S24_IARD_1035 | Space Cube by Jinoh Park

Course Project #4 “Space Cube” 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.

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.

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

Po rtfo lio

Po r t fo lio

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

Grafe, Kaylynn Por t fol i o

Ke l l ah C al aw ay

Chavez-Razo,Marilyn Port folio

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

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

1 1

Po rtf o li o

A va Patte rso n

P o r tfl i o

Y o u n g - S u Y . L o p ez P o r t fo lio

A d i a n H a m p to n P o r t fo lio

A sh ley J .

P o r t fo lio

J ay li n Perez

F i o n a M c A f ee

J ac k H em k er

P o r t fo lio

P o r t fo lio 1

W alk e r

A ly ssa K li n e

Pey to n H en r y

P o r t fo lio

M ar i b e l

P o r t fo lio

Anna -Cla ir e E . H udgins

K i n lei g h M i ller

P o r t fo lio

Zadie Peters

P o r t fo lio

J e ri c h a L am b eth

P o r t fo lio

S umme r Re ichl F I v e We e k S u m m e r S t u d i o

C ar o li n e M u t sc h le r

Lon d on La mme r s P o r t fo lio 1

P o r t fo lio

A d d i e J am es P o r t fo lio

Lydia Rivera

P o r t fo lio

F o rrest S i eb ert

N i c h o las T i d w e ll

J o r d an S y lv e ste r

L an d s c ap e A rc h i tec tu re

P o r t fo lio

P o rtf o li o

P o r t fo lio

K alei g h S a tte r w h i te

P o r t fo lio

K elsey S li n k ard

O li v i a S m i t h

P o r t fo lio

P o r t fo lio 1

S y d n ey S c h a n d u a

P o r t fo lio

Ã ¦ Ä ó ®ã Ý Portfolio

J E S S IC A

K aren a

S C H N E L L E

S t i n e s p r i n g

P o r t fo lio

L au ren W h eeler P o r t fo lio

P o r t fo lio

1 1

Hannah Wutz ke

G a b ri e lle A U D R E Y S W A IN

P o r t fo lio

S e s s io n O n e P o r t fo lio

P o r t fo lio 1

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.

PROJECT #4

Space Cube Learning Objectives for Work #1. Sequence of Wall, Column, and Space Students will study how to construct sequences (series of spatial elements) in order to intentionally evoke a certain emotional response. In other words, it is a way to make your space say something that you wish to convey. Learning Objectives for Work #2. Space Cube (9” x 9” x 9”) Students will learn how to construct a complete space within a limited space while keeping their original intention in mind. In addition, students will learn how to manipulate space transitions with unexpected creations between phases. In this process, students will be able to explain the differences between explicit, implied, and undefined spatial definitions. Moreover, they will be able to a) distinguish between demarcation and enclosure, understand the qualitative difference between volume and space, b) explore principles of composition from a three-dimensional perspective, acquire and demonstrate skills in model construction, c) develop breadth and depth of the design process by iterating several different ideas, refining one idea to explore its full potential, and d) develop problem-solving skills and processes in laying out a program versus constraints. Learning Objectives for Work #3. Floor Plans, Elevations, Sections, and Axonometric Students will learn how to draw architectural drawings with Scale. It is necessary to learn how to draw architectural drawings in order to communicate with practitioners, especially for realization. Learning Objectives for Work #4. Casting Models Through the casting model making, students will understand: a) How to make casting models, b) Solid and Void in Space based on Positive and Negative space in Surface, c) Difference in Materiality, Foam-core Board vs Plaster vs Cement Models, d) Color in Space: Plaster Model vs Colored Plaster Model, and e) How to compose a sequence without a single concept.

Key Themes: 1. Iteration and Development: - The importance of iteration in refining models and achieving successful outcomes. - Learning through the process of making and remaking models, with each version improving upon the last. 2. Time Management and Craftsmanship: - The significance of managing time effectively to ensure high-quality work. - Developing skills in craftsmanship, particularly in creating well-crafted, clean, and precise models. 3. Emotion and Space: - Designing spaces to evoke specific emotions. - Understanding how space can influence emotions and using this knowledge to create impactful designs. 4. Scale and Functionality: - The importance of scale in design and how to convey emotions within different scales. - Learning to create functional spaces within limited areas. 5. Problem-Solving and Critical Thinking: - Enhancing problem-solving and critical thinking skills through continuous model development. - Overcoming challenges and iterating to improve design solutions. 6. Model Making and Material Use: - Gaining hands-on experience with different materials and techniques in model making. - Experimenting with materials such as foam board, cement, and plaster. 7. Design Principles and Representation: - Applying design principles to create spaces that are both functional and emotionally resonant. - Learning to represent complex spaces through drawings, such as floor plans, elevations, and axonometric drawings. Lessons Learned: 1. Iteration Leads to Improvement: - Repeating the process of model making leads to better outcomes. - Each iteration provides an opportunity to refine ideas and improve craftsmanship. 2. Effective Time Management: - Managing time efficiently is crucial for producing high-quality models. - Doing things right the first time saves time and effort in the long run. 3. Emotion-Driven Design: - Designing with a specific emotion in mind enhances the impact of the space. - Creating spaces that evoke emotions requires thoughtful consideration of design elements. 4. Craftsmanship and Quality: - High-quality craftsmanship distinguishes professional models from amateur ones. - Precise cutting, clean assembly, and attention to detail are essential for creating professional-looking models. 5. Learning Through Practice: - Hands-on experience with different materials and techniques enhances design skills. - Building and iterating physical models help in understanding three-dimensional principles and spatial relationships. 6. Importance of Scale: - Conveying emotions and functionality within different scales requires careful consideration. - Working within a limited area challenges designers to think creatively and efficiently. 7. Problem-Solving Skills: - Overcoming challenges and failures leads to better design solutions. - Critical thinking and problem-solving are integral to the design process. 8. Design Representation: - Learning to create accurate and clear drawings is crucial for communicating design ideas. - Different types of drawings (floor plans, elevations, etc.) help in visualizing and refining designs. Conclusion: The “Space Cube” project emphasized the significance of iteration, craftsmanship, and emotion-driven design. Through continuous model making and refining, students developed their time management, problem-solving, and critical thinking skills. They learned to convey emotions within different scales and gained hands-on experience with various materials and techniques. The project underscored the importance of high-quality craftsmanship and effective design representation, preparing students for future design challenges.

Anna Adkison Port foli o 8

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.

1 9

Work #1. Sequence of Wall, Column, and Space The emotion that I selected was joyful.

Phase #1: Category #6

Phase #2: Category #58

Phase #3: Category #22

Phase #4: Category #11

Phase #5: Category #28

Phase #6: Category #19

Phase #7: Category #41

Phase #8: Category #42

Phase #9: Category #40

Phase #10: Category #48

Phase #11: Category #56

Phase #12: Category #51

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Second Pin-up Material_Sequence diagram

Picture of Sequence Model (Top View)

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Work #1. Sequence of Wall, Column, and Space_Sequence Model Views

Phase #1: Category #6

Phase #2: Category #58

Phase #3: Category #22

Phase #4: Category #11

Phase #5: Category #28

Phase #6: Category #19

Phase #7: Category #41

Phase #8: Category #42

Phase #9: Category #40

Phase #10: Category #48

Phase #11: Category #56

Phase #12: Category #51

94 12

As I was looking through the pictures that I took during this project, the majority of the photos gave me joy. F rom the lighting of the photos to where the walls and columns were placed, I felt joyful and calm from the pictures. The strategies I used to pick the photos and categories were fairly simple. I went off the shadows that were presented in the photos and how I would feel if I was in that space. The first category I picked was category six. The photos show the human figure walking up to the wall and four of the photos show the human figure walking past the wall. As the human figure walks past, the wall slowly goes out of the photos. Imaging as if I walk past the wall, I felt good about not having to dodge anything and was just able to walk beside the wall. Category fifty eight was the next category that stood out to me. 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. utting myself in the figure’s shoes, I was standing there looking at the sphere like it was a piece of art making me feel at peace. The next category I chose was category twenty two. 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 out of the eight photos show the column moving to in between the wall the human figure. I visualized myself in the space of the photos where the human figure was in between the wall and column, I felt guided as I walked past the wall and column, not feeling trapped but lead the right way to walk to. The firth category I picked was category eleven. In the photos a floating horizontal surface moves out front of the walking human figure. ven though the floating surface is moving out in front of the human figure, the surface wouldn’t hit the human figure. I envisioned I was the human figure, as I walked forward and as the surface was moving, I felt safe when I was covered by the surface. I was delighted when I was covered by the floating surface. Category twenty eight is the next category that fits the emotion I chose. 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 pictured as I the human figure, I was walking thinking the column was in my way but then I turned the corner seeing there was an opening for me to walk through. I was gleeful knowing I could walk through the space between the walls and columns. The sixth category I chose is category nineteen. 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. utting myself in the human figures’ shoes, I walked through the columns, I felt like I was entering somewhere special. B eing in a place that feels special makes me feel happy and joyful. The next category that stood out was category forty one. The three photos show one curved wall and two columns. One of the photos shows 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. isualizing I was the human figure, I was walking around the wall while the light shined down making me cheerful being in the light. Category forty two was the next category in the se uence that I chose. 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 pictured myself as the human figure in the photo, I felt good walking around the curved wall due to the light coming from inside. The ninth category I picked was category forty. 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. Imagining I was in the space, I was walking on the inside of the curved wall, there was light making me happy to not be in the dark or in a shadow. ext category that I chose was category forty eight. 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. As I pictured myself as the human figure, I felt safe standing under the void with the columns. It felt like I was in a house, and I was protected. The eleventh category I chose for this project is category fifty six. The photo shows a human figure standing under a hanging curved surface. The human figure is in the shadow of the hanging surface. When I put myself in the space, I was standing there, and it felt like I was under a rainbow. I felt at peace when standing there. I associate rainbows with happiness and joy. The last category of the se uence is fifty one. 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. S itting on top of the half- circle curved walls is a void shaped in a circle as well. The human figure is standing in the middle with the light from the void coming down on him. Imagining I was in the human figures’ shoes, 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. 95 13

Work #2. Space Cube_First Space Cube Model

Phase #1: Category #6

Phase #2: Category #58

Phase #3: Category #22

Phase #4: Category #11

Phase #5: Category #28

Phase #6: Category #19

Phase #7: Category #41

Phase #8: Category #42

Phase #9: Category #40

Phase #10: Category #48

Phase #11: Category #56

Phase #12: Category #51

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The photos that I took of my space cube were harder to take because of how small the space is but this was my favorite project we have done so far. The emotion that I picked from the other project was joy and some of the categories still showed that emotion in some pictures from today but with the tight space some of the photos didn’t show that emotion. How I picked the photos was based on lighting but the photos I took today were in a shadow or just hard to take pictures of. Category six was one of the photos that still showed joy. The human figure was in the light and had nothing blocking the human figure for the photo. Imaging as if I walk past the wall, I felt good about not having to dodge anything and was just able to walk beside the wall. Category fifty-eight was the next category that stood out to me. Also, with this photo it still portrays the emotion I picked. The human figure is in the light looking at the sphere. Putting myself in the figure’s shoes, I was standing there looking at the sphere like it was a piece of art making me feel at peace. Category twenty-two is the next category in the sequence. I visualized myself in the space of the photos where the human figure was in between the wall and column, I felt guided as I walked past the wall and column, not feeling trapped but lead the right way to walk to. This human figure was in the light still showing the emotion I chose. Category eleven is the next category. This is where the lighting starts to change in the sequence but there is still some light to see the human figure. I envisioned I was the human figure, as I walked forward and as the surface was moving, I felt safe when I was covered by the surface. I was delighted when I was covered by the floating surface. The next category is category twenty-eight. The human figure is harder to see in this photo because of the space. I pictured as I the human figure, I was walking thinking the column was in my way but then I turned the corner seeing there was an opening for me to walk through. I was gleeful knowing I could walk through the space between the walls and columns. Category nineteen is next in the sequence of photos. Putting myself in the human figures’ shoes, I walked through the columns, I felt like I was entering somewhere special. Being in a place that feels special makes me feel happy and joyful. Even though the lighting that was on the human figure was dark and the human figure was in the shadow, I still felt joyful looking at the photo. The next category is forty-one. The photo is close to the same lighting as the previous category. Visualizing I was the human figure, I was walking around the wall while the light shined down, making me cheerful trying to get to the light. Category forty-two was the next category in the sequence. I pictured myself as the human figure in the photo, I felt good walking around the curved wall due to the light coming from inside. The lighting in the picture was not the best, and it was hard to take the photo, but knowing the next category leads to the light makes me feel good about the human figure being in the shadows in this category. The ninth category is category forty. This is where the lighting starts to get better and starts showing the emotion I picked again. Imagining I was in the space, I was walking on the inside of the curved wall, there was light making me happy to not be in the dark or in a shadow. Next category forty-eight. As I pictured myself as the human figure, I felt safe standing under the void with the columns. It felt like I was in a house, and I was protected. Even though the light wasn’t coming through the void the photos still ended up making me feel happy. Category fifty-six is the next category in my sequence. When I put myself in the space, I was standing there, and it felt like I was under a rainbow. I felt at peace when standing there. I associate rainbows with happiness and joy. This photo ended

up well considering the angle I had to take the photo at and the lighting.

The last category of the sequence is fifty-one. The human figure is standing in the middle with the light from the void coming down on him. Imagining I was in the human figures’ shoes, 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. This was the best photo that I took from this whole project.

