of the figure at 80 degrees and then moves above the figure gradually until it hits 10 degrees. The wall looks as if its towering over the human figure at the beginning and then as it rotates it strays further from the human figure. The wall is simply moving around my path and does not feel like an obstruction.
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Category #14: Inclined wall The wall begins at an acute angle almost laying flat on the ground and gradually rotates up towards the figure until it’s almost straight up and down. As the wall rotates up it makes the human figure look smaller. The wall is not obstructing the path, however if it were to continue rotating It would smash the human figure.
Inclined level 1
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Category #15: Floating wall surface facing edge with an incline In these six photos you can see the floating wall rotate until it lands over the human figures head at an incline. The wall is moving around the figure not obstructing the view or the path. The wall gets closer to the figure as it rotates and by the photo six it feel like its intruding on the human figures space.
Inclined level 1
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Inclined level 6
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Category #16: Inclined surface to a facing wall The wall is located directly behind the human figure and moves upward in the motion of an opening trap door. At the beginning of the photos the human figure appears taller than the wall, but as the photos continue the wall is shown to be extremely taller. The wall appears to be obstructing the path of the human figure the whole time even though it is in motion.n
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Category: #17 Inclined ramp to facing wall The wall begins in a downward 10 degree slope from the wall to the floor and gradually increases to 90 degrees where it is flush with the wall. The wall appears smaller than the human figure until 30 degrees and up. In the first three pictures the wall looks almost like a ramp and I feel it could be walked up, but as the degrees increase the wall just becomes an obstruction.
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Category: #18 One Column There’s is one singular column placed to the right of the human figure. The column is too small to obstruct the human figure. It feels strange that there is one standing column with no walls or other columns around it.
Front
Side
Category: #19 Two Columns There are two photos with two columns: one vertical and one horizontal. The columns do not obstruct the human figure, but instead almost shows the path. I feel like the vertical columns look like a gateway and the horizontal columns just follow the straight path forward.
Vertical
Horizontal
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Category: #20 Three Columns This category shows three columns placed vertically in one photo and horizontally in another photo. The columns getting smaller as they get further away show how far the path is for the human figure. From this perspective the columns look like they gets smaller when really they are just getting further away.
Vertical
Horizontal
Category: #21 Four Columns The four columns are almost in a square shape with the human figure in the middle. One photo shows the columns wide and the other narrow. The further the distance from the human figure the taller it looks and the closer the columns get the shorter/smaller it looks. The columns are places in the shape of a square and it makes it feel like a room with no walls.
Wide
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Narrow
Category: #22 One Wall and One Column These eight photos show a wall and column different distances from each other. The different distances effect how larger/small the column, wall, and human figure look in relation to each other. Although the column was constantly moving, i felt it never obstructed the path, just the view.
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Category: #23 One Wall and two Columns The human figure is stationary as well as the perspective wit one wall and two columns moving around. In these photos when the walls and columns are closer to the human figure it looks larger and when they are further away it looks smaller. I felt the path straight forward was accessible, but there were always obstructions on other sides of the figure.
Condition 1: aligned wall and vertically aligned columns
Condition 2: facing wall and vertically aligned columns
Condition 3: facing wall and horizontally aligned columns
Category: #24 Two Walls and two Columns Shows two walls perpendicular to each other and the columns spread out in front of one of them. There’s a small gap in between the two walls to keep from obstructing one of the human figures. The other human figure is obstructed by one wall and two columns. With this setup it feels like there’s a hallway for the figure to go through.
Columns aligned vertically with perpendicular walls
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Columns aligned horizontally with perpendicular walls
Category: #25 Two Walls and two Columns with two lighting conditions_01 The six photos show vertically aligned walls and perpendicular columns. The space in front of the human figure is obstructed, however there is an open path up to the right. The lighting aspect of these photos make it feel like the human figure is going to turn right into a room.
Walking between vertically aligned columns and perpendicular walls with lighting behind Figure
Walking between vertically aligned columns and perpendicular walls with lighting behind wall
Walking beside vertically aligned columns and perpendicular walls with lighting behind Figure
Walking beside vertically aligned columns and perpendicular walls with lighting behind wall
Walking beside vertically aligned columns and extended perpendicular walls with lighting behind Figure
Walking beside vertically aligned columns and extended perpendicular walls with lighting behind wall
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Category: #26 Two Walls and two Columns with two lighting conditions_02 These photos show a mix of vertically and horizontally aligned columns next to perpendicular placed walls. The columns are out of the way, but the walls are obstructing the human figures path. The lighting conditions make it feel like an actual room.
Passing horizontally aligned columns to enter the space between two walls with lighting behind Figure
Passing vertically aligned columns to enter the space between two walls with lighting from the inside space
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Passing horizontally aligned columns to enter the space between two walls with lighting from the inside space
Passing vertically aligned columns to enter the space between two walls with lighting behind Figure
Category: #27 Two Walls and two Columns with two lighting conditions_03 There are two vertically aligned columns with two walls that have various sized openings. When the openings between the walls is narrow the human figures path is obstructed and when the path is wide the human figure has space to go through. The vertically aligned columns feel like they lead the path to either no opening (narrow) or an opening (wide).
Passing vertically aligned columns to pass a narrow opening between two walls with lighting behind Figure
Passing vertically aligned columns to pass a narrow opening between two walls with lighting from the inside space
Passing vertically aligned columns to pass an intermediate opening between two walls with lighting behind Figure
Passing vertically aligned columns to pass an intermediate opening between two walls with lighting from the inside space
Passing horizontally aligned columns to pass a wide opening between two walls with lighting behind Figure
Passing horizontally aligned columns to pass a wide opening between two walls with lighting from the inside space
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Category: #28 Vertically aligned Two Walls and two Columns There are different perspectives of the human walking between two walls and then two columns. The walls and columns are placed to leave a path for the human figure to go through. I felt like a path to walk through was purposefully placed.
Between walls, walking
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Between columns, walking
Category: #29 Space composed with 5+ columns and 2 walls These photos contain two walls and 5 columns. The columns are placed to look like a path for where the human figure should go. The space feel open and the amount of columns make them feel like walls themselves.
Top view of the space composed
Sequence phase #1
Sequence phase #2
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Sequence phase #5
Sequence phase #6
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Category: #30 Faced wall with Connected wall The edges of the walls are together an begins at a 90 degree angle and moves until it gets all the way around to 270 degree. The walls are cornering the human figure obstructing it until 190 degrees and up. After this, the walls have moved to make a corner diagonal from where the human figure stands. It almost feel like these pictures are showing us different perspectives of the corner of a room.
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Category: #31 Aligned wall with Connected wall The walls begin with their edges touch and the other edge fanned out in a 10 degree angle and open up until it hits 170 degrees. The perspective begins very close to the human figure and gains distance as the degree of the walls goes up. It is obstructing the path until 170 degrees where the human figure would be able to walk straight forward. The walls feel like a door opening up.
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130 degree
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Category: #32 Facing the connected edge of two walls In these 17 photos the wall starts with the edge facing the human figure and with each picture rotates 10 degrees to the right. The human figure has the opportunity to walk around the wall to the left at any point as the wall is not fully obstructing the path. The edge of the wall stays in the same spot while the rest of it rotates and that makes it feel like a doorway opening.
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Category: #33 Three connected walls These two photos show three walls making a room with one of the rooms being narrow and the other being wide. There are three walls obstructing the human figures path in every direction except one. When the walls go from wide to narrow it make it feel like the room is closing in.
Wide-facing wall with two wings
Narrow-facing wall with two wings
Category: #34 Curved wall inside In these three pictures there are different sizes of curved walls placed behind the human figure and curving around the figure. The sizes of the walls dramatically affect how large or small the figure appears. It almost feels like the figure is looking up at an art gallery wall.
Small-curved and 8ft height
Large-curved and 16ft height
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Small-curved and 16ft height
Large-curved and 8ft height
Category: #35 Curved wall outside Six photos of different sized walls curving away from the human figure. The different placements of the human figure affect it’s size and whether or not it’s path is obstructed. In some photos the curved wall in blocking the figure and in other photos the figure is to the side making it feel like it walked around the wall.
Facing Small-curved and 8ft height
Passing Small-curved and 8ft height
Facing Small-curved and 16ft height
Passing Small-curved and 16ft height
Facing Large-curved and 8ft height
Passing Large-curved and 8ft height
Facing Large-curved and 16ft height
Passing Large-curved and 16ft height
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Category: #36 Curved Walls and Flat Walls These photos have a variety of curved and flat walls placed parallel and perpendicular to the other. In the first photo the figures path is obstructed, however in the other three photos there is a clear path for the figure to enter. The placement of the two human figures make it feel like these walls are creating separate rooms in a building.
Facing a flat wall (8fh height) while passing a curved wall (8fh height)
Entering a space between a flat wall (8fh height) and an opened-curved wall (8fh height)
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Entering a space between a flat wall (8fh height) and a closed-curved wall (8fh height)
Entering a space between a flat wall (8fh height) and a half opened-curved wall (8fh height)
Category: #37 Entering into a space between Parallel Curved Walls Two of the same sized wall placed curving around each other with the figure placed between them. The dramatic change in wall sized dramatically affect how large or small we see the figure. With the lighting coming from within it feel like they are entering a hallway that leads into a bigger space.
Small-curved and 8ft high outside
Small-curved and 16ft high outside
Large-curved and 8ft high outside
Large-curved and 16ft high outside
Small-curved and 8ft high inside
Small-curved and 16ft high inside
Large-curved and 8ft high inside
Large-curved and 16ft high inside
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Category: #38 Entering a space between curved mirror walls_01 The photos show two of the same sized walls curving outward from each other and leaving a small gap in between them. The last photo with the 16ft walls makes the figure look incredibly small. The order of the photos almost makes it feel like the curved walls are closing in on the human figure.
Small-curved and 8ft height
Large-curved and 16ft height
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Small-curved and 16ft height
Large-curved and 8ft height
Category: #39 Entering a space between curved mirror walls_02 Two walls shown curving out from each other leaving a gap in the middle with the perspective from the side. The human figure is first but obstructed but can also veer to the right to continue the path. From this perspective i feel like the walls look like an open chapter book.
Small-curved and 8ft high with inside lighting
Small-curved and 8ft high with outside lighting
Small-curved and 16ft high with inside lighting
Small-curved and 16ft high with outside lighting
Large-curved and 8ft high with inside lighting
Large-curved and 8ft high with outside lighting
Large-curved and 16ft high with inside lighting
Large-curved and 16ft high with outside lighting
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Category: #40 One curved wall and one column These two photos consist of one column and one curved wall with the human figure being place in between. In the first photo the human figure can walk directly through, however in the second picture the human figure must veer right because the curved wall obstructs the path. In the first picture it feels like the human figure is leaving the room, but in the second picture it feels like the figure is entering the room.
Entering a space between a column and curved wall outside
Entering a space between a column and curved wall inside
Category: #41 One curved wall and two columns This picture shows on facing curved wall with columns on each edge. In all the photos the column and wall look as if they are blocking the human figures into a space. It feels like the human figure standing outside of the curved wall in waiting to go in whereas the other figure is walking through to the “room”.
Entering a space between a column of two horizontally aligned and curved wall outside
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Facing the outside of a curved wall with two horizontally aligned columns with insufficient space between them
Entering a space between a column of two vertically aligned and a curved wall outside
Category: #42 Role of a column between Curved and flat walls The photos show the figure in between a variation of a curved wall, straight wall, and column. The further human figure walks in between the walls and column the smaller the figure begins to look. It feel like the figure is walking in a hallway to get to a larger space.
Entering a space between two parallel curved walls, with a column in front of the outer curved wall
Entering a space between a faced flat wall and a curved wall, with a column in front of the flat wall
Entering a space between two parallel curved walls, with a column in front of the inner curved wall
Entering a space between a parallel flat wall and a curved wall, with a column in front of the flat wall
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Category: #43 Curved connection The photo shows a large curving wall at different degrees with the human figure walking around it. The larger the degree of the wall gets, the clearer a straight path appears for the figure. It almost looks like a sidewalk but instead of being flat on the ground it is up like a wall.
Follow two flat walls that are connected at an angle of 60 degrees smoothly
Follow two flat walls that are connected at an angle of 150 degrees smoothly
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Follow two flat walls that are connected at an angle of 90 degrees smoothly
Follow two flat walls that are connected at an angle of 120 degrees smoothly
Category: #44 Curved wall and S-curve wall These four photos show an S-curve wall and a regular curved wall that’s curved away from the S-curve with the figure in between. The S-curve make the figure follow a windy path. The 8ft walls feel like a regular passage way whereas the 16ft walls feel like something out of the maze runner movie
Curved wall and S-curve wall 8ft high with inside lighting
Curved wall and S-curve wall 8ft high with outside lighting
Curved wall and S-curve wall 16ft high with inside lighting
Curved wall and S-curve wall 16ft high with outside lighting
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Category: #45 1 point perspective pictures: Void on the upside These photos show a floating surface with either a square or circle cut out of it with different lighting on each photo. When the cutout is larger it makes the figure seem smaller and when the cutout it smaller it makes the cutout look larger in relation. The light is shining directly on the figure from above making it feel like a spotlight.
A 4’x4’ square void with a height of 8ft
A 8’ diameter void with a height of 8ft
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A 8’x8’ square void with a height of 8ft
A 4’ diameter void with a height of 8ft
Category: #46 Void on the upside with columns or walls These photos almost look like a complete room with a ceiling (including a cutout), a wall, and two columns. Although the structure feel room-like, the human figure is still not completely obstructed. It feels like a room with a wall, ceiling, and the a wall of windows (where the columns are).
A 8’x8’ square void with columns
A 8’x8’ square void with a facing wall
A 8’x8’ square void with a passing wall
View for A 4’x4’ square void with a flat wall aligned with one side and two columns aligned with the opposite side
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Category: #47 Void on the downside with columns or walls The surface the human figure is standing on has a square or circle cutout in it with a singular wall coming up out of it. The human figure is unable to keep moving forward due to the large cutout in straight in front of it. The cutout in the “floor” does not feel natural.
A 8’x8’ square void with a facing wall and light from upper floor
A 8’x8’ square void with a facing wall and light from side
A 8’x8’ square void with a facing wall and light from lower floor
A 8’x8’ square void with a passing wall and light from side
A 8’x8’ square void with a passing wall and light from lower floor
A 8’ diameter void with light from lower floor
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Category: #48 Void on the upside with combinations of columns or walls My photos have four columns holding up the square cutout piece. The human figure is walking under the cutout piece and in between the columns. It feels like a sunroom with a skylight.
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Category: #49 Void between Floating Surfaces These photos show two floating surfaces with human figures standing on them and another human figure on the ground surface. The floating surfaces are shown at different heights and the figures are perfectly placed to scale the heights. It feels unnatural to have the two random floating surfaces.
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Category: #50 Void between curve-linear Surfaces These photos are showing various forms of walls and columns. The lighting is putting several shadows on the space. The use of large walls makes the human figure look so small. These large walls make the space feel almost unrealistic.
Scene #1
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Category: #51 Void with a combination of The two photos show two different perspectives of a floating surface with a funky shaped hole in it. The use of one figure on the ground and the other ones on the floating surface helps us to see how high the surface is off of the ground. It feels like the figure sitting on the edge is about to jump down to the figure on the ground.
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Category: #52 Curved vertical surface There is a singular vertical curved surface going upward with one picture showing a 4ft surface and the other showing an 8ft surface. The 8ft surface makes the figure look miniscule whereas the 4ft surface makes the figure look normally sized. I reminds me of a child going to run up a slide at a park.
A 4’wide
A 8’wide
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Category: #53 Curved vertical surface with an upper floor These several pictures show different perspectives of a vertical surface paired with an upper floor. When the figure is on the floating surface it becomes stuck, but when its on the ground it can find a path. It feels like the subway tunnels with the large arched opening.
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Scene #3
Category: #54 Curved vertical surface with a void There are different perspectives of the human figure in a space including a curved vertical surface and a floating surface with a void. When the light is shining on the human figure it looks like they’re entering the space and when they’re in the dark it looks as if they’re leaving. The wall going through the void feels like a chimney in a home.
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Category: #55 Facing Curved vertical surface The photos show a curved vertical surface coming through a void from two different angles. The human figure is standing on the curved vertical surface giving the illusion that he might walk up it. To me this feels like a playground setting with the curved vertical service being the slide.
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Category: #56 Hanging curved surfaces A variety of different curved surfaces are shown. In the photo with two curved going into each other it looks as if the human figure could still walk in between then since there is a small gap. I really like the one that arches over the human figure. It reminds me of walking under a bridge.
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Category: #57 Surfaces with convexities and concavities These photos showcase the curving surfaces utilizing different shapes: arch, S-curve, and a 90 degree angle. There are two different locations the human figures are shown illustrating that they can move around the structure. This funky structure reminds of something out of an amusement park.
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Category: #58 A sphere with a strong center and centripetal force In these photos a sphere, half-sphere, and a floating surface with a void are shown. As the human figure makes it’s way on top of the floating surface it finds itself obstructed by the void and sphere. It feels almost like it’s replicating Outerspace with the sphere structures.
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Category: #59 Surfaces that are twisted and free My pictures show a ceiling with a void, a sphere placed in the center of the void, and two hanging curved surfaces. The curved surfaces are places for the human figures to sit or stand. In one of the example photos the surfaces are so abstract it almost looks like a crumpled up piece of paper. I wanted my setup to feel almost like a playground with a slide and swing shaped structure.
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Ka r e na S t i n e s p r ing Port fol i o 2284
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What I learned...
Project #1 “Wall, Column, and Space” - The first project played with different objects and how they interact in a space. This project helped me understand how a space can evoke emotion and what elements of that space evoke it. “Wall, Column, and Space” was the first project of the semester which helped build the fundamental skills used for the rest of the semester. Project #2 “Hand Drawing” - I have never considered myself to be a good drawer, however this project challenged my abilities and I surprised myself. One of my favorite things from this entire semester is my 2-point perspective value drawing of my final space cube. I struggled to get started, but one I understood the project, I was able to use my talent and basic understanding of value to create a drawing I am extremely proud of. Project #3 “Power of Patience” - When we were assigned the task of sitting infront of a painting for three hours, I didn’t think it was possible. However, the task was achievable, but that doesn’t mean I loved it. I don’t feel that I noticed more details about the painting as time went on. Instead, I noticed many things, and then a new detail would present itself rarely after about two hours. I consider myself a patient person, but my patience was definately tested with this task. While I was observing, I was shockingly surprised by how quickly time was passing. And I am incredibly grateful for that. Project #4 “Space Cube” - My technique, quality, craftsmanship, and ideas developed greatly during the space cube project. Starting off, the building process was taking me a long time. But, by the end of it I could build a whole space cube with craftsmanship in a short amount of time. I was unsure if my models would change that much during the iteration process, however, in the moment I had no trouble finding errors to fix or new ideas. Project #5 “First Portfolio” - I greatly enjoyed experimenting with AI. I found it very interesting to play with different settings and writings to result in different renderings. For the most part, my images and sketches came through legibly in the AI generations. There was one image that blew me away. My window sketch was redered perfectly. AI didn’t miss a single detail. The windows of the house reflecting light, siding of the house, deck, hot tub, and the woods in the background were all crystal clear in the rendering. This shocked me because in previous images, some parts were messed up or forgotten in the renderings, but in the window generation, every detail was included. The AI added its own personality to the piece by adding small details around the window. This was interesting to me because many reviews about AI art say they lack the human feeling and this generation defiinately showed off its personality. Overall - Overall, I am proud of the challenges I have overcome, the projects I made, the time I put in, and the dedication I had in this course. The summer semester is brutal to say the least. There were numerous frustrations during this course, but there is no denying that I slayed every day this semester. I can’t express how proud I am of myself for getting through it. After completed these summer courses, no other college course will ever compare. I can’t wait the finish the next five weeks so I can say, “I made it!” If you could talk to you before these five weeks, what would you like to share with you? - Girl, you think you know what this is about to be like, but you have no idea. You will never be able to describe to others how this course is unless they were in the studio with you every day. You are so much stronger than you think. You will be faced with challenges you’ve never faced before. But keep on going. You are capable of so much. If you learn nothing from the next five weeks, just know that God created you in his image, and what a blessing that is. He will give your strength and determination. He guided me through the whole semester, so remain close to him. I love you. Now go get it girl!
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Category #1: Facing surface Ten photographs show a wall where the angle gradually changes to fill the empty space and change the look of the figure. The figure begins in space, but it is then filled with the background of the wall, making the figure blend into the closer wall. As the wall progressively takes over the figure, there is a feeling of loss as the figure is slowly lost to the wall.
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Category #2: Facing edge A series of ten photographs show the edge of a wall more and more until it is completely in line with the figure. The figure begins in the frame, alongside the wall, but the focus is slowly put almost completely on the figure. There is a feeling of stillness as the figure seems unaffected by the changing environment.
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Category #3: Blocking wall Eleven photographs show a wall progressively coming into the frame until it is centered. The figure is slowly obstructed by the moving wall. There is a feeling of timidness as the figure is slowly swallowed by the wall.
Opened level 1
Opened level 2
Opened level 3
Opened level 4
Block level 1
Block level 2
Block level 3
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Category #4: Passing the blocking wall The wall is slowly coming closer and closer to the camera. Over five photos, the camera follows the figure passing a wall. These photos give the viewer a feeling of mystery as the figure is in motion to pass a wall that seems to hide what is behind the wall.
Passing level 1
Passing level 2
Passing level 3
Passing level 4
Passing level 5
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Category #5: Aligned Wall Across five photographs the wall slowly becomes centered in the frame. The figure is contrasted by the wall, then slowly the figure begins to cover the wall. The progression of the photos portrays a feeling of relief as the larger issue becomes smaller.
Closed level 1
Closed level 2
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Closed level 3
Category #6: Passing the aligned wall Six photographs show a wall being followed by the camera. The figure is shown passing the wall with the camera following. There is a feeling of anger as the figure moves past the wall without acknowledging it.
Passing level 1
Passing level 2
Passing level 3
Passing level 4
Passing level 5
Passing level 6
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Category #7: Walls with different heights Over eight photographs, a wall is built up in size. The figure stands still while the background fills with the increasing size of the wall. The photographs portray a feeling of joy as the wall “grows” like a joyful flower.
Wall with 1ft
Wall with 2ft
Wall with 3ft
Wall with 4ft
Wall with 5ft
Wall with 6ft
Wall with 7ft
Wall with 7ft
10 2292
Category #8: Floating and faced Wall Eight photographs depict a floating wall positioned at different heights, giving the environment a mystical feel. The figure stands before the moving wall, remaining the focal point of the shot. These photos have a feeling of curiosity as the impossible floating wall is elevated more.
1ft high floating wall
2ft high floating wall
3ft high floating wall
4ft high floating wall
5ft high floating wall
6ft high floating wall
7ft high floating wall
8ft high floating wall
11 2293
Category #9: 8ft high floating and aligned wall The depth of the room is shortened with the edge of the floating wall progressively centering itself in the photos. The figure is distorted as the wall begins to align with the figure. There is a feeling of unity as the wall gets closer and closer to the figure until they are finally aligned perfectly.
Alignment level 1
Alignment level 4
12 2294
Alignment level 2
Alignment level 3
Category #10: 8ft high floating and faced wall Over eight photographs, a square-shaped floating wall creeps into the frame, filling the air space. The figure is slowly outweighed by the increasing presence of the floating wall. There is a feeling of fear, as the wall appears to creep into frame and eventually take over.
Overlap level 1
Overlap level 2
Overlap level 3
Overlap level 4
Overlap level 5
Overlap level 6
Overlap level 7
Overlap level 8
13 2295
Category #11: floating horizontal surface Over six photos, a small floating horizontal surface moves horizontally, passing by the still figure. The figure is obscured by the movement of the surface. These photos have a feeling of sadness as the walls move over the figure, seemingly “overlooking” the figure.
Overlap level 1
Overlap level 2
Overlap level 3
Overlap level 4
Overlap level 5
Overlap level 6
14 2296
Category #12: Horizontal surfaces with different heights Across twelve photographs, a horizontal surface is lowered down into the negative space of the floor, creating a different dimension. The figure is overtaken by the surface until the surface becomes negative, in which the figure becomes the focal point. Restlessness in the photos is shown by the surface progressively lowering, and instead of stopping when it reaches the floor, it continues to lower.
8ft high horizontal surface
7ft high horizontal surface
6ft high horizontal surface
5ft high horizontal surface
4ft high horizontal surface
3ft high horizontal surface
2ft high horizontal surface
1ft high horizontal surface
-1ft high horizontal surface
-2ft high horizontal surface
-3ft high horizontal surface
-4ft high horizontal surface
15 2297
Category #13: Wall surface with an incline Over eight photographs, an inclined wall provides leading lines to the figure in different positions. The figure is highlighted by the inclined wall across all the photographs. A feeling of selfishness, as the figure takes over every photo, as if flaunting itself.
10 degree
20 degree
30 degree
40 degree
50 degree
60 degree
70 degree
80 degree
16 2298
Category #14: Inclined wall Across six photos, a wall is positioned at a greater incline, contrasting the stillness of the figure. The figure’s presence seems to be lost as the wall’s incline changes. These photos have a feeling of anxiety as the progression of the photos seems like the wall is collapsing.
Inclined level 1
Inclined level 2
Inclined level 3
Inclined level 4
Inclined level 5
Inclined level 6
17 2299
Category #15: Floating wall surface facing edge with an incline Across six photographs, the edge of a floating wall inclines a spotlight around the figure. The figure stands still in the photos as the wall seems to point toward the figure at every position. There is a feeling of success as the wall creates leading lines, pointing to the figure. This gives the illusion of something pointing toward the figure to draw the viewers’ attention to the achievements of the figure.