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Work #2. Space Cube_Second Space Cube Model

Phase #1: Category #6

Phase #2: Category #58

Phase #3: Category #22

Phase #4: Category #11

Phase #5: Category #28

Phase #6: Category #19

Phase #7: Category #41

Phase #8: Category #42

Phase #9: Category #40

Phase #10: Category #48

Phase #11: Category #56

Phase #12: Category #51

98 16

The photos that I took of my space cube were harder to take because of how small the space is but this was my favorite project we have done so far. The emotion that I picked from the other project was joy and some of the categories still showed that emotion in some pictures from today and the lighting from today’s photos look better than the ones I took yesterday. How I picked the photos was based on lighting. I changed a lot about my project today from what it looked like yesterday. Category six was one of the photos that still showed joy. The human figure was in the light and had nothing blocking the human figure for the photo. Imaging as if I walk past the wall, I felt good about not having to dodge anything and was just able to walk beside the wall. Category fifty-eight was the next category that stood out to me. Also, with this photo it still portrays the emotion I picked. The human figure is in the light looking at the sphere. Putting myself in the figure’s shoes, I was standing there looking at the sphere like it was a piece of art making me feel at peace . Category twenty-two is the next category in the sequence. This human figure was in the light still showing the emotion I chose. I visualized myself in the space of the photos where the human figure was in between the wall and column, I felt guided as I walked past the wall and column, not feeling trapped but lead the right way to walk to. Category eleven is the next category. From yesterday to today with how my space cube is set up the lighting is more of what I wanted it to be. I envisioned I was the human figure, as I walked forward and as the surface was moving, I felt safe when I was covered by the surface. I was delighted when I was covered by the floating surface The next category is category twenty-eight. In the photo you can see the human figure better because the space was bigger. I pictured as I the human figure, I was walking thinking the column was in my way but then I turned the corner seeing there was an opening for me to walk through. I was gleeful knowing I could walk through the space between the walls and columns. Category nineteen is next in the sequence of photos. Putting myself in the human figures’ shoes, I walked through the columns, I felt like I was entering somewhere special. Being in a place that feels special makes me feel happy and joyful. The change in lighting makes my emotion show more. The next category is forty-one. The photo is close to the same lighting as the previous category. Visualizing I was the human figure, I was walking around the wall while the light shined down, making me cheerful trying to get to the light. Category forty-two was the next category in the sequence. I pictured myself as the human figure in the photo, I felt good walking around the curved wall due to the light coming from inside. The lighting in the picture was better than yesterday, and it was easier to take the photo. The ninth category is category forty. This photo is also in the light like the other picture. Imagining I was in the space, I was walking on the inside of the curved wall, there was light making me happy to not be in the dark or in a shadow. Next category forty-eight. As I pictured myself as the human figure, I felt safe standing under the void with the columns. It felt like I was in a house, and I was protected. Even though the light wasn’t coming through the void the photos still ended up making me feel happy. Category fifty-six is the next category in my sequence. When I put myself in the space, I was standing there, and it felt like I was under a rainbow. I felt at peace when standing there. I associate rainbows with happiness and joy. This photo ended up well considering the angle I had to take the photo at, and I was able to get the lighting right. The last category of the sequence is fifty-one. The human figure is standing in the middle with the light from the void coming down on him. With the second project this category has more space in the space cube. Imagining I was in the human figures’ shoes, 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. This was the best photo that I took from this whole project.

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Work #2. Space Cube_Last Space Cube Model

Phase #1: Category #6

Phase #2: Category #58

Phase #3: Category #22

Phase #4: Category #11

Phase #5: Category #28

Phase #6: Category #19

Phase #7: Category #41

Phase #8: Category #42

Phase #9: Category #40

Phase #10: Category #48

Phase #11: Category #56

Phase #12: Category #51

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From all the photos I took, the ones I picked showed joy. The way I picked my photos was based on the lighting and how the shadows hit the human figure. The photos from the last space cube turned out the best. I also changed the layout of the space cube to make the space cube have more space. This was my favorite project we have done so far. Category six was one of the photos that still showed joy. The human figure was in the light and had nothing blocking the human figure for the photo. Imaging as if I walk past the wall, I felt good about not having to dodge anything and was just able to walk beside the wall. Category fifty-eight was the next category that stood out to me. Also, with this photo it still portrays the emotion I picked. The human figure is in the light looking at the sphere. Putting myself in the figure’s shoes, I was standing there looking at the sphere like it was a piece of art making me feel at peace. Category twenty-two is the next category in the sequence. This human figure was in the light still showing the emotion I chose. I visualized myself in the space of the photos where the human figure was in between the wall and column, I felt guided as I walked past the wall and column, not feeling trapped but lead the right way to walk to. Category eleven is the next category. From yesterday to today with how my space cube is set up the lighting is more of what I wanted it to be. The lighting was almost perfect from the emetion I was trying to show. I envisioned I was the human figure, as I walked forward and as the surface was moving, I felt safe when I was covered by the surface. I was delighted when I was covered by the floating surface. The next category is category twenty-eight. In the photo you can see the human figure better because the space was bigger, and the lighting was way better. I pictured as I the human figure, I was walking thinking the column was in my way but then I turned the corner seeing there was an opening for me to walk through. I was gleeful knowing I could walk through the space between the walls and columns. Category nineteen is next in the sequence of photos. Putting myself in the human figures’ shoes, I walked through the columns, I felt like I was entering somewhere special. Being in a place that feels special makes me feel happy and joyful. The change in lighting makes my emotion show more. The next category is forty-one. The photo is close to the same lighting as the previous category. Visualizing I was the human figure, I was walking around the wall while the light shined down, making me cheerful trying to get to the light. Category forty-two was the next category in the sequence. I pictured myself as the human figure in the photo, I felt good walking around the curved wall due to the light coming from inside. The lighting in the picture was better than yesterday, and it was easier to take the photo. The ninth category is category forty. This photo is also in the light like the other picture. Imagining I was in the space, I was walking on the inside of the curved wall, there was light making me happy to not be in the dark or in a shadow. Next category forty-eight. As I pictured myself as the human figure, I felt safe standing under the void with the columns. It felt like I was in a house, and I was protected. Even though the light wasn’t coming through the void the photos still ended up making me feel happy. Category fifty-six is the next category in my sequence. When I put myself in the space, I was standing there, and it felt like I was under a rainbow. I felt at peace when standing there. I associate rainbows with happiness and joy. This photo ended up well considering the angle I had to take the photo at, and I was able to get the lighting right. The last category of the sequence is fifty-one. The human figure is standing in the middle with the light from the void coming down on him. With the second project this category has more space in the space cube. Imagining I was in the human figures’ shoes, 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. This was the best photo that I took from this whole project. 101 19

Work #2. Space Cube_Series of Space Cube Models

a group of the sequence model and the final space cube mode

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pictures of the final space cube model

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Work #3. Floor Plans

Floor Plan 1

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Floor Plan 2

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Work #3. Floor Plans

Floor Plan 3

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Work #3. Elevations

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Work #3. Elevations

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Work #3. Sections

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Work #3. Axonometric

Axonometric

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Work #4. Casting Model

a picture of the Space Cube model and the mold model

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a picture of the first mold model and three molds

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Work #4. Casting Model

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Front

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Work #4. Casting Model

pictures of foam-core board, plaster, and cement models

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pictures of your colored casting model with surrounding

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Ann Bell Port foli o 40

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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Work #1. Sequence of Wall, Column, and Space Fear

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Work #1. Sequence of Wall, Column, and Space_Sequence Model Views

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13 Paragraphs The emotion that I chose to evoke for this project was fear. In order to create a sense of fear and nervousness through a sequence of walls, columns, and space, I tried to find specific images that I believed felt confusing, uncomfortable, trapping, eerie, or surprising to look at. The first image in my sequence is a mirrored 16ft curved wall from Category 38. These mirrored walls act 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 feels surprising and unpredictable. This second scene is a picture from Category 2 that depicts a wall posited at a 20-degree angle. The human figure is directly in front of the wall edge, causing an obstruction for the human figure. The position of the wall is uncomfortable and unsettling in my opinion because of how harsh the wall edge points at the human figure and creates a sense of tightness because of the little space available to the human figure. The third image in my sequence is an inclined surface that’s 10 degrees off the ground. The drastically low incline heavily impedes the space of the human figure. Because of how low the angle is to the ground, the surface feels very trapping and almost crushing because of its closeness to the human figure. The fourth image in my sequence is a photograph from Category 26 which manipulates the lighting of the space with columns and walls. In this image, the lighting is placed behind the human figure which illuminates the space and casts shadows to the right. Because the light is coming from behind the human figure, it creates an eerie feeling and creates a sense of dread because of how ominous the shadows look. For the next image in the sequence, I chose an image from Category 31 that includes an aligned wall with a connected wall that are angled at 20 degrees. Because of this small angle, the human figure is trapped in a small and confined corner. The dramatic angle made from the two walls is very small and tight which causes a feeling of claustrophobia and hopelessness because of how the figure is trapped inside the two walls. The next image comes from Category 49 which depicts a very small surface floating underneath a massive surface with a small square void in the center. The human figure floats on the smaller surface while the void surface is above him, along with the lighting that is off to the right illuminating him. The puny size of the surface the human figure is standing on in comparison to the giant void floating above which is terrifying because of the huge gap between the two surfaces and the immense size differences which causes a power imbalance between the massive floating void and the tiny surface beneath it. In image 7 of the sequence, there is a picture from Category 12 the depicts a 4-foot-deep void in the ground. The void acts as an obstacle for the human to avoid because of how far it descends into the ground. Having a space that is -4ft is very frightening because of how drastically the surface descends into the ground and because of how deep the void is. The next image in the sequence comes from Category 25 where the lighting was manipulated to create dramatic shadows using the walls and columns. The human figure is only slightly illuminated from the lighting coming from in front of him while he is surrounded by shadows. Because the lighting is coming from behind the two walls, there is a more eerie and creepy feel to the space because of how dark the environment is as well as the trapping feeling that is made by the facing wall in front of the human figure as well as the two columns and wall to the side of him. Following Category 25 in similar conditions is Category 27 where the lighting is altered to create shadows using the two walls and columns. The human figure is illuminated from the light coming in front of him but is confined by the walls and columns that take up the space. The vertically aligned columns create an indirect boundary that the human figure follows, creating a tight space on top of the spooky lighting that’s made through the shadows. For the next image, I chose a picture from Category 46 that depicts a void on the upside of a space being held up by columns and a wall. The human figure is slightly illuminated by the little amount of light that appears through the void and is bound within the space between the passing wall and the two columns. The contrast between the illuminated space and the darkened space creates an additional boundary for the human figure to follow which creates a feeling of being trapped and claustrophobia, as well as the large wall that obstructs the human figure and any additional light that could be let in.

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Work #1. Sequence of Wall, Column, and Space Selected Emotion

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This space, albeit very different from my initial two projects, aligns more closely with what I had intended to create for this class. The concept for all aspects of this design, which is even more thoroughly exhibited here, revolves around finding joy and a sense of awe in an otherwise unremarkable space. This project incorporates the initial objective of paying homage to the children’s museums and playgrounds that have impacted me. Additionally, it aims to transform a transitional space into one you would enjoy walking through on your way to your destination. The use of light, movement, and scale as the viewer traverses the space is intentionally designed to help them appreciate the size and scope of their surroundings. The entrance and exit of the space are marked by two vertical, small columns, each leading to the first and second floors. The theme of moving from a confined space into a larger one is prevalent throughout the design, preparing the viewer for a sense of surprise as they enter the main area. The viewer should not feel any negative emotions when navigating the smaller stairwells, as these spaces are definitively enclosed. Upon exiting the stairwell, the viewer enters a large space ahead. There is a smaller space behind, leading to restrooms and a waiting area with a bench and numerous windows. This intermediary space is particularly beneficial for individuals with anxiety, like myself, who may need a moment to rest before moving on. The large windows, similar to those in my previous project, are parallel to each other along all walls. A skylight extends above the entire hallway. The idea of transitioning from a smaller to a larger space is echoed here as well. This design element aims to evoke a sense of peace and restfulness for those who require it. The space beyond the hallway is significantly more open. The various levels of staircases and floating platforms create a sense of reverence, reminiscent of a church, with light reflecting off them like stained glass. This setting might evoke memories of holy places for many visitors. The Tuscan-esque porch at the front of the space evokes memories of childhood porches. The long skylight offers a view of the world from above, flanked by statues resembling trees next to a lake. Water, which reflects both our surroundings and ourselves, is mirrored here. The viewer is invited to linger and appreciate the porch and its lake-like feature before moving on. The next space leads through the staircase to the epicenter of the design: the eye of the place. This feature is reminiscent of the story of Baba Yaga, with a house on chicken legs and large triangular windows. Whether Baba Yaga was being a menace or used to scare children into sleeping tight, she remains a memorable figure from my childhood. The half-circle design, initially a minor element, has become an intrinsic part of the narrative. A large skylight in front of the eye prevents the viewer from accessing the past through the eye. They can only gaze through it. This contemplative aspect turns the entire space into a place of narrative fulfillment. The space is alive with movement and references to the story, such as the windows and chicken legs. The eye at the back of the structure evokes a sense of happiness. It invites the viewer to pause and wonder at the space with a bench at the center of the eye. The ceiling of the eye room, a contemporary take on the wave seen in my previous projects, encourages the viewer to look up and around at the changing colors and shadows. The light reflecting off the waves creates shifting shadows on the figures below and on the eye. The next space highlights the size of the cube and the height of the ceilings. While the eye is the epicenter, the stairwells and levels are the intrinsic heart of the structure. A specific point in the structure allows a person to align perfectly with the eye, creating the pupil and deciding its direction. This perspective helps the viewer distance themselves from the past and view it objectively. The final space, the tallest level, is a blank area where the viewer cannot see back into the eye room. The only direction to look or move is up. This concludes the narrative, bringing the viewer back to their past with fond memories, confronting them head-on, and allowing them to move forward in their life journey.

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Work #1. Sequence of Wall, Column, and Space_Sequence Model Views

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The selected emotion for my creative project was joy. Joy is something that everyone has a connection to in one way or another, and it is something I hope every architect incorporates into their pieces. For my initial project I created a playground of joyful architectural elements I believed would bring joy to those who visited. When I think of other joyful spaces, I think of bringing joy to the small spaces, in between spaces, and unassuming spaces that are usually walked through, and not visited. The spaces that can often feel uncomfortable for women such as parking lots and stairwells. For my project I worked to develop a place that met the needs of the space but brought joy and safety to those walking through it. The initial space in the first project was made to create an unassuming exterior. The intended reaction would be one of a small art museum, something that might house something else interesting. This space is mirrored by the unassuming entrance of the cube, with the entry and exit points of the structure being separated, leading to no confusion or alarm as you enter the space. The maze-like structure is reminiscent of a space the viewer would not like but leads into something marvelous. This would cause the viewer to move through the initial space faster and lead them to the more interesting aspects of the structure. This mood of disarming was continued in the initial project through the first few spaces as the hallway widened. This space was created to lead the viewer through the first few rooms before letting them into the larger area where they can move freely and choose what they want to look at first. The space cube uses semi-circles throughout the entire structure, mirroring the initial project. The semi-circles create an interesting staircase for the viewers, and leaves the side of the staircase open, which has been proven to decrease violence in spaces similar to the one I have created. As the viewer moved through the space, they would see these columns and become excited that this was not a run of the mill in-between space. But a space to be enjoyed and appreciated in safety. This is the first look in the initial project in the large open space and was one of my favorite aspects. large scale of the semi-circles was reminiscent of pillars, with the texture of the walls creating a shiplap sequence of panels. This would evoke a sense of wonder from anyone, especially a child, and would hopefully begin to create a source of excitement for what comes next. In the space cube project, the continuation of these semi-circles continues and the height of the two columns creates the same effect but on a much larger scale. The viewer feels in awe of the playground but feels awestruck by the vastness and strength of the pillars holding the three levels in the space cube. This next space in the initial project reminded me of the butterfly walls you find in every rural southern town in the United States. These murals always have a line for pictures due to the scale of people compared to the mural, and I tried to replicate this. A child would want their picture in front of this wall as it would create a sense of largeness, making the child feel bigger. In the space cube project, the use of a smaller, more elevated half circle reminds one of a log laying over a canon, or a beam supporting a barn. As the viewer begins to view the new floor, they are greeted by the beam and would also choose to take a picture, either to show they were in the structure, or to show they were holding it the beam up, a very joyous experience indeed. This mirrors the complete immersion of the initial space into the large space that the viewer experiences as the second story and tall ceiling come fully into view. This small circle created a space to look up at your surroundings on a smaller scale, creating a sense of concentration on the various aspects. The space cube creates a similar experience with the entire second floor, and with the circular skylight above the exit staircase. This causes the viewer to look up at the floors they have left as they exit and leads those viewing the skylight from above to look and see where they will soon exit. The lighting and shiplap aspect of the initial project space was created to bring the viewer back to the present without mitigating the grandiose scale of the space around them. With the lighting, shadow, and position towards the back of the space, this should give a sense of viewing and a step back from the enormity of the space for the viewer. The shiplap and intentional shadow effect from both semi-circles were created to create the same emotion. The intricacy of the pillar would cause the viewer to feel less overwhelmed, which would happen if the semi-circle was smooth. The initial project square skylight aspect of the space is reminiscent of the architecture, as it once again asked the viewer to look upwards at the space around them and contemplate the light as the ceiling and walls rise towards the second level. The square here serves a similar but ultimately different role as a source of light for the first floor, and a point of focus for the second floor. The viewer would enjoy seeing the hole from below, then above and even higher above, looking down on those below them in the spaces they had just exited. The next initial project space is one of levels and views that came together to give a different look at the space from every angle. The views from each level would give an entirely new and exciting perspective and would cause the viewer to want to look around the space from every angle and walk through the rest of the rooms to see them all. This continues to echo the previous space in the space cube as the levels lead toa new perspective on the room, without sacrificing interest or safety. The viewer would feel the desire to walk up the levels to see the space from every perspective, even though they have another option of not doing so. In the initial project wavy wall space, the quintessence of the lighting used throughout the room is further developed. The feeling of walking through a dynamically shifting space with the walls closing in around you and then opening to reveal an even higher and larger area would be thrilling. The ceiling on the third floor of the space cube mirrored the initial project without taking directly from it. By creating the waves in the ceiling, it continued its use of the walls and light to create an open and safe space, and still used an interesting aspect of the initial project to be added to the model. The viewer would have fun walking beneath the ceiling as the light and shadows changed to match the curves and would enjoy the pastime as they moved onto or waited for the next aspect of their day. This semi-circle window in the initial project was one of the most fun aspects of the space as it led directly into the second level and is not seen from the rest of the area. The usage of light causes the viewer to look away from the space in front of them and down on the world below. The usage of it in the space cube is to serve a similar purpose and continue the theme of light and holes in the second story space. The viewer would look outside at the world they had just exited and feel empowered to continue as they are halfway through their journey. Having a skylight in the initial project through which the viewer could look down on the people and architecture below was an interesting way to once again show the space from a new perspective. Much like looking through a fish tank, the space below would be alive with the sounds of footsteps and people moving through the area. The view from above would cause the viewer to look back on who was looking at them from above or ask a friend to run back down so they could wave from both directions, creating a very fun and enjoyable experience. This is mirrored in the space cube project as the desire to wave at a friend below or above would still be present, and the opening of the floor would bring the flow of energy and safety to the next level. The viewer would feel interested in what was occurring below them, yet not feel obligated to stay if they needed to move on. This final aspect of the room before moving on in the building in the initial project was the most confined space in the final room. Moving from a confined hallway to a large space and then back into a small corridor reminds the viewer of the enormity of what they just saw and reminds them of the size of their normal lives. This would cause the viewer to look back down at the room below and behind them and remember all the fun times they just had. The space cube mirrors this as the final space to exit the building is the stairwell back down to the first floor. The space causes the viewer to recollect over the large space and beautiful lighting they had just seen while in a much narrower space.

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Work #2. Space Cube_Second Space Cube Model

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Work #2. Space Cube_First Space Cube Model

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Work #3. Floor Plans

Floor Plan 1

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Floor Plan 2

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Work #3. Floor Plans

Floor Plan 3

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Work #3. Elevations

Elevation_01

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Work #3. Axonometric

Axonometric

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Work #4. Casting Model

a picture of the Space Cube model and the mold model

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a picture of the first mold model and three molds

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Work #4. Casting Model

pictures of foam-core board, plaster, and cement models

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Your Best Picture related to this project

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This final space cube in the space cube assignment is the culmination of the many narratives and architectural arrangements of the initial project. This final rendition of my original park, containing all my favorite architectural spaces from my childhood, has become a space dedicated to the remembrance of these spaces, rather than recreating the spaces themselves. It focuses on creating a space to reflect on and enjoy the past, while guiding the viewer to enter and exit the past through the future and discouraging them from remaining stationary. The entrance to the structure is composed of two semi-circle columns containing stairs, which signify entering and exiting through the future. When entering, the viewer is unaware of the building’s scope or the impact the space will have on them, much like how remembrance and nostalgia can unexpectedly affect us. The entry to the first floor through the semicircle entrance leads the viewer to slowly gain visibility of the space as they climb higher. The only way the viewer can enter the space is through the same two columns, with the entrances always facing forward, towards the future. The viewer is able to enter the space slowly, one step at a time, moving from a tight, darkened space to a large, brightly lit one, leading to a sense of wonder or excitement. The first floor consists of two rooms: the porch and the hallway. The porch represents the future and the idea that we cannot see the past while looking forward. The room is sparse, allowing the viewer to fill the space with their vision of the future. The skylight in the floor represents water, which, while being a reflection and a view into the past, symbolizes a clear future here. It encourages deciding what you want to be and do, and moving forward with that vision. The second room on the first floor is the hallway. This is the only aspect of the structure that is not filled with nostalgia or joy but is imperative when speaking about nostalgia. The space is not one the viewer would want to spend much time in, with the walls allowing little light and the windows of varying sizes, leading the viewer to feel the imbalance in an otherwise balanced structure. This space represents the stagnation often felt with nostalgia, the trap of getting caught in our memories, making both the future and past seem threatening, and not moving is seen as the only way forward. This is something I know I experience often. Thinking back on fond memories can lead to less pleasant memories or emotions, and can affect our future or make us question if our current path is indeed the correct one. The thing about this mental space is that it is not reality, and much like the structure of the hallway, is very easy to escape. By moving from this mindset into the more open future, or looking to the second floor at a well-lit past, we are forced to reassess our emotional state. This would lead the viewer to understand that their current mindset is unsustainable, and not half as enjoyable as the two other spaces they could be in. The second floor consists of the room of memory, with the eye of the past being the epicenter of the structure. With the entrance of the floor coming from a staircase facing the future, the room dedicated to the past is very much separated but constantly reminds the viewer that it is the past, and not where we began or ended up in the structure. The use of a thinner and longer skylight acts as a reflection, separating the viewer from being completely enveloped in the past. Being unable to lose themselves completely in the eye, forgetting the future, which would invariably be unsustainable and probably lead to the hallway below. This space consists of benches and an interesting ceiling creating an intriguing, shaded area for reflection. With the ceiling creating an almost water-like effect, reminiscent of looking up at waves crashing around you, the narrative of reflection and water is continued. The peace and otherwise empty room give the viewer space to fill with their personal memories, allowing reflection without fear, or providing a space to review those less-than-happy memories safely. By giving the viewer a space to reflect comfortably and without negative emotions, the future they enter and exit through becomes all the more impactful. The third floor is the highest yet second floor that the viewer enters, with a singular structure standing in the center of the space, directly in front of the eye on the second floor. This space has been in all my renditions, as I believe looking at the past while in the future is essential in this narrative and in our lives overall. By standing on the structure, the viewer has two choices: look directly at the eye or look towards the future, becoming the pupil of the eye behind them. This can be interpreted in many ways, but I see it as the epicenter of the structure’s narrative. The narrative compels the viewer to enjoy their time in the past, helps them exit the hallway of regret and stagnation, but continues to emphasize that the future is the only place where change can take place. The third floor is the emptiest as it shows the highest peak of what we can achieve, but for everyone, that is a completely different thing, and the space gives the opportunity to create what you want. It is your future, and the space helps you understand that and use it to your advantage. The arched endings to the semi-circle are reminiscent of Saint Paul’s Basilica in the Vatican, Rome. A place that I personally reminisce about often, and from which I found a lot of inspiration throughout my time in the Vatican. The circular aspects of the structure are completed at the tallest point of the structure. I felt that the sharp angles of the top of the structure were too angular for the ending of the columns and used a space I love to inspire my solution. When leaving the structure, the only way to go is back through the future. Through each floor, the only space you are allowed to look through in the small space is the future, and what you will do with the information and recollection you have gained here. Yes, the stagnation and the past are with us for better or worse, but the only way to move is forward. The exit once more shows the unassuming underside of the experience and space you have just left.

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G enevieve Portfol i o 68

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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Work #2. Space Cube_First Space Cube Model

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13 Paragraphs The emotions I aim to evoke through this space is fear and frustration. In order to effectively convey these emotions, I tried to include as many fears and phobias as possible through the various walls and columns available while also making sure to make the layout as inconvenient of a sequence as possible. I aimed to create a confusing, uncomfortable, trapping, eerie, and aggravating environment within a 9” by 9” by 9” cube. At the entrance of my space cube, I have mirrored 16ft curved walls that I chose from Category 38. These mirrored walls are very tightly placed together to create a narrow hallway that the human figure could barely fit through, creating a claustrophobic environment. Although not noticeably present with the model, the lighting additionally adds to the surprising and unpredictable aspect to the structure, as the bright light only has a small sliver showing through. Directly behind the 16ft curved walls I included the -4ft void that can be found in Category 12. For the sake of space, the void is no longer -4ft and is instead roughly -8ft which creates an even larger obstacle for the human figure to avoid. Having a void with an 8ft deep drop pulls into the fear of heights or fear of falling but also the frustration of having to be mindful of your steps, creating the feelings of dangerousness and annoyance. The next part of my space cube is a floating wall from Category 8 that is on the edge of the starting platform with the mirrored walls and void. The floating wall is roughly one foot off the ground and it blocks the human figure from seeing off the edge of the platform. I believe the floating walls accurately depict frustration in this case because it causes an inconvenience to the human figure while also remaining unpredictable as the wall is floating in nature, adding to the fear aspect. After the floating wall, the sequence leads down the platform steps and into a 20 degree cornered wall from Category 31. The small angle, with the steps from the platform directly behind it, corners and traps the human figure and forces it to turn around. This structure again acts as an inconvenience to the human figure because it obstructs his movement directly after walking down the stairs, but it also adds an element of fear through the claustrophobic feel to the tight space. When the figure turns around after being cornered by the wall, there is another 20-degree wall edge that directly faces the human figure from Category 2. The human figure becomes obstructed by the wall because it is right in front of him. Again, the wall acts as an annoying obstacle to avoid, but the awkward angle of the wall and how harshly it points at the human figure creates a sense of tightness and aggression that comes across as frightening. The wall encourages the human figure to walk in a 20-degree angle, leading it to underneath the platform that houses a void from Category 46. The human figure is slightly illuminated by the little amount of light that appears through the void and is bound within the space between the passing wall and the two columns. The contrast between the illuminated space and the darkened space creates an additional boundary for the human figure to follow which creates a feeling of being trapped and confined to a small space, as well as the large wall that obstructs the human figure and any additional light that could be let in. After experiencing the ceiling void, the human figure again encounters the 20-degree wall, but this time it more closely resembles a scene from Category 27, where the lighting is altered to create shadows using the two walls and columns. The human figure is illuminated from the light coming in front of him but is confined by the walls and columns that take up the space. The vertically aligned columns create an indirect boundary that the human figure follows, creating a tight space on top of the spooky lighting that’s made through the shadows, and also creating another annoying obstacle for the human figure to avoid. Walking forward in the sequence, the human figure encounters a scene from Category 26, which also manipulates the lighting of the space with columns and walls. This structure includes lighting coming from behind the human figure which illuminates the space and casts shadows to the right while also including barriers with the two walls and columns. Because the light is coming from behind the human figure, it creates an eerie feeling and creates a sense of dread because of how ominous the shadows look, but the unnecessary walls and columns add to the frustration because of the maze-like obstacles. Turning to the side, the structure then resembles Category 25 where the lighting is creates dramatic shadows through the shapes of the walls and columns. The human figure is only slightly illuminated from the lighting coming from in front of him while he is surrounded by shadows. The lighting creates an eerie and creepy feel to the space because of how dark the environment is, in addition to the sense of feeling irritation from being trapped that is made by the walls and columns that condense the space. After escaping all of the specific lightings, the human figure is met with an inclined surface that’s 10 degrees off the ground from Category 16. The drastically low incline heavily impedes the space of the human figure. Because of how low the angle is to the ground, the surface feels forbidding and appears to be in the process of crushing something because of its closeness to the human figure. Turning to the right, the human figure then encounters a three randomly placed columns from Category 20. In relation to the human figure, these columns are sporadically placed with no apparent rhyme or reason behind their positioning. The environment feels very confusing and frustrating because the columns create more obstacles or challenges for the human figure, all while the unpredictable nature that’s conveyed from the random placement of the columns creates a sense of unknown which I corelate with fear. For the final image in my sequence I chose floating voids from Category 49 to give the appearance of no escape. The human figure floats on the smaller surface while the void surface is above him, along with the lighting that is off to the right illuminating him. The puny size of the surface the human figure is standing on in comparison to the giant void floating above which is terrifying because of the huge gap between the two surfaces and the immense size differences which causes a power imbalance between the massive floating void and the tiny surface beneath it.