Inclined level 1
Inclined level 2
Inclined level 3
Inclined level 4
Inclined level 5
Inclined level 6
18 2300
Category #16: Inclined surface to a facing wall The inclined wall is slowly lifted higher across nine photographs, creating depth and dimension behind the figure. The figure’s size changes across the photos, as the wall creates different degrees of depth behind the figure. These photos seem ominous as the viewer can see the wall coming down on the figure or being lifted from the figure.
10 degree
20 degree
30 degree
40 degree
50 degree
60 degree
70 degree
80 degree
90 degree
19 2301
Category: #17 Inclined ramp to facing wall Across nine photographs, a ramp increases incline, making the space appear larger. The figure’s size is distorted as the inclined ramp appears to grow. There is a feeling of growth as the ramp seems to lead nowhere and everywhere at the same time. However, the ramp gets increasingly difficult across the photos.
10 degree
20 degree
30 degree
40 degree
50 degree
60 degree
70 degree
80 degree
90 degree
20 2302
Category: #18 One Column Two photographs show one column balanced with the presence of a figure. The figure faces the column in both pictures, but the different camera angles make the photos vastly different in the space the column and figure take up. There is a feeling of fear as the figure stays in the same spot yet seems so distant in the second picture.
Front
Side
Category: #19 Two Columns Across two photographs, two columns are viewed vertically and horizontally, distorting the photo’s depth. The figure walks towards both views of the columns, making the figure take over the columns. The photo feels happy as the columns remain symmetrical over both images.
Vertical
Horizontal
21 2303
Category: #20 Three Columns Over two images, three columns are viewed from different angles changing from more symmetrical to asymmetrical. The figure stands out as the columns seem to frame the figure. The photos feel proud as the figure watches the columns in awe.
Vertical
Horizontal
Category: #21 Four Columns Two images show different perspectives of four columns, making one image feel wider than the other. The figure is framed by the columns in both images, putting a spotlight on the figure. There is a feeling of being stuck as the columns mark out a box the figure ensures not to be in the center of.
Wide
22 2304
Narrow
Category: #22 One Wall and One Column Across eight images, one wall and one column dance around each other, changing the feel and look of the space. The figure seems positioned in balance with the environment in every photo. The photos feel stressed because the various positions seem cluttered.
Condition 1
Condition 2
Condition 3
Condition 4
Condition 5
Condition 6
Condition 7
Condition 8
23 2305
Category: #23 One Wall and two Columns Three photographs position one wall and two columns in different arrangements, that give each image a different look, yet they are all cohesive because of the use of the same objects. The figure is overtaken by the size and quantity of the columns and wall. The image portrays fear as the large columns tower over the figure.
Condition 1: aligned wall and vertically aligned columns
Condition 2: facing wall and vertically aligned columns
Condition 3: facing wall and horizontally aligned columns
Category: #24 Two Walls and two Columns The large walls contrast the small columns and make the space seem very large and spacious. The figures are framed by both the columns and the walls, bringing the focus of both images to the figures. The images are happy because there are two figures and a large space, the perfect spot for a child to imagine an alternate world full of happiness.
Columns aligned vertically with perpendicular walls
24 2306
Columns aligned horizontally with perpendicular walls
Category: #25 Two Walls and two Columns with two lighting conditions_01 The environments change across six photographs as the different lighting conditions change the feel of the environment. The emphasis on the figure changes with the change in the lighting conditions. The photos feel mysterious as the lighting casts long, darker shadows across the light floor.
Walking between vertically aligned columns and perpendicular walls with lighting behind Figure
Walking between vertically aligned columns and perpendicular walls with lighting behind wall
Walking beside vertically aligned columns and perpendicular walls with lighting behind Figure
Walking beside vertically aligned columns and perpendicular walls with lighting behind wall
Walking beside vertically aligned columns and extended perpendicular walls with lighting behind Figure
Walking beside vertically aligned columns and extended perpendicular walls with lighting behind wall
25 2307
Category: #26 Two Walls and two Columns with two lighting conditions_02 Across four photographs, two walls, and two columns are highlighted by different lighting conditions, emphasizing different parts/sides of the walls/columns. The figure remains centered in the frame but gets overtaken by the highlighted walls and columns. The images create a feeling of courage and bravery as the small figure treks through the towering columns and walls.
Passing horizontally aligned columns to enter the space between two walls with lighting behind Figure
Passing vertically aligned columns to enter the space between two walls with lighting from the inside space
26 2308
Passing horizontally aligned columns to enter the space between two walls with lighting from the inside space
Passing vertically aligned columns to enter the space between two walls with lighting behind Figure
Category: #27 Two Walls and two Columns with two lighting conditions_03 Across six photographs, the gap between two walls and columns gets wider, making the space feel larger and more open. Because of the lighting conditions, half of the images highlight the figure while the other half makes the figure blend in with the environment. The images contrast between fear and relief as the different lighting conditions change the harshness of the images.
Passing vertically aligned columns to pass a narrow opening between two walls with lighting behind Figure
Passing vertically aligned columns to pass a narrow opening between two walls with lighting from the inside space
Passing vertically aligned columns to pass an intermediate opening between two walls with lighting behind Figure
Passing vertically aligned columns to pass an intermediate opening between two walls with lighting from the inside space
Passing horizontally aligned columns to pass a wide opening between two walls with lighting behind Figure
Passing horizontally aligned columns to pass a wide opening between two walls with lighting from the inside space
27 2309
Category: #28 Vertically aligned Two Walls and two Columns Two photographs show different angles of two walls and columns which make the space open. The figure blends in with the environment around it, as nothing in the photos makes the figure stand out. There is a feeling of busyness as the space seems filled with walls and columns that seem to work against each other rather than work together.
Between walls, walking
28 2310
Between columns, walking
Category: #29 Space composed with 5+ columns and 2 walls Across seven photographs, an environment with two angled walls and six columns creates an open yet full space. The figure walks through the large space that seems to get smaller as the number of columns increases. These images have a fun feeling because the columns give the environment visual interest.
Top view of the space composed
Sequence phase #1
Sequence phase #2
Sequence phase #3
Sequence phase #4
Sequence phase #5
Sequence phase #6
29 2311
Category: #30 Faced wall with Connected wall Nineteen photographs show angle changes in connecting walls that close or open the space. The figure emphasizes the change in the feel of the space as the wall progressively opens the space. The images portray sadness as the figure begins closed in a box, only for the wall to move and create another box for someone else.
90 degree
100 degree
110 degree
120 degree
130 degree
140 degree
150 degree
160 degree
170 degree
180 degree
190 degree
200 degree
30 2312
210 degree
220 degree
230 degree
240 degree
250 degree
260 degree
270 degree
31 2313
Category: #31 Aligned wall with Connected wall Over seventeen photographs, two walls are mended at a small angle and ends almost in a straight line. This creates a progressively open space. The figure contrasts the opening space as the image begins full and ends slightly empty. There is a feeling of freedom as the moving wall acts like a door, opening new possibilities.
10 degree
20 degree
30 degree
40 degree
50 degree
60 degree
70 degree
80 degree
90 degree
100 degree
110 degree
120 degree
32 2314
130 degree
140 degree
150 degree
160 degree
170 degree
33 2315
Category: #32 Facing the connected edge of two walls Seventeen photographs show a vastly open space slowly filling up as the wall takes up more space. The figure fills the first picture and is eventually taken over by the fullness of the wall, making the space feel smaller. These photographs feel sad as the space begins to close up.
10 degree
20 degree
30 degree
40 degree
50 degree
60 degree
70 degree
80 degree
90 degree
100 degree
110 degree
120 degree
34 2316
130 degree
140 degree
150 degree
160 degree
170 degree
35 2317
Category: #33 Three connected walls Six photographs show two rooms of different sizes. The wide wall creates more space visually and literally. The figure seems swallowed by the space from the first room but is more fit to the second space because the room is smaller. There is a feeling of freedom as the room creates a blank canvas for the figure to create something in.
Wide-facing wall with two wings
Narrow-facing wall with two wings
Category: #34 Curved wall inside Four photographs show different lengths and heights of a curved wall, which expands the room vertically and horizontally around the figure. The figure remains the focal point of the photos, however, the changing wall size gives the room a feel of vastness. There is a feeling of fear as the walls seem to creep in on the figure.
Small-curved and 8ft height
Large-curved and 16ft height
36 2318
Small-curved and 16ft height
Large-curved and 8ft height
Category: #35 Curved wall outside Different sizes of curved walls emphasize the images vertically or horizontally, depending on which wall it is. The size of the figure is distorted as the wall begins to tower over the figure. Looking at the photographs, a sense of accomplishment is felt as the figure walks around the obstacle it faces.
Facing Small-curved and 8ft height
Passing Small-curved and 8ft height
Facing Small-curved and 16ft height
Passing Small-curved and 16ft height
Facing Large-curved and 8ft height
Passing Large-curved and 8ft height
Facing Large-curved and 16ft height
Passing Large-curved and 16ft height
37 2319
Category: #36 Curved Walls and Flat Walls Over five photographs, flat and curved walls are organized in different ways to open or close off the space. The figure is followed in every image; however, another figure is seen in the photos that showcase an open curved wall. There is a feeling of joy as one of the figures is revealed from the wall as if opening a gift.
Facing a flat wall (8fh height) while passing a curved wall (8fh height)
Entering a space between a flat wall (8fh height) and a closed-curved wall (8fh height)
Entering a space between a flat wall (8fh height) and an opened-curved wall (8fh height)
Your coordination in height and openness.
38 2320
Entering a space between a flat wall (8fh height) and a half opened-curved wall (8fh height)
Category: #37 Entering into a space between Parallel Curved Walls Across eight photographs, two curved walls change how open and large a space feels as the walls change size. The figure is cramped in the space with the 8ft walls, but the 16ft high walls greatly open the space. There is a feeling of comfort as the figure is lured into the lighted area, and once he enters, there is another figure.
Small-curved and 8ft high outside
Small-curved and 16ft high outside
Large-curved and 8ft high outside
Large-curved and 16ft high outside
Small-curved and 8ft high inside
Small-curved and 16ft high inside
Large-curved and 8ft high inside
Large-curved and 16ft high inside
39 2321
Category: #38 Entering a space between curved mirror walls_01 Over four photographs, heightened walls, create more vertical interest, drawing the viewer’s eye to the scaling factor of the walls. The figure is obscured by the size comparison of the figure to the larger walls. The photos feel alert as the walls are higher, making the viewer pay more attention to them and how they are changing.
Small-curved and 8ft height
Large-curved and 16ft height
40 2322
Small-curved and 16ft height
Large-curved and 8ft height
Category: #39 Entering a space between curved mirror walls_02 Across eight photographs, different lighting and wall size creates a more dramatic image. The figure seems to be blocked in every image by the walls, even though there is a gap between them. The photos feel angry as every scenario creates an obstacle for the figure.
Small-curved and 8ft high with inside lighting
Small-curved and 8ft high with outside lighting
Small-curved and 16ft high with inside lighting
Small-curved and 16ft high with outside lighting
Large-curved and 8ft high with inside lighting
Large-curved and 8ft high with outside lighting
Large-curved and 16ft high with inside lighting
Large-curved and 16ft high with outside lighting
41 2323
Category: #40 One curved wall and one column Two photographs frame a figure with a column that appears taller than the wall, which distorts the overall look of the images. The figure is framed by the environment, making the photos feel inorganic. There is a feeling of control as the figure seems to control the camera angle for the shots.
Entering a space between a column and curved wall outside
Entering a space between a column and curved wall inside
Category: #41 One curved wall and two columns Three photographs provide different angles of a well-balanced and symmetrical environment, making the photos pleasing to look at. The figure is framed by the columns and the curved wall, making the images cohesive as everything works together. There is a feeling of unity because the images are balanced and symmetrical.
Entering a space between a column of two horizontally aligned and curved wall outside
42 2324
Facing the outside of a curved wall with two horizontally aligned columns with insufficient space between them
Entering a space between a column of two vertically aligned and a curved wall outside
Category: #42 Role of a column between Curved and flat walls Over four photographs, contrast is created by the variations of flat and curved walls. The figure becomes constricted with the different types and positions of the walls. Determination is felt through these images as the figure continues to pass through each variation, no matter what is in the way.
Entering a space between two parallel curved walls, with a column in front of the outer curved wall
Entering a space between a faced flat wall and a curved wall, with a column in front of the flat wall
Entering a space between two parallel curved walls, with a column in front of the inner curved wall
Entering a space between a parallel flat wall and a curved wall, with a column in front of the flat wall
43 2325
Category: #43 Curved connection Across four photographs, the space depicted becomes open with the movement of the walls. The figure contrasts the opening space as the space continuously grows. These photos feel hopeful as the wall opens the space for new opportunities.
Follow two flat walls that are connected at an angle of 60 degrees smoothly
Follow two flat walls that are connected at an angle of 150 degrees smoothly
44 2326
Follow two flat walls that are connected at an angle of 90 degrees smoothly
Follow two flat walls that are connected at an angle of 120 degrees smoothly
Category: #44 Curved wall and S-curve wall Different sizes of walls and lighting contrast the curves of the space across four photographs. The figure creeps into the space between the walls, slowly losing the focus of the photo. There is a feeling of loss as the figure becomes lost to the size and orientation of the surrounding walls.
Curved wall and S-curve wall 8ft high with inside lighting
Curved wall and S-curve wall 8ft high with outside lighting
Curved wall and S-curve wall 16ft high with inside lighting
Curved wall and S-curve wall 16ft high with outside lighting
45 2327
Category: #45 1 point perspective pictures: Void on the upside The different void sizes and shapes creates visual interest across four seemingly similar photos. The figure becomes more emphasized when the light from above light up the figure. These photos feel unique because they seem similar, but when they are broken down, they are vastly different from one another.
A 4’x4’ square void with a height of 8ft
A 8’ diameter void with a height of 8ft
46 2328
A 8’x8’ square void with a height of 8ft
A 4’ diameter void with a height of 8ft
Category: #46 Void on the upside with columns or walls Across four photographs, different angles of lighting, and framing of columns and walls make one space seem unrecognizable from other angles. The figure becomes less relevant as he stands in the shadows more than in the light. The photos show humility as the figure, who is usually the focal point of the photo, steps away from the spotlight to let the room flaunt itself.
A 8’x8’ square void with columns
A 8’x8’ square void with a facing wall
A 8’x8’ square void with a passing wall
View for A 4’x4’ square void with a flat wall aligned with one side and two columns aligned with the opposite side
47 2329
Category: #47 Void on the downside with columns or walls Over six photographs, different directions of light contrast harsh and relaxing lighting. The figure becomes contrasted or similar with the walls depending on the lighting conditions. These photos mix the feelings of fear and relaxation, as two of them use harsh lighting while the others use soft lighting.
A 8’x8’ square void with a facing wall and light from upper floor
A 8’x8’ square void with a facing wall and light from side
A 8’x8’ square void with a facing wall and light from lower floor
A 8’x8’ square void with a passing wall and light from side
A 8’x8’ square void with a passing wall and light from lower floor
A 8’ diameter void with light from lower floor
48 2330
Category: #48 Void on the upside with combinations of columns or walls Various walls and columns fill a room which creates a feeling of chaos. The figure walks around the space, viewing the curves, columns, and lighting of the space, which makes the space feel much larger. These photos feel chaotic because there is so much happening in a small space, yet when you take in the room piece by piece, it seems to expand.
Scene #1
Scene #2
Scene #3
Scene #4
Scene #5
Scene #6
Scene #7
Scene #8
Scene #9
Scene #10
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Category: #49 Void between Floating Surfaces The floating surfaces seen in five photographs create a visual hierarchy. The figures stand on different floors, adding to this emphasis on separation. The photos feel mystical as the surfaces are suspended over one another.
Scene #1
Scene #2
Scene #4
Scene #5
Scene #3
Category: #50 Void between curve-linear Surfaces An abstract shape is seen from different views, creating a more abstract look across two images. The figures contrast each other through position, lighting, and placement. The photos feel imaginative as the cut-out feels organic and creative.
Scene #1
50 2332
Scene #2
Category: #51 Void with a combination of The variations of wall type and positions create four busy images. The figure is forgotten against the size of the environment. There is a feeling of sadness as the shadows creep over the figure and the places of light seem unreachable.
Scene #1
Scene #2
Category: #52 Curved vertical surface Across two photographs, different widths of ramps make the room feel wider or taller. The figure is contrasted by the differing sizes of the ramps, making the images balanced. There is a feeling of joy as the curved ramps are like the ramps kids would play on.
A 4’wide
A 8’wide
51 2333
Category: #53 Curved vertical surface with an upper floor The straight floating floor contrasts the smooth, curved surface, which creates visual interest. When the figure is silhouetted, there is more emphasis on the environment, however, when the figure is lit by the light, the focus returns to the figure. There is a feeling of fear as the figure stands on the floating surface, viewing the space beneath.
Scene #1
Scene #2
Scene #4
Scene #5
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Scene #3
Category: #54 Curved vertical surface with a void The contrast of the bright lighting from the top floor and the darkness of the bottom floor greatly affect the feel of the rooms. The figure seems to be disregarded in the five photographs, giving the environment attention. The darkness below creates a feeling of sadness as the human figure becomes lost in the darkness.
Scene #1
Scene #2
Scene #3
Scene #4
Scene #5
Category: #55 Facing Curved vertical surface Two photographs show a ramp moving into a curved surface making the environment playful. The figure faces the curved surface, making the environment balanced. There is a feeling of joy as the free-flowing shapes created by the curved surface create visual interest.
Scene #1
Scene #2
53 2335
Category: #56 Hanging curved surfaces The hanging curved surfaces create different environments between the first and second floor. The figure faces the curves in all the photographs, emphasizing the surfaces. There is a feeling of sadness as the vast dark first floor creeps in on the figure.
Scene #1
Scene #2
Scene #3
Scene #5
Category: #57 Surfaces with convexities and concavities A large, curved surface creates a playful surface. The figure walks across the surface, emphasizing the functionality of the environment. There is a feeling of joy as the environment highlights the idea of childlike play.
Scene #1
54 2336
Scene #2
Category: #58 A sphere with a strong center and centripetal force The sphere is emphasized in four photographs as the space appears to be designed for the sphere. The figures create interest in the sphere because they pull the focal point to the sphere. There is a mysterious feeling as the figures loom in the dark and the sphere is surrounded by light.
Scene #1
Scene #2
Scene #3
Scene #5
Category: #59 Surfaces that are twisted and free Across three photographs, twisted and curved surfaces fill an empty room creating interest in the motions of the surfaces. The figure walks around the space, changing the way the room feels and looks. There is a feeling of happiness as the fun and energetic shapes fill the room with joy.
Scene #1
Scene #2
Scene #3
55 2337
AUDREY SWAIN 2338
Ses s ion O n e Por t fo l i o
1
What I learned...
Project #1 “Wall, Column, and Space” - The “Wall, Column, and Space” project taught me numerous valuable lessons. One of the most significant takeaways was the importance in any kind of work. As I worked with walls and columns, I observed how they can influence a space. It was interesting to see how a simple shift of a wall or the addition of a column could transform the entire space. This experience showed me that space plays a crucial role in design and the functionality of a given area. I gained an appreciation for how space affects a design and usability. Project #2 “Hand Drawing” -The “Hand Drawing” projects revealed the essential role that drawing plays in the design field. Through these projects, I discovered that sketching and drawing serve a crucial role in helping visualize and communicate ideas. Each drawing allows you to translate your thoughts into a way that others can see and understand. I had a significant improvement in my sketching skills. From the first sketch we worked on, I learned how to effectively apply my ideas to paper. This progression deepended my understanding and appreciation for the art of sketching. Project #3 “Power of Patience” - The “Power of Patience” project illustrated the true significance of patience and time. Over the course of this project, we dedicated three hours to carefully evaluating a single painting, discovering new elements with each observation. This excercise taught me that initial impressions often miss hidden details. In the design field, this lesson is crucial. Thorough evaluation and patience are essential for appreciating and comprehending these details, leading to more effective designs. This project taught me the value of taking the time to engage and analyze a space. Project #4 “Space Cube” -The “Space Cube” project was important in teaching me how to scale down a large model into a more manageable size. Through this project, I gained experience in creating floor plans, sections, elevations, and axonometric drawings. These skills are important in the design field, and learning them has given me a deeper understanding of how to represent complex spaces in a clear way. Project #5 “First Portfolio” - The “First Portfolio” project taught me the crucial skill of displaying my work and assignments in a professional manner. This project provided valuable insights in how to present my accomplishments and highlight the importance of a well organzied portfolio in the professional field. The process of putting together this portfolio has given me an idea of what creating presentations of work will look like in the future. Overall -Overall, these first five weeks of design school have been amazing and have provided me with many valuable lessons. I have gained a deep understanding of the importance of space in design, recognizing how the arrangement of walls and columns can transform an environment. Through hands-on projects, I have improved my sketching skills, learning to convey ideas visually and appreciate drawing. I have learned the necessity of taking time to truly understand and evaluate designs, reavealing hidden details that are often overlooked. I also learned the significance of scale through the “Space Cube” project, mastering the creation of floor plans, section, elevations, and axonometric drawings. Creating a portfolio, taught me how to effectively organize and present my work. If you could talk to you before these five weeks, what would you like to share with you? - If I could speak to myself before starting these first five weeks, I would acknowledge the challenges ahead but emphasize their significance. I would explain that these initial weeks have been incredibly educational, teaching me crucial skills such as spatial awareness, sketching, patience, presentation, scaling, and visual communication. I would assume mysel that despite the hard work, the effort is very rewarding. The sense of accomplishment that comes from overcoming difficulties makes it all worth it.
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Category #1: Facing surface -Over the span of ten photographs, it shows the process of a 90-degree angle change of the wall in comparison to the human figure. As the degree of the wall gradually moves, the human figure view becomes gradually obstructed. I was able to have a large range view of the room from 0-30 degrees until the wall obstructed my full view once it reached 90 degrees. This made me feel closed off from the room as I could not get a full picture. This created an overall uncomfortable feeling whenever the wall moved in front of me.
0 degree
10 degree
20 degree
30 degree
40 degree
50 degree
60 degree
70 degree
80 degree
90 degree 4 2340
Category #2: Facing edge This grouping of ten photographs emphasizes the 90-degree angle change of the wall from in front of the human figure to beside it. As the wall gradually moves, the human figures obstruction begins to decrease. In the beginning, I was unable to move forward without needing to bypass the wall. As the wall gradually moved away, I was able to continue my path with ease. This left me feeling pleased because I didn’t have to change my route.
0 degree
10 degree
20 degree
30 degree
40 degree
50 degree
60 degree
70 degree
80 degree
90 degree 5 2341
Category #3: Blocking wall The eleven photographs in this category illustrate the change in the placement of the wall as it moved from left to right. Once the walls finished moving, the human figure is fully obstructed. I was able to have the opportunity to move forward further into the room from position one to position four. As it moved on to position five to eight, I would need to move around the wall in order to make it through. Whenever the wall reached position nine, I felt unable to move forward which was frustrating when I couldn’t get where I needed to.
Opened level 1
Opened level 2
Opened level 3
Opened level 4
Block level 1
Block level 2
Block level 3
Block level 4
Block level 5
Block level 6
Block level 7
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Category #4: Passing the blocking wall The five photographs highlight the change in the placement of the human figure as it gradually moves past its obstruction. Once the human figure passes the wall, it gains a full view of the space. The wall was creating a view obstruction of the room, so I decided to move past it. As I began to move, I gained a larger view of the overall space. Whenever I reach my final point, I feel joyful now that I have a more open view of the room.
Passing level 1
Passing level 2
Passing level 3
Passing level 4
Passing level 5
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Category #5: Aligned Wall The five photographs in this category show the gradual change of the wall as it moves left to right and splits the human figures. Once the wall moves in front of the human figure, it obstructs the view of the room giving the figures two different views of the space. I begin by enjoying having a view of the large space until the wall moves directly in front of me. This created a divide of the space where I would need to choose what space I would like to be in. This made me feel confused at times when I struggled to choose a room.
Closed level 1
Closed level 2
Closed level 4
Closed level 5
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Closed level 3
Category #6: Passing the aligned wall Six photos show us the change of the environment as the human figure passed the wall, resulting in a more open space. As the human figure’s position changes, its obstruction begins to decrease and gradually change. I had an obstruction of the space, so I decided I wanted to pass it. As I continued walking my obstruction kept decreasing, creating a wider range of space. This made me feel happy because my decision to walk around the obstruction was the correct choice for me.
Passing level 1
Passing level 2
Passing level 3
Passing level 4
Passing level 5
Passing level 6
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Category #7: Walls with different heights Over the span of eight photos, the height of the wall increases, resulting in a gradual obstruction of the human figure. As the wall grows in height, the human figure’s path becomes more obstructed. In the beginning, I was able to move past the wall by climbing or stepping over it. As the wall continued to grow, I felt unable to move past the wall. I felt defeated because I needed to move through the space efficiently.
Wall with 1ft
Wall with 2ft
Wall with 3ft
Wall with 4ft
Wall with 5ft
Wall with 6ft
Wall with 7ft
Wall with 7ft
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Category #8: Floating and faced Wall Eight photos illustrate how the placement of the wall above the ground gradually changes. As the wall position changes, the human figures obstruction continues to decrease. At first, I was not able to move past the wall, but as the wall continued moving upward, I believed I would be able to crawl underneath the wall. In the end, the wall moved high enough that I was able to walk underneath the wall. I felt accomplished as I was able to move further into the room.