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Work #2. Space Cube_Second Space Cube Model

Phase #1: Category #31

Phase #2: Category #25

Phase #3: Category #38

Phase #4: Category #2

Phase #5: Category #16

Phase #6: Category #26

Phase #7: Category #27

Phase #8: Category #20

Phase #9: Category #8

Phase #10: Category #49

Phase #11: Category #46

Phase #12: Category #12

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13 Paragraphs The emotion I aim to evoke through this space is fear as well as some frustration. In order to effectively convey these emotions, I tried to include as many fears and phobias as possible through the various walls and columns available while also making sure to make the layout as inconvenient of a sequence as possible. I aimed to create a confusing, uncomfortable, trapping, eerie, and aggravating environment within a 9” by 9” by 9” cube. The beginning part of my space cube begins at the top of a platform with the human figure standing behind a 20 degree corned wall from Category 31. The small angle with nothing but a 16ft drop behind it corners and traps the human figure and forces it to carefully move around it. This structure again acts as an inconvenience to the human figure because it obstructs his movement directly after walking down the stairs, but it also adds an element of fear through the claustrophobic feel to the tight space. Putting this at the beginning prevents the human figure from seeing what is in store, as well as setting the tone by already inconveniencing the sequence path. Behind the 20 degree wall is a scene from Category 25 that uses lighting is creates dramatic shadows through the shapes of the walls and columns. The human figure is only slightly illuminated from the lighting coming from in front of the walls while he is surrounded by shadows. The lighting creates an eerie and creepy feel to the space because of how dark the environment is, in addition to the sense of feeling irritation from being trapped that is made by the walls and columns that condense the space. Again, this scene prevents the human figure from looking at the spiral-shaped maze of horror he’s about to endure. After Category 25, stairs lead to a separate platform that house mirrored 16ft curved walls that I chose from Category 38. These mirrored walls are very tightly placed together to create a narrow hallway that the human figure could barely fit through, creating a claustrophobic environment. Although not noticeably present with the model, the lighting additionally adds to the surprising and unpredictable aspect to the structure, as the bright light only has a small sliver showing through. And, like the last two scenes, the 16ft walls prevent the human figure from gazing at the rest of the space cube which keeps both literally and figuratively in the dark. Moving onto the next platform, the human figure is greeted by a 20 degree angled wall from Category 2. The human figure becomes obstructed by the wall because it is right in front of him. Again, the wall acts as an annoying obstacle to avoid, but the awkward angle of the wall and how harshly it points at the human figure creates a sense of tightness and aggression that comes across as frightening. I additionally changed the direction in which the wall was facing so as to better utilize the space and further direct the human figure across the platform to the next scene The next scene comes from Category 16, which depicts a backwards ramp-looking surface that is 10 degrees off the ground. The drastically low incline heavily impedes the space of the human figure. Because of how low the angle is to the ground, the surface feels forbidding and appears to be in the process of crushing something because of its closeness to the human figure. It feels like an aggressive pointing motion towards the human figure and also obstructs the human figure from going off the edge off the platform. Going to a different platform, the human figure is faced with two vertical columns and two facing walls from Category 26. This structure includes lighting coming from behind the human figure which illuminates the space and casts shadows to the right while also including barriers with the two walls and columns. Because the light is coming from behind the human figure, it creates an eerie feeling and creates a sense of dread because of how ominous the shadows look, but the unnecessary walls and columns add to the frustration because of the maze-like obstacles. Additionally, the closeness of the objects adds to the tightness and claustrophobic feel of the environment. Following Category 26, Category 27 appears with a similar structure with two walls and columns. The human figure is illuminated by the light coming in front of him but is confined by the walls and columns that take up the space. The vertically aligned columns create an indirect boundary that the human figure follows, creating a tight space on top of the spooky lighting that’s made through the shadows, and creating another annoying obstacle for the human figure to avoid. Putting categories 27 and 26 back-to-back acts like a prolonged maze for the human figure to solve. At the end of the platform, the human figure then encounters a three randomly placed columns from Category 20. In relation to the human figure, these columns are sporadically placed with no apparent rhyme or reason behind their positioning. The environment feels very confusing and frustrating because the columns create more obstacles or challenges for the human figure, all while the unpredictable nature that’s conveyed from the random placement of the columns creates a sense of unknown which I corelate with fear. The three tightly knit and randomly organized columns directly after scenes from categories 26 and 27 again adds to the maze experience while also adding a chaotic element from their haphazard placement. The next part of my space cube is a floating wall from Category 8 that is the main element of the fourth platform. The floating wall is roughly one foot off the ground and it blocks the human figure from seeing off the edge of the platform. I believe the floating walls accurately depict frustration in this case because it causes an inconvenience to the human figure while also remaining unpredictable as the wall is floating in nature, adding to the fear aspect. Additionally, its contradictory in nature as it kind of protects the human figure from the edge of the plat form but because it is floating and appears structurally unsound, it makes you question how safe you really are. The next part of my sequence is the floating void from Category 49. The human figure stands on the platform with the floating wall while the void surface is above him, along with the lighting that is off to the right illuminating him. The puny size of the surface the human figure is standing on in comparison to the giant void floating above which is slightly terrifying because of the huge gap between the two surfaces and the immense size differences which causes a power imbalance between the massive floating void and the tiny surface beneath it. The addition of the skylight in the giant floating void adds to the eeriness of it because you could also look at it from the angle of like safety because it would finally be a chance to get away from confined spaces but it also ends up being the very thing you’re trying to escape. Going down the winding steps leads you to the underside of the platform that houses a skylight void from Category 46. The human figure is slightly illuminated by the little amount of light that appears through the void and is bound within the space between the passing wall and the two columns. The contrast between the illuminated space and the darkened space creates an additional boundary for the human figure to follow which creates a feeling of being trapped and confined to a small space, as well as the large wall that obstructs the human figure and any additional light that could be let in. What appears to be a resting space after the tight, claustrophobic, and disorganized settings ends up feeling constrained as well because of the addition of a small skylight void. At the very end of my sequence in the middle of the spirals is a -4ft void from Category 12. This large void creates a huge obstacle for the human figure to overcome. Having a void with an 8ft deep drop pulls into the fear of heights or fear of falling, and the lack of any boundaries adds to the dangerousness of the space. Putting the void in the center of the cube as the very last part of my sequence I believe creates a feeling of hopelessness and conveys the sense that this fear is never ending and there’s no escape.

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Work #2. Space Cube_Last Space Cube Model

Phase #1: Category #38

Phase #2: Category #20

Phase #3: Category #2

Phase #4: Category #16

Phase #5: Category #8

Phase #6: Category #31

Phase #7: Category #26

Phase #8: Category #25

Phase #9: Category #27

Phase #10: Category #49

Phase #11: Category #46

Phase #12: Category #12

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13 Paragraphs Within my 9” by 9” by 9” space cube, I aimed to evoke the emotion of and consequentially frustration through the order in which I create my sequence. To effectively convey these emotions, I tried to include as many fears and phobias as possible through the various walls and columns available, as well as making the sequence and the scenes placements as inconvenient as possible. Through this mix of anxieties and annoyances, I hoped to create a confusing, uncomfortable, trapping, eerie, and aggravating environment that serves an unfurnished haunted house. The starting point to my final space cube are mirrored 16ft curved walls that I chose from Category 38. These mirrored walls are very tightly placed together to create a narrow hallway that the human figure could barely fit through, creating a claustrophobic environment. Although not noticeably present with the model, the lighting additionally adds to the surprising and unpredictable aspect to the structure, as the bright light only has a small sliver showing through. The 16ft walls prevent the human figure from gazing at the rest of the space cube which keeps both literally and figuratively in the dark. For the final attempt at the space cube, I decided that these walls should come first because they feel inviting and yet anxious because the light shining through is ominous and yet the element of surprise is enticing. I also like how they prevent the human figure from seeing what is in store for him throughout the space cube, so it still conveys a sense of caution for the human figure to follow. Immediately following the mirrored walls, the human figure then encounters three randomly placed columns from Category 20. These columns are sporadically placed that serve literally no other purpose than to act as an inconvenient obstacle to weave through. The environment feels very confusing and frustrating because the columns add complications to the sequence path that hinders the human figure movement. The columns additionally create a sense of instability because of their unpredictable nature that’s conveyed through the random placement. The three tightly knit and randomly organized columns create a maze-like experience while also adding a chaotic element from their haphazard placement. I chose for the obstacle course of columns to be placed immediately after the mirrored walls because I think the walls allude to something grand or majestic that isn’t there. A person walking through this sequence might expect a large space with fun surprises like Willy Wonka’s chocolate factory, but is instead met with annoying obstacles that are so tightly placed in relation to each other that the experience now becomes uninviting and you have the urge to turn back. Following the columns, the human figure is greeted by a wall angled 20 degrees from the edge of the platform that I chose from Category 2. The placement of the wall causes the human figure to become obstructed by it’s awkward positioning. The wall acts like a continuation to the maze-like structure that the three columns laid out beforehand, while also creating a sense of fear because the harshness and directness to which it points at the human figure produces aggressive undertones that I personally find frightening. I additionally changed the direction in which the wall was facing to better utilize the space and further direct the human figure across the platform to the next scene. And, as I stated earlier, I believe the placement of the wall adds to the obstacle course that the human figure has to endure, but it also guides the human figure to the next part of the sequence. To the left of the 20-degree wall comes a scene from Category 16, which depicts a backwards ramp-looking surface that is 10 degrees off the ground. The drastically low incline heavily impedes the space of the human figure. Because of how low the angle is to the ground, the surface feels crushing and becomes almost dreadful to look at. The backwards ramp isn’t like a wall that directly blocks the human figure, but it’s presence is aggressive enough to steer the human figure away from it. Although the human figure is safely out of reach from the ramp, the tension from how close the wall is to the ground creates a “if I could I would” experience, adding to the crushing nature of the wall. Additionally, this obstacle again helps guide the human figure down the path to help create a more interactive and immersive experience rather than what I did in the previous space cube where I made the human figure stop a turn to look at it. Directly to the left of the ramp is a floating wall from Category 8. The floating wall is roughly one foot off the ground, and it blocks the human figure from seeing off the edge of the platform. What should feel like a protective measure for the human figure not to fall off the edge of the space cube becomes a cautionary structure because of its instability. You begin to question whether you really are safe behind the walls barriers. I decided to place the floating wall intensely close to the ramp because it not only creates tightness and claustrophobia, but it also forces the human figure to stare directly at the monstrosity of a structure. With one wrong move you could either be saved by the floating wall’s protection or be thrown off the platform because of the wavering of the walls floating nature. It’s a very contradictory structure and feels unsafe, which is why I included it in my space cube. The beginning part of my space cube begins at the top of a platform with the human figure standing behind a 20-degree cornered wall from Category 31. The small angle with nothing but a staircase and a 16ft drop behind it corners and traps the human figure and forces it to carefully move around it. Putting the wall directly in front of stairs forces the human figure to be inconvenienced by the awkward placement of the wall, and also makes the human figure look at the small corner to create a claustrophobic fear. Additionally, the human figure cannot see what is beyond the wall, keeping the rest of the platform and its obstacles a surprise. I decided to move this structure for my final interpretation of the space cube this at the beginning of my sequence in my second attempt hindered the flow. Although the idea for my space cube was fear and inconvenience, I think the 16ft walls add a false sense of hope that is immediately taken away that wasn’t present with this structure. Behind the cornered space is a scene from Category 25 that uses lighting is creates dramatic shadows through the shapes of the walls and columns. The human figure is only slightly illuminated from the lighting coming from in front of the walls while he is surrounded by shadows. The lighting creates an eerie and creepy feel to the space because of how dark the environment is, in addition to the sense of feeling irritation from being trapped that is made by the walls and columns that condense the space. Again, this scene prevents the human figure from looking beyond the platform to see what else is in store for him. Additionally, the placement of the columns right next to the wall edge creates a narrow path that the human figure has to follow in order to move along in the sequence. Moving along I feel like you almost get this sense of dread because you again are blindsided by what is about to happen. Following Category 25, Category 27 appears with a similar structure with two walls and columns. The human figure is illuminated by the light coming in front of him but is confined by the walls and columns that take up the space. The vertically aligned columns create an indirect boundary that the human figure follows, creating a tight space on top of the spooky lighting that’s made through the shadows, and creating another annoying obstacle for the human figure to avoid. Putting categories 25 and 27 back-to-back acts like another prolonged maze for the human figure to find its way through. The openness behind the final wall in this scene again creates a sense of hope that maybe this terrible journey is almost over, and then you see the next platform and your heart sinks. Going down the stairs onto the next platform, the human figure is faced with two vertical columns and two facing walls from Category 26. This structure includes lighting coming from behind the human figure which illuminates the space and casts shadows to the right while also including barriers with the two walls and columns. Because the light is coming from behind the human figure, it creates an eerie feeling and creates a sense of dread because of how ominous the shadows look, but the unnecessary walls and columns add to the frustration because of the maze-like obstacles. Additionally, the closeness of the objects adds to the tightness and claustrophobic feel of the environment. Because of the scenes I chose to be in my space cube, there is a void in the platform that houses this sequence, but I think it adds to the experience. The two columns in front of the void as well as the wall behind the wall act like warning signs, but they do nothing to protect the human figure from falling through. What should be a comforting fact that the structure intends to help the human figure again becomes upsetting because of how ineffective the structures are in protecting him. The next part of my sequence is the floating void from Category 49. The human figure stands on the platform with the floating wall while the void surface is above him, along with the lighting that is off to the right illuminating him. The puny size of the surface the human figure is standing on in comparison to the giant void floating above which is slightly terrifying because of the huge gap between the two surfaces and the immense size differences which causes a power imbalance between the massive floating void and the tiny surface beneath it. The addition of the skylight in the giant floating void adds to the eeriness of it because you could also look at it from the angle of like safety because it would finally be a chance to get away from confined spaces but it also ends up being the very thing you’re trying to escape. It again creates a sense of false hope of escaping this dreadful cube, but it’s so high up and out of reach that you become distressed. Going down the long, winding staircase, they lead you directly to the underside of the platform with a void on the ceiling that acts like a skylight from Category 46. The human figure is slightly illuminated by the little amount of light that appears through the void and is bound within the space between the passing wall and the two columns. The contrast between the illuminated space and the darkened space creates an additional boundary for the human figure to follow which creates a feeling of being trapped and confined to a small space, as well as the large wall that obstructs the human figure and any additional light that could be let in. What appears to be a resting space after the tight, claustrophobic, and disorganized settings ends up feeling constrained as well because of the addition of a small skylight void. In my opinion, it’s the only sense of comfort that the human figure is provided because of how spacious the actual area is underneath the platform, but because the poor guy has just experienced the worst room of his life, the only thing that he can pay attention to is how little light is showing through the platform that again becomes confining and trapping. What seems as one last attempt of escaping and freedom, the last thing the human figure is met with is the -4ft void from Category 12. The void no longer acts as an obstacle, but a glimpse into the reality of the situation: the human figure cannot escape. Having a void with a 4ft deep drop pulls us into the fear of heights or fear of falling, and the lack of any boundaries adds to the dangerousness of the space. Putting the void in the center of the cube at the end of a spiraling sequence I believe creates a sense of hopelessness and kind of draws into a sense of insanity. Additionally, to uphold the platforms that hold all of the structures, I opted for wavy walls to create the sense that the walls were moving as if the human figure were in a hypnotic state. Looking into the depth of the void surrounded by what feels like moving walls conveys a sense of desperateness, dread, and impossibility as there really is no escape for the poor human figure. 103 75

Work #2. Space Cube_Series of Space Cube Models

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Work #3. Floor Plans

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Work #3. Floor Plans

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Work #3. Elevations

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Work #3. Elevations

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Work #3. Sections

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Work #3. Axonometric

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Work #4. Casting Model

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Work #4. Casting Model

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Work #4. Casting Model

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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.

Work #1. Sequence of Wall, Column, and Space Emotion: Sadness

Phase #1: Category #21

Phase #2: Category #45

Phase #3: Category #17

Phase #4: Category #31

Phase #5: Category #2

Phase #6: Category #7

Phase #7: Category #6

Phase #8: Category #8

Phase #9: Category #3

Phase #10: Category #44

Phase #11: Category #32

Phase #12: Category #47

Work #1. Sequence of Wall, Column, and Space_Sequence Model Views

Phase #1: Category #21

Phase #2: Category #45

Phase #3: Category #17

Phase #4: Category #31

Phase #5: Category #2

Phase #6: Category #7

Phase #7: Category #6

Phase #8: Category #8

Phase #9: Category #3

Phase #10: Category #44

Phase #11: Category #32

Phase #12: Category #47

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Throughout my 12-sequence composition of walls, columns, and space, a theme of sadness is present throughout the experiences of the human figure. My biggest strategy for creating this sequence was to reflect on my past few months and identify the feelings and experiences that I had, and how I could represent them and tell my story. The use of levels allowed me to demonstrate the emotional rollercoaster and dramatic emotional changes that I experienced. I was also able to incorporate a motif of a circular void, which I consider to be very significant to the emotional journey and persistence of sadness. Intentional placement of the human figure, specifically with the circular void, also communicates emotional attachments and resistance to the journey. Though the structure of the model itself poses significant inconvenience as a path to travel through, it is accurate to the obstacles and difficulties I faced traveling through this sequence in real life. The first sequence, representing Category 21: 4 Columns, illustrates a narrow pathway through a series of columns. The human figure stands before the entrance of the narrow, tall, hallway-like structure. This is a demonstration of being left behind out of nowhere with a new, lonely path ahead. The second sequence, representing Category 45: 1 Point Perspective Pictures- Void on the Upside, shows a circular void on the upper level of the structure, with a lower level below and in view. The human figure stands on the lower level beneath the void, facing backwards. This is a demonstration of a dramatic change and drop in emotion. It creates a sensation of the floor being taken out from under you and not wanting to move forward, but trying to go back, despite the impossibility of getting back up to the upper floor. This causes feelings of hopelessness and a representation of hitting rock bottom. The third sequence, representing Category 17: Inclined Ramp to Facing Wall, illustrates a very tall and steep inclined wall. The human figure stands before the incline which leers high above the figure. This represents a formulated healing journey being presented but seeming completely impossible to approach let alone conquer. The fourth sequence, representing Category 31: Aligned wall with Connected Wall, shows two acute angled walls which are opened toward the incoming pathway. The human figure stands within the narrow, closed walls, which block forward movement. This demonstrates a sensation of being stuck and feelings of either having to stay where you are or move backwards. The fifth sequence, representing Category 2: Facing Edge, depicts a vertically aligned wall (as it would be approached) with two sides, one with a small, inclined ramp, and the other with a void. The human figure is shown standing beside the wall, traveling up the inclined ramp. This is a demonstration of a choice between two paths, to either sink or swim, and an attempt to prevail and get back to the upper level by taking the right steps. The sixth sequence, representing Category 7: Walls with Different Heights, shows a series of three facing walls with different heights and widths, each following another and gradually increasing in size. The figure stands beside the first, smallest wall and faces the next wall. This illustrates a feeling of never-ending obstacles as, once one wall is conquered, an even bigger wall is presented. The seventh sequence, representing Category 6: Passing the Aligned Wall, illustrates two parallel aligned walls which create a long, narrow, hallway-like structure. The human figure stands before the narrow pathway with significant space left to travel through it. This demonstrates having to withstand and continue through something difficult until it is finally completed, bringing up emotions of intimidation and disappointment as there is no other option but to continue through. The eighth sequence, representing Category 8: Floating and Faced Wall, depicts a wall, floating high above the path, accompanied by stairs beneath which lead back up to the upper level. The human figure stands on a step towards the lower, beginning portion of the stairs before the floating wall. This demonstrates a new opportunity being presented, allowing for a reasonable route out of the depths of sadness and providing hope. The ninth sequence, representing Category 3: Blocking wall, illustrates a wide, facing wall located in the middle of the path on the upper level. The human figure stands close before the wall as it blocks movement forward. This is a demonstration of hitting unexpected obstacles as getting back to the upper floor was conquered, but the journey still being difficult, bringing about feelings of frustration and impossibility. The tenth sequence, representing Category 44: Curved wall and S-curve wall, illustrating two S-curved walls standing parallel to each other creating a narrow, winding hallway. The human figure stands before the pathway, able to see the entrance, but not through to the other side. This demonstrates taking a risk to enter a new, unknown path, without being able to see the outcome. This brings up emotions of anticipation and fear combined with hope for a better outcome. The eleventh sequence, representing Category 32: Facing the Connected Edge of Two Walls, shows two acute angled walls which are closed toward the incoming pathway. The human figure stands before the walls, blocked from the inside of the space. This is a demonstration of being shut out and forced to move on, bringing about continued emotions of sadness and grief. The twelfth, and final sequence, representing Category 47: Void on the Downside with Columns or Walls, brings out the second appearance of the circular void to complete the motif. The circular void is on the upper level with a visible lower level below. The human figure stands on the edge of the circle, facing the void from the side. This suggests feelings of lingering sadness. Though the figure is back on the upper level, there is still a hole, with a big piece missing. The figure has not yet passed the void and stays dwelling on the missing piece and the memory of being at the bottom.

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Work #2. Space Cube_First Space Cube Model

Phase #1: Category #21

Phase #2: Category #45

Phase #3: Category #17

Phase #4: Category #31

Phase #5: Category #2

Phase #6: Category #7

Phase #7: Category #6

Phase #8: Category #8

Phase #9: Category #3

Phase #10: Category #44

Phase #11: Category #32

Phase #12: Category #47

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Throughout my 12-sequence composition of walls, columns, and space, composed into a space-box, a theme of sadness is present throughout the experiences of the human figure. My biggest strategy for creating this sequence was to reflect on my past few months and identify the feelings and experiences that I had, and how I could represent them and tell my story. The use of levels and angles allowed me to demonstrate the emotional rollercoaster and dramatic emotional changes that I experienced. The angled walls of the lower portion of the structure create a situation where the figure slides to the bottom and becomes stuck in the crease, making it impossible to climb out without proceeding through the obstacles ahead. I was also able to incorporate a motif of a circular void, which I consider to be very significant to the emotional journey and persistence of sadness. Intentional placement of the human figure, specifically with the second circular void, also communicates a sense of emotional attachment. Though the structure of the model itself poses significant inconvenience as a path to travel through, it is accurate to the obstacles and difficulties I faced traveling through this sequence in real life. The first sequence illustrates a narrow pathway through a series of columns, placed on a steeply sloped surface. The human figure stands before the entrance of the narrow, tall, hallway-like structure and would be actively pulled through by gravity due to the slope of the floor. This is a demonstration of being left behind out of nowhere with no choice but to take the new, lonely path ahead. The second sequence shows a circular void on the steeply sloped upper level of the structure. The human figure is shown standing beneath the void on the steeply sloped lower level after falling through it. In action, the human figure would have fallen through the void and would continue to slide down the lower level into the crease, the lowest point in the structure. This is a demonstration of a dramatic change and drop in emotion. It creates a sensation of the floor being taken out from under you, having no control but to slide to the bottom, and the impossibility to get back to where you once were. This causes feelings of hopelessness and a representation of hitting rock bottom. The third sequence illustrates a ladder, on the lower level, standing straight up with few steps which are all greatly out of reach from the figure. The human figure stands before the ladder as it leers high above. This represents a formulated healing journey being presented but seeming completely impossible to approach let alone conquer. The fourth sequence shows two acute angled surfaces sitting in the crease of the walls, which are opened toward the incoming pathway. The human figure stands within the narrow, closed walls, which block forward movement. This demonstrates a sensation of being stuck and feelings of either having to stay where you are or move backwards. The fifth sequence shows a series of two facing walls, stood in the crease, with different heights and widths, gradually increasing in size. The figure stands before the first and smallest wall, blocked from forward movement and unaware of walls beyond. This illustrates a feeling of never-ending obstacles as, once one wall is conquered, an even bigger wall is presented. The sixth sequence illustrates a curved wall which creates a long, narrow, tunnel-like structure in the crease of the walls. The human figure stands before the narrow tunnel with significant space left to travel through it. This demonstrates having to withstand and continue through something difficult, despite still being at your lowest point, until it is finally completed. This brings up emotions of intimidation and disappointment as there is no other option but to continue through. The seventh sequence depicts stairs up to a wall, which floats high above the depth of the crease. The floating wall has two sets of stairs leading off of it, one narrow and risky, and the other wide and safe. The human figure stands on a lower step before the floating wall and, once the figure approaches it, a choice must be made between the two staircases. This demonstrates obstacles being lifted and a new opportunity being presented, allowing for a route out of the depths of sadness and providing hope. The two staircases present an aspect of choice between safe and risky for the route out of the depths, inflicting emotions of fear of choosing wrong and anticipation. The eighth sequence illustrates a tall, narrow, winding staircase leading upwards to an unknown area. The human figure stands on the staircase with a long way left to climb and no view of the destination. This is a demonstration of being willing to do anything to escape depression, including putting everything into a risky choice without knowing if it will work or not. This brings about feelings of fear and anticipation, but also trust in yourself to do what you have to do to make things better. The ninth sequence shows the top steps of the staircase with a sharp turn to the left, leading into an unknown area. The human figure stands near the top of the narrow staircase with the sharp turn still ahead. This is a demonstration of being right on the edge of conquering the climb back to the upper level but continuing to hit obstacles. It also demonstrates still being on a risky path that could be fallen off of, which would result in a return to rock bottom and having to start over. The continuation of obstacles, after working so hard to get back up, brings emotions of frustration and impossibility. The tenth sequence presents two s-curved walls on the upper level of the structure which create a narrow, winding hallway at the top of the stairs. The figure stands before the hallway with a winding journey left before finally reaching the flat platform of the upper level. This brings up feelings of anticipation and fear combined with hope for a better outcome and a sense of pride in making it this far back up. The eleventh sequence shows a tall, angled wall standing on the platform of the upper level at the end of the winding hallway. The human figure faces this wall head on while exiting the winding hallway. This is a demonstration of being shut out from the past and forced to move on, bringing about continued emotions of sadness and grief, along with a sense of peace coming from the separation from chaos. The twelfth, and final sequence brings out the second appearance of the circular void to complete the motif. The circular void is on the platform of the upper level with the sloped walls below. The human figure stands on the edge of the circle, facing the void from the side. This suggests feelings of lingering sadness. Though the figure is back on the upper level, there is still a hole with a big piece missing. The figure has not yet passed the void and stays dwelling on the missing piece and the memory of being at the bottom. 97 103