1ft high floating wall
2ft high floating wall
3ft high floating wall
4ft high floating wall
5ft high floating wall
6ft high floating wall
7ft high floating wall
8ft high floating wall
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Category #9: 8ft high floating and aligned wall The four photographs highlight the change in the environmental elements as the wall above the human figure moves from left to right. As the wall moves, it creates shadows on the left side of the space. In the beginning, I was able to see that most of the room was able to gather natural light. Once the wall moved toward the middle of the room, I was able to see it took away some of the natural light in the left side of the room. This made me feel comfortable because I had a cozy side of the room as well as a bright side.
Alignment level 1
Alignment level 4
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Alignment level 2
Alignment level 3
Category #10: 8ft high floating and faced wall The ten photos highlight how as the floating wall moves towards the center of the space the room begins to feel more closed off. As the wall shifts, the human figure’s view of the upper level of the room is blocked by the random wall. I was able to see most of the open room until the floating wall obstructed my view. This felt difficult to picture the room as open and felt more closed off.
Overlap level 1
Overlap level 2
Overlap level 3
Overlap level 4
Overlap level 5
Overlap level 6
Overlap level 7
Overlap level 8
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Category #11: floating horizontal surface Over the span of eight photos, the flat wall slab moves across the top of the human figure resulting in a dark closed off space. As the wall position changes, the human figures ceiling view becomes more obstructed which creates a darker space. As I move into the room, the view of the top of the room is open. Once the wall begins to move across, I notice that the room feels darker and not as open. I feel sad because it darkens my mood when the room is not light and airy.
Overlap level 1
Overlap level 2
Overlap level 3
Overlap level 4
Overlap level 5
Overlap level 6
Overlap level 7
Overlap level 8
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Category #12: Horizontal surfaces with different heights Within the twelve photographs of this section, the height of the horizontal surface gradually decreases. As the surface changes, the obstruction of the human figure increases. I felt like I was unable to pass through the space because of the horizontal surface being an obstruction and the hole in the floor would not allow me to pass either.
8ft high horizontal surface
7ft high horizontal surface
6ft high horizontal surface
5ft high horizontal surface
4ft high horizontal surface
3ft high horizontal surface
2ft high horizontal surface
1ft high horizontal surface
-1ft high horizontal surface
-2ft high horizontal surface
-3ft high horizontal surface
-4ft high horizontal surface 15 2351
Category #13: Wall surface with an incline Eight photographs highlight how the angles of the wall surface lifting above the human figure create a difference in lighting and openness. As the wall changes, the obstruction of the human figure shifts to a different position. I realize that the left side of me is obstructed and that I can only efficiently utilize the right side of the room. As the incline increases, the left obstruction decreases as it moves to the space above me. This makes me still feel closed off because the space only shifted and remained close to me.
10 degree
20 degree
30 degree
40 degree
50 degree
60 degree
70 degree
80 degree
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Category #14: Inclined wall The six photographs highlight how when the incline level increases, the wall takes up less space in the room. As the incline changes, the human figure becomes less obstructed. I was unable to move through the left side of the room. As the incline increases, I am able to use more of the space. This makes me feel like I am utilizing as much space as I can.
Inclined level 1
Inclined level 2
Inclined level 3
Inclined level 4
Inclined level 5
Inclined level 6
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Category #15: Floating wall surface facing edge with an incline The six photographs illustrate the environmental elements throughout the gradual change in the inclined levels. As the inclined wall changes, the obstruction of the human figure decreases and the shadows in the room change. At the beginning inclined level, I was unable to move through the left side of the room and the shadows were harsh. Once we reached incline level six, I could move in the left side of the room, and I noticed the shadows got slightly smaller. This made me feel like I could move around the way I would need to in the space.
Inclined level 1
Inclined level 2
Inclined level 3
Inclined level 4
Inclined level 5
Inclined level 6
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Category #16: Inclined surface to a facing wall Over the span of nine photographs, the inclined surface inclines gradually until it reaches 90 degrees. As the wall changes, the human figures open space begins to increase. I began by not being able to move in the middle of the room, meaning I would have to move around the obstruction. As the wall inclined more, my space began to increase. This made me feel relieved because I was able to move freely.
10 degree
20 degree
30 degree
40 degree
50 degree
60 degree
70 degree
80 degree
90 degree
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Category: #17 Inclined ramp to facing wall The nine photographs highlight how the angle of the inclined ramp moving toward the human figure gradually changes. The human figure becomes more obstructed once the inclined ramp reaches 90 degrees. In the beginning, from 10-30 degrees, I can walk up the ramp. As the ramp passed 30 degrees, the obstruction began to continue increasing and I felt like I could not pass anymore without having to move around it. This made me feel frustrated because it was inconvenient.
10 degree
20 degree
30 degree
40 degree
50 degree
60 degree
70 degree
80 degree
90 degree
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Category: #18 One Column Two photographs show the placement of the column in comparison to the human figure from two different views. As the human figure begins to approach the column, it may need to move around the column in order to pass it. I feel that most of the time this column would not be an obstruction to me. If I were to be placed directly in front of it, I feel like I would need to move around in order to have a full view or to pass it. This makes me feel like I need to stay aware of this space so that I don’t run into the column.
Front
Side
Category: #19 Two Columns The two photographs illustrate two different aspects of ways that the human figure may approach two columns in a room. As the human figure changes directions, the placement of the columns moves as to where they are placed in comparison to the figure. I feel that as I approach the columns vertically, I have a good amount of space to walk between the two columns. When I approach the columns horizontally, I feel that I need to be aware of the columns on my right side so that I don’t collide with them.
Vertical
Horizontal
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Category: #20 Three Columns The two photographs highlight the different views that the human figure may approach the three columns. As the human figure moves through a room, the place of the columns may be an obstruction depending on where the figure is coming from. I feel that as I am approaching the columns vertically, I need to be aware of my right side, but that I can continue walking forward as if I were in a hallway. Approaching horizontally, I feel a little different because it seems that I may need to dodge the columns more. I feel that I can pass if I am placed correctly through the three columns.
Vertical
Horizontal
Category: #21 Four Columns The two photographs illustrate the difference in space as the columns move closer together to each other. As the columns gradually move closer together, the space around the human figure seems to decrease. I feel like when the columns are wide apart, I can easily move through the space between the columns. Whenever the columns begin to become narrower, I feel uncomfortable moving through the columns. I would decide to move around the obstruction instead.
Wide
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Narrow
Category: #22 One Wall and One Column The eight photographs of category 22 show how the movement of the column affects the space in the room. As the one column moves around the room, the human figures amount of space begins to change. I feel that when the columns are directly next to the wall that it is a waste of space and that it forces me to move away from it. Whenever the column is far from the wall, I believe that I have a good amount of space to travel between the wall and column. When looking at Condition 1 and 2, I believe that the column feels a little close to the wall. Although it is passable, I would rather avoid and walk around the column instead.
Condition 1
Condition 2
Condition 3
Condition 4
Condition 5
Condition 6
Condition 7
Condition 8
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Category: #23 One Wall and two Columns Over the span of three photographs, it shows that as the wall placement changes from aligned to facing the human figure has different spaces to walk through. As the walls change position, the human figure’s path changes. In condition one, I feel that the columns lead me to my path down the wall. Condition two I feel that I must be aware of my surroundings in order to pass the obstructions. In condition three, I believe I can comfortably walk between the column and the wall without being too nervous.
Condition 1: aligned wall and vertically aligned columns
Condition 2: facing wall and vertically aligned columns
Condition 3: facing wall and horizontally aligned columns
Category: #24 Two Walls and two Columns Over the span of three photographs, it shows that as the wall placement changes from aligned to facing the human figure has different spaces to walk through. As the walls change position, the human figure’s path changes. In condition one, I feel that the columns lead me to my path down the wall. Condition two I feel that I must be aware of my surroundings in order to pass the obstructions. In condition three, I believe I can comfortably walk between the column and the wall without being too nervous.
Columns aligned vertically with perpendicular walls
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Columns aligned horizontally with perpendicular walls
Category: #25 Two Walls and two Columns with two lighting conditions_01 The six photographs in category 25 highlight the differences in two lightings and how the columns move around the space. As the columns change position, the human figure can see the difference in lighting. I feel that when the light is coming in from behind me the whole space feels more open and brighter. Whenever the light is coming from behind the wall, there is only a small amount of light coming from the open space that gives most of the space and dark and shadowy space. I feel that when the columns change position, it affects the amount of light being let in.
Walking between vertically aligned columns and perpendicular walls with lighting behind Figure
Walking between vertically aligned columns and perpendicular walls with lighting behind wall
Walking beside vertically aligned columns and perpendicular walls with lighting behind Figure
Walking beside vertically aligned columns and perpendicular walls with lighting behind wall
Walking beside vertically aligned columns and extended perpendicular walls with lighting behind Figure
Walking beside vertically aligned columns and extended perpendicular walls with lighting behind wall
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Category: #26 Two Walls and two Columns with two lighting conditions_02 The four photographs give a visual representation of the difference in space whenever the columns are aligned vertically versus when they are aligned horizontally. As the columns change position, the human figures’ space changes. I feel that when the columns are aligned vertically, I have a wide range of space to move through to make it to my destination. When the column is aligned horizontally, my space range seems to decrease because I am limited to a smaller space between the columns and the walls. This makes the space feel more limited and not as much light is let in, almost as if I were in a hallway or that I would need to dodge more obstructions.
Passing horizontally aligned columns to enter the space between two walls with lighting behind Figure
Passing vertically aligned columns to enter the space between two walls with lighting from the inside space
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Passing horizontally aligned columns to enter the space between two walls with lighting from the inside space
Passing vertically aligned columns to enter the space between two walls with lighting behind Figure
Category: #27 Two Walls and two Columns with two lighting conditions_03 Over the span of six photographs, it shows the gradual change of view as the human figure moves through the space vertically and horizontally. As the human figure moves, it must move past obstructions and find a more open space in the room. I feel that as I begin moving, I feel very claustrophobic as the columns and walls around me don’t give me much space to move. As I continue moving forward, I pass the obstructions which lead to an open view of the room.
Passing vertically aligned columns to pass a narrow opening between two walls with lighting behind Figure
Passing vertically aligned columns to pass a narrow opening between two walls with lighting from the inside space
Passing vertically aligned columns to pass an intermediate opening between two walls with lighting behind Figure
Passing vertically aligned columns to pass an intermediate opening between two walls with lighting from the inside space
Passing horizontally aligned columns to pass a wide opening between two walls with lighting behind Figure
Passing horizontally aligned columns to pass a wide opening between two walls with lighting from the inside space
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Category: #28 Vertically aligned Two Walls and two Columns The two photographs in this category show how the gradual movement of the human figure affects its view of the space. As the human figure gradually moves through the space, it passes obstructions and finds a more open view of the room. I feel that as I move forward, I may run into the column directly in front of me. This makes me feel obligated to move more to my left to avoid this collision. This leads to me passing the obstruction and finding another view of the room past the wall on my right.
Between walls, walking
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Between columns, walking
Category: #29 Space composed with 5+ columns and 2 walls Over the span of seven photographs, it shows the process of the human figure moving through many columns and passing between the two walls. As the human figure gradually moves, it must swerve the obstructions to make its way through. I feel that as I move through the space, I have many objects to look at. I feel that I need to make sure I am aware of my surroundings as I make my way through the space. I make myself aware that there are so many different objects to keep in mind, almost as if I am in a museum.
Top view of the space composed
Sequence phase #1
Sequence phase #2
Sequence phase #3
Sequence phase #4
Sequence phase #5
Sequence phase #6
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Category: #30 Faced wall with Connected wall Within nineteen photographs it gives a representation of the wall moving a total of 180 degrees in front of the human figure. Once the wall moves to its final degree, the human figures obstructed is decreased. I feel that when the wall is places from 90 degrees to 240 degrees that I am unable to move through the space. Whenever the wall reaches 240 degrees, I feel confident that I can move past the wall and further into the space.
90 degree
100 degree
110 degree
120 degree
130 degree
140 degree
150 degree
160 degree
170 degree
180 degree
190 degree
200 degree
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210 degree
220 degree
230 degree
240 degree
250 degree
260 degree
270 degree
31 2367
Category: #31 Aligned wall with Connected wall Over the span of seventeen photographs, it shows the process of the wall moving from 10 degrees to 170 degrees. Whenever the wall reaches its final point, the human figure can move straight through the space with ease. I feel that at the beginning degree (10 degrees), I am unable to move through the space at all. I found that I feel able to move forward if I move around the obstruction from degree 130 to degree one 160. Once the wall reaches 170 degrees, I feel that I am able to move straight through the space with ease and that the obstruction is gone.
10 degree
20 degree
30 degree
40 degree
50 degree
60 degree
70 degree
80 degree
90 degree
100 degree
110 degree
120 degree
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130 degree
140 degree
150 degree
160 degree
170 degree
33 2369
Category: #32 Facing the connected edge of two walls The seventeen photographs picture the process of the way moving from 10 degrees to 170 degrees and how it affects the human figure. As the wall continues to move, the human figure’s view of the right side of the room becomes completely obstructed. I feel that as I begin to look at the room, I have a pretty strong view of both sides of the space. Once the wall reaches 90 degrees, my view of the right side of the room becomes almost fully blocked. Whenever the wall reaches 170 degrees, I feel that I no longer can view the right side of the room.
10 degree
20 degree
30 degree
40 degree
50 degree
60 degree
70 degree
80 degree
90 degree
100 degree
110 degree
120 degree
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130 degree
140 degree
150 degree
160 degree
170 degree
35 2371
Category: #33 Three connected walls The two photographs in category three show the difference in the space in comparison to the human figure whenever the walls are wide facing versus when they are narrow facing. As the wall becomes narrower, the human figures view the difference in space. I feel that whenever the walls are wide facing, it feels larger and more open. When the walls are narrow facing, the space feels smaller and more closed off to me.
Wide-facing wall with two wings
Narrow-facing wall with two wings
Category: #34 Curved wall inside The four photographs highlight the different perspective the curved walls give as they grow in height and width. As the wall grows, the human views the room differently. I feel that when the wall is a small curve and 8ft or 16ft, it feels tighter and claustrophobic. Whenever the wall has a large curve, that curve may be more effective and useful for a given space or room. The larger curve makes me feel that I am allowed to view more of the wall.
Small-curved and 8ft height
Large-curved and 16ft height 36 2372
Small-curved and 16ft height
Large-curved and 8ft height
Category: #35 Curved wall outside The eight photos show many different views of many different curvatures as the human figure is in front of and passes the walls. As the wall grows in height, it becomes more intimidating and “powerful” to the figure’s eye. I feel that as I approach the small 8ft wall, I only view it as a smaller obstruction. As the wall grows in height or width, I feel the curvature becomes a larger obstruction to my space.
Facing Small-curved and 8ft height
Passing Small-curved and 8ft height
Facing Small-curved and 16ft height
Passing Small-curved and 16ft height
Facing Large-curved and 8ft height
Passing Large-curved and 8ft height
Facing Large-curved and 16ft height
Passing Large-curved and 16ft height
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Category: #36 Curved Walls and Flat Walls Over the span of five photographs, it gives a visual of many different perspectives that the human figure may approach the two walls. As the human figure approaches the different configurations, the figure space and obstructions change. I feel that when I approach a wall in front of me while passing a curved wall, I begin to think that I may follow the curved wall to avoid the wall ahead. If there are walls on either side of me such as photos 2-4, then I can find a path between them as if I were in a hallway. In my own coordination, I found that I may need to avoid all walls and move around the obstructions to bypass them.
Facing a flat wall (8fh height) while passing a curved wall (8fh height)
Entering a space between a flat wall (8fh height) and a closed-curved wall (8fh height)
Entering a space between a flat wall (8fh height) and an opened-curved wall (8fh height)
Your coordination in height and openness.
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Entering a space between a flat wall (8fh height) and a half opened-curved wall (8fh height)
Category: #37 Entering into a space between Parallel Curved Walls The eight photographs in this category show the human figure moving through growing parallel curved walls from the interior and exterior point of view. As the walls grow, the human figures lose space. I feel that whenever I move through the 8ft small, curved walls, it feels more open in comparison to the large curve with 16ft walls. Although the space is remaining the same, the taller and wider walls cut off light and close off the space. This makes the space feel small to me.
Small-curved and 8ft high outside
Small-curved and 16ft high outside
Large-curved and 8ft high outside
Large-curved and 16ft high outside
Small-curved and 8ft high inside
Small-curved and 16ft high inside
Large-curved and 8ft high inside
Large-curved and 16ft high inside
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Category: #38 Entering a space between curved mirror walls_01 Four photographs give a representation of the difference in space as the curved walls grow in height and width. As the walls grow, the space becomes more closed off to the human figure. I feel that whenever I move through the small 8ft curvatures, that they feel further apart and that they wouldn’t be a difficult obstruction to move past. Whenever the wall reaches 16ft high, the space feels much more closed off and “shrinks” the space.
Small-curved and 8ft height
Large-curved and 16ft height
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Small-curved and 16ft height
Large-curved and 8ft height
Category: #39 Entering a space between curved mirror walls_02 The eight photographs in this category show the human figure moving through different parallel curved walls and how light placement may affect a space. As the walls and lighting change, the human figure can see various spaces change around it. I feel that whenever the walls height is smaller, the space around me feels larger. With that being said, I feel that when the walls become larger in height, the space begins to feel smaller around me. I feel that when the lighting is pointed to the interior of the space, it brightens the whole area. Whenever the light is coming from the outside, I feel that there are spaces that are dark which may lead to discomfort.
Small-curved and 8ft high with inside lighting
Small-curved and 8ft high with outside lighting
Small-curved and 16ft high with inside lighting
Small-curved and 16ft high with outside lighting
Large-curved and 8ft high with inside lighting
Large-curved and 8ft high with outside lighting
Large-curved and 16ft high with inside lighting
Large-curved and 16ft high with outside lighting
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Category: #40 One curved wall and one column The two photographs picture the change in space when the human figure is moving between a column and curved wall inside and outside. As the human figure moves inside and outside, the openness of the room changes. As I enter the inside and outside space of the wall, I feel that I need to walk between the column and wall to avoid the obstruction. When I enter the space on the outside, I feel that I am being led to a more open space as if I am opening a door to a room. When I walk into the space on the inside, I feel that my path is more closed off and I am not as confident in finding an open space.
Entering a space between a column and curved wall outside
Entering a space between a column and curved wall inside
Category: #41 One curved wall and two columns The two photographs show the difference in the environment as the columns and walls move in comparison to the human figure. As the walls and columns move, the human figures obstruction changes. I feel that when the horizontally aligned columns move closer to the wall, I cannot move forward instead of being able to move between them. When the columns are vertically aligned, the obstruction makes me feel like I should move between the columns and the wall like it was a hallway.
Entering a space between a column of two horizontally aligned and curved wall outside
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Facing the outside of a curved wall with two horizontally aligned columns with insufficient space between them
Entering a space between a column of two vertically aligned and a curved wall outside
Category: #42 Role of a column between Curved and flat walls The four photographs highlight the difference in space as the walls and columns change locations. As the walls and columns move around the space, the human figure’s perspective of space changes. I feel that whenever the two curved walls are parallel to each other whether it is on the left or right, I feel that it leads me down between the walls to create a path for me to follow. I feel that whenever the faced flat wall is in the picture, it creates many different options of paths for me to follow as long as I avoid the obstruction.
Entering a space between two parallel curved walls, with a column in front of the outer curved wall
Entering a space between a faced flat wall and a curved wall, with a column in front of the flat wall
Entering a space between two parallel curved walls, with a column in front of the inner curved wall
Entering a space between a parallel flat wall and a curved wall, with a column in front of the flat wall
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Category: #43 Curved connection The four photographs show how the two walls connected at an angle move from 60 degrees to 150 degrees affect the space. As the wall gradually moves, the human figures obstruction slowly decreases. I feel that in the beginning, I cannot move past the wall and that I would need to find another way to move around it. Whenever the wall reaches 150 degrees, I feel that I can continue my path and move past the obstruction.
Follow two flat walls that are connected at an angle of 60 degrees smoothly
Follow two flat walls that are connected at an angle of 150 degrees smoothly
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Follow two flat walls that are connected at an angle of 90 degrees smoothly
Follow two flat walls that are connected at an angle of 120 degrees smoothly
Category: #44 Curved wall and S-curve wall Over the span of the four photographs, it shows the difference in the space when the curved wall is 8ft versus 16ft and when there is inside versus outside light. As the wall and lighting change, the human figures space around it alters. I feel that the 8ft wall feels more open than the 16ft wall. Since the walls are lower in the 8ft wall it also you to view above and allows lighter to come through. Whenever the light is projected outside the wall, I feel that it darkens the space. I feel that it leads you toward the light almost like it is a path.
Curved wall and S-curve wall 8ft high with inside lighting
Curved wall and S-curve wall 8ft high with outside lighting
Curved wall and S-curve wall 16ft high with inside lighting
Curved wall and S-curve wall 16ft high with outside lighting
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Category: #45 1 point perspective pictures: Void on the upside The four photographs give a representation of how the different voids affect the human figures space. As the voids change in shape and size, the human figures’ feeling of space alters. I feel that whenever a small square void is utilized, it creates a sense of having little space and needing to stay within the lit area. As the shape grows, I feel that the amount of space grows. The large circle void creates a wide circular boundary that makes the space feel larger than the large square void.
A 4’x4’ square void with a height of 8ft
A 8’ diameter void with a height of 8ft
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A 8’x8’ square void with a height of 8ft
A 4’ diameter void with a height of 8ft
Category: #46 Void on the upside with columns or walls The six photographs show us the difference in space whenever a wall or column is used underneath the void. As the column, wall, or void size change, the human figure sense of space begins to change. I feel that when the large square void has four columns underneath it, there feels like more space and confidence to move through. Whenever you sub the columns with a facing wall or a passing wall, the amount of light being let in decreases and the shadows become sharper which makes me feel more enclosed to that space. As the void square size decreases, I feel that my sense of space decreases as well.
A 8’x8’ square void with columns
A 8’x8’ square void with a facing wall
A 8’x8’ square void with a passing wall
View for A 4’x4’ square void with a flat wall aligned with one side and two columns aligned with the opposite side
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Category: #47 Void on the downside with columns or walls Over the span of six photographs, it gives a representation of the feeling light gives in a room as it enters from different angles. As light enters from different angles, the human figure’s view of space may alter. I feel that whenever the light enters from the upper floor, it brightens the space greatly and creates a few shadows. When the light enters from the side, I feel that the entire space feels brighter and larger. As the light moves to be placed from the lower floor, I feel that the upper level feels dark and shadowy which makes me feel like I want to move to the lower floor.
A 8’x8’ square void with a facing wall and light from upper floor
A 8’x8’ square void with a facing wall and light from side
A 8’x8’ square void with a facing wall and light from lower floor
A 8’x8’ square void with a passing wall and light from side
A 8’x8’ square void with a passing wall and light from lower floor
A 8’ diameter void with light from lower floor
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Category: #48 Void on the upside with combinations of columns or walls The ten photographs in this section picture a combination a photographs as the human figure moves past columns, curved walls, voids and through the room. As the human figure gradually moves through the room, it encounters different obstructions that may lead it down a different path. I feel that as I move around the room, I must alter my path to avoid the columns. I feel that the void above me creates an interesting amount of lighting that makes me feel like it is highlighting where I should go next. As I continue my path, I approach two walls that make a hallway. I feel that the way they are aligned gives me the idea that I should travel in between them to find another space.
Scene #1
Scene #2
Scene #3
Scene #4
Scene #5
Scene #6
Scene #7
Scene #8
Scene #9
Scene #10 49 2385
Category: #49 Void between Floating Surfaces Over the span of five photographs, it showed different points of views of floating surfaces in comparison to the human figure. As the position of the human figure changed, it showed the different areas within space. I feel that when I was on top of the floating surfaces that I had a wide and open view of everything around me whether it was left, right, above, or below. I feel that when I was below the floating surfaces, that the floating surface cast shadows that created almost like a pathway for me to follow.
Scene #1
Scene #2
Scene #4
Scene #5
Scene #3
Category: #50 Void between curve-linear Surfaces The two photographs give a representation of the void in the upper and lower level in comparison to the human figure. As the human figure moves between levels, the lighting spotlights it. I feel that when I am on the lower level (underneath the void), that I have a strong path of light coming through and hitting me. I feel that I am able to strongly see the floor above me, and clearly see the space surrounding me. Whenever I am on the upper level, I feel that the hole is a large obstruction. As I move, I feel I need to be aware so that I can avoid and pass the obstruction.
Scene #1 50 2386
Scene #2
Category: #51 Void with a combination of Within the two photographs, it illustrates the difference in space when having two different voids in the scene. As the human figure is standing in the scene, the two voids highlight it differently. I feel that the small square void projected harsh lines on the scene that made the space feel smaller. Whenever the circle void was used it projected light onto a wider range of object which opened the space
Scene #1
Scene #2
Category: #52 Curved vertical surface The two photographs give a representation of the space whenever there is a 4’ wide versus an 8’ wide curved vertical wall. As the wall grows from 4’ to 8’ wide, the human figure’s obstruction becomes larger. I feel that when I am looking at the 4’ curve, the curved surface is not as prominent. Although the 8’ curve is more of an obstruction to move around, the curved surface stands out more.
A 4’wide
A 8’wide 51 2387
Category: #53 Curved vertical surface with an upper floor The five photographs show the change of the space as the human figure moves into different areas of the room. As the curved vertical surface is placed in the room in many different ways, the human figure’s perspective of the room changes. I feel that in some ways that the curve is placed, the space can feel small, dark, and scary at times. Other times, I feel that the curve adds dimension or interesting features to the area.
Scene #1
Scene #2
Scene #4
Scene #5
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Scene #3
Category: #54 Curved vertical surface with a void Over the span of five photographs, it shows the different views of the space with a curved vertical surface and a void. As the vertical curve is placed through the void, the human figures obstruction changes. I feel that this scene could give discomfort whether I am above or below the void. The curvature coming up and down feels intimidating especially when above the void.