Work #2. Space Cube_Second Space Cube Model

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Throughout my 12 se uence composition of walls, columns, and space, composed into a space box, a theme of sadness is present throughout the experiences of the human figure. My biggest strategy for creating this se uence was to reflect on my past few months and identify the feelings and experiences that I had, and how I could represent them and tell my story. The use of levels and angles allowed me to demonstrate the emotional rollercoaster and dramatic emotional changes that I experienced. The angled walls of the lower portion of the structure create a situation where the figure slides to the bottom and becomes stuck in the crease, making it impossible to climb out without proceeding through the obstacles ahead. I was also able to incorporate a motif of a circular void, which I consider to be very significant to the emotional journey and persistence of sadness. Intentional placement of the human figure, specifically with the second circular void, also communicates a sense of emotional attachment. Though the structure of the model itself poses significant inconvenience as a path to travel through, it is accurate to the obstacles and difficulties I faced traveling through this se uence in real life. The first se uence illustrates a narrow pathway through a series of columns, placed on a steeply sloped surface. The human figure stands before the entrance of the narrow, tall, hallway like structure and would be actively pulled through by gravity due to the slope of the floor. This is a demonstration of being left behind out of nowhere with no choice but to take the new, lonely path ahead. The second se uence shows a circular void on the steeply sloped upper level of the structure. The human figure is shown standing beneath the void on the steeply sloped lower level after falling through it. In action, the human figure would have fallen through the void and would continue to slide down the lower level into the crease, the lowest point in the structure. This is a demonstration of a dramatic change and drop in emotion. It creates a sensation of the floor being taken out from under you, having no control but to slide to the bottom, and the impossibility to get back to where you once were. This causes feelings of hopelessness and a representation of hitting rock bottom. The third se uence illustrates a ladder, on the lower level, standing straight up against the back wall with few steps, which are all greatly out of reach from the figure. The human figure stands before the ladder as it leers high above. This represents a formulated healing journey being presented but seeming completely impossible to approach let alone con uer. The fourth se uence shows two acute angled surfaces sitting in the crease of the walls, which are opened toward the incoming pathway. The human figure stands within the narrow, closed walls, which block forward movement. This demonstrates a sensation of being stuck and feelings of either having to stay where you are or move backwards. The fifth se uence shows a series of three facing walls, stood in the crease, with different heights and widths, each following another and gradually increasing in size. The figure stands before the first and smallest wall, blocked from forward movement and unaware of the greater walls beyond. This illustrates a feeling of never ending obstacles as, once one wall is con uered, an even bigger wall is presented. The sixth se uence illustrates a curved wall which creates a long, narrow, tunnel like structure in the crease of the walls. The human figure stands before the narrow tunnel with significant space left to travel through it. This demonstrates having to withstand and continue through something difficult, despite still being at your lowest point, until it is finally completed. This brings up emotions of intimidation and disappointment as there is no other option but to continue through. The seventh se uence depicts stairs up to a wall, which floats high above the depth of the crease. The floating wall has two sets of stairs leading off of it, one narrow and risky, and the other wide and safe. The human figure stands on a lower step before the floating wall and, once the figure approaches it, a choice must be made between the two staircases. This demonstrates obstacles being lifted and a new opportunity being presented, allowing for a route out of the depths of sadness which provides hope. The two staircases present an aspect of choice for the route out of the depths, between safe and risky, inflicting emotions of fear of choosing wrong and anticipation. The eighth se uence illustrates a tall, narrow, winding staircase leading upwards to an unknown area. The human figure stands on the staircase with a long way left to climb and no view of the destination. This is a demonstration of being willing to do anything to escape depression, including putting everything into a risky choice without knowing if it will work or not. This brings about feelings of fear and anticipation, but also trust in yourself to do what you have to do to make things better. The ninth se uence shows the top steps of the staircase with a gap before the final step which leads into an unknown area. The human figure stands near the top of the narrow staircase with the gap still ahead. This is a demonstration of being right on the edge of con uering the climb back to the upper level but continuing to hit obstacles. It also demonstrates still being on a risky path that could be easily fallen off of or fell through, which would result in a return to rock bottom and having to start over. The continuation of obstacles, after working so hard to get back up, brings emotions of frustration and impossibility. The tenth se uence presents two s curved walls on the upper level of the structure which create a narrow, winding hallway at the top of the stairs. The figure stands before the hallway, able to see the entrance, but not through to the other side. This demonstrates taking a risk to enter a new, unknown path, without being able to see the outcome. This brings up feelings of anticipation and fear combined with hope for a better outcome and a sense of pride in making it this far back up. The eleventh se uence shows a tall, diagonal wall placed on the platform of the upper level at the end of the winding hallway. The human figure faces this wall head on while exiting the winding hallway. This is a demonstration of being shut out from the past and forced to move on, bringing about continued emotions of sadness and grief, along with a sense of peace coming from the separation from chaos. The twelfth, and final se uence brings out the second appearance of the circular void to complete the motif. The circular void is on the platform of the upper level with the sloped walls below. The human figure stands on the edge of the circle, facing the void from the side. This suggests feelings of lingering sadness. Though the figure is back on the upper level, there is still a hole with a big piece missing. The figure has not yet passed the void and stays dwelling on the missing piece and the memory of being at the bottom. 99 105

Work #2. Space Cube_Last Space Cube Model

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Throughout my 12-sequence composition of walls, columns, and space, composed into a space-box, a theme of sadness is present throughout the experiences of the human figure. My biggest strategy for creating this sequence was to reflect on my past few months and identify the feelings and experiences that I had, and how I could represent them and tell my story. The use of levels and angles allowed me to demonstrate the emotional rollercoaster and dramatic emotional changes that I experienced. The angled walls of the lower portion of the structure create a situation where the figure slides to the bottom and becomes stuck in the crease, making it impossible to climb out without proceeding through the obstacles ahead. I was also able to incorporate a motif of a circular void, which I consider to be very significant to the emotional journey and persistence of sadness. Intentional placement of the human figure, specifically with the second circular void, also communicates a sense of emotional attachment. Though the structure of the model itself poses significant inconvenience as a path to travel through, it is accurate to the obstacles and difficulties I faced traveling through this sequence in real life. The first sequence illustrates a narrow pathway through a series of columns, placed on a steeply sloped surface. The human figure stands before the entrance of the narrow, tall, hallway-like structure and would be actively pulled through by gravity due to the slope of the floor. This is a demonstration of being left behind out of nowhere with no choice but to take the new, lonely path ahead. The second sequence shows a circular void on the steeply sloped upper level of the structure. The human figure is shown standing beneath the void on the steeply sloped lower level after falling through it. In action, the human figure would have fallen through the void and would continue to slide down the lower level into the crease, the lowest point in the structure. This is a demonstration of a dramatic change and drop in emotion. It creates a sensation of the floor being taken out from under you, having no control but to slide to the bottom, and the impossibility to get back to where you once were. This causes feelings of hopelessness and a representation of hitting rock bottom. The third sequence illustrates a ladder, on the lower level, standing straight up against the back wall with few steps, which are all greatly out of reach from the figure. The human figure stands before the ladder as it leers high above. This represents a formulated healing journey being presented but seeming completely impossible to approach let alone conquer. The fourth sequence shows a curved wall, sitting in the crease of the structure, which is opened toward the incoming pathway. The human figure stands before the wall, closed in and blocked from movement forward. This demonstrates a sensation of being stuck and feelings of either having to stay where you are or move backwards. The fifth sequence shows a series of three facing walls, stood in the crease, with different heights and widths, each following another and gradually increasing in size. The figure stands before the first and smallest wall, blocked from forward movement and unaware of the greater walls beyond. This illustrates a feeling of never-ending obstacles as, once one wall is conquered, an even bigger wall is presented. The sixth sequence illustrates a curved wall which creates a long, narrow, tunnel-like structure in the crease of the walls. The human figure stands before the narrow tunnel with significant space left to travel through it. This demonstrates having to withstand and continue through something difficult, despite still being at your lowest point, until it is finally completed. This brings up emotions of intimidation and disappointment as there is no other option but to continue through. The seventh sequence depicts stairs up to a wall, which floats high above the depth of the crease. The floating wall has two sets of stairs leading off of it, one narrow and risky, and the other wide and safe. The human figure stands on a lower step before the floating wall and, once the figure approaches it, a choice must be made between the two staircases. This demonstrates obstacles being lifted and a new opportunity being presented, allowing for a route out of the depths of sadness which provides hope. The two staircases present an aspect of choice for the route out of the depths, between safe and risky, inflicting emotions of fear of choosing wrong and anticipation. The eighth sequence illustrates a tall, narrow, winding staircase leading upwards to an unknown area. The human figure stands on the staircase with a long way left to climb and no view of the destination. This is a demonstration of being willing to do anything to escape depression, including putting everything into a risky choice without knowing if it will work or not. This brings about feelings of fear and anticipation, but also trust in yourself to do what you have to do to make things better. The ninth sequence shows the top steps of the staircase with a gap before the final step which leads into an unknown area. The human figure stands near the top of the narrow staircase with the gap still ahead. This is a demonstration of being right on the edge of conquering the climb back to the upper level but continuing to hit obstacles. It also demonstrates still being on a risky path that could be easily fallen off of or fell through, which would result in a return to rock bottom and having to start over. The continuation of obstacles, after working so hard to get back up, brings emotions of frustration and impossibility. The tenth sequence presents two s-curved walls on the upper level of the structure which create a narrow, winding hallway at the top of the stairs. The figure stands before the hallway, able to see the entrance, but not through to the other side. This demonstrates taking a risk to enter a new, unknown path, without being able to see the outcome. This brings up feelings of anticipation and fear combined with hope for a better outcome and a sense of pride in making it this far back up. The eleventh sequence shows a tall, diagonal wall placed on the platform of the upper level at the end of the winding hallway. The human figure faces this wall head on while exiting the winding hallway. This is a demonstration of being shut out from the past and forced to move on, bringing about continued emotions of sadness and grief, along with a sense of peace coming from the separation from chaos. The twelfth, and final sequence brings out the second appearance of the circular void to complete the motif. The circular void is on the platform of the upper level with the sloped walls below. The human figure stands on the edge of the circle, facing the void from the side. This suggests feelings of lingering sadness. Though the figure is back on the upper level, there is still a hole with a big piece missing. The figure has not yet passed the void and stays dwelling on the missing piece and the memory of being at the bottom. 101 107

Work #2. Space Cube_Series of Space Cube Models

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Work #3. Floor Plans

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Work #4. Casting Model

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Ma rilyn Chavez Port foli o 126

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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Work #1. Sequence of Wall, Column, and Space Selected Emotion: Sadness

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Work #1. Sequence of Wall, Column, and Space_Sequence Model Views

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13 Paragraphs

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Work #2. Space Cube_First Space Cube Model

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13 Paragraphs My goal was to have two, two structures while incorporating all the stages. I could not find a way to have two structures therefore I turned to almost spiraling the path into a maze-like format. This fits the emotion as man’s journey is laid before him and can be seen clearly, yet he pursues it. I wanted to keep the same narrative of the man failing to save the woman leaving both sad and heartbroken because all they want is to be together. I chose to move the 1-12 order to 10, 9, 6, 1,2, 7,8,3,4,11,12 order. Starting with an open floating void will allow the light to travel onto the start and brind spotlight onto the man who stood under it. This helps further the emotion of sadness due to the man standing alone in the spotlight representing how he is in search of the woman who will solve the loneliness. This space makes me feel low spirited due to the arrangement of the walls and lighting. The curve in this space creates a second path to go through but eventually leads to the same point the other does. The man having to choose the path regardless of ending up in the same place symbolizes how regardless of his attempt to find the woman he will be led back to loneliness. Choosing the path that is out of the way seems to be pointless due to it leading to the same place. Standing there I feel numb because no matter what I choose the path remains the same. The positioning of the walls and columns acts as a guide, blocking any other options. Humans are forced to follow the path due to the absence of options. The path is set before me, and I have no choice but to follow. The room is dim and makes me feel like this obstacle is too easy. The wall acts with the other both blocking any other option but still allowing for movement. Although not leaving the choice to move side to side of the walls it lets us through the walls. The human would be crammed in space showing the difficulty of the journey. Standing before the wall I notice another and see nothing making me feel hopeless because what if the path leads nowhere. This wall is parallel with the first one, this creates a narrow pathway with no way of moving to an upper level. The wall leads to an open space showing the man how lonely he is. The man is forced to turn back around and continue the path that it set in stone. He can’t change the outcome. Standing at the dead end I feel tired and devastated of the walk and unable to find a different path. The path leading to the lower level misleads you into thinking there is a way of reaching the upper level, but again, there is no way of reaching the top. The man is unable to get to the woman and forced to go back to the start or continue trying. I feel disappointed in this scene due to the gummy mood the impossible climb sets. Having this scene here shows a dangerous fall. This with the human reminds him of the danger he has endured and makes him remanence. Walking by this scene it reminds me of the danger and death that could’ve; won. The area is dark and makes me feel relieved yet let down of my abilities. The power of the floating wall acts almost as a guide for the human figure to follow. The way the human figure is forced to follow the path due to the wall blocking going left and he must move forward. This supports the heartbreaking emotion due to the events that took place before. He is disappointed and saddened by his failure. Being forced to walk the dark and long path reflecting makes me heart broken. The floating wall comes to the front of the human figure, this space the wall creates shows the distance behind the man. The figure centered in the darkness with space around him shows how far he has come and that he still ended up alone at the end of this journey. This made me feel glum as I entered his perspective. The loneliness with the empty dark space ahead makes me low spirited. the hanging void from above adds space as it creates space due to the opening. This allows for a skylight. The man standing in the center of the void shows his solitude, but the use of lighting 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. He never got to the woman and is tired of from his journey. He looks up at the sky through the void. Similarly, 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. The curved walls create an opening from above with almost closing in on the women but allowing room above. When the wall is 8ft height it hugs the human but as they change to 16ft although the walls allow for more room it seems like I am trapped and alone making me feel sad. The woman also looks up at the sky.

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Work #2. Space Cube_Second Space Cube Model

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13 Paragraphs With my second model I had reflected on what I did and didn’t like from the first model. I realized I didn’t like the order and how the story flowed. I changed the order once again to help portray sadness. I made another maze-like scene to describe the narrative I had in mind. The walls and columns act as obstacles for the man making his journey to the woman impossible. I also changed the scenes in which I incorporated the people to show the sadness with the figures as well as changed the man figure to another one. The story begins with two horizontal walls, one front facing and the other side facing with a column on each side of a wall. Placing the walls here with the columns creates a direct path that can clearly be the narrative’s beginning. The format of these allows a human to move smoothly in the direction intended. Although the emotion is sadness, sadness is obtained along the way and the scenes allow for that build up. If I stood at the entrance of this scene the path is set out for me and makes me feel driven to walk that set path. Walking the path, I have no clue where I am going but feel calm. Second is a side facing floating wall on the right. This wall acts as a sign no not go further. The wall blocks the area on the right but although a warning allows room for moving forward. The wall creates room in the space. Having a person stand in the center of this space creates a start of a warning to the events that will soon take place. Standing there with a floating wall makes me feel like something bad is going to happen. The third is another floating wall but this consists of a front facing wall. The wall creates a barrier to the path and flow of the scene. The human is blocked from going on these forces the person to stop and give the decision of tuning around but still allows one to move forward. Much like the option to continue doing things that hurt us but at time we consist with the habit. The wall stands in front of me blocking me from moving forward. Standing before the wall makes me feel unsure of pursuing the path. Fourth is another front facing wall blocking the movement on the left. This undirectly forced the person to move forward but also creates a small opening that may seem like a path but ultimitley leads back to the beggingin. This wall small yet not following it makes me feel frustrated forced the start the path again. Fifth is another front facing wall that blocks the easy way. The wall forces the person to have to go around and make a sharp turn; this acts as an inconvenience. Like sadness sometimes it can be hard to over. The need to go around the wall irritates me. Having this irritating wall makes the person more sensitive and prone to get emotional. Sixth is to the side facing horizontal walls with two columns on the side. This set up again sets a direct path. This leaves the person not having to make any decisions. This makes me feel exhausted of the turns I had to already endure. Next, is two walls with a vertical curve. This creates an enclosed environment. The space closes the person in the space confining them to the corner. I feel trapped in space as I can’t really move anywhere. The wall with a floating void and vertical curve further encloses the space. The void illudes something trapping the person in. This with the verticle curve that leads to the man’s failure sets the tone of the narritive. Standing before the vertical wall makes me feel low spirit as I could be enclosed, and the curve leads nowhere but my failure. The ninth scene is a surface with a circular hanging void. This is the scene I chose to place my person in. This the point where he truly realizes he won’t be able to reunite with the woman. This scene allows him to reflect by the elevated placement and the void that creates a skylight window. Putting myself in his shoes I feel heartbroken in failing to accomplish my goal. This scene depicts a floating surface with a bottom void. This shows how there is no exit from the situation and leads nowhere. The man sits on the edge showing his sorrow. Seated in the position of where the man is I feel sad as there is no escape. The second from last, is the bottom void surface with a curved wall. I decided to put the bottom surface below the void to show a small, trapped space. The space with the columns placed below, shows the danger the woman is and needs help. Falling through the void makes me feel miserable. Lastly, the curved wall makes the space small. By feeling small it makes the human feel small as well as look small. The area hugs the woman almost to comfort her. In the curved wall I feel sad of never being rescued but long to escape. The walls create this emotion with the way they focus on her.

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Work #2. Space Cube_Last Space Cube Model

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13 Paragraphs With this final model, the objective was to have the figure be able to transition smoothly through the sequences. After reflecting on the last two models, I found I struggled with the order and the transitioning. I found that by starting with the frame the pieces came into place and so did the transitioning. Hearing the advice around me, I focused on the emotion rather than the story. I thought of sadness and things that corresponded with the emotion. I thought of a big empty space to represent loneliness and darkness. The start of the sequence starts with the horizontal, front facing wall and side facing wall aligned with two columns. This creates a clear concise entrance point but allows an opening for entrance to continuously loop the space. The wall blocks the light within the left side of the area. There is room for someone to walk through freely. I felt like this placement made me feel alone. The horizontal front facing hanging wall stands above hiding an entrance to the upper floor. It gives a seamless appearance as it blends into the background. The hanging makes the room feel smaller slowly as it can be easily missed by someone. This hanging wall made me feel like the room was slowly shrinking in on me. The two horizontal walls in the back of the space add another space but still make the room feel even smaller. Someone would be inclined to get out of the room due to the smaller room that can be uncomfortable. I felt lost and small when encountering these walls. The two sides facing walls with two columns in front of them create a small narrow hallway. This transitions the person from one room to another allowing the flow to run smoothly. The hall created in this space gave me a melancholy feeling. The wall with an open floating void allows the second floor to be seen. This area attempts to create light but does the contrary, the blank wall stumps the person, but the void is blocked by another wall that darkens the space. This makes me feel desolated as I see an opening but nothing amusing surrounds this space. The vertical curve and wall create a latter for transportation between floors. The curve creates different shapes that are in contrast to all the straight-line shapes. This curve allows someone to be able to see the top floor the entire time they move up. This makes me feel confused as I can see the void but not what is above. The curve creates a soft line contrasting the straight lines everywhere else. This shrinks the space even more enclosing an individual within the space. The curvature of this wall made me feel conformable as the curves felt soft. The other curved wall with columns in the center contrasts with the other as a creates a small feeling to the room. The columns don’t allow a person for movement within. This represents sadness as it is hard to go through. This area made me want to avoid it much like sadness as it felt uncomfortable. The floating wall on the top floor makes the person coming from the back entrance feel like the space is smaller. The wall adds more darkness as it blocks some light. This further helps with sad emotions. The person is not interrupted by the wall rather prevents them from turning into the void in the end. This wall made me feel sad due to the dark space. Next is the floating void with a surface, The floating void acts as a sense of reflection and tranquility that comes after a cry or sad feeling. This with the person allowed to sit under and think act as a representation to this. This made me feel the numb feeling one gets after a sad event or crying. The floating void serves two purposes as a sense of reflection in both bits here it also allows for an opening from above. The opening shows this reflection as it creates an opportunity to see things differently. The void reminded me of a skylight that made me feel calm and small. The last scene is two floating surfaces, placing them above allows to further the feeling of reflection in the environment. The person being allowed to look over the building into a view helps show this feeling. Sitting in the man’s spot I feel alone and sad and the ability t reflect over a view lets the feelings sit.

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Work #2. Space Cube_Series of Space Cube Models

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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

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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Work #1. Sequence of Wall, Column, and Space Selected Emotion- Joy and the joy from experiencing the adventure of the unknown.

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Picture of Sequence Model (Top View)

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Work #1. Sequence of Wall, Column, and Space_Sequence Model Views

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13 Paragraph In creating my Model I wanted to create something that evoked a feeling of joy and wonder. To do this I chose category’s that brought some form of joy or happiness. Whether this was due to the elegance or reverence inspired by the category or the silliness and wonder. I used an amalgamation of these to inspire a sense of silly joy while also leaving some room for personal interpretation through the more open spaces within the model. I also modeled the path of figures to be in the shape of a spiral leading more into that silly simple wonder while also giving more direction to the piece itself. I also chose to lead with the more odd and silly structures, slowly tapering down into more abstract ones that still inspire a sense of awe and joy. To start the model, I led with an ‘entrance’ composed of 2 horizontally aligned columns preceding 2 horizontally aligned walls that are slightly staggered. The figure is placed between the walls and the columns aligned with the opening between the walls. With this the category feels like a door that has just opened and the columns act as a secondary form of a barrier acting as a path pushing the figure to the opening, pushing them to a new world. Following this is a set of 2 columns directly after the opening in the 2 offset walls. A figure viewing them. This placement of columns without purpose draw attention and bring forth a sense of curiosity and wonder. They are not intimidating but still mysterious. Next, I surround the 2 columns with 2 diagonal walls narrowing into a narrow opening. A figure is seen sitting atop the wall in a place of being confined by it. This narrowing of the corridor brings a sense of comfort. That through this experience there is a greater place just after. After, I have attached an enclosed space with 2 curved walls and a circular void, 2 columns, and 2 gaps between the walls. A figure can be seen in the center of the void, taking the forefront of the area. This area with its use of light to create a central point of place, radiates a feeling of glory and beauty, Like that of a statue in a museum. Then, there is a space with two small floating platforms rising far above the confinement of the walls. A figure placed up on the highest platform high above any confinement, any role, any life. This space brings a feeling of joy not just through its nonsensical nature, but also the uplifting factor of being physically lifted. When all your walls are far below. Then, there is a vertical wall with a square void and a curved surface leading to the void in the wall. A figure standing on the crest of the void, between the known and the unknown. This category brings out just a little fear, fear of the unknown beyond, but it also brings out joy. The joy of experiencing that which is new and being exited rather than petrified. Directly after is a curved surface forming a parabola with many adjoining curved surfaces attaching to the surrounding walls. Placed centrally just under the parabola is a figure. In the middle of the controlled chaos of the scene. This scene being one of just plain fun. With logic and reason thrown out the window. Having connecting surfaces for no reason other than ‘it looks nice’. It’s the sprinkle of silly fun among the uplifting and impressive areas around. After this there are 2 connected walls, connected into a smooth 150-degree angle. A figure standing out in the open space of the area simply existing. This area brings joy through its use of open space in an area with few sharp angles giving the area a comforting padded feel. This then leads to a set of 2 curved walls creating a narrow pathway. With a figure placed in the middle of the walls. These curved walls give a feeling of motion moving a soothing almost rhythmic way. Creating not just a path but one that brings out some joy when used. Next is a platform with a square void supported by 4 columns. A figure standing in the center under the light, like that of a stature. At first this feels cold and sterile but as one looks there is a sime elegance. An elegance in the light, the placement of the figure, and the use of columns to create imaginary walls that don’t create a feeling of entrapment. Following this is a second platform with a smaller square void supported by 4 shorter columns. A figures sat atop the platform like that of a windowsill. The joy of this comes from the wonder and spectacle of having a progressively smaller area that is taken less seriously as denoted by the figure. Lastly, placed in a central point of the board are 4 narrowly aligned columns. A figure exploring the mystery and the calm of the columns. The joy of the columns being found not in the columns themselves but what they can represent to the people who exist in it. For some it is a place of enclosed and protective walls. For others a place of endless possibility. Allowing anyone to find joy in its simple structure.

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Work #2. Space Cube_First Space Cube Model

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13 Paragraphs While creating my space cube model I wanted to evoke a feeling of joy. To do this I designed my cube around both the categories and elements that make me feel happy. For example, I used 2 columns because they bring a more fantastical feel the I enjoy. This use of personal ideas of joy and emotions guided me a lot when creating this cube allowing me to better gauge how I was going to complete this project. I also used many of the elements that I used in my model in my cube. Using the spiral shape of the path that the figures follow, as well as the order in which the category’s go on the model. To form the mock entrance to the cube I used 2 columns placed Infront of two offset walls. These walls create a doorway for the figure to pass through. This passage creates a sense of fantasy. As though a once solid wall has been cleaved in two by some anomalous means. This fantastical looks furthers the feeling of joy propelled by the cube. Next, I used a set of 2 columns just behind the walls of the previous category. These columns continue the idea of an entrance creating a path for the figure to follow or explore. This adds an element of wonder to the piece. With the columns not having any express purpose. Rather just being there to be there. Surrounding the 2 columns are two inward facing diagonal walls. These walls both contain and direct the figure inward toward the next doorway. The feeling of the walls closing in is often related with fear, however it’s the idea of the large space after that brings the feeling of joy. The idea that just after this hard thing there will be freedom. Connecting to the walls is a tall cylinder with a circular void in the roof and an exit leading to a spiral staircase on the opposing side. The figure can be seen standing in the center of the room standing in the light of void. This area brings joy through its wonderous feel. As thought you are standing in a castle, about to go on a grand adventure. Atop the cylinder sits multiple lifted platforms. The figure is shown waling through them viewing them as that which is akin to trees. These add a touch of the impossible made real. Doing that which has never been done. Bringing a sense of hope to the piece. Past the platforms is a lifted doorway with a curved surface acting as a ramp up to the doorway. This allows the figure to access the path moving forward in the creation. This doorway acts as a method to create a feeling of being uplifted. Being brought up from the lows of life. Beyond the doorway is an archway formed by a curved surface with many connecting surfaces like cables connecting it to the walls. This allows the figure to better pass the area with a sense of purpose. This chaotic additions creates a sense of play and flexibility. That one can move and bend while still holding their purpose. Following this is a wall with a 110-degree bend in it. This acts as a guide for the figure, keeping it on the right path. This wall carries a sense of kindness with it. With its angle making it seem like a soft protecter rather than a stark container. Next, I have a small, curved wall in place of the original S-curve corridor connected to the bent wall. This creates a smooth path for the figure to follow allowing for a calm and happy transition. This curved wall is reminiscent of kindness itself. It has little to no sharp angle, it creates a fluid and calm transition, and it acts as something that is more visually pleasing than a flat angled wall. All of which lead me to view this wall with a sense of joy. Placed above this is a square platform with a square void sat on 4 columns. This allows the figure to view the manipulation in the light and leads the figure to standing in a more central area to it naturally. With this it acts as a mock roof, bringing a sense of protection and safety with it. Directly following this is a smaller square platform with a square void cut from it sat on 4 short columns. This leads the figure to continuing the trend of standing central to the void of the platform. The small size and open nature of this piece inspires joy with me. This is due to the unintimidating nature of it along with my personal association to its shape. Last, is a set of 4 columns placed in a narrow vertically aligned formation. This creates a place with the idea of walls rather than real ones. Making the figures feel safe and protected without the use of walls or roofs. This sense of protection and importance inspired by the columns creates the feeling of joy when viewing the columns.