Scene #1
Scene #2
Scene #3
Scene #4
Scene #5
Category: #55 Facing Curved vertical surface The two photographs illustrate the human figure’s view of the space whenever it is facing a curved vertical surface. As the human figure faces the curved vertical surface, its main focus is the curvature. I feel that when I am facing large curvatures, that I can only focus on them. Depending on my position in relation to the curve, they sometimes feel like an obstruction and that I may need to move around it.
Scene #1
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Category: #56 Hanging curved surfaces The four photographs show this difference in space when there are curve hanging spaces in comparison to the human figure. As the hanging curved spaces are hung in different ways, the human figures perspective of the room may alter. I feel that when the curved hanging spaces are hung in different ways, I view the room differently. Some of the hanging spaces make the space feel more open whereas others feel more enclosed.
Scene #1
Scene #2
Scene #3
Scene #5
Category: #57 Surfaces with convexities and concavities The two photographs introduce different convexities and concavities into the space in comparison to the human figure. Whenever there were convexities and concavities in the space, the human figures space was closed off. I feel that the convexities and concavities really close off the space and are an obstruction.
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Scene #2
Category: #58 A sphere with a strong center and centripetal force The four photographs so how the use of a spere and centripetal force affects space in comparison to the human figure. Whenever circular shapes and spheres are used in the space, the human’s obstruction, and view changes. I feel that when the full sphere is in the space, my view is blocked, and I feel that I would need to move around it to avoid the shape. Whenever the half circle is utilized, I have more of a view above it, but I feel I still would need to move to avoid it
Scene #1
Scene #2
Scene #3
Scene #5
Category: #59 Surfaces that are twisted and free The three photographs show how using twisted and free surfaces affects a space in comparison to the human figure. As the curve is moved in many ways, the human figure’s space alters and its view changes depending on the curvature. I feel that the twisted and free curvatures create many interesting environments. However, when the curvature is on the ground or comes near, I feel that I cannot move freely, meaning I would need to alter my pass and move around.
Scene #1
Scene #2
Scene #3
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J orda n Sy lv ester Port fol i o 2392
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What I learned...
Project #1 “Wall, Column, and Space” - This project taught me how important it is to realize how spaces are affected by the walls and objects that are in it. Making the scenes, keeping in mind human scale, allowed me to truly visualize how a space can feel. Project #2 “Hand Drawing” - In this project, I learned how to let the scenes in front of me dictate how my pen would draw my image. Not being able to look at what I was drawing gave me a feeling of freedom to mess up. Project #3 “Power of Patience” - This project taught me to sit and truly visualize and absorb the scenes in front of me. While you may think a few minutes is enough time to grasp the view or object in front of you, there is always more things to take notice of. Taking my time viewing the painting in this project allowed me to see connection that I previously would have never found. It taught me to truly look at the world around me. Project #4 “Space Cube” - In this project, we focused on one emotion to set the tone for how we would craft our space cube. Finding my emotion in from the results of the “Wall, Column, and Space” project pushed me to see how spaces can influence emotion. It taught me how to craft an experience in my cube that made those who viewed it feel my emotion. Project #5 “First Portfolio” - The final project showed me how to craft a portfolio for my work and the importance of sharing my work with my peers and those interested in my work. Crafting my portfolio allowed me to be proud of my work and promote me to share with others my acomplishments. Overall - These projects taught me skills that I will use throughout my time in school and in my career. These building blocks that have begun to form will lay a stable foundation for me to grow and flurish. If you could talk to you before these five weeks, what would you like to share with you? - While the beginning is rough, everything has a purpose. The things you make now will allow you see things in a new light.
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Category #1: Facing surface These ten photos show the changes in how the angle of the wall affects the view of the human figure. The slow change of the angle of the wall slowly obstructs the view ahead of the figure. The slow change of the angle of the wall seems to force me in the direction that the wall wants me to go (0-60). As the walls angle moves closer to me (70-90) my view in front is completely obstructed keeping me in place.
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Category #2: Facing edge
These ten photos illustrate the movement of the angle of the wall gradually changing and moving out of the way of the human figure. As the wall changes, the path in front of the human figure is opened. My path at first is blocked, making me move to the side to go forward (0-10), but as the angle slowly changes (20-90) I am able to move forward without changing my path.
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5
Category #3: Blocking wall These eleven photos illustrate the movement of the wall gradually obstructing the path of the human figure. As the walls change, the human figures path is slowly obstructed. As my path forward is slowly blocked by a wall (1-7) I feel forced to move to the right to get past. As my path is completely blocked (8-11) I feel frustrated that I can no longer move forward.
Opened level 1
Opened level 2
Opened level 3
Opened level 4
Block level 1
Block level 2
Block level 3
Block level 4
Block level 5
Block level 6
Block level 7
6
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Category #4: Passing the blocking wall
These five photos illustrate the figure walking past a static wall that obstructs part of the path. As the figure slowly walks past the wall, the light cast over the figure is slowly lost as the wall blocks the lights path. As I approach the wall (1-3) I feel confident that the wall will not completely block my path and I am able to move forward (4-5).
Passing level 1
Passing level 2
Passing level 3
Passing level 4
Passing level 5
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7
Category #5: Aligned Wall These five photos illustrate an aligned wall slowly obstructing the figures path. As the wall moves, blocking the figures path, the figure is forced to move to the right or left in order to get around it. As the wall moves to block my path, I feel forced to move to the right in order to keep going forward.
Closed level 1
Closed level 2
Closed level 4
Closed level 5
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Closed level 3
Category #6: Passing the aligned wall These six photos illustrate a human figure passing an aligned wall. As the human figure walks in front of the aligned wall to pass it, the figure also moves into the light that is cast on the wall. As I walk past the wall, I also walk into the light that guides my path forward. I feel confident in my path moving forward.
Passing level 1
Passing level 2
Passing level 3
Passing level 4
Passing level 5
Passing level 6
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Category #7: Walls with different heights These eight photos show changes in the height of the wall in front of the figure. As the wall increases in height the figures path becomes blocked from moving forward. As the wall rises (1-2) I could still move forward, steping over the wall to continue on my path, but as the wall rises higher (3-7) my path is fully blocked. This obstruction frustrates me as before I could move froward, but now I cannot.
Wall with 1ft
Wall with 2ft
Wall with 3ft
Wall with 4ft
Wall with 5ft
Wall with 6ft
Wall with 7ft
Wall with 7ft
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Category #8: Floating and faced Wall These eight photos depict a wall gradually rising off of the floor in one foot increments , allowing the figure to move forward. In the begining (1-6) I am unable to move forward along my linear path. As the wall rises in greater height (7-8) I am able to move forward making me feel happy.
1ft high floating wall
2ft high floating wall
3ft high floating wall
4ft high floating wall
5ft high floating wall
6ft high floating wall
7ft high floating wall
8ft high floating wall
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Category #9: 8ft high floating and aligned wall These four photos show the change of a floating wall slowly moving in line with the human figure. As the wall moves, the lighting around the figure slowly changes as more shadows are introduced. As I watch the wall move closer overhead, I feel the need to almost duck as my space becomes cramped.
Alignment level 1
Alignment level 4
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Alignment level 2
Alignment level 3
Category #10: 8ft high floating and faced wall These eight photos show the gradual change of a floating wall slowly moving in line with the line of sight of the human figure. As the wall moves in front of the human figure , the figures line of sight becomes obstructed. Walking forward, my path forward slowly becomes obstructed as the wall moves into my line of sight. I feel the need to move to the side in order to see my path ahead behind the wall.
Overlap level 1
Overlap level 2
Overlap level 3
Overlap level 4
Overlap level 5
Overlap level 6
Overlap level 7
Overlap level 8
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Category #11: floating horizontal surface These eight photos depict a horizontal wall slowly moving overhead of a human figure. As the wall moved overhead, the light over the figure slowly becomes obscured. As I moved forward, my path slowly becomes more shaded making me feel as though I am protected from anything that could come from above.
Overlap level 1
Overlap level 2
Overlap level 3
Overlap level 4
Overlap level 5
Overlap level 6
Overlap level 7
Overlap level 8
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Category #12: Horizontal surfaces with different heights These twelve photos depict a square floating wall slowly lowering into the hole below. As the wall lowers , the path forward for the figure becomes avalible as walking space is provided. Standing in front of the square void in front of me , the wall slowly lowers obscuring my view foward (1-6). As the wall becomes lower to the ground, I am able to travel foward and step into the void space.
8ft high horizontal surface
7ft high horizontal surface
6ft high horizontal surface
5ft high horizontal surface
4ft high horizontal surface
3ft high horizontal surface
2ft high horizontal surface
1ft high horizontal surface
-1ft high horizontal surface
-2ft high horizontal surface
-3ft high horizontal surface
-4ft high horizontal surface 15 2405
Category #13: Wall surface with an incline These eight photos show the gradual change of an angular floating wall slowly angling closer to the figure. As the angled wall gradually changes to become closer to the figure, the view overhead of the figure becomes obstructed. Walking forward, I feel the need to duck away from the wall as it gradually moves closer to me overhead.
10 degree
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Category #14: Inclined wall These six photos illustrate the gradual change of a wall slowly lifting from the ground at an angle. As the wall lifts from the ground, the figures path becomes slightly deviated as the figure neeeds to step aside to allow room between them and the wall. Walking forward, my path changes as the walls angle changes. The change forces me to move away from the wall in order to provide enough space for me to comfortably walk past.
Inclined level 1
Inclined level 2
Inclined level 3
Inclined level 4
Inclined level 5
Inclined level 6
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Category #15: Floating wall surface facing edge with an incline These six photos illustrate a floating wall slowly changing its incline to move above the human figure. As the floating wall moves in front of the human figure, its path forward becomes blocked. As I move forward the wall slowly blocks my path forcing me to move to the side in order to contiunue forward.
Inclined level 1
Inclined level 2
Inclined level 3
Inclined level 4
Inclined level 5
Inclined level 6
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Category #16: Inclined surface to a facing wall These nine photos illustrate a surface slowly inclining upward above the human figure. As the surface inclines futher up, the human figures view becomes obstructed. As I move forward, the surfaces incline slowly changes blocking my view forward making unaware of what is ahead in my path forward.
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Category: #17 Inclined ramp to facing wall These nine photos illustrate a ramp slowly inclining toward the human figure. As the ramp inclines closer to the human figure, the figures path forward becomes blocked. As I move foward, the ramps changing incline prevents me from moving forward, forcing me to find an alternative path.
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Category: #18 One Column These two photos depict the human figure standing next to a column. As the view of the figure and the column changes, the lighting and shadows around the figure also change.
Front
Side
Category: #19 Two Columns These two photos illustrate the affect that two columns in the same space affect the lighting around a human figure. As the figures view changes, the shadows and lighting around the space is changed. As I change my view from vertical to horizontal, I see the columns horizontally blocking the light from reaching my path forward.
Vertical
Horizontal
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Category: #20 Three Columns These two photos depict the affect that three columns in a space affect the shadows and lighting as their position changes in the human figures view. As the view changes the shadows angle changes as the light shifts to a different part of the columns. As I move froward in different views, the lighting is blocked from my path beside the columns, darkening my path.
Vertical
Horizontal
Category: #21 Four Columns These two photos illustrate how four columns affect the space around it. As the view changes the shadows and lighting around the space is affected. As I walk inbetween the four columns, I feel surrounded on all sides.
Wide
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Narrow
Category: #22 One Wall and One Column These eight photos illustrate how the changes of a static wall and a moving column affect the path forward for the human figure. As the column moves around the space the human figures path may be altered. As I move throught the space, the moving column makes me aware of the space between me, the wall, and the column.
Condition 1
Condition 2
Condition 3
Condition 4
Condition 5
Condition 6
Condition 7
Condition 8
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Category: #2 3 O ne W all and two Colum ns These three photos illustrate how a wall and two columns ne t to each other in different iterations can affect the space around the human figure. As the wall and columns move around the space, the lighting and shadows around the fiure change along with them. As I move forward in the space, the moving wall and columns ma e me aware of how I am guided down a planned path.
o di o olum
alig ed wall a d ver all alig ed
o di o olum
fa i g wall a d ver all alig ed
o di o olum
fa i g wall a d hori o tall alig ed
Category: #2 4 T wo W alls and two Colum ns These two photos depict how the lighting and shadows are afftect as the view of the space changes. As the view shifts, one wall is obstructed from the view of the human figure. As I move through the space the column ne t to the wall ma es me feel pinned between the two.
olum
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alig ed ver all with perpe di ular wall
olum w a lls
alig ed hori o tall with perpe di ular
Category: # 5 wo
a s and two Co u ns with two ighting conditions
These si photos show the changes lighting can have on a space as the view is shifted to different locations. As the figure moves through the space, the different lighting conditions affect the figure and the ob ects around it in a uni ue manor. As I move through the space, the lighting coming from the outside the space draws me to that direction, while when the lighting is coming from inside the space I feel free to wal were I please.
al i g etwee ver all alig ed olum a d perpe di ular wall with ligh g ehi d igure
al i g etwee ver all alig ed olum a d perpe di ular wall with ligh g ehi d wall
al i g e ide ver all alig ed olum a d perpe di ular wall with ligh g ehi d igure
al i g e ide ver all alig ed olum a d perpe di ular wall with ligh g ehi d wall
al i g e ide ver all alig ed olum a d e te ded perpe di ular wall with ligh g ehi d igure
al i g e ide ver all alig ed olum a d e te ded perpe di ular wall with ligh g ehi d w a ll
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Category: #26 Two Walls and two Columns with two lighting conditions_02 These four photos show the changes lighting can have on a space as the view is shifted to different locations. As the figure moves through the space, the different lighting conditions affect the figure and the objects around it in a unique manor. As I move through the space, the lighting coming from the outside the space draws me to that direction, while when the lighting is coming from inside the space I feel free to walk were I please between the walls..
Passing horizontally aligned columns to enter the space between two walls with lighting behind Figure
Passing vertically aligned columns to enter the space between two walls with lighting from the inside space
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Passing horizontally aligned columns to enter the space between two walls with lighting from the inside space
Passing vertically aligned columns to enter the space between two walls with lighting behind Figure
Category: #27 Two Walls and two Columns with two lighting conditions_03 These six photos show the changes lighting can have on a space as the view is shifted to different views of the space. As the figure moves through the space, the different lighting conditions affect the figure and the objects around it in a unique manor. As I move through the space, the lighting coming from the outside the space draws me to that direction, while when the lighting is coming from inside the space I feel free to walk were I please.
Passing vertically aligned columns to pass a narrow opening between two walls with lighting behind Figure
Passing vertically aligned columns to pass a narrow opening between two walls with lighting from the inside space
Passing vertically aligned columns to pass an intermediate opening between two walls with lighting behind Figure
Passing vertically aligned columns to pass an intermediate opening between two walls with lighting from the inside space
Passing horizontally aligned columns to pass a wide opening between two walls with lighting behind Figure
Passing horizontally aligned columns to pass a wide opening between two walls with lighting from the inside space
27 2417
Category: #28 Vertically aligned Two Walls and two Columns These two photos illustrate how two walls and columns next to each other affect the space. As the view of the space changes, the figures path is altered. As I walk through the path in different views, my path feels forced to walk inbetween the two columns and walls.
Between walls, walking
28 2418
Between columns, walking
Category: #29 Space composed with 5+ columns and 2 walls These six photos illustrate a space composed with five columns and two walls. As the figures move around the space, thel ighting and shadows are cast differently. As I walk through the space, my path feels free as the random placement of the columns provide no set path for me to take.
Top view of the space composed
Sequence phase #1
Sequence phase #2
Sequence phase #3
Sequence phase #4
Sequence phase #5
Sequence phase #6
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Category: #30 Faced wall with Connected wall These nineteen photos illustrate how the angle of two connected walls can affect the space around it. As the walls move in front of the figure, their path changes as does the shadows and lighting around them. As I watch the walls shift to different angles my path forward changes as does my view.
90 degree
100 degree
110 degree
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170 degree
180 degree
190 degree
200 degree
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210 degree
220 degree
230 degree
240 degree
250 degree
260 degree
270 degree
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Category: #31 Aligned wall with Connected wall These seventeen photos show how the angle of two connected walls affect the space around the human figure. As the walls move further apart, the space around the human figure opens, allowing for more movement. As the walls move, opening up in front of me, the change allows me to move forward giving me more freedom.
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130 degree
140 degree
150 degree
160 degree
170 degree
33 2423
Category: #32 Facing the connected edge of two walls These seventeen photos depict how the angle of an edge of two walls can change how the space around is viewed. As the angle of the edge of the two connected walls change, the space around the human figure gradually becomes smaller. As I move through the space, the change of the angle forces my path forward toward a linear area.
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130 degree
140 degree
150 degree
160 degree
170 degree
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Category: #33 Three connected walls These two photos illustrate how the height of three connected walls can affect the space around it. As the height of the walls become shorter, the human figure is able to see what is beyond the three walls. As the height of the walls change, I am able to see over the walls, giving the feeling of the space being more open than it is.
Wide-facing wall with two wings
Narrow-facing wall with two wings
Category: #34 Curved wall inside These four photos illustrate how the heights and size of an interior curved wall can affect the human figure and the space around it. As the size of the walls change, the lighting and the shadows change in their intensity. As I stand in front of a curved wall, the shorter height walls make the space feel comfortable while the larger height walls provide an imposing sensation over me.
Small-curved and 8ft height
Large-curved and 16ft height 36 2426
Small-curved and 16ft height
Large-curved and 8ft height
Category: #35 Curved wall outside These eight photos illustrate how the heights and size of an exterior curved wall can affect the human figure and the space around it. As the size of the walls change, the lighting and the shadows change in their intensity. As I stand in front of a curved wall, the shorter height walls make the space feel comfortable while the larger height walls provide an imposing sensation over me.
Facing Small-curved and 8ft height
Passing Small-curved and 8ft height
Facing Small-curved and 16ft height
Passing Small-curved and 16ft height
Facing Large-curved and 8ft height
Passing Large-curved and 8ft height
Facing Large-curved and 16ft height
Passing Large-curved and 16ft height
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Category: #36 Curved Walls and Flat Walls These five photos illustrate how a curved wall can affect a space with a flat wall. As the figure moves past the curved wall the shadows and lighting shift in intensity. As I walk past the flat wall and toward the curved wall, my path fluidity as I am guided.
Facing a flat wall (8fh height) while passing a curved wall (8fh height)
Entering a space between a flat wall (8fh height) and a closed-curved wall (8fh height)
Entering a space between a flat wall (8fh height) and an opened-curved wall (8fh height)
Your coordination in height and openness.
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Entering a space between a flat wall (8fh height) and a half opened-curved wall (8fh height)
Category: #37 Entering into a space between Parallel Curved Walls These eight photos illustrate how two curved walls next to eachother can affect the space. As the human figure moves into the space between the two curved walls the light bounces off the curves creating shadows that cast over the other wall. As I move into the space between the two curved walls, my path is guided in a foced manor, my only way is forward.
Small-curved and 8ft high outside
Small-curved and 16ft high outside
Large-curved and 8ft high outside
Large-curved and 16ft high outside
Small-curved and 8ft high inside
Small-curved and 16ft high inside
Large-curved and 8ft high inside
Large-curved and 16ft high inside
39 2429
Category: #38 Entering a space between curved mirror walls_01 These four photos illustrate how two curved walls facing eachother can affect the space the human figure is in. As the figure moves between the two walls the light cast on the figure is obstructed. Moving toward the curved wall, I feel compressed as I move between them. The larger curved wall creating a looming feeling over me.
Small-curved and 8ft height
Large-curved and 16ft height
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Small-curved and 16ft height
Large-curved and 8ft height
Category: #39 Entering a space between curved mirror walls_02 These eight photos illustrate how two curved walls facing eachother can affect the space the human figure is in. As the lighting is shifted from the interior of the space to the exterior, the path of the human figure is guided. Moving toward the curved wall, I feel compressed as I move between them. The larger curved wall creating a looming feeling over me.
Small-curved and 8ft high with inside lighting
Small-curved and 8ft high with outside lighting
Small-curved and 16ft high with inside lighting
Small-curved and 16ft high with outside lighting
Large-curved and 8ft high with inside lighting
Large-curved and 8ft high with outside lighting
Large-curved and 16ft high with inside lighting
Large-curved and 16ft high with outside lighting
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Category: #40 One curved wall and one column These two photos illustrate how an exterior and interior curved wall space is affected when a column is placed in next to it. As the scenes shift from interior to exterior curved walls the shadows cast on the human figure change. As i moved inbetween the column and the exterior curved wall, I feel my path is fluid with nothing obstructing me, Moving through the space between the interior curved wall and the column, my path feels cramped and forced.
Entering a space between a column and curved wall outside
Entering a space between a column and curved wall inside
Category: #41 One curved wall and two columns These three photos illustrate how two columns place on either side of a curved wall can affect a space. As the view changes, you can see how the space between the columns and the curved wall lighting is affected. As I walk toward the columns and curved wall, my path feels forced and cramped.
Entering a space between a column of two horizontally aligned and curved wall outside
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Facing the outside of a curved wall with two horizontally aligned columns with insufficient space between them
Entering a space between a column of two vertically aligned and a curved wall outside
Category: #42 Role of a column between Curved and flat walls These four photos illustrate how a column affect the space between two curved walls. As the human moves between the column and the walls the path of the human figure is guided. As I move inbetween the curved walls and the column, my path feels forced and cramped.
Entering a space between two parallel curved walls, with a column in front of the outer curved wall
Entering a space between a faced flat wall and a curved wall, with a column in front of the flat wall
Entering a space between two parallel curved walls, with a column in front of the inner curved wall
Entering a space between a parallel flat wall and a curved wall, with a column in front of the flat wall
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Category: #43 Curved connection These four photos illustrate how the angle of two connected walls affect the space around the human figure. As the walls move further apart, the space around the human figure opens, allowing for more movement. As the walls move, opening up in front of me, the change allows me to move forward giving me more freedom.
Follow two flat walls that are connected at an angle of 60 degrees smoothly
Follow two flat walls that are connected at an angle of 150 degrees smoothly
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Follow two flat walls that are connected at an angle of 90 degrees smoothly
Follow two flat walls that are connected at an angle of 120 degrees smoothly
Category: #44 Curved wall and S-curve wall These four photos illustrate how two curved walls can affect the path forward in a space. As the lighting changes from interior to exterior, the lighting in the interior space opens up the space visually for the human figure. When the lighting is coming from the exterior of the space, I feel my path is guided toward the light to see what lies ahead.
Curved wall and S-curve wall 8ft high with inside lighting
Curved wall and S-curve wall 8ft high with outside lighting
Curved wall and S-curve wall 16ft high with inside lighting
Curved wall and S-curve wall 16ft high with outside lighting
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Category: #45 1 point perspective pictures: Void on the upside These four photos illustrate how an opening in the ceiling can affect the space around the human figure. As the size and shape of the opening changes, so does the amount of light that is cast on the human figure and the space around it. In the spaces with the smaller opening (1&3) the light cast on me feels like a spotlight compared to the spaces with the larger opening that creates an open feeling.
A 4’x4’ square void with a height of 8ft
A 8’ diameter void with a height of 8ft
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A 8’x8’ square void with a height of 8ft
A 4’ diameter void with a height of 8ft
Category: #46 Void on the upside with columns or walls These four photos depict how walls, openings in the ceiling and columns can affect the space. As the human figure moves through the spaces, the lighting cast from the opening creates a direct beam of light down to the floor. As I move through the scenes, my space and path feels dark and cold with the only light coming from a small opening from above.
A 8’x8’ square void with columns
A 8’x8’ square void with a facing wall
A 8’x8’ square void with a passing wall
View for A 4’x4’ square void with a flat wall aligned with one side and two columns aligned with the opposite side
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Category: #47 Void on the downside with columns or walls These six photos depict how a space with a viod in the floor with columns and walls can affect the space around the human figure. As the human figure moves through different views of the space, the lighting position changes the atmosphere of each view. As I move around the space the lighting from above highlights the space around me, making the void an unknown space. When the lighting comes from below, it casts the room in darkness, drawing the eye
A 8’x8’ square void with a facing wall and light from upper floor
A 8’x8’ square void with a facing wall and light from side
A 8’x8’ square void with a facing wall and light from lower floor
A 8’x8’ square void with a passing wall and light from side
A 8’x8’ square void with a passing wall and light from lower floor
A 8’ diameter void with light from lower floor
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Category: #48 Void on the upside with combinations of columns or walls These seven photos depict how the placement of walls and columns affect the space around the human figures. As the view of the space shifts, each placement of columns and walls create a unique composition in the space. As I walk through the space my path feels fluid, as I can move wherever I want.
Scene #1
Scene #2
Scene #3
Scene #4
Scene #5
Scene #6
Scene #7
Scene #8
Scene #9
Scene #10 49 2439
Category: #49 Void between Floating Surfaces These five photos illustrate how floating surfaces affect the area around it. As the surface of the floating area are cast with light, the viod below is cast in shadow. As I walk through the space below, the shadows casted to the ground create a sensation of cover and protection.
Scene #1
Scene #2
Scene #4
Scene #5
Scene #3
Category: #50 Void between curve-linear Surfaces These two photos illustrate how a void between curve-linear surfaces are affected by lighting. As the lighting changes between the views, the shadows cast create intense compositions for the human figures to view. As I walk though the space, the lighting in the curved space creates a spotlight affect, highlighting where I am among others. When the lighting is directs to the outside, the shadows cast create a space the strikes wonder.
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Scene #2
Category: #51 Void with a combination of developed scenes These two photos illustrate how a space can be created in relation to voids. As the curves flow between eachother, the shadows cast create voids inbetween that draw the eye. As I walk through the space, my eye is drawn to each element of the space peaking my curiosity.
Scene #1
Scene #2
Category: #52 Curved vertical surface These two photos illustrate how a curved vertical surface coming away from the human figure can affect the space around it. As the curved vertical wall widens between the two photos, the space around it is cast in darker shadows. As I stand in front of the curved surface, I feel the space take on an imposing air.
A 4’wide
A 8’wide 51 2441
Category: #53 Curved vertical surface with an upper floor These five photos illustrate how a space with a vertical surface is affected by an upper floor. As the human figures move between the floors, the shadows cast by the light grow darker and lighter. As I standing in the space, the curved surface ignites intrest in the space.
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Category: #54 Curved vertical surface with a void These five photos illustrate how a curved vertical surface in a voided space can affect the area around it. As the light is cast in different areas, the depth of the areas composition changes in intriguing was. As I stand in front of the void with the curved surface, I feel that the curved surface creates a vertical flow in the space.
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Category: #55 Facing Curved vertical surface These two photos illustrate how a curved vertical surface coming toward from the human figure can affect the space around it. As the curved vertical wall widens between the two photos, the space around it is cast in darker shadows. As I stand in front of the curved surface, I feel the space take on an imposing air.
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Category: #56 Hanging curved surfaces These four photos illustrate how hanging curved surfaces affect the area around it. As the scenes change between photos, the curved surfaces cast dark shadows on the area around it. As I stand in front of the hanging curved surfaces, the area around me feels imposing.
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Category: #57 Surfaces with convexities and concavities These two photos show how curved surfaces can affect the area around them. As the figure stands between the surfaces, the lighting creates an intriguing composition as the shadows cast from the surfaces engulf the area around them. As I stand in in front of the surfaces, I feel my spaces is cramped and the surfaces create an air of wonder around them.
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Category: #58 A sphere with a strong center and centripetal force These five photos illutrate how a spherical surface can affect the area around it. As the light is cast on the spherical surface, the area around it is engulfed in shadow. Standing in front of the sphere creates a sense of wonder .
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Category: #59 Surfaces that are twisted and free These three photos illustrate how freeform twisted surfaces interact with the space around it. As the figure moves in between scenes, the surface command attention in their spaces. As I stand in each scenen the surfaces around me command my attention and cast wonder on my scenses.
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Nichola s Tidwell Port foli o
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What I learned...
Project #1 “Wall, Column, and Space” -The Wall, Column, and Space project taught about space and how to use space. The deeper I got in the categories, the more extreme they got and the more space had to be used. Project #2 “Hand Drawing” - The hand Drawing project tested my abilities a lot. Drawing is not my strong suit, but I loved the challenge. It shows me that I can do things that I thought I couldn’t do. Project #3 “Power of Patience” The Power of Patience project taught me how to be patient. Having to stare at a painting for 3 hours can be boring, but you notice a lot when you slow down, take your time and be patient. Project #4 “Space Cube” - The Space Cube project taught me a lot that I can use forever. I learned so much like making floor plans, elevations, and space. These things are very crucial for my career and will be used a lot and now I know how to do all of those things. Project #5 “First Portfolio” - The First Portfolio project was really fun. It was very chill and was setting me up for the future. Making portfolios in the future will set me up for life and getting a job and it all starts with this first portfolio. Overall - learned these first five weeks more than I learned a whole year in college lol. I learned a lot about myself that I didn’t know such as my work ethic and the depth of my creativity. I didn’t know my work ethic was this strong until now. I have learned so far that the studio is going to push you to do things you have never done before. You have to have discipline and take criticism well and accept feedback from others. I have completed projects that take you more than 5 hours to complete daily (not exaggerating) and even more just to turn in the next day. I have spent 16 hours in the architecture building multiple days a week and even though I was extremely tired, the outcome was worth it. The group of people I’m experiencing all of this with are amazing and talented people. I’m so lucky to have such a supportive team for the next 3 years. I am looking forward to the next 5 weeks of summer studio! If you could talk to you before these 5 weeks, what whould you like to share with you? If I was to talk to myself before these 5 weeks, I would tell myself to take a deep breath. Its going to be stressful, but at the end you will be very proud of yourself and all of your accomplishments. Manage your sleep and make sure you eat because that is very important. Once you get your balance, you will be great!
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Category #1: Facing surface The wall gradually changes from behind the human figure. As the wall changed, the human figure became more of the wall and was bolder in front of the wall. Moving the wall behind the human figure made me feel more powerful and in charge.
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Category #2: Facing edge The wall moved at a 90-degree angle. The human showcased its side angles as the wall continued to turn. The wall made it feel excited because at 40 degrees it showed the human figure’s good side.
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Category #3: Blocking wall The 11 photos I have showcase different points on the human figure. The human figure is blocked at certain position behind the wall. The wall makes me feel sad because it shows that you are being blocked by a wall.
Opened level 1
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Category #4: Passing the blocking wall The pictures show the continuation of a person walking past a wall. The human figure is walking past the wall displaying the different shadows. This could be a lot of emotions, but I feel like I could be sad walking past the wall.
Passing level 1
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Passing level 5
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Category #5: Aligned Wall The photos are position weirdly from the human figure and are open. The human figure is in one spot while the wall gets closer to it. These photos can make someone feel fearful if they are a young person because the wall is blocking you but not all the way.
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Closed level 3
Category #6: Passing the aligned wall -
The photos show a continuous motion in action with the human figure. The human figure shows to be walking by a wall. The emotional impact in the photos may show that you are excited about something or ready to leave an event.
Passing level 1
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Passing level 5
Passing level 6
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Category #7: Walls with different heights There are several types of walls(heights) can show the size of the human figure within the wall size. The human figure is getting shortened by each photo as the wall starts to grow. This could feel scary for me as if in a shrinking in size.
Wall with 1ft
Wall with 2ft
Wall with 3ft
Wall with 4ft
Wall with 5ft
Wall with 6ft
Wall with 7ft
Wall with 7ft
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Category #8: Floating and faced Wall As the wall starts to rise, the human figure starts to show. The human figure is the main event and highlight it and the wall is allowing this to happen. This makes me feel happy and shout because it feels like a curtain is rising for a performance.
1ft high floating wall
2ft high floating wall
3ft high floating wall
4ft high floating wall
5ft high floating wall
6ft high floating wall
7ft high floating wall
8ft high floating wall
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Category #9: 8ft high floating and aligned wall The photos show a wall above the human figure and the distance from the figure. The figure is below the wall which shows contracts in size. The human figure can be scared because of the wall above the head and walking below a way that could fall any minute.
Alignment level 1
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Category #10: 8ft high floating and faced wall Just category 9 but just in a different position. The wall is now behind the figure and is moving past the human figure. The human figure is in one position while the length of the wall moves closer to it. This can feel like a sense of relief, if you are going through something because the wall is blocking but is not, its just above.
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Category #11: floating horizontal surface The pictures allow the floating surface to hover over the human figure. The human figure can walk under if it feels the need to and the wall will not get in the way. It can be scary knowing that a floating figure is hovering above you.
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Category #12: Horizontal surfaces with different heights The photos show space within the picture. The human figures in the photos are filling that space with different heights as well. This can be exciting because it could be a inground pool and everyone will have fun.
8ft high horizontal surface
7ft high horizontal surface
6ft high horizontal surface
5ft high horizontal surface
4ft high horizontal surface
3ft high horizontal surface
2ft high horizontal surface
1ft high horizontal surface
-1ft high horizontal surface
-2ft high horizontal surface
-3ft high horizontal surface
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Category #13: Wall surface with an incline The photos show that the wall is its own thing while maintaining the space of the human figure. The human figure is in a position where it cannot be touched are it goes around it. This can be scary because it can feel like the wall is closing in on you and you can do anything about it.
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Category #14: Inclined wall The photos continue to move up in inclines towards the human figure. The human figure is standing there waiting for the shadow of the wall as it gets higher. This can feel very scary as if the wall is closing in on your sec by second just for it to stop at 0 degrees.
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Category #15: Floating wall surface facing edge with an incline The photos show that the wall is increasing in height with an incline towards the human figure. The human figure is getting small standing near the wall inclines. This feels relative as if you are starting to feel small towards another person in life.
Inclined level 1
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Category #16: Inclined surface to a facing wall ]
The photos show that the wall is being brought up higher and higher near the human figure. The figure is being shown more of itself each time the wall is moved up. This can make you feel bold and proud and feel in the moment because it can display you.
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Category: #17 Inclined ramp to facing wall The photos make the figure its own. The human figure is shown as the main character. It can make you feel at peace because the inclined ramp can make it show that the figure or you are going to bigger and better places.
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Category: #18 One Column The photos show the figure and the column in the light. The human is walking towards the column and is taking the space of the column. the emotion that appears to be calming while the human figure walks pass the column.
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Category: #19 Two Columns -
The columns are expanding and have more space between the figures. The human figure is still in the mist of the column and is in the space of the column. the emotion of the photos can be scary as it starts to multiply.
Vertical
Horizontal
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Category: #20 Three Columns The photos are spacing out the columns and there are three of them. The height of the column changes as they go back, even though they are the same height. The human is in the light and the columns get darker the farther it goes.
Vertical
Horizontal
Category: #21 Four Columns The columns represent walls in these photos. The human figure is in the center of the column. This can feel scary as a wall is closing in on you. But the light is on the human figure and showcase the figure.
Wide
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Narrow
Category: #22 One Wall and One Column The columns in the photos are the space between the wall and infinity. The human has a wall that it is going across while the column is changing position. The column is adding a sense on reason for the wall.
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Category: #23 One Wall and two Columns The column is pillars at this point and is helping with the shadows of the human figure. The human figure is walking by the wall and pillars as the shadow changes every time.
Condition 1: aligned wall and vertically aligned columns
Condition 2: facing wall and vertically aligned columns
Condition 3: facing wall and horizontally aligned columns
Category: #24 Two Walls and two Columns The walls and columns are filling the space as if it was a building. There are now two human figures and are filling the space also. The space is filled with happy energy going toward bad energy as the human figure starts to walk towards the bad.
Columns aligned vertically with perpendicular walls
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Columns aligned horizontally with perpendicular walls
Category: #25 Two Walls and two Columns with two lighting conditions_01 The columns are adding more of a contract from itself and the wall. The lighting is making a difference with these pictures. The lighting hits differently when the column of human figure passes by.
Walking between vertically aligned columns and perpendicular walls with lighting behind Figure
Walking between vertically aligned columns and perpendicular walls with lighting behind wall
Walking beside vertically aligned columns and perpendicular walls with lighting behind Figure
Walking beside vertically aligned columns and perpendicular walls with lighting behind wall
Walking beside vertically aligned columns and extended perpendicular walls with lighting behind Figure
Walking beside vertically aligned columns and extended perpendicular walls with lighting behind wall
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Category: #26 Two Walls and two Columns with two lighting conditions_02 The lighting conditions is very different in each other. The lighting is controlled by the blocking of the wall. The human figure makes it own shadow when it starts to walk towards the light.
Passing horizontally aligned columns to enter the space between two walls with lighting behind Figure
Passing vertically aligned columns to enter the space between two walls with lighting from the inside space
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Passing horizontally aligned columns to enter the space between two walls with lighting from the inside space
Passing vertically aligned columns to enter the space between two walls with lighting behind Figure
Category: #27 Two Walls and two Columns with two lighting conditions_03 The columns are being placed in weird positions. The columns is filling the space of the human figure and make shadows of its own. The light is making the pictures terrifying as the human figure walks by.
Passing vertically aligned columns to pass a narrow opening between two walls with lighting behind Figure
Passing vertically aligned columns to pass a narrow opening between two walls with lighting from the inside space
Passing vertically aligned columns to pass an intermediate opening between two walls with lighting behind Figure
Passing vertically aligned columns to pass an intermediate opening between two walls with lighting from the inside space
Passing horizontally aligned columns to pass a wide opening between two walls with lighting behind Figure
Passing horizontally aligned columns to pass a wide opening between two walls with lighting from the inside space
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Category: #28 Vertically aligned Two Walls and two Columns The human figure is walking towards the light and is contacting the light. The columns is placed into the light and don’t have a shadow. The columns are now joining the human figure into the light which could be very scary at times.
Between walls, walking
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Between columns, walking
Category: #29 Space composed with 5+ columns and 2 walls The walls are making the space open while also making the entrance or exit small. The exit or entrance is towards the light and one column is placed into the light. The other columns are there to support the wall while the human figure passes through and passing another human figure.
Top view of the space composed
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Category: #30 Faced wall with Connected wall The photos present what everyone doesn’t see. As it is two walls in different degrees, we are seeing a different point of view each time. The human figure is placed between the connect walls to show that at that place, it can be seen at all angles.
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Category: #31 Aligned wall with Connected wall The walls are closed but goes to open wall. The figures are placed and are taken at different angles. The human figure is seen in all types of angles.
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Category: #32 Facing the connected edge of two walls The angles of the photos are different and have a different point of view each time. The human figure is placed at the same position to show contract of the wall. The black view can be overwhelming at times based off the light.
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Category: #33 Three connected walls The photos show that the lighting can be different by the way you take the photo. Also, the three walls closes light into the walls. The human figures always have light on them either with way the camera goes.
Wide-facing wall with two wings
Narrow-facing wall with two wings
Category: #34 Curved wall inside Paragraph
Small-curved and 8ft height
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Small-curved and 16ft height
Large-curved and 8ft height
Category: #35 Curved wall outside Paragraph
Facing Small-curved and 8ft height
Passing Small-curved and 8ft height
Facing Small-curved and 16ft height
Passing Small-curved and 16ft height
Facing Large-curved and 8ft height
Passing Large-curved and 8ft height
Facing Large-curved and 16ft height
Passing Large-curved and 16ft height
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Category: #36 Curved Walls and Flat Walls The space a different type of shadow in the photo. The human figure is walking through a new space with curved walls. This makes you feel different and weird inside because of the curved walls.
Facing a flat wall (8fh height) while passing a curved wall (8fh height)
Entering a space between a flat wall (8fh height) and a closed-curved wall (8fh height)
Entering a space between a flat wall (8fh height) and an opened-curved wall (8fh height)
Your coordination in height and openness.
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Entering a space between a flat wall (8fh height) and a half opened-curved wall (8fh height)
Category: #37 Entering into a space between Parallel Curved Walls The photos showcase the feeling of space with curved wall. the human figure is taking the space of the curved halllway. the lighting and sizing of the wall gives different feeling of space.
Small-curved and 8ft high outside
Small-curved and 16ft high outside
Large-curved and 8ft high outside
Large-curved and 16ft high outside
Small-curved and 8ft high inside
Small-curved and 16ft high inside
Large-curved and 8ft high inside
Large-curved and 16ft high inside
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Category: #38 Entering a space between curved mirror walls_01 -The curved walls are enclosed but into much next to the human figure. The human figure is in the middle of the two curved walls. The feeling could be nervousness going through the walls
Small-curved and 8ft height
Large-curved and 16ft height
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Small-curved and 16ft height
Large-curved and 8ft height
Category: #39 Entering a space between curved mirror walls_02 The lighting in these photos make the curved mirror wall pop out. The human figure is in the light and the darkness to show contrast in the space.
Small-curved and 8ft high with inside lighting
Small-curved and 8ft high with outside lighting
Small-curved and 16ft high with inside lighting
Small-curved and 16ft high with outside lighting
Large-curved and 8ft high with inside lighting
Large-curved and 8ft high with outside lighting
Large-curved and 16ft high with inside lighting
Large-curved and 16ft high with outside lighting
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Category: #40 One curved wall and one column These photos show the difference in light and darkness. The human figure is showcased in the darkness and the light. The human figure witness bad and good in these photos.
Entering a space between a column and curved wall outside
Entering a space between a column and curved wall inside
Category: #41 One curved wall and two columns The curved wall is short and can see a lot. The human figure is next to the columns and taking up the space of the curved wall. This can feel very calming knowing what is going to happen next because the small curve.
Entering a space between a column of two horizontally aligned and curved wall outside
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Facing the outside of a curved wall with two horizontally aligned columns with insufficient space between them
Entering a space between a column of two vertically aligned and a curved wall outside
Category: #42 Role of a column between Curved and flat walls -
The columns add a sense of small walls in the hallway. The human figure is surrounded by walls and columns to head to the light. The light give the space a sense of continuous action on the other side.
Entering a space between two parallel curved walls, with a column in front of the outer curved wall
Entering a space between a faced flat wall and a curved wall, with a column in front of the flat wall
Entering a space between two parallel curved walls, with a column in front of the inner curved wall
Entering a space between a parallel flat wall and a curved wall, with a column in front of the flat wall
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Category: #43 Curved connection The curve connected wall is very long and very open space. The human figure is alone a long wall that goes on, on, and on. This can give you a feeling a nervousness.
Follow two flat walls that are connected at an angle of 60 degrees smoothly
Follow two flat walls that are connected at an angle of 150 degrees smoothly
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Follow two flat walls that are connected at an angle of 90 degrees smoothly
Follow two flat walls that are connected at an angle of 120 degrees smoothly
Category: #44 Curved wall and S-curve wall -
These walls make the space open and in the air. The human figures are walking in between the walls that are curved. This gives you the sense of weirdness because of the different type of walls.
Curved wall and S-curve wall 8ft high with inside lighting
Curved wall and S-curve wall 8ft high with outside lighting
Curved wall and S-curve wall 16ft high with inside lighting
Curved wall and S-curve wall 16ft high with outside lighting
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Category: #45 1 point perspective pictures: Void on the upside The space is very open, and the lighting is filled with shapes. The shapes make the lighting different. The human figure takes the space of the lighting that creates different shapes. This makes you feel very cool and me.
A 4’x4’ square void with a height of 8ft
A 8’ diameter void with a height of 8ft
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A 8’x8’ square void with a height of 8ft
A 4’ diameter void with a height of 8ft
Category: #46 Void on the upside with columns or walls -
The space is filled with columns and has a spotlight in the ceiling to give it that nature light feels. The human figure is in this space and is blocked by the columns. Space gives you a sense of eminence as you walk through.
A 8’x8’ square void with columns
A 8’x8’ square void with a facing wall
A 8’x8’ square void with a passing wall
View for A 4’x4’ square void with a flat wall aligned with one side and two columns aligned with the opposite side
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Category: #47 Void on the downside with columns or walls The space has levels that are open from the ceiling for natural lighting that id coming down from it. The human figure is standing in the dark spot and those spots are not hit by the lighting.
A 8’x8’ square void with a facing wall and light from upper floor
A 8’x8’ square void with a facing wall and light from side
A 8’x8’ square void with a facing wall and light from lower floor
A 8’x8’ square void with a passing wall and light from side
A 8’x8’ square void with a passing wall and light from lower floor
A 8’ diameter void with light from lower floor
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Category: #48 Void on the upside with combinations of columns or walls -
The lighting is hitting the same spots from the ceiling. The human figure is filling that space and is surrounded by columns. The space is very open and dark, which can feel very scary
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Category: #49 Void between Floating Surfaces The void allows a lot of sunlight to come in. The voids make a lot of shadows in space. The human figures take up the space of the void and the shadows.
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Category: #50 Void between curve-linear Surfaces This is my cut out from my model. The space shows the shape and the human figure around the shape. This can give a sense of happiness and can be fun to be around.
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Scene #2
Category: #51 Void with a combination of -
This is the space that category 51 pictures can form. The space show voids, shadows, and light in the model. The human figure is in the sunlight in the center of the model.
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Category: #52 Curved vertical surface The photos show that the space is very open and empty space. The human figure is in the light towards the curved surface. This can make happy feelings as the human goes up the curved wall.
A 4’wide
A 8’wide 51 2495
Category: #53 Curved vertical surface with an upper floor The upper floor tends to add shadow to the pictures. The human figures is finding the way of the light on the upper floor and even standing under it. This is very calming because of the way the wall is placed to the human figure.
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Category: #54 Curved vertical surface with a void The curved wall is making the space pop with the lighting hitting it. The human figure is placed at the perfect spot as the light hits it. Also, the human figure is placed at different places but still has that effect on the pictures. This can be weird seeing a curved wall coming out from a hole or a square cut out.
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Category: #55 Facing Curved vertical surface The facing of the camara makes the photos appear in a huge way and make the surroundings of the human figure bold. The human figure is in the shadow this time of the curved surface. This can be nerve recking as going up towards the curved surface.
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Category: #56 Hanging curved surfaces The curved surfaces make the surroundings open and viewable. The human figure is in the center of everything and can see around him but also be surrounded by curved surfaces. This makes you feel safe as you are surrounded by walls.
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Category: #57 Surfaces with convexities and concavities The space is very dark and light at the top of the photos. The human figures is small among the curved surfaces and wall. The photos make you feel weird because of the design of the wall. They are not your typical wall in a building.
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Category: #58 A sphere with a strong center and centripetal force The photos show the use of spheres and the shadow it uses in space. The human figure is in the outer light of the sphere and shows contrast to the sphere. This make me feel cool inside, it looks like you are looking at a monument.
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Category: #59 Surfaces that are twisted and free The space is very open for imagining whatever and is free. The human figure is filling in the space of the picture and is in the lighting of each. The pictures make you feel lonely as there is not a lot in the space.
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à ¦ Ä ó ®ã Ý Por t fol i o 2500
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What I learned...
Project #1 “Wall, Column, and Space” Project #2 “Hand Drawing” Project #3 “Power of PaƟence” Project #4 “Space Cube” Project #5 “First Porƞolio” Overall If you could talk to you before these ve weeks, what would you like to share with you? -
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Category #1: Facing surface The ten photographs demonstrate the movement of the wall, as each picture the angle gradually aƩens. As the angle grows larger, the human gure is gradually covered by the wall. These pictures give me a feeling of repression, as the human gure is covered more by the wall as a closed door. The rst few pictures give me a sense of hope that there is no adversity (or obstacles) in my way (0-20), as the wall moves I feel as though my hope is dwindling and I must now swerve in order to dodge this obstacle the wall) (30-60), nally as the wall closes in on me as a door closes to opportunity, I feel as though there is liƩle I can do and no where I can go, allowing me to feel repressed or help back.
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Category #2: Facing edge The ten photos show a wall moving radially around a human gure. The human gure’s view becomes gradually less covered by the wall. These photos make me feel like I am straying away from my normal path, or that I am distracted. My view goes along with the wall as it moves, keeping my head occupied from the straight path ahead. The rst couple of photos, the wall is aligned with me, showing a consistent path (0-20), however as the wall starts to angle away, so does my focus. I feel as though I’m not focused on what is in front of me, reminding me of a feeling of distracƟon and therefore giving me a sense of anxiety that I am not doing what I need to and following the path ahead.
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Category #3: Blocking wall The eleven photos show the wall moving closer and closer in towards the center. This wall obstructs the human gures view. The movement of this wall makes me feel caged in and as though I am unable to move any further. Like Category 1, I feel a sense of oppression and like a sliding door was shut on me.
Opened level 1
Opened level 2
Opened level 3
Opened level 4
Block level 1
Block level 2
Block level 3
Block level 4
Block level 5
Block level 6
Block level 7
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Category #4: Passing the blocking wall -
The ve photos show the wall seeming to move closer to the viewer. However, these photos depict the human gure walking past the wall. These photos make me feel a sense of en�tlement, that I get to walk past an obstacle with ease while others could suffer from (like in the past categories).
Passing level 1
Passing level 2
Passing level 3
Passing level 4
Passing level 5
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Category #5: Aligned Wall In these six photos, the walls closer further to the origin point (the human gure). The human gure is given less space as the wall narrows (or moves further away). Closed level 1-3 make me feel free, but in Closed level 4-6 I begin to feel claustrophobic as the wall persists to come closer to the human gure.
Closed level 1
Closed level 2
Closed level 4
Closed level 5
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Closed level 3
Category #6: Passing the aligned wall -
The six photos demonstrate the passing of a wall. The human gure “walks” parallel to the wall, following the walls natural path. These photos give me a sense of condence. Since the wall imposes no barrier to me, I can move past it, barely giving it a thought.
Passing level 1
Passing level 2
Passing level 3
Passing level 4
Passing level 5
Passing level 6
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Category #7: Walls with different heights In these eight photos, is seems as though the wall grows taller. The human gure’s view is obstructed completely in the last photo. These photos make me feel, sad because I feel as though I am being excluded from whoever/whatever is on the other side of the wall.
Wall with 1Ō
Wall with 2Ō
Wall with 3Ō
Wall with 4Ō
Wall with 5Ō
Wall with 6Ō
Wall with 7Ō
Wall with 7Ō
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Category #8: FloaƟng and faced Wall -
These eight photos demonstrate a wall oaƟng upwards. The human gures view is clear. These photos make me feel happy because they allow my view to persist beyond the wall. In addiƟon, this has a bit of an eerie feeling to it, as there is no visible force that is moving this wall.
1Ō high oaƟng wall
2Ō high oaƟng wall
3Ō high oaƟng wall
4Ō high oaƟng wall
5Ō high oaƟng wall
6Ō high oaƟng wall
7Ō high oaƟng wall
8Ō high oaƟng wall
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Category #9: 8Ō high oaƟng and aligned wall These four photos show a oaƟng wall, facing perpendicular to the viewer. The wall hovers above the human gure and moves closer in line with it. These images make me feel scared, because the placement of the wall reminds me of a knife. As the pictures conƟnue, the human gure is in more and more trouble of being cut/smashed.
Alignment level 1
Alignment level 4
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Alignment level 2
Alignment level 3
Category #10: 8Ō high oaƟng and faced wall In these images, the oaƟng wall appears to center itself. Part of the human scale’s view becomes blocked. In overlap levels 1-3, I have a clear view, overlap levels 4-6, my view becomes parƟally blocked making me feel as though I need to shiŌ right from my current path , and overlap level 7 and 8, half of my view is completely blocked, making me feel as though I must duck if I were to pass through.