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Work #2. Space Cube_Second Space Cube Model

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13 Paragraphs In making this updated model of my space cube I wanted to better create the connecting between my model and the emotion I am trying to evoke through it, the emotion of joy. To do this I continued with my creation of an environment that has a generally ‘whimsical’ feel. Doing this through the use of columns with no distinctive purpose, walls with odd angles. Floating platforms, and void spaces. I have also created multiple areas that can be considered confrontable, in that they feel safe or secure based on the placement of walls, roof, or columns. Picture 1 – In this photo a figure is shown standing between 2 columns placed Infront of 2 offset walls. The figure is moving between the 2 columns towards a welcoming entrance that almost beckons it. The columns act as a source of wonder with their placement being souly there for looks without any true purpose, while the walls act as an entrance beckoning people to it. Picture 2This image shows a figure moving between 2 shorter columns. These columns act as a sort of false wall leading the figure forward on its path without forcing it to move in the single direction. These brings comfort from the use of columns as they make the path more open and give more choice to the exploration of the figure. Picture 3 In this image a figure is show exploring a space between two inward facing diagonal walls. These walls push the figure farther on its path. These walls initially create a sense of almost fear with the shrinking exit created by them, but the joy and excitement come from the adventure created by them. Like climbing a mountain to see a wonderful view. One must face this shrinking corridor to reach the larger room at the end and get the pay off. Adding that layer of adventure on top of the previously established comfort. Picture 4 This photo shows a figure standing in the center of a large circular room with a circular void in the roof. This place acts as a place of rest and beauty for the figure. Allowing it to sit and simply view the void. This place has both the curiosity created by the above void and the comfort from the given choice of standing in the light of the void to be viewed by all or by sitting on the sidelines in the safety of the shadow while still viewing the void. Picture 5 In this image a figure is moving past multiple floating surfaces. These act as a payoff for the earlier adventure for the figure, while still enticing it to continue forward to see what else is to be offered. This place acts as a magical area, full of wonder and mystery of what the surfaces are and how they ended up there. Picture 6 This picture shows a figure standing in front of a curved surface leading to a square entryway. The bridge with its soft curve acts as an enticing path for the figure to follow. This area is airy, open, and has the feeling of lifting one to a higher state both physicaly and mentally while still holding a sense of mysticism. Picture 7 In this image a figure is show standing under an archway made from a curved surface. This arch allows the figure to enter into the next area while creating a sense of protection and grandeur for it as well. This arch creates a fantastical sense of hope. Of moving forward on the path and in life with confidence. Picture 8 A figure moves past a wall bent at an obtuse angle. This angle bends the path of the figure without creating a flat wall for the figure to hit rather an angle leading it more slowly to its destination. The angle of the wall also makes it less stark and intimidating. It softens the edges and makes the wall seem more kind in its existence. Picture 9 In this photo a figure is shown standing in front of a curved wall. This wall acts a placer to push to figure further along on its path. The wall also has an almost steely sense that makes it feel safe when near it. That it is a place of protection and safety. Picture 10 In this image a figure is show standing beneath a roof with a large square void. The figure stands in the light cast by the void letting in the warms of the opening. The roof gives a sense of protection and unity with the rest of the surrounding elements while still allowing the feeling of the freedom given by the void in it. Picture 11 In this image a figure is show standing under a smaller roof with a square void. The figure stands centrally under the roof giving the feeling of hope as the light is cast on it. The roof also gives a sense of protection through the imaginary walls created by the columns holding the roof up. Picture 12 In this image a figure stands in the center of 4 columns. The figure in the center has an almost divine state being surrounded by the taller columns. Said columns do not support anything, rather it feels as though they are their soley for the purpose of uplifting those who stand between them. Giving a hint of hope to those who experience it.

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Work #2. Space Cube_Last Space Cube Model

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13 Paragraphs In making this updated model of my space cube I wanted to better create the connecting between my model and the emotion I am trying to evoke through it, the emotion of joy. To do this I continued with my creation of an environment that has a generally ‘whimsical’ feel. Doing this through the use of columns with no distinctive purpose, walls with odd angles. Floating platforms, and void spaces. I have also created multiple areas that can be considered confrontable, in that they feel safe or secure based on the placement of walls, roof, or columns. Picture 1 – In this photo a figure is shown standing between 2 columns placed Infront of 2 offset walls. The figure is moving between the 2 columns towards a welcoming entrance that almost beckons it. The columns act as a source of comfort being reminiscent of nature and trees. Bringing a sense of comfort to this entrance. Picture 2This image shows a figure moving between 2 shorter columns. These columns act as a sort of false wall leading the figure forward on its path without forcing it to move in the single direction. These brings comfort from the use of columns as they make the path more open and give more choice to the exploration of the figure while still acting as a form of guidance giving the idea of a walls on a path rather than a physical one. Picture 3 In this image a figure is show exploring a space between two inward facing diagonal walls. These walls push the figure farther on its path. These walls initially create a sense of almost fear with the shrinking exit created by them, but the joy and excitement come from the adventure created by them. Like climbing a mountain to see a wonderful view. One must face this shrinking corridor to reach the larger room at the end and get the pay off. Adding that layer of adventure on top of the previously established comfort. Picture 4 This photo shows a figure standing in the center of a large circular room with a circular void in the roof. This place acts as a place of rest and beauty for the figure. Allowing it to sit and simply view the void. This place has both the curiosity created by the above void and the comfort from the given choice of standing in the light of the void to be viewed by all or by sitting on the sidelines in the safety of the shadow while still viewing the void. Picture 5 In this image a figure is moving past multiple floating surfaces. These act as a payoff for the earlier adventure for the figure, while still enticing it to continue forward to see what else is to be offered. This place acts as a magical area, full of wonder and mystery of what the surfaces are and how they ended up there. Picture 6 This picture shows a figure standing in front of a curved surface leading to a square entryway. The bridge with its soft curve acts as an enticing path for the figure to follow. This area is airy, open, and has the feeling of lifting one to a higher state both physicaly and mentally while still holding a sense of mysticism. Picture 7 In this image a figure is show standing under an archway made from a curved surface. This arch allows the figure to enter into the next area while creating a sense of protection and grandeur for it as well. This arch creates a fantastical sense of hope. Of moving forward on the path and in life with confidence. Picture 8 A figure moves past two walls connected at a 70-degree angle. The figure is guided by the wall and given a sense of protection. This protection gives the sense of comfort while continuing the idea of this adventure path created by the angle of the wall. Picture 9 In this photo a figure is shown standing in front of a curved wall. This wall acts a placer to push to figure further along on its path. The wall also has an almost steely sense that makes it feel safe when near it. That it is a place of protection and safety but also a place of comfort. Having all the sharp edges removed and rounded. Picture 10 In this image a figure is show standing beneath a roof with a large square void. The figure stands in the light cast by the void letting in the warms of the opening. The roof gives a sense of protection and unity with the rest of the surrounding elements while still allowing the feeling of the freedom given by the void in it. Picture 11 In this image a figure is show standing under a smaller roof with a square void. The figure stands centrally under the roof giving the feeling of hope as the light is cast on it. The roof also gives a sense of protection through the imaginary walls created by the columns holding the roof up. Picture 12 In this image a figure stands in the center of 4 columns on a raised platform. The figure in the center has an almost divine state being surrounded by the taller columns. Said columns do not support anything, rather it feels as though they are their soley for the purpose of uplifting those who stand between them. Creating an air of importance for those who stand between them.

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Work #2. Space Cube_Series of Space Cube Models

a group photo of space cube models

a group of the sequence model and the final space cube mode

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pictures of the final space cube model

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Work #3. Floor Plans

Floor Plan 4

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Work #3. Floor Plans

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Work #3. Elevations

Elevation_01

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Work #3. Elevations

Elevation_03

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Work #3. Sections

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Work #3. Axonometric

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Work #4. Casting Model

a picture of the Space Cube model and the mold model

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a picture of the first mold model and three molds

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Work #4. Casting Model

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Work #4. Casting Model

pictures of foam-core board, plaster, and cement models

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J o c i l y n Cra in Portfolio 188

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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Work #1. Sequence of Wall, Column, and Space Selected Emotion

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Work #1. Sequence of Wall, Column, and Space_Sequence Model Views

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The twelve picture sequence I chose all provoked feelings of joy. The pictures reminded me of certain circumstances and moments in my life when I felt happy. Each picture is a scaled down version of the original photos I took earlier in the project. Recreating the feelings I felt the first time I studied them. The first picture I chose is from category three. The picture uses an eight foot flat wall that protrudes in front of the figure. Category three feels exhilarating like a passing train car by my childhood home that my Dad would take me to see every so often. Where we would lay coins on the track and reveal the molds created after the train passed. The second picture in my sequence is from category five. The picture uses an angled eight foot wall that the figure faces straight on. Category five 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. The third picture I chose is from category ten. The picture utilizes a floating eight by eight foot wall that the figure faces. Category ten is 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. The fourth picture from my sequence is from category fourteen. This picture uses an eight foot by sixteen foot wall angled that the figure is walking past. Category fourteen feels like a helping hand. The comfort of a shoulder to lean on and the warmth of a new friendship that came out of nowhere. The fifth picture in my sequence is from category sixteen. This picture uses an eight by sixteen foot flat wall that is raised like a ramp in front of the figure. Category sixteen feels 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. The sixth picture I used is from category seventeen. This picture uses another eight by sixteen foot flat wall used as a ramp angled in the opposite direction. Category seventeen feels strong and accomplished. Much like I just finished a workout. The affirming words from someone I look up to after I’ve done something difficult. The seventh picture in my sequence is from category nineteen. This picture uses two horizontal columns with the figure standing in between them. Category nineteen reminds me of entering a new era. A fresh start on something new. The eighth picture I used is from category twenty four. This picture utilizes two eight foot walls one angled and the other straight forward with two horizontal columns placed in front with a figure standing in between and a figure walking down the angled wall. Category twenty four feels like a reinvention. Those moments in my life that I did a full three sixty. The nineth picture in my sequence is from category twenty six. This picture uses an eight foot wall in front of a sixteen by eight wall with two vertically aligned columns with the figure walking past them. Category twenty six feels like a sunny, hot day, when a cloud covers me and relieves me of exhaustion. The tenth picture I used is from category twenty seven. This picture uses two eight foot walls adjacent to each other with two vertical aligned columns with walking in between. Category twenty seven feels like I am slipping through the cracks. Hiding away after I have done something sneaky and got away with it. The eleventh picture in my sequence is from category twenty eight. This picture uses two eight feet wall one positioned straight on and the other at an angle with two horizontal columns that the figure is walking towards. Category twenty eight feels new- refreshing. Almost like a deep breath of air once I have gotten over a stressful situation. The twelfth picture that I chose is from category thirty. This picture utilizes two eight by sixteen walls seamlessly put together to create a wide angle with the figure standing in the middle. Category thirty reminds me of slow changes. The kinds of change you do not recognize until they have happened.

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Work #2. Space Cube_First Space Cube Model

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In the next phase of the project, I scaled down my twelve sequences to a nine-by-nine cube. While still trying to reflect the emotion of joy. Picture, one uses a flat wall that gradually covers half of the figure. The proportions are harder to capture and the wall makes the figure look larger than in the original photo. The figure now stands a little taller than the wall. This also effected the feeling of joy in the picture because the figure now looks bigger than the wall and it loses the feeling of exhilaration. Picture, two also uses a flat wall that is aligned vertically with the figure. The figure stands taller than the wall in these photos the lighting was not affected. The feeling of joy was also not affected I still feel accomplished when looking at this photo. Picture, three uses two flat walls adjacent from each other with two columns placed vertically from each other the proportions in this photo remained pretty similar to the original. The emotion was also unaffected in the environmental changes in this photo. Picture, four uses one angled flat wall angled away from the figure. The figure stands taller than the wall and also has a darker shadow than intended making the picture darker there is also writing on the ceiling from where I measured obstructing the overall feeling of the picture. Picture, five uses two columns set horizontal from each other. The figure stands between them and while the proportion is the same the lighting is not correct to the original picture. As well as writing on the ceiling of this picture too- in return changing the overall feeling. Picture six, uses one flat angled wall fading behind another horizontal flat wall and two horizontal columns in front of the flat wall. Both of the figures in this picture while positioned in the correct places are bigger than intended and the lighting and angle of the picture are both different than the original. This picture feels more crowded than joyful. Picture, seven uses a floating flat wall that gradually covers the figure. The lighting is darker in this photo than in the original, but the sizes are pretty accurate. I still feel the feeling of joy and new opportunities in this photo. Picture eight, uses two flat horizontal walls and two vertical columns with the figure walking between them. The columns are proportionate to the figure however

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Work #2. Space Cube_Second Space Cube Model

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In the second space cube I designed I completely redesigned the cube and layout of my sequence and chose a new starting point and finishing point. I feel the new lay out feels more natural and works better to display the emotion of joy. Picture, one uses two columns set horizontal from each other with the figure standing between them. The Lighting is darker than the original however the figure is the right size compared to the scale of the objects. This picture is significantly better than the first cube I designed. Picture, two uses one flat angled wall and a horizontal wall with columns horizontal in front of the horizontal wall. The two figures are taller than the walls and can function in the space and the feeling of joy is still present. Picture, three uses a floating square that gradually covers the figure. The environmental factors and the human factors of this photo is almost exactly as the original so in return the feeling was portrayed exactly as I intended. Picture, four uses two flat walls adjacent from each other with a gap between them and two vertical columns that the figure walks past. Other than the figure standing taller than the original photo it replicates the feeling of joy. Picture, five uses one flat wall and one angled flat wall and two horizontal columns that the figure stands in front of. The lighting is off in this photo and the figure is taller than the walls. I still think this photo provokes feelings of joy. Picture, six uses two flat walls fused together to create an angle that the figure stand in front of the figure still stands taller than the wall so I need to make them larger. The photo is still similar to the first one and carried the same emotions. Picture, seven uses one flat wall that gradually covers the figure. This wall also needs to be made taller in order to cover the figure correctly. However, it is a lot cleaner and remains joyful. Picture, eight uses one flat wall positioned vertically aligned with the figure. The figure stands taller than the wall but the lighting is as intended. In return the emotion remains the same. Picture, nine uses two flat walls adjacent from each other and two columns vertically aligned that the figure walks past. However, the figure does not fit in the space

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Work #2. Space Cube_Last Space Cube Model

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I have created a scaled down version of my joy sequence and reviewed it and revised my ideas, gone back to the drawing board and continuously aimed to improve my design each time. As well as pick and choose what elements of my sequence best provokes the emotion of joy. After, taking in to consideration constructive criticism from my peers, and professors I came to the final product of my space cube. The first picture in my sequence uses two columns set horizontal from each other. The picture illuminates the figure and makes it look very clear while shading half the columns. In the final sequence joy is provoked. The second picture in my sequence uses two flat walls one angled and the other perpendicular with it. With two horizontal columns in front of the flat wall. The two figures are clear and look like they are walking into the light. The lighting changes that I made helped me achieve the feeling of joy. The third picture in my sequence uses two flat walls adjacent from each other with two columns vertically aligned. The figure is walking past them and the light is behind the figure. In my final sequence I changed the heights of the walls that made the figure look smaller and created a better feeling of joy. The fourth picture in my sequence uses a flat wall that gradually covers the figure. In my final space cube, I decided