Overlap level 1
Overlap level 2
Overlap level 3
Overlap level 4
Overlap level 5
Overlap level 6
Overlap level 7
Overlap level 8
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Category #11: oaƟng horizontal surface The oaƟng wall appears to move to the center. The wall acts as a potenƟal roof or covering to the human gure as it moves to the center. This gives me a sense of relief as the wall comes over me to protect me from potenƟal hazards.
Overlap level 1
Overlap level 2
Overlap level 3
Overlap level 4
Overlap level 5
Overlap level 6
Overlap level 7
Overlap level 8
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Category #12: Horizontal surfaces with different heights These photos demonstrate a wall lowering. This movement gives the human gure a new view as it lowers below the level it is standing on. These pictures make me feel confused. There is no visible force moving the wall. In addiƟon, when the wall lowers below surface level, it gives me anxiety, as it looks like a whole new world is revealed.
8Ō high horizontal surface
7Ō high horizontal surface
6Ō high horizontal surface
5Ō high horizontal surface
4Ō high horizontal surface
3Ō high horizontal surface
2Ō high horizontal surface
1Ō high horizontal surface
-1Ō high horizontal surface
-2Ō high horizontal surface
-3Ō high horizontal surface
-4Ō high horizontal surface
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Category #13: Wall surface with an incline In these eight images, the wall forms a hexadecanol shape, as it moves. The wall begins on the side of the human gure then begins to circle the gure and begins to hover over it. These pictures give make me interested due to the chunky and odd path of the wall as it covers the human gure.
10 degree
20 degree
30 degree
40 degree
50 degree
60 degree
70 degree
80 degree
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Category #14: Inclined wall In these six photos, the wall begins to liŌ up, each photo the angle of the wall and oor increasing. The wall liŌs up closer to the human gure. These images make me feel uneasy and fearful that the wall will ip over and land on me.
Inclined level 1
Inclined level 2
Inclined level 3
Inclined level 4
Inclined level 5
Inclined level 6
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Category #15: FloaƟng wall surface facing edge with an incline These photos show a wall facing up and down, oaƟng, and gradually angling at a higher degree. The wall starts besides the human gure and gradually liŌs above the head. I feel fear when looking at this piece. The direcƟon of the wall makes it appear as a knife (like in category nine). In addiƟon the angling of the wall makes it look like someone is liŌing it up and holding it toward the human gure.
Inclined level 1
Inclined level 2
Inclined level 3
Inclined level 4
Inclined level 5
Inclined level 6
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Category #16: Inclined surface to a facing wall These nine photos demonstrate a wall being liŌed up. The human gure now faces the wall. These images make me feel empowered, as though the wall was built up, and now I gaze upon it.
10 degree
20 degree
30 degree
40 degree
50 degree
60 degree
70 degree
80 degree
90 degree
19
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Category: #17 Inclined ramp to facing wall These photos display a wall being liŌed up. The wall is being pull up toward the human scale. These photos make me feel excited, because they make me feel as though there are new opportuniƟes available to me as this wall rises towards me.
10 degree
20 degree
30 degree
40 degree
50 degree
60 degree
70 degree
80 degree
90 degree
20
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Category: #18 One Column These two photos demonstrate the importance of angle and perspecƟve. The human gure is seen from the back and side by this. These images make me feel calm, due to the simplicity if the arrangement.
Front
Side
Category: #19 Two Columns In these images, this shows the importance of angles and ow. With the verƟcal image, the human gure is passing through the two columns. However, the horizontal image shows the human gure merely passing by. The verƟcal image makes me feel as though I am breaking through something, or entering/exiƟng somewhere, giving me a bit of anxiety. However, the horizontal image makes me feel as though I am going with the ow of the columns, I feel contempt.
VerƟcal
Horizontal
21
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Category: #20 Three Columns These images show the importance of placement, and space. Like in category 19, the human gure walks along with the columns and through. The verƟcal image contempt, moving with the ow of the columns. In the horizontal image, I feel uneasy walking through the columns.
VerƟcal
Horizontal
Category: #21 Four Columns These two images show the importance of placement and space. The wide photo shows two human gures centered between these columns. The Narrow image shows one human gure centered again. The Narrow image makes me feel scared and claustrophobic due to the columns being placed closer together. While I feel happier and freer due to the open space between the columns.
Wide
22
2520
Narrow
Category: #22 One Wall and One Column These images show the importance of placement. The human gure stays relaƟvely in the same space as the column moves to either side of it and moves closer and further. CondiƟons 3 makes me feel as though I am not supposed to move between the wall and the column, while CondiƟon 4 is more open and welcoming to people passing through. CondiƟon 4 and 5 cause me confusion, the placement of the column next to the wall seems odd to me.
CondiƟon 1
CondiƟon 2
CondiƟon 3
CondiƟon 4
CondiƟon 5
CondiƟon 6
CondiƟon 7
CondiƟon 8
23
2521
Category: #23 One Wall and two Columns These images show the effects of the placement of columns and a wall. The human gure moves through these different congura�ons. These images are very simple and open, remind me of a museum , giving me a calm feeling.
CondiƟon 1: aligned wall and verƟcally aligned columns
CondiƟon 2: facing wall and verƟcally aligned columns
CondiƟon 3: facing wall and horizontally aligned columns
Category: #24 Two Walls and two Columns These images show a set up containing two walls and two columns. One of the human gures stands centered between the two columns, the other walks between a column and a wall. Like Category 24, these images remind me of a museum, giving me a very calm feeling.
Columns aligned verƟcally with perpendicular walls
24
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Columns aligned horizontally with perpendicular walls
Category: #25 Two Walls and two Columns with two lighƟng condiƟons_01 These six images show the important role light plays. The human gure itself is highlighted when the light is shown from behind, or the silhoueƩe of the gure is shown when the light is behind the wall. The images which show the light behind make me feel contempt. However, when is light shown from behind the wall, it gives the images an eerie feeling.
Walking between verƟcally aligned columns and perpendicular walls with lighƟng behind Figure
Walking between verƟcally aligned columns and perpendicular walls with lighƟng behind wall
Walking beside verƟcally aligned columns and perpendicular walls with lighƟng behind Figure
Walking beside verƟcally aligned columns and perpendicular walls with lighƟng behind wall
Walking beside verƟcally aligned columns and extended perpendicular walls with lighƟng behind Figure
Walking beside verƟcally aligned columns and extended perpendicular walls with lighƟng behind wall
25
2523
Category: #26 Two Walls and two Columns with two lighƟng condiƟons_02 These images show the role light plays in a seƫng. The human gure is either shown and lit up or hidden in the shadows. Like in category 25, the images where the light is shown from behind the human gure feels light and calming, yet the other images feel dark and eerie.
Passing horizontally aligned columns to enter the space between two walls with lighƟng behind Figure
Passing verƟcally aligned columns to enter the space between two walls with lighƟng from the inside space
26
2524
Passing horizontally aligned columns to enter the space between two walls with lighƟng from the inside space
Passing verƟcally aligned columns to enter the space between two walls with lighƟng behind Figure
Category: #27 Two Walls and two Columns with two lighƟng condiƟons_03 These images show the importance of ligh�ng and design. The human gure walks between a series of different se�ngs including two walls and two columns. When the light is shown from behind the gure, I feel sense of calmness as if I am walking through a simple building. However, when the light is shown from the front, I get an uneasy feeling as if I am in a horror movie.
Passing verƟcally aligned columns to pass a narrow opening between two walls with lighƟng behind Figure
Passing verƟcally aligned columns to pass a narrow opening between two walls with lighƟng from the inside space
Passing verƟcally aligned columns to pass an intermediate opening between two walls with lighƟng behind Figure
Passing verƟcally aligned columns to pass an intermediate opening between two walls with lighƟng from the inside space
Passing horizontally aligned columns to pass a wide opening between two walls with lighƟng behind Figure
Passing horizontally aligned columns to pass a wide opening between two walls with lighƟng from the inside space
27
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Category: #28 VerƟcally aligned Two Walls and two Columns Paragraph
Between walls, walking
28
2526
Between columns, walking
Category: #29 Space composed with 5+ columns and 2 walls These images show the importance of light and the breaking up of two spaces using walls and columns. The human gure rst walks through the walls then the columns. This makes me feel anxious, due to the angle of these columns and walls, I must walk at an angle to pass through.
Top view of the space composed
Sequence phase #1
Sequence phase #2
Sequence phase #3
Sequence phase #4
Sequence phase #5
Sequence phase #6
29
2527
Category: #30 Faced wall with Connected wall These images show two walls conforming to create different angles. The two gures stand s�ll and allow the wall to pass by them. The rst half of the images makes me feel trapped. However, when the second wall begins disappearing behind the other, I feel like I have been released.
90 degree
100 degree
110 degree
120 degree
130 degree
140 degree
150 degree
160 degree
170 degree
180 degree
190 degree
200 degree
30
2528
210 degree
220 degree
230 degree
240 degree
250 degree
260 degree
270 degree
31
2529
Category: #31 Aligned wall with Connected wall These seven teen pictures show two walls moving to form, what was once a sharp corner, a straight wall. The human gures are marking points and allow the wall to move. Like in category 30, I feel trapped in the rst half of these images, but I slowly start to feel freer as the wall opens up.
10 degree
20 degree
30 degree
40 degree
50 degree
60 degree
70 degree
80 degree
90 degree
100 degree
110 degree
120 degree
32
2530
130 degree
140 degree
150 degree
160 degree
170 degree
33
2531
Category: #32 Facing the connected edge of two walls These pictures show a sharp corner opening to a at wall. The human gure stands at the point of the corner. I feel a sense of meekness as this wall opens on me, trapping me behind it.
10 degree
20 degree
30 degree
40 degree
50 degree
60 degree
70 degree
80 degree
90 degree
100 degree
110 degree
120 degree
34
2532
130 degree
140 degree
150 degree
160 degree
170 degree
35
2533
Category: #33 Three connected walls These two images show three walls, one image the walls are spread far apart, the other image they are close together. The gures are compressed as these walls move in. I feel a sense of claustrophobia when looking at these images.
Wide-facing wall with two wings
Narrow-facing wall with two wings
Category: #34 Curved wall inside These images show the important roll height and curve play in an environment. The human gure is encapsulated by the curved walls. The small-curved images have a playful tone to them, as they are small and remind one of a playground. However, the large-curved images are very overpowering and really grasp ones aƩenƟon, I feel as though I am looking at a memorial when I glance at these images.
Small-curved and 8Ō height
Large-curved and 16Ō height
36
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Small-curved and 16Ō height
Large-curved and 8Ō height
Category: #35 Curved wall outside These eight images show what a difference in height and length can do to a space and how it could affect light. The human gure walks around the curve. The 8-foot curves put a playful mood to them and make me feel calm. However, the 16� curves have more of an eerie sense to them, and cause me to feel a bit frightened.
Facing Small-curved and 8Ō height
Passing Small-curved and 8Ō height
Facing Small-curved and 16Ō height
Passing Small-curved and 16Ō height
Facing Large-curved and 8Ō height
Passing Large-curved and 8Ō height
Facing Large-curved and 16Ō height
Passing Large-curved and 16Ō height
37
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Category: #36 Curved Walls and Flat Walls These images use an angling of a curved wall with a straight wall to show the importance of openness. The man human gure walks around the curve and between the curved and straight wall. The woman is used to mark the center if the semi-circle as it is turned. The rst two images give me excitement, because I don’t know what is behind the curve and I am eager to nd out. The last three images make me calm due to the open framing.
Facing a at wall (8Ĭ height) while passing a curved wall (8Ĭ height)
Entering a space between a at wall (8Ĭ height) and a closed-curved wall (8Ĭ height)
Entering a space between a at wall (8Ĭ height) and an opened-curved wall (8Ĭ height)
Your coordinaƟon in height and openness.
38
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Entering a space between a at wall (8Ĭ height) and a half opened-curved wall (8Ĭ height)
Category: #37 Entering into a space between Parallel Curved Walls These images highlight the importance height and curvature has. The human gure walks between two curved walls. The rst four images make me frightened due to the lighƟng. The last four images give me a joyous and playful feeling due to the shape of the curves.
Small-curved and 8Ō high outside
Small-curved and 16Ō high outside
Large-curved and 8Ō high outside
Large-curved and 16Ō high outside
Small-curved and 8Ō high inside
Small-curved and 16Ō high inside
Large-curved and 8Ō high inside
Large-curved and 16Ō high inside
39
2537
Category: #38 Entering a space between curved mirror walls_01 These four images show the importance of height and length in an environment. The human gure walks between two walls, each photo the height and length vary. I feel a sense of renewal, walking through the two curves to the light makes me feel as though I am starƟng a new beginning.
Small-curved and 8Ō height
Large-curved and 16Ō height
40
2538
Small-curved and 16Ō height
Large-curved and 8Ō height
Category: #39 Entering a space between curved mirror walls_02 In the four images, curved walls and angling are tested. The human gure walks to and then in between the two curves. These images bring me happiness because of the curvature of the wall and the playfulness of the lighƟng.
Small-curved and 8Ō high with inside lighƟng
Small-curved and 8Ō high with outside lighƟng
Small-curved and 16Ō high with inside lighƟng
Small-curved and 16Ō high with outside lighƟng
Large-curved and 8Ō high with inside lighƟng
Large-curved and 8Ō high with outside lighƟng
Large-curved and 16Ō high with inside lighƟng
Large-curved and 16Ō high with outside lighƟng
41
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Category: #40 One curved wall and one column In these images a column and a curved wall are present. The human gure walks between the curve and the column, switching sides of the wall. These images make me feel sad, due to the loneliness of the wall and column.
Entering a space between a column and curved wall outside
Entering a space between a column and curved wall inside
Category: #41 One curved wall and two columns These images show the use of two columns and a curved wall. The human gure stands between the columns and walks between them. These images make me feel at peace, the symmetrical use of the wall and column are very tranquil.
Entering a space between a column of two horizontally aligned and curved wall outside
42
2540
Facing the outside of a curved wall with two horizontally aligned columns with insufficient space between them
Entering a space between a column of two ver�cally aligned and a curved wall outside
Category: #42 Role of a column between Curved and at walls These images play with column placement and the combina�on of at and curved walls. The human gure walks between the different congura�ons. These images set a playful tone due to the variety.
Entering a space between two parallel curved walls, with a column in front of the outer curved wall
Entering a space between a faced at wall and a curved wall, with a column in front of the at wall
Entering a space between two parallel curved walls, with a column in front of the inner curved wall
Entering a space between a parallel at wall and a curved wall, with a column in front of the at wall
43
2541
Category: #43 Curved connecƟon The images show two straight walls that curve. The human gure stands as the wall opens more and more. As the wall opens, I feel more and more free to move straight ahead.
Follow two at walls that are connected at an angle of 60 degrees smoothly
Follow two at walls that are connected at an angle of 150 degrees smoothly
44
2542
Follow two at walls that are connected at an angle of 90 degrees smoothly
Follow two at walls that are connected at an angle of 120 degrees smoothly
Category: #44 Curved wall and S-curve wall These images show the role of wall height and how that affects the tone of them room. The human gure walks through each curved hallway. The rst two images make me feel curious, as to what is on the other side of the curve. The last two images put me in awe of how grand the walls look.
Curved wall and S-curve wall 8Ō high with inside lighƟng
Curved wall and S-curve wall 8Ō high with outside lighƟng
Curved wall and S-curve wall 16Ō high with inside lighƟng
Curved wall and S-curve wall 16Ō high with outside lighƟng
45
2543
Category: #45 1 point perspecƟve pictures: Void on the upside These images play with ceiling and light. The human gures stand below a ceiling that has a cut out, light shine above them. These images are very ominous and frighten me.
A 4’x4’ square void with a height of 8Ō
A 8’ diameter void with a height of 8Ō
46
2544
A 8’x8’ square void with a height of 8Ō
A 4’ diameter void with a height of 8Ō
Category: #46 Void on the upside with columns or walls These images play with voids and levels which show dimensions in an environment. The human gure is set under a void as light peaks in. These images have a frightening tone to them, due to the ominous lighƟng.
A 8’x8’ square void with columns
A 8’x8’ square void with a facing wall
A 8’x8’ square void with a passing wall
View for A 4’x4’ square void with a at wall aligned with one side and two columns aligned with the opposite side
47
2545
Category: #47 Void on the downside with columns or walls These images play with voids on the oor and walls to show dimensions. The human gure stands in front of this void, looking down into it. These images have an eerie tone to them, I feel as though someone could be pushed down one of these voids, not knowing how far the boƩom is.
A 8’x8’ square void with a facing wall and light from upper oor
A 8’x8’ square void with a facing wall and light from side
A 8’x8’ square void with a facing wall and light from lower oor
A 8’x8’ square void with a passing wall and light from side
A 8’x8’ square void with a passing wall and light from lower oor
A 8’ diameter void with light from lower oor
48
2546
Category: #48 Void on the upside with combinaƟons of columns or walls These images use lighƟng, columns and walls to demonstrate voids on the upside. The human gure stands below, being cast in the shadow from the light from above. These images have a frightening tone (like Category 46) that is put on by the ominous lighƟng.
Scene #1
Scene #2
Scene #3
Scene #4
Scene #5
Scene #6
Scene #7
Scene #8
Scene #9
Scene #10
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Category: #49 Void between FloaƟng Surfaces These ve images use oaƟng walls and open space to convey voids in between. The human gures either stand on either side of the voids or are walking through the void. These images make me feel powerful, as if I am walking through a kingdom that has guards posted for my protecƟon.
Scene #1
Scene #2
Scene #4
Scene #5
Scene #3
Category: #50 Void between curve-linear Surfaces These three images use oaƟng walls to show void on the upside and downside. The human gures either stand on the upside or downside, sharing their view. These images have a joyous and playful feeling to them. Being able to see either view is very entertaining to viewers.
Scene #1
50
2548
Scene #2
Category: #51 Void with a combinaƟon of These images use a combinaƟon of wall, light and columns to set a scene. The human gures stand, allowing the light to shine on them. These images are very ominous to me, due to the strange structure and potenƟal story that could be behind it.
Scene #1
Scene #2
Category: #52 Curved verƟcal surface These two images use light and curvature to establish tone. The human gure walks toward the curved wall. These images give me a feeling of renewal and peace, as though I am walking towards a new beginning.
A 4’wide
A 8’wide
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Category: #53 Curved verƟcal surface with an upper oor These images use upper oor and curvature to inuence the environment. The human gure stands near or in front of the curved wall as the upper level is above or below it. These images have a dangerous feeling to them and give me anxiety. This is because of the height of the upper oors and the innite look of the curved walls.
Scene #1
Scene #2
Scene #4
Scene #5
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Scene #3
Category: #54 Curved verƟcal surface with a void These images use a curved wall and a void to affect the ligh�ng of the room. The human gure stands in front of the wall and either in front of or under the void. Light ether is shown on or taken away from the human gure. I feel a sense of depression when looking at these images. The ligh�ng seems to be very sorrowful.
Scene #1
Scene #2
Scene #3
Scene #4
Scene #5
Category: #55 Facing Curved verƟcal surface These images use light and direc�on to impact the environment. The human gure walks toward the wall being impacted by the light refracted from it. These images make me feel empowered. I feel as though I am walking to a ba�le I am going to win.
Scene #1
Scene #2
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2551
Category: #56 Hanging curved surfaces These images use curved surfaces and light to establish a tone for the environment. The human gure walls into or under these curved surfaces. I feel a sense of rebirth, when I “walk through” this room”.
Scene #1
Scene #2
Scene #3
Scene #5
Category: #57 Surfaces with convexiƟes and concaviƟes These images use concaviƟes and convexiƟes to establish a tone. The human gure stands between these two walls. I feel very at peace when looking at these images, as if I am walking through a museum
Scene #1
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Scene #2
Category: #58 A sphere with a strong center and centripetal force These images use spherical shapes to effect ligh�ng. The human gure is placed next to or under this shape. These images have an unsettling tone to them due to the terrestrial shape in a once simplis�c room.
Scene #1
Scene #2
Scene #3
Scene #5
Category: #59 Surfaces that are twisted and free In these three images, surfaces that are twisted and unique are used to shi� the ligh�ng. The human gure stands in the middle of these scenes, adding a sense of normality to the room. I enjoy these photos, because they add a silly tone to the room due to the abstractness of the walls.
Scene #1
Scene #2
Scene #3
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Lauren Wheeler 2554
Port foli o 1
What I learned...
Project #1 “Wall, Column, and Space” - I learned about sequences and how they are an important part of design. Walls, colums, and space is what makes up the foundation of a room. Project #2 “Hand Drawing” - Blind countour and the outdoor scketches taught me that my drawings do not need to be perfect all of the time. The floorplans were difficult at first but I learned a lot about line weights and how to apply them to my drawings. The shaving cream project was fun and different from the other things that we had been working on. I learned how to draw a two-point perspective and got to draw my window view. Project #3 “Power of Patience” - Throught going to the Crystal Bridges art museam and looking at a painting for three hours taught me that the longer I look at a painting the more things I notice and understand about it. I learned how to point out lots of design principles and art elements. Project #4 “Space Cube” - The space cube taught me that it is better to repeat a process in order to make it better each time. The first one is not always going to turn out how you want and it takes time to improve it. Project #5 “First Portfolio” - Taking my portrait showed me all of my work in one place. It also made me realize how much I have improved. This is my first portfolio and it has helped me learn how to make more in the future. Overall - I definitely think I have improved from the beginning of this semester. I have become more confident with my work and have learned how to manage lots of assingments at once. If you could talk to you before these five weeks, what would you like to share with you? - I Would tell myself to slow down and not rush my work. Even though it seems like there is not enough time, rushing through causes you to make mistakes.
1 2555
Category #1: Facing surface These 10 photographs show the figure slowly facing the surface. As the figure faces more towards the surface, the wall becomes less angled. At the start the wall was only next to me(0-30 degrees). When the I turned toward the surface, it became an obstruction. It also slowly became more of my view (40-90 degrees).
0 degree
10 degree
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Category #2: Facing edge The 10 photographs shown is the view of a figure turning toward an edge. As the figure faces the edge the wall slowly becomes in front of the figure. As the I turned toward the edge, it makes the wall look less angled (90-10 degrees). Standing in front of the edge makes it look thin. I am then able to look out to both sides of the wall. (0 degrees)
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Category #3: Blocking wall The 11 photographs show the wall slowly blocking the figure’s view. As the wall moves, the figure slowly becomes more in the middle of the wall. The wall moving meant that there was about to be an obstruction (opened level 1-4) As the wall moved to the right, I was no longer able to walk straight through. I tried to go to the right, but the wall kept moving. (Block level 1-7)
Opened level 1
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Opened level 4
Block level 1
Block level 2
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Block level 7
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Category #4: Passing the blocking wall The five photographs show the figure slowly walking past the wall. As the figure walks forward, the wall gets closer, and then further again. As I got closer to the wall, it seemed larger (passing level 1-2). I was able to maneuver around the wall (passing level 3-4). I then passed the wall and progressed forward (passing level 5).
Passing level 1
Passing level 2
Passing level 3
Passing level 4
Passing level 5
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Category #5: Aligned Wall The 6 photos show the wall gradually aligning to the figure. As the wall moves in front of the figure, it becomes an obstruction. At the beginning, I felt unrestricted and nothing is in front of me (closed level 1-5). Restriction grew towards the end and I felt unable to walk in the way I wanted. I was then blocked and can’t see forward without the wall in my view
Closed level 1
Closed level 2
Closed level 4
Closed level 5
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Closed level 3
Category #6: Passing the aligned wall The six photos show the figure moving forward and passing the wall. The wall stays in the same spot as the figure moves past the wall. The wall gets closer to me making the space more closed off. (passing level 1-2) The feeling of restriction occurs not being able to walk to the left (passing level 3-5) When I passed the wall, I was then able to go wherever I want (passing level 6).
Passing level 1
Passing level 2
Passing level 3
Passing level 4
Passing level 5
Passing level 6
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Category #7: Walls with different heights In the eight photos shown, the wall slowly becomes taller starting from 1 ft to 8 ft. As the wall gets taller, the figure looks like it is getting shorter. The wall is easy to see over and only feels like a small climb over (1ft-3ft) As it gets taller, II started to feel blocked (4ft-6ft). When the wall is over its head, I can no longer see what’s beyond it (7ft-8ft).
Wall with 1ft
Wall with 2ft
Wall with 3ft
Wall with 4ft
Wall with 5ft
Wall with 6ft
Wall with 7ft
Wall with 7ft
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Category #8: Floating and faced Wall In the eight pictures shown, the wall begins to float. As the figure stands in the same place, the wall gets higher and higher in the air. The wall starts off blocking the figure (1ft- 4ft). As the wall rises, I could then duck under the wall (5ft-6ft). When the wall becomes high enough, I can walk straight under the wall without any restriction (7ft-8ft).
1ft high floating wall
2ft high floating wall
3ft high floating wall
4ft high floating wall
5ft high floating wall
6ft high floating wall
7ft high floating wall
8ft high floating wall
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Category #9: 8ft high floating and aligned wall In the 4 photos shown the floating wall, slowly aligns with the figure. The wall is 8 feet in the air, while the figure is standing on the ground. As the wall moves to the right it looks closer to me (level 1-3). The wall aligns directly with me. The photos show it stopping there (level 4).
Alignment level 1
Alignment level 4
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Alignment level 2
Alignment level 3
Category #10: 8ft high floating and faced wall In the eight photos shown the floating wall is faced towards the figure. The wall moves to the right, while the figure stands in one place. As the wall moves to the right, I have less space. It also creates a blocked view. (overlap level 1-7). The faced wall aligns with me (overlap level 8).
Overlap level 1
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Category #11: floating horizontal surface In the eight photographs, the floating horizontal surface moves to the right. The surface slowly aligns itself with the figure. As it moves to the right, it takes up more space (level 1-4). When the wall starts to go over my head, it limits my movement and choices (level 5-7). The last photo shows the wall directly over my head (level 8).
Overlap level 1
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Overlap level 8
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Category #12: Horizontal surfaces with different heights In the 12 photos shown the wall has movement from 8 feet in the air to 4 feet under the surface. The figure is still while the surface changes. As I stood there I watched the surface decrease in height (8ft-1ft) The surface, passes the hole, and continues to decrease. (-1ft- -4ft). I watch in awe as this happens.
8ft high horizontal surface
7ft high horizontal surface
6ft high horizontal surface
5ft high horizontal surface
4ft high horizontal surface
3ft high horizontal surface
2ft high horizontal surface
1ft high horizontal surface
-1ft high horizontal surface
-2ft high horizontal surface
-3ft high horizontal surface
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Category #13: Wall surface with an incline In the eight photos shown, the wall surface has an incline. As the figure stands still, the wall increases in degree. The wall becomes more abstract. In each photo, the wall also floats upward (10-70 degrees). The wall is at its degree before it reaches level (80 degrees).
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Category #14: Inclined wall In the six photos shown, the wall slowly stands up. The incline rises toward the figure. The feeling of a wall slowly starts to form (inclined level 1-3). I then become more blocked off. (inclined level 4-5). In the last level it is almost fully a wall (inclined level 6).
Inclined level 1
Inclined level 2
Inclined level 3
Inclined level 4
Inclined level 5
Inclined level 6
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Category #15: Floating wall surface facing edge with an incline In these six photos the wall floats upward with an incline. The edge slowly becomes more aligned with the figure. The wall feels like a sharp point, facing me (incline level 1-3). The wall slowly raises towards my head. (incline level 4-5). The wall gets closer to being aligned (level 6).
Inclined level 1
Inclined level 2
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Inclined level 6
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Category #16: Inclined surface to a facing wall In these nine photos, the wall stands up. The wall is aligned with the figure the whole time. The wall starts by being something that I could climb on (10-20 degrees). The end that was once close gets further away from me (30-70 degrees). The wall becomes completely upward. (80-90 degrees).
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Category: #17 Inclined ramp to facing wall In these nine photos, the wall increases in degree and stands up. The wall is getting closer to the figure. This inclined ramp is getting steeper (10-50 degrees). The ramp turns into a wall (60-80 degrees). The wall becomes a barrier for me and I cant move forward (90 degrees).
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Category: #18 One Column The two photographs show the column with the figure. The figure is slightly left to the column facing it. As I am facing the column it seems to stay still. To others it could seem as an obstacle but it is easy to get around. It takes up little space.
Front
Side
Category: #19 Two Columns In the photos the angle changes give more perspective on the columns. The figure moves from in the middle of the columns to off to one side still facing them. I see that the columns are spread apart. I am unsure of the purpose of the placement. They give me an open feel knowing that I can walk multiple directions without being blocked.
Vertical
Horizontal
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Category: #20 Three Columns The two photos illustrate the change in the position of the columns. The figure is placed at two different perspectives. The columns seem sturdy and are easy to walk through. As I walk past the columns I get a sense of loneliness. Nothing is moving except for me.
Vertical
Horizontal
Category: #21 Four Columns In the photographs the columns go from wide to narrow. The figures are standing apart looking at each other through the columns. I watched the person on the other side take a step back and so did I. The walls then became narrower, getting closer to me. I started to feel more claustrophobic.
Wide
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Narrow
Category: #22 One Wall and One Column In the 8 photographs the column moves as the wall stays in one place. As the column moves the figure also walks to different places showing different perspectives. As the column moved backwards towards me, I felt more restricted (1-2). The column then moved away from me as I stood in the same place (3-4). I walked away from the column and wall because they were too close, so I wanted to see a different perspective (5-6). The column then moved further away and then moved forward in my direction but was far away enough to feel not restricted (7-8).
Condition 1
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Category: #23 One Wall and two Columns In these three photos the columns and walls are placed in different places. The figure is facing away and looks like it is walking in the opposite direction through the columns and walls. As I approached the wall in columns, I knew that I would have to either make up my mind if I wanted to go left before I got to the wall or continue to walk straight or through the columns to the right (Condition 1). In the same way I felt restricted and had a tight walkway (Condition 2). Then I felt like I had more space to go in more directions (Condition 3).
Condition 1: aligned wall and vertically aligned columns
Condition 2: facing wall and vertically aligned columns
Condition 3: facing wall and horizontally aligned columns
Category: #24 Two Walls and two Columns In these two photos the columns align both vertically and horizontally with the wall. The figures stay in the same place while the columns move. As I stood looking at the walls in columns I felt a sense of awkwardness. Everything seems to be too close and not as practical. I feel like the columns take up too much space.
Columns aligned vertically with perpendicular walls
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Columns aligned horizontally with perpendicular walls
Category: #25 Two Walls and two Columns with two lighting conditions_01 In these six photos the columns, walls, and lighting changes. The figure stays in the same place and doesn’t seem to be affected by the lighting changes. The space feels more closed off with the columns on the left and the walls on the other sides, but when the light turns on it gives the feeling of a way out (1-2). When the columns moved to the right it seems to block off some of the walkway towards the light (3-4). When the back wall moves to the left it gives the walkway a bigger opening (5-6).
Walking between vertically aligned columns and perpendicular walls with lighting behind Figure
Walking between vertically aligned columns and perpendicular walls with lighting behind wall
Walking beside vertically aligned columns and perpendicular walls with lighting behind Figure
Walking beside vertically aligned columns and perpendicular walls with lighting behind wall
Walking beside vertically aligned columns and extended perpendicular walls with lighting behind Figure
Walking beside vertically aligned columns and extended perpendicular walls with lighting behind wall
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Category: #26 Two Walls and two Columns with two lighting conditions_02 In these four photos only the columns and lighting changes. When the light turns on it darkens the other space making it look smaller. The columns when they are horizontal make the space feel bigger (1-2). When the columns are vertical it closes off the space making it feel smaller (3-4).
Passing horizontally aligned columns to enter the space between two walls with lighting behind Figure
Passing vertically aligned columns to enter the space between two walls with lighting from the inside space
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Passing horizontally aligned columns to enter the space between two walls with lighting from the inside space
Passing vertically aligned columns to enter the space between two walls with lighting behind Figure
Category: #27 Two Walls and two Columns with two lighting conditions_03 In the six photos shown the opening between the two walls goes from narrow then intermediate too wide. The figure is passing the vertically and horizontally aligned columns. The first opening feels very tight and does not have a lot of walking space (1-2). The walls then widen but the columns still restrict the space (3-4). When the walls get wider, and the columns move horizontally there is much more room to walk. (5-6)
Passing vertically aligned columns to pass a narrow opening between two walls with lighting behind Figure
Passing vertically aligned columns to pass a narrow opening between two walls with lighting from the inside space
Passing vertically aligned columns to pass an intermediate opening between two walls with lighting behind Figure
Passing vertically aligned columns to pass an intermediate opening between two walls with lighting from the inside space
Passing horizontally aligned columns to pass a wide opening between two walls with lighting behind Figure
Passing horizontally aligned columns to pass a wide opening between two walls with lighting from the inside space
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Category: #28 Vertically aligned Two Walls and two Columns The perspectives in the two photos change. The figure walks through the walls and columns. As I walk forward and turn towards the right I see another column. The space then opens to more room to walk. There is little choice of where to walk because everywhere else feels closed off.
Between walls, walking
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Between columns, walking
Category: #29 Space composed with 5+ columns and 2 walls In these seven photos it shows the top view of the space and the sequence of a figure walking into a room. The figure first walks forward and then turns to see another figure standing there. Before I walked into the room it looked small and crammed. As I turned the corner the room opened into a big space. There are many places to walk and turn.
Top view of the space composed
Sequence phase #1
Sequence phase #2
Sequence phase #3
Sequence phase #4
Sequence phase #5
Sequence phase #6
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Category: #30 Faced wall with Connected wall In these nineteen photos the wall starts out with a 90 degree angle and continues all the way into a 270 degree angle. The figure remains in the same place as the wall moves. As the walls started to move in the opposite direction the space got larger. Before I was in the interior and then I felt as if I was in the exterior of the space. At first, I felt trapped and then I was able to walk any direction.
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Category: #31 Aligned wall with Connected wall In the 17 photos shown the degree increases creating the look of the wall getting straighter. Both figures remain in the same space as the wall gets wider. In the beginning I felt restricted and trapped by the small degree of the walls. As the walls got wider the space opened. By the end the wall was almost a straight line.
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Category: #32 Facing the connected edge of two walls In the 17 photos the degree increases in the opposite direction from the figure. The figure has the view of the connected edge watching the walls get wider. At the start I felt the sense of openness and the freedom to go either left or right. The pointed wall gave me the feeling of coldness. The space was too open for my liking but as the walls got wider it created more of a closed off area.
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Category: #33 Three connected walls In the six photos the wall starts by being wide facing and then changes to narrow facing. The figures remain in the same place while the perspective moves. As I stood in the wide facing room with two wings It felt big and inviting. When the walls moved inward the space became tighter. There was no longer as much room as before.
Wide-facing wall with two wings
Narrow-facing wall with two wings
Category: #34 Curved wall inside In these four photos the wall shows different sizes of curved walls. The figure stands on the interior of the curve. I feel like this would be something that I see at an art gallery. The wall looks tall and opens to the rest of the room. I feel safe standing inside this wall.
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Small-curved and 16ft height
Large-curved and 8ft height
Category: #35 Curved wall outside In these 8 photos it shows the outside of the curved walls. Instead of being inside the curve the figure stands on the outside. As I look at the curve I feel out of place. It doesn’t fool like I’m protected by anything. I feel the need to walk to the left of the curve to see what is on the opposite side.
Facing Small-curved and 8ft height
Passing Small-curved and 8ft height
Facing Small-curved and 16ft height
Passing Small-curved and 16ft height
Facing Large-curved and 8ft height
Passing Large-curved and 8ft height
Facing Large-curved and 16ft height
Passing Large-curved and 16ft height
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Category: #36 Curved Walls and Flat Walls Paragrap In the photos there is one straight wall and one curved. The figure is shown walking in between the curve and the wall. As I look at the walls there is a clear opening. It is inviting me in. As I walk through the room opens.
Facing a flat wall (8fh height) while passing a curved wall (8fh height)
Entering a space between a flat wall (8fh height) and a closed-curved wall (8fh height)
Entering a space between a flat wall (8fh height) and an opened-curved wall (8fh height)
Your coordination in height and openness.
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Entering a space between a flat wall (8fh height) and a half opened-curved wall (8fh height)
Category: #37 Entering into a space between Parallel Curved Walls In these 8 photos the walls change sizes and become bigger and smaller. The figure is shown walking into the small opening and then out of the space. As I stand in the darkened room, I see a light coming from inside the curved room. I decided then to walk towards it. As I stood inside the room, I felt bored and decided to leave the space.
Small-curved and 8ft high outside
Small-curved and 16ft high outside
Large-curved and 8ft high outside
Large-curved and 16ft high outside
Small-curved and 8ft high inside
Small-curved and 16ft high inside
Large-curved and 8ft high inside
Large-curved and 16ft high inside
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Category: #38 Entering a space between curved mirror walls_01 In these photos there are two curves and a figure in between. The figure stands in the middle and looks as if it is walking through the walls. As I stood in between the walls I felt very enclosed. I felt as if I had limited space. The way that was the most intriguing was walking forward.
Small-curved and 8ft height
Large-curved and 16ft height
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Small-curved and 16ft height
Large-curved and 8ft height
Category: #39 Entering a space between curved mirror walls_02 In the 8 photographs there are two curved walls and different sizes. The figure is shown standing next to the walls. As I stood by the curved walls, I saw light coming out from between them. The walls make me feel small and alone. I decided to continue walking forward to go towards the light.
Small-curved and 8ft high with inside lighting
Small-curved and 8ft high with outside lighting
Small-curved and 16ft high with inside lighting
Small-curved and 16ft high with outside lighting
Large-curved and 8ft high with inside lighting
Large-curved and 8ft high with outside lighting
Large-curved and 16ft high with inside lighting
Large-curved and 16ft high with outside lighting
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Category: #40 One curved wall and one column In the photos the wall and column create sort of a walkway. The figure is shown walking through them. As I walk through, I walk in a curved line. I like the way that it invites me to follow the path. On the exterior I feel exposed but, on the interior, I feel safe and shielded.
Entering a space between a column and curved wall outside
Entering a space between a column and curved wall inside
Category: #41 One curved wall and two columns In the photos the columns move as the curved wall stays in place. The figure is shown walking and standing next to the columns and wall. As I walk through the small opening, I am leaving behind the room I was just in. When the columns move inward, I am no longer able to walk through them. The columns feel uncomfortably close to me.
Entering a space between a column of two horizontally aligned and curved wall outside
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Facing the outside of a curved wall with two horizontally aligned columns with insufficient space between them
Entering a space between a column of two vertically aligned and a curved wall outside
Category: #42 Role of a column between Curved and flat walls In the photos the walls and column create a pathway. The figure is shown walking towards them. As I walk into the pathway the light gets brighter. I am suddenly awakened by the bright light. When I reach the walls, I am now on the interior.
Entering a space between two parallel curved walls, with a column in front of the outer curved wall
Entering a space between a faced flat wall and a curved wall, with a column in front of the flat wall
Entering a space between two parallel curved walls, with a column in front of the inner curved wall
Entering a space between a parallel flat wall and a curved wall, with a column in front of the flat wall
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Category: #43 Curved connection In the photos a flat wall and a curved wall are used to show the degrees. The figure remains in the same place as the walls change and get wider. As the walls get wider the space feels less enclosed. The room then feels bigger and has more places to walk around. I then feel less blocked by the walls.
Follow two flat walls that are connected at an angle of 60 degrees smoothly
Follow two flat walls that are connected at an angle of 150 degrees smoothly
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Follow two flat walls that are connected at an angle of 90 degrees smoothly
Follow two flat walls that are connected at an angle of 120 degrees smoothly
Category: #44 Curved wall and S-curve wall In the photos an S shaped wall is used and a normal curved wall. The figure is shown walking between them. As I walked through the walls, I was left nervous on what I might find on the other side. The light gave me a good feeling and I was then excited. The walls guided me exactly where I needed to go.
Curved wall and S-curve wall 8ft high with inside lighting
Curved wall and S-curve wall 8ft high with outside lighting
Curved wall and S-curve wall 16ft high with inside lighting
Curved wall and S-curve wall 16ft high with outside lighting
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Category: #45 1 point perspective pictures: Void on the upside In these photos different types of voids are used and light is shining through them. The figure stands underneath the light. As I stood there, I felt scared by all the darkness surrounding me. There was only one light and it felt lonely. The openings projected different shapes onto the floor.
A 4’x4’ square void with a height of 8ft
A 8’ diameter void with a height of 8ft
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A 8’x8’ square void with a height of 8ft
A 4’ diameter void with a height of 8ft
Category: #46 Void on the upside with columns or walls In these photos columns and walls are used to create different spaces. The figure is shown moving around as the perspective changes. As I stand in the room light shines through the ceiling. It gives light to the darkened space. It also helps the room feel more open.
A 8’x8’ square void with columns
A 8’x8’ square void with a facing wall
A 8’x8’ square void with a passing wall
View for A 4’x4’ square void with a flat wall aligned with one side and two columns aligned with the opposite side
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Category: #47 Void on the downside with columns or walls In these 6 photos the wall changes from facing to passing and a square and circular void shines light through. In addition, the light changes which projects shadows on the figure. As I look at the walls and voids, I see the differences in the light. As it changes the room gets lighter or darker. This leads to different emotions as the light changes.
A 8’x8’ square void with a facing wall and light from upper floor
A 8’x8’ square void with a facing wall and light from side
A 8’x8’ square void with a facing wall and light from lower floor
A 8’x8’ square void with a passing wall and light from side
A 8’x8’ square void with a passing wall and light from lower floor
A 8’ diameter void with light from lower floor
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Category: #48 Void on the upside with combinations of columns or walls The photos show a series of different scenes. The figure is shown walking in different directions. As I walk through the room, I see different paths I can take. Both seem small but I decided to continue. Th room feels dark and lonely.
Scene #1
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Category: #49 Void between Floating Surfaces The surfaces are apart and floating. The figures stand on each surface looking at each other. As I walk into the room I don’t know where to look. There are so many levels with people on each. The room feels brighter and more open.
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Category: #50 Void between curve-linear Surfaces The void is made from a shape I saw in my photo of the room I created. The figures are shown standing on the surface and on the ground. As I look at the abstract void I feel as if I could fall into it. I took a step back then decided to move to ground level. Looking up I can see the other people above me.
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Scene #2
Category: #51 Void with a combination of This room I created with curved walls, straight walls, and floating surfaces. There are two figures pictured looking at each other. As I walked into the room it felt closed off. There were two openings, but they were small. A man walks out from the hidden hallway. At that moment I now have company.
Scene #1
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Category: #52 Curved vertical surface In these photos there are two curved and vertical surfaces with different widths. The figure stands in front, facing the surface. As I stood in front of the surface I felt as if I tried walking forward, I would fall backwards. It reminds me of a wall and ramp combined. It feels inviting but at the same time blocks my path.
A 4’wide
A 8’wide 51 2603
Category: #53 Curved vertical surface with an upper floor In these photos there are different perspectives of a curved vertical surface and an upper floor. There are multiple scenes of different arrangements with the figure moving each time. The curved vertical surface and the upper floor make me feel like I’m in a museum. The room feels big but at the same time closed off. It makes me feel trapped like I cannot leave.
Scene #1
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Scene #3
Category: #54 Curved vertical surface with a void In these photos a curved vertical surface with a void is shown. The figure stands either below the void or on the same level as it. The light changes coming from below and above. As I stand near the void and the curved vertical surface leads my eyes above or below me. I feel as if I have some sort of escape
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Category: #55 Facing Curved vertical surface In the photographs a vertical surface is facing the figure. The figure stands at the bottom of the surface. I feel as if the surface is leading me somewhere. The room feels strange and lonely. The light reflects off the surface and brightens it.
Scene #1
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Category: #56 Hanging curved surfaces In these photos there are hanging curved surfaces above the figure. The figure stands still underneath the surface. I feel as though I am walking under some type of bridge. The surface above me seems stable but is thin. It invites me to walk underneath it.
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Category: #57 Surfaces with convexities and concavities In these photos there are two surfaces parallel and curved. The figures are shown walking underneath the surfaces. As I walk underneath it guides me forward. The walls have an interesting look to them but are inviting. It seems as if the walls are pointing me somewhere.
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Scene #2
Category: #58 A sphere with a strong center and centripetal force 58 A sphere with a strong center and centripetal force In the photos the sphere gets shorter and shorter and then drops through the surface it is resting on. The figure watches as this happens. As I stand there looking at the sphere, I see it shrinking and compressing. As I watched this fear go through the surface downward, I am fearful that I could also go through the surface. Because of that fear I walked down below and watched as the sphere came through the ceiling
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Category: #59 Surfaces that are twisted and free In these photos there are multiple twisted surfaces without a pattern. The figure stands in front looking at the surfaces. As I look at the twisted surfaces it reminds me of a sculpture. It looks abstract and makes me want to keep looking at it. It also makes me feel interested about why they chose to make these twisted and free surfaces.
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H annah Wutzke Port foli o 2608
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What I learned...
Project #1 “Wall, Column, and Space” This was a great introduction on how to use different elements inside a space, and really thinking about how they affect a subject’s emotions or reactions to the space. Something as simple as how a wall is placed or where the lighting comes from can make a massive difference and completely change the mood of a space. Project #2 “Hand Drawing” I loved this set of exercises; many of them got me away from my typical perfectionist approach to drawing, and it was a great challenge. Especially with the charcoal sketches at the Illinois River Watershed. I’ve never worked with charcoal before, as well as not really touching abstract drawing all the much in my own time. Project #3 “Power of Patience” Power of Patience forced me to really slow down my thinking process and be, well, patient. I’d never really looked at a singular painting as closely as I did The Poetry of Joseph E Big Bear, but it was really eye opening. I also got to go more in depth with the different principles of art and design than I had previously. Project #4 “Space Cube” Never before have I worked with foam board in this way, but I feel very accomplished now and I know a lot of extended foam board model techniques. I loved being able to work with my hands intensely during this project period, and it taught me a lot about the importance of iteration through the design process. I also got to see how the same basic idea I had morphed through the different phases of the project. Project #5 “First Portfolio” When it came time to start thinking about putting together this portfolio, I couldn’t believe it’d already been 5 weeks since I started my journey through design school. We finished up the class with a small AI workshop which I found very fun, and got to thinking about how I might use it in future projects to better envision a space I’m trying to create. Putting the last images and finishing touches into this portfolio was an amazing feeling, and I’m thrilled to be able to share my work here. Overall This first studio was a great one. I learned not just about design principles, the design process, how to interact with the environment around me, and how to express how spaces feel and what elements cause that feeling; I learned how to look within and draw inspiration, ideas, and thoughts from myself that greatly impact my work. When out in the world now, I already sense that I’m processing architecture I see differently and more deeply. If you could talk to yourself before these five weeks, what would you like to share with past you? Going into this studio, I wasn’t 100% sure exactly what to expect as far as exact workload or even course material, but I knew there would be a lot of dedication and grit involved. But, I would say that the workload was even a bit more than I originally anticipated. But I would say to myself “Trust the process!” There were times when I felt like I would never be able to get everything done, but everything turned out just fine at the end.
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Category #1: Facing surface Through 10 photos, the wall gradually shifts to obstruct more and more of the view of the figure. As the series progresses, the figure loses more and more sight of what lies beyond the obstructing wall. In photos 1-5, the figure can still feel connected to what space lies beyond the wall, but in 6-10, the wall becomes a blockade between the two spaces, causing a more substantial feel of separation.
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Category #2: Facing edge This 10-photo series showcases how the angle facing of a free wall edge, creating different divisions. As the series progresses, we see the fraction of each space get more equivalent. In photos 1-5, the choice to go to the right of the wall seems very clear, but as we get to the more direct facings of 6-10, it gives the figure more of an adventurous choice aspect as to which side to choose
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Category #3: Blocking wall This 10-photo series shows the model wall at increasingly frontal locations in the figures line of sight. The wall starts to the left side of view and moves gradually across to fully obstruct the figure’s view. The first half of the series has a feeling of division between spaces but not a hard separation like the second half of images.
Opened level 1
Opened level 2
Opened level 3
Opened level 4
Block level 1
Block level 2
Block level 3
Block level 4
Block level 5
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Category #4: Passing the blocking wall This 5-photo series shows movement of the figure through the proposed model. The wall is stationary, and the figure moves from one side of the wall to the other. This gives a feeling of division when on either side of the wall, but suspension between the two spaces in the case of image 3.
Passing level 1
Passing level 2
Passing level 3
Passing level 4
Passing level 5
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Category #5: Aligned Wall This 5-photo series depicts the feeling certain distances of a free edge wall create for the figure’s view. The edge starts to the far left and moves to not quite be directly in front of the figure. When the wall is clearly to the left, it invokes a strong feeling of being in the left space, but as it moves closer to being directly in front, a sense of division between focus on left and right space occurs.
Closed level 1
Closed level 2
Closed level 4
Closed level 5
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Closed level 3
Category #6: Passing the aligned wall Another study on the movement of the figure, these 6 photos show the figure following along the right side of the wall. Beginning at the free edge, the figure advances along the entire length before passing the opposite end of the wall. Photos 1, 2, 5 and 6 have the suspension factor as the figure nears the end of the space, but a definitive boundary in photo 4.
Passing level 1
Passing level 2
Passing level 3
Passing level 4
Passing level 5
Passing level 6
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Category #7: Walls with different heights These 8 photos show how certain wall heights are perceived regarding the figure. The wall starts very small and gradually grows taller as the series progresses. In the first 4 or so photos, the wall acts as a division of the space but still allows for communication across it, but once to photo 5 and on, the figure loses sight over the wall and any connection previously felt.
Wall with 1ft
Wall with 2ft
Wall with 3ft
Wall with 4ft
Wall with 5ft
Wall with 6ft
Wall with 7ft
Wall with 7ft
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Category #8: Floating and faced Wall This 8-photo series works in the opposite way as the previous category. The gap starts small and at floor level, getting gradually bigger; big enough to pass under. The first 3 images give a clear distinction and isolation of the two spaces but still offer a sort of sneak peek into the next space, but images 4-8 have a much more open and connected feel between two distinct spaces
1ft high floating wall
2ft high floating wall
3ft high floating wall
4ft high floating wall
5ft high floating wall
6ft high floating wall
7ft high floating wall
8ft high floating wall
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Category #9: 8ft high floating and aligned wall These 4 images delve into the concept of distinct but yet connected spaces. But as the series progresses, the figure moves to be more and more “under” the wall. The last two images act as a feeling of passage between spaces, with images 1 and 2 being the approach. It may feel a little unnerving passing under the wall depending on how big the dividing wall is
Alignment level 1
Alignment level 4
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Alignment level 2
Alignment level 3
Category #10: 8ft high floating and faced wall These 8 photos show a juxtaposed wall surface suspended up to the left of the figure. The corner of the wall moves gradually across the figure’s view, obstructing more and more of the space beyond it. The first three images don’t show much division but offer a break in the continuity of the wall behind, while the rest of the images have a much more distinct feel of breaking up the back wall into another possible space.
Overlap level 1
Overlap level 2
Overlap level 3
Overlap level 4
Overlap level 5
Overlap level 6
Overlap level 7
Overlap level 8
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Category #11: floating horizontal surface Working with coverage of a more roof-like structure, these 6 photos show the ceiling gradually covering more and more of the figure. The less covered models feel more breathy, light and open, while the covered sections feel dark and maybe a little cave-like depending on lighting.
Overlap level 1
Overlap level 2
Overlap level 3
Overlap level 4
Overlap level 5
Overlap level 6
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Category #12: Horizontal surfaces with different heights This 12-photo series depicts a platform-like movement around the figure. It begins with the surface above the figure, and gradually drops it down to where the figure is standing above the surface. The first half of the series gives the section an air of importance or display, while the second half of images gives the figure the feeling of priority or dominance over the space below them.
8ft high horizontal surface
7ft high horizontal surface
6ft high horizontal surface
5ft high horizontal surface
4ft high horizontal surface
3ft high horizontal surface
2ft high horizontal surface
1ft high horizontal surface
-1ft high horizontal surface
-2ft high horizontal surface
-3ft high horizontal surface
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Category #13: Wall surface with an incline Paragraph These 7 photos show the gradual decrease of slope on a ceiling-like surface over the figure. The first three photos still have a wall-like feel with the shallower angles, but get to a cozier, A-frame type feel in images 4-6, before feeling like a standard ceiling in image 7.
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Category #14: Inclined wall This series depicts how changing the angle of the wall next to the figure changes, starting shallow and moving gradually to almost 90 degrees. Pictures 1 and 2 feel like they could be a resting area, but the rest of the series has the same feeling as a wall, giving clear division between the space the figure occupies and the space to the left of it.
Inclined level 1
Inclined level 2
Inclined level 3
Inclined level 4
Inclined level 5
Inclined level 6
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Category #15: Floating wall surface facing edge with an incline These 6 photos depict a surface close to our figure, which angle gradually gets steeper. The last three photos draw the eye upward to a roof-like feeling, while the first three could still be considered more connected to the ground space where the figure is, but still drawing the eye upwards.
Inclined level 1
Inclined level 2
Inclined level 3
Inclined level 4
Inclined level 5
Inclined level 6
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Category #16: Inclined surface to a facing wall This 9 pictures series has the top edge of the incline facing the figure. The angle of the ramp gradually increases, pulling the view of the surface away from the figure. The first 3-4 pictures still give the surface a feeling of inclusion to the figure, with the ones after having more of a feeling of separation from the eye.
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Category: #17 Inclined ramp to facing wall These 9 photos have the ramp surface facing the figure. The angle of the ramp gradually steepens through the series. The shallower angles in pictures 1-4 feel tantalizing, inviting the adventurous to see what’s at the top, but the steep angles in pictures 5-9 clearly say “Don’t try it!”
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Category: #18 One Column These two photos depict two different views of a single column within the space in relation to the figure. The first photo is head on, the second a profile view. The column adds interest to the space through a break in the blank space.
Front
Side
Category: #19 Two Columns These two photos depict two different perspectives of two columns within the space. The first photo is a view between the columns, the second a head-on view. The first view gives a framing, passageway effect, while the head-on view leads the figure down the space.
Vertical
Horizontal
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Category: #20 Three Columns These two photos depict two different perspectives of a three-column series. The first photo is a head-on view of aligned columns, the second a look through the columns arranged in a triangle pattern. The first view extends the eye down the space and leads you through it, the second giving two different passageways to pick from going between the columns.
Vertical
Horizontal
Category: #21 Four Columns These two photos depict four columns arranged in both narrow and wide formats. The narrow arrangement feels like a hallway, with the clear direction of travel moving through the ghost hall. The wide configuration gives the feeling of a whole new space inside the perimeter that the columns provide.
Wide
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Narrow
Category: #22 One Wall and One Column This 8-photo series shows the relationship between the figure, wall, and different arrangements of the column. The column moves distances to and from the wall as well as the figure. When the column is close, a sense of stability is present, but less so when anchored to the wall. When the column is further back, it acts as a punctuation point for the space, drawing your eye to it.
Condition 1
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Category: #23 One Wall and two Columns This 3-photo series presents two different wall facings as well as two different column configurations. The left two focus on vertical column alignment, the right on horizontal alignment. The vertical alignment gives a hall-like feel to the passage of the wall in both configurations. Horizontally, the wall edge feels out of place and sudden when standing looking between the two columns.
Condition 1: aligned wall and vertically aligned columns
Condition 2: facing wall and vertically aligned columns
Condition 3: facing wall and horizontally aligned columns
Category: #24 Two Walls and two Columns These two photos showcase the relationship between two walls, two columns, and two figures within the created space. The first photo focuses on the left figure’s perspective, the second on the figure between the columns. The created passageway is highlighted in the first photo, while the figure in the second is framed by the two columns and anchored by the wall to their back.
Columns aligned vertically with perpendicular walls
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Columns aligned horizontally with perpendicular walls
Category: #25 Two Walls and two Columns with two lighting conditions_01 This 6-photo series depicts the relationship between lighting and placement of two columns with two walls. The set of columns is moved from close to the wall to far away. Visual weight is created when close to the wall, making the figure feel suspended in the space. When the figure is between the columns, there’s a hall feel, leading you around the corner to the right.
Walking between vertically aligned columns and perpendicular walls with lighting behind Figure
Walking between vertically aligned columns and perpendicular walls with lighting behind wall
Walking beside vertically aligned columns and perpendicular walls with lighting behind Figure
Walking beside vertically aligned columns and perpendicular walls with lighting behind wall
Walking beside vertically aligned columns and extended perpendicular walls with lighting behind Figure
Walking beside vertically aligned columns and extended perpendicular walls with lighting behind wall
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Category: #26 Two Walls and two Columns with two lighting conditions_02 These 4 photos show two different configurations of two columns in relation to two static walls. Two photos show horizontal alignment, the other two vertical. The vertical alignment better frames the walkway moving past the short wall, while the horizontal alignment has more visual symmetry while also compressing the space into one.
Passing horizontally aligned columns to enter the space between two walls with lighting behind Figure
Passing vertically aligned columns to enter the space between two walls with lighting from the inside space
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Passing horizontally aligned columns to enter the space between two walls with lighting from the inside space
Passing vertically aligned columns to enter the space between two walls with lighting behind Figure
Category: #27 Two Walls and two Columns with two lighting conditions_03 These 6 photos show different instances of lighting, wall configurations, and pillar placement. The left three pictures have the same light, and so do the right three. All wall arrangements give separation between the spaces seen, but the pillars frame each one differently. When both pillars are on one side, you feel drawn to that side with visual weight, but more balanced when one is on each side.
Passing vertically aligned columns to pass a narrow opening between two walls with lighting behind Figure
Passing vertically aligned columns to pass a narrow opening between two walls with lighting from the inside space
Passing vertically aligned columns to pass an intermediate opening between two walls with lighting behind Figure
Passing vertically aligned columns to pass an intermediate opening between two walls with lighting from the inside space
Passing horizontally aligned columns to pass a wide opening between two walls with lighting behind Figure
Passing horizontally aligned columns to pass a wide opening between two walls with lighting from the inside space
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Category: #28 Vertically aligned Two Walls and two Columns The two photos here show two arrangements of pillars in relation to the two walls the figure is passing through. The first is aligned horizontally, the second vertically. When horizontal, you feel more of a draw to initially enter the passageway, while the vertical alignment pushes the figure in a more direct route past the two walls.
Between walls, walking
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Between columns, walking
Category: #29 Space composed with 5+ columns and 2 walls For my composition I wanted to give a naturally flowing, art gallery-like space that gives patrons a clear way to follow along. (Though you can experience galleries any way you want) An angled wall adds visual direction and interest, punctuated by the two columns along the wall to frame what’s hanging. Two more columns create a ghost wall to the left and further framing beyond. A final column rests at the edge of the back wall as a last brief anchor point before the open-air gallery.
Top view of the space composed
Sequence phase #1
Sequence phase #2
Sequence phase #3
Sequence phase #4
Sequence phase #5
Sequence phase #6
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Category: #30 Faced wall with Connected wall This series shows two walls coming together at an angle that the figure is facing. The walls start at a 90-degree angle and open to 270 degrees progressively. When facing the angle as a closed corner (90-170) I feel turned away from that corner, but as the angle opens away (180-270), I feel inclined to move down the right wall.
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Category: #31 Aligned wall with Connected wall This series depicts a figure looking into the angle formed by two walls from the open end. The angle starts narrow at 10 degrees and progresses to 170 degrees. When the angle is closed (10-90), I feel caged between the walls and don’t feel inclined to venture into the corner, but as the angle opens (100-170), I feel like I should follow the walls.
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Category: #32 Facing the connected edge of two walls This series shows a figure facing the edge of two walls that join at a point. The angle that the walls connect at increases from a 10-degree angle to 170 degrees throughout. All 17 photos have a sense of two path choices, but each fork feels more and more separated as the angle increases, making it feel more like you’re going in a true separate direction.
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Category: #33 Three connected walls These two photos focus on the difference between passing wall spacing in relation to the figure and facing wall. There are wide and narrow layouts. The wide spacing feels open, light and casual, while the narrow walls give a much more intimate feel to the space and bring more attention to the facing wall.
Wide-facing wall with two wings
Narrow-facing wall with two wings
Category: #34 Curved wall inside These 4 pictures address a curved wall surface around the figure. The wall height and curvature angle changes from short to tall and narrow curve to wide curve. The narrow curve gives a distinct, closed-in feeling with both wall heights, while the more open curve feels exactly as such; more open and less isolated from the surrounding space.
Small-curved and 8ft height
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Small-curved and 16ft height
Large-curved and 8ft height
Category: #35 Curved wall outside This series follows short and tall curved walls facing outwards towards the figure with varying degrees of curvature. Each height and curvature depicts the figure facing and passing the wall. The shorter walls feel like a very wide column and makes it a short trip around, while the taller and wider walls feel much more substantial, making the journey around it feel longer and more note-worthy.
Facing Small-curved and 8ft height
Passing Small-curved and 8ft height
Facing Small-curved and 16ft height
Passing Small-curved and 16ft height
Facing Large-curved and 8ft height
Passing Large-curved and 8ft height
Facing Large-curved and 16ft height
Passing Large-curved and 16ft height
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Category: #36 Curved Walls and Flat Walls The 5 photos here show a space comprised of both a curved and flat wall, showing different passages through both. Two figures are shown in the space in photos 3-5, both between the flat wall and curve and tucked into the inside. The first two configurations show clear direction to follow past the walls. In the second set, the wall gradually opens to make one whole space as opposed to the separation given in photos 3 and 4.
Facing a flat wall (8fh height) while passing a curved wall (8fh height)
Entering a space between a flat wall (8fh height) and a closed-curved wall (8fh height)
Entering a space between a flat wall (8fh height) and an opened-curved wall (8fh height)
Your coordination in height and openness.
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Entering a space between a flat wall (8fh height) and a half opened-curved wall (8fh height)
Category: #37 Entering into a space between Parallel Curved Walls The 8 photos in this series depict two curved walls following the same curve, at varying wall heights. The figure(s) within are shown entering the passage or being within the inner wall. The taller walls feel much more imposing on the figures, and clearly mark the space they create. The short walls still give separation of space, but feel significantly more open and welcoming than their looming counterparts.
Small-curved and 8ft high outside
Small-curved and 16ft high outside
Large-curved and 8ft high outside
Large-curved and 16ft high outside
Small-curved and 8ft high inside
Small-curved and 16ft high inside
Large-curved and 8ft high inside
Large-curved and 16ft high inside
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Category: #38 Entering a space between curved mirror walls_01 The 4 photos in this series show two walls of the same height and curvature bowing towards each other. The figure is placed between the two walls, passing through. The shorter heights don’t loom over you as the tall ones do, and the shallower curves on both wall heights create a more inviting passageway with their graceful path than the more aggressive curvature.
Small-curved and 8ft height
Large-curved and 16ft height
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Small-curved and 16ft height
Large-curved and 8ft height
Category: #39 Entering a space between curved mirror walls_02 The 8 photos in this series depict a passage created by two walls of the same height and curvature with two different lighting conditions. The figure is shown to be entering said passage. When the light is coming from the outside of the space, it leads you to it to see what’s around the corner, while the internal lighting has less of a curiosity factor and tempts you to stay in that space rather than explore the darker hallway.
Small-curved and 8ft high with inside lighting
Small-curved and 8ft high with outside lighting
Small-curved and 16ft high with inside lighting
Small-curved and 16ft high with outside lighting
Large-curved and 8ft high with inside lighting
Large-curved and 8ft high with outside lighting
Large-curved and 16ft high with inside lighting
Large-curved and 16ft high with outside lighting
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Category: #40 One curved wall and one column These 2 photos show the relationship between a tall, curved wall and the placement of a column either outside or inside the curve. The figure also moves from outside to inside the wall, but always staying between the column and wall. When on the outside, the pass between the wall and column feels less inviting and the column acts as an anchor point, while on the inside, the space feels very intimate and grand, like you’re entering a sacred space.
Entering a space between a column and curved wall outside
Entering a space between a column and curved wall inside
Category: #41 One curved wall and two columns This 3-photo series explores the relationship between a tall, curved wall and two columns, placed on either side of the wall or placed in line vertically to the left. The figures are placed centrally in front of the wall or walking between the columns. With the columns on either side of the wall, it draws the eye to the wall and makes it feel like the focal point of the space, but when placed to the side, attention is drawn to the space passing between the wall and columns.
Entering a space between a column of two horizontally aligned and curved wall outside
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Facing the outside of a curved wall with two horizontally aligned columns with insufficient space between them
Entering a space between a column of two vertically aligned and a curved wall outside
Category: #42 Role of a column between Curved and flat walls This 4-photo series explores the relationship between two curved walls or a straight and curved wall and one column varying in placement where the walls come together. The figure is placed at the “entrance” between the two walls. When both walls are curved, it feels very natural to want to follow the path they create no matter the side the column is on. But with a straight wall, the column does more of the guiding around the turn and anchors the straight wall.
Entering a space between two parallel curved walls, with a column in front of the outer curved wall
Entering a space between a faced flat wall and a curved wall, with a column in front of the flat wall
Entering a space between two parallel curved walls, with a column in front of the inner curved wall
Entering a space between a parallel flat wall and a curved wall, with a column in front of the flat wall
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Category: #43 Curved connection This sequence of 4 photos explores how the angle of two joining walls affects the feel of the space, shifting from a 60-degree connection to 150 degrees. The figure is placed just in front of where the two walls meet. When the angle is closed like in pictures 1 and 2, the path feels blocked; in photos 3 and 4, your eye is drawn down the wall and it feels more inviting to walk along the wall.
Follow two flat walls that are connected at an angle of 60 degrees smoothly
Follow two flat walls that are connected at an angle of 150 degrees smoothly
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Follow two flat walls that are connected at an angle of 90 degrees smoothly
Follow two flat walls that are connected at an angle of 120 degrees smoothly
Category: #44 Curved wall and S-curve wall This sequence of 4 photos depicts an s-curve wall of two different heights with two different lighting situations, from both the inside and outside of the walls. The figure is entering between the walls. When light is coming in from the outside with both the short and tall walls, there’s inclination to move through the space quickly to see what’s around the bend, versus the more inviting feel of interior lighting that makes the space feel more like its own and not just a through-way.
Curved wall and S-curve wall 8ft high with inside lighting
Curved wall and S-curve wall 8ft high with outside lighting
Curved wall and S-curve wall 16ft high with inside lighting
Curved wall and S-curve wall 16ft high with outside lighting
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Category: #45 1 point perspective pictures: Void on the upside This sequence of 4 photos depicts large and small square and circular voids in the ceiling of the space with lighting coming from above. The figure is standing within the lit portion of the shadows. The bigger cut-outs really open up the space and give a more connected feeling to both the upper and lower floors with the large influx of light. Meanwhile, the smaller cut-outs give the lower floor an almost basement-like feel, with the upper floor seeming much more mysterious, almost like you’re underwater.
A 4’x4’ square void with a height of 8ft
A 8’ diameter void with a height of 8ft
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A 8’x8’ square void with a height of 8ft
A 4’ diameter void with a height of 8ft
Category: #46 Void on the upside with columns or walls This sequence of 4 photos explores configurations of a square void above, with either a wall or columns for the top row, or both a wall and columns opposite it on the bottom row. The figure is placed within the lit section except for photo 5. When columns are present, the square shape of the void is highlighted and anchored, creating a pleasing balance in the space. If just a short wall is present, the space feels a little empty and focus of the eye is drawn to the wall rather than the void.
A 8’x8’ square void with columns
A 8’x8’ square void with a facing wall
A 8’x8’ square void with a passing wall
View for A 4’x4’ square void with a flat wall aligned with one side and two columns aligned with the opposite side
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Category: #47 Void on the downside with columns or walls This sequence of 6 photos depicts a square void and short wall with varying facings coming through the void in photos 1-5, and just a circular void in the floor in photo 6, but with varying lighting conditions. The figure is positioned at the edge of the void. When the short wall is facing, your eye is drawn upward to focus on the void versus moving past it without much notice with the passing wall. When just the circle void, there’s a draw to look over the edge, especially with the lighting coming from the floor below.
A 8’x8’ square void with a facing wall and light from upper floor
A 8’x8’ square void with a facing wall and light from side
A 8’x8’ square void with a facing wall and light from lower floor
A 8’x8’ square void with a passing wall and light from side
A 8’x8’ square void with a passing wall and light from lower floor
A 8’ diameter void with light from lower floor
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Category: #48 Void on the upside with combinations of columns or walls This sequence shows 10 different configurations of both flat and curved walls, as well as columns in one case with a void and lighting coming from above. The figures are primarily placed in the lit portion of the void, but are in the shadowed portions in photos 4, 7, 8, and 9. When the walls match contour with the shape of the void (square walls on square void, etc.) the space feels very synchronous, but when introducing different contours (curved walls with the square void), the eye is drawn to explore the contrast between shapes.
Scene #1
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Category: #49 Void between Floating Surfaces This sequence shows 5 different configurations of floating surfaces in relation to flat and curved anchored walls. Figures are present on top of the floating surfaces and the floor. When all of the surfaces are flat, the eye jumps from surface to surface like a frog on lily pads, but when introducing curved walls, the eye flows across the space more smoothly.
Scene #1
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Category: #50 Void between curve-linear Surfaces This dual sequence explores the unique shape created from category 51 as a void with lighting from above. Figures are placed on the edge of the void in both photos and under it in photo 2. The shadow cast by the shape is very intriguing, and if on top of the surface, there are several points that you’re drawn to stand on to see over the edge.
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Scene #2
Category: #51 Void with a combination of This sequence depicts three different configurations of flat and curved walls, floating surfaces, voids, and columns within the space. Figures are placed on the main floor, with one venturing onto a platform in photo 3. Each photo has a completely different feeling, from supported and balanced, to soaring, to highly visually stimulating where the continually wants to keep moving around the space. The light from above also creates very different shadows in each space, leading to the shape in category 50.
Scene #1
Scene #2
Category: #52 Curved vertical surface This dual sequence depicts a facing curved surface of narrow and wide widths. The figure is facing the surface in each photo. The wide surface frames the space better, making itself the focal point, while the narrow surface acts as more of a punctuation point, drawing the eye up the wall with its steeper appearance.
A 4’wide
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Category: #53 Curved vertical surface with an upper floor These 5 photos explore varying relationships between a curved wall and both floor anchored and floating surfaces. The figure(s) can be seen facing the curve in each photo. Despite much variation in the configuration of the other walls, the curve immediately draws your attention, dominating the space with punctuation points from the other surfaces.
Scene #1
Scene #2
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Scene #5
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Category: #54 Curved vertical surface with a void These 5 photos depict a curved surface of varying width moving through a void space of also varying width. The figure is seen facing the curve in each photo. When the curve is anchored to the edge of the void, it feels like one synchronous element of the space, versus when suspended within the void space, each part feels like its own entity that you observe one at a time with attention being drawn to the curve by the light within the void.
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Category: #55 Facing Curved vertical surface These two photos show a curved facing wall both independently as well as moving through a void. The figure is directly facing the wall surface. When on its own, the wall offers a new direction for the eye to briefly follow, but when framed by the void, it feels like a much more substantial element of the space and looms over the figure much more than just the curve.
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Category: #56 Hanging curved surfaces This 4-phot series showcases different instances of suspended curved surfaces. The figure is framed by the curves in each photo, facing them. The first two layouts draw you in to walk through or under the curve, while the second two act as focal points and give your eye something to settle on or follow across the space.
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Category: #57 Surfaces with convexities and concavities These two photos showcase convex and concave curvatures within the surfaces. Both are placed in a way that travels upwards or over the top of the figure. The organic lines of each configuration feel very natural and make it relaxing for the eye to follow, and both have the feel of a towering wave flowing over top of you.
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Category: #58 A sphere with a strong center and centripetal force This series of 4 photos showcases spherical elements within walls and voids. The figure(s) can be seen on ground level and/or on the second-floor element. When framed by similarly curved surfaces in photos 1-3, the half-spheres feel very natural, but photo 3’s feeling more juxtaposed as it protrudes from the wall. Photo 4 has an intriguing contrast of square void to semi-sphere, and you feel apt to walk right up to the edge to get a closer look at the sphere or over the edge of the void.
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Category: #59 Surfaces that are twisted and free This series of 3 photos explores the orientation of free, twisted surfaces. The main figure is facing the curve, with one other figure in photo 1 perched atop the curve. The second two photos feel like art installations, drawing your attention upward to follow the organic, flowing lines. The first photo offers an unorthodox place for people to perch as well as being an interest point for the eye to rest for a moment.
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Overall, what I have learned... Main Themes
1. Self-Discovery and Personal Growth - Self-Confidence and Potential - Students expressed surprise at their ability to push beyond their perceived limits and achieve more than expected. - Realization of inner strength and capabilities. - Resilience and Adaptability - Overcoming challenges, managing stress, and coping with unexpected difficulties. - Emphasis on the importance of perseverance and trust in the process. 2. Importance of Time Management - Managing heavy workloads through effective time management. - Balancing productivity with good craftsmanship and attention to detail. - Recognizing the value of taking breaks to maintain mental health. 3. Significance of Relationships and Support - Importance of building friendships and collaborating with peers. - Relying on classmates for support and encouragement during challenging times. - Instructors as valuable resources for guidance and learning. 4. Embracing Challenges and Learning Opportunities - Understanding that difficult experiences are integral to growth and learning. - Emphasis on the rewarding nature of overcoming obstacles. - Appreciation for the lessons learned and the skills acquired during the course. 5. Reflection on Stress and Workload - Acknowledgment of the initial overwhelming nature of the course. - Learning to manage stress and not overthink or complain excessively. - The importance of maintaining a positive mindset despite challenges. 6. Enjoyment and Fulfillment - Despite the challenges, students found joy and fulfillment in their work. - The sense of accomplishment and pride in completed projects. - The positive impact of enjoying the process and the work itself. Sentiments and Emotions 1. Positive Emotions - Pride and Satisfaction: Many students felt proud of their accomplishments and the progress they made. - Joy and Enjoyment: Despite the hard work, students found enjoyment in the creative process and the outcomes. - Gratitude: Appreciation for the opportunity to learn and grow, as well as for the support received from peers and instructors. 2. Negative Emotions - Stress and Overwhelm: Initial feelings of being overwhelmed by the workload and the intensity of the course. - Doubt and Anxiety: Moments of doubt about their abilities and the feasibility of completing the tasks. 3. Mixed Emotions - Relief and Accomplishment: Relief at having completed the course and a sense of accomplishment. - Reflection and Insight: Mixed feelings about the difficulty of the course, balanced by the recognition of its value and impact.
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Key Takeaways and Advice 1. Trust in the Process - Emphasizing the importance of trusting the process and believing in one’s abilities. - Encouragement to embrace challenges and learn from them. 2. Importance of Community - Highlighting the value of building relationships and seeking support from peers. - Advice to engage with classmates and instructors for a richer learning experience. 3. Balanced Approach - Advocating for a balance between hard work and self-care. - Importance of managing time effectively and taking breaks when needed. 4. Embrace Creativity and Risk - Encouragement to think outside the box and take creative risks. - Recognition that mistakes and messes are part of the learning process. 5. Positive Mindset - Advice to maintain a positive mindset and avoid unnecessary stress. - Encouragement to focus on the rewarding aspects of the work and the progress made. Overall, the reflections indicate a transformative experience for the students, characterized by personal growth, the development of resilience, and the acquisition of valuable skills. The recurring themes of self-discovery, the importance of time management, and the value of relationships underscore the holistic nature of their learning journey.
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Bachelor of Interior Architecture and Design | Fay Jones School of Architecture and Design, University of Arkansas YEAR TWO
YEAR ONE IARD 1035 Fundamental Design Skills
IARD 1045 Fundamental Design Methodology
YEAR THREE
IARD 2804 Studio III
IARD 2814 Studio IV
IARD 3805 Studio VI
IARD 3815 Studio VI
IARD 4805 Advanced Studio VII
IARD 2723 Digital Media in Design
IARD 2883 History of Interior Design
IARD 3833 Building Systems for Interior Design
IARD 4813 Human Factors for Design
Professional Elective
IARD 2823 Interior Design Materials & Assemblies
IARD 3843 Lighting & Related Building Systems
IARD 4823 Professional Practice for Interior Design
IARD Study Abroad Requirement
ARCH 1212 Design Thinking I
ARCH 1222 Design Thinking II
YEAR FOUR
ARCH 4433 Architectural History III
IARD 4815 Advanced Studio VIII
IARD 4811 Internship for Interior Design
ARCH 5016 Option Studio I
FJAD 6916 Advanced Design Studio II
My students in IARD1035 Fundamental Design Skills developed visual and verbal communication skills including observation skills, design technologies, analysis and representation in both 2-dimensions and 3-dimensions through analog and digital tools; creative and critical thinking skills.
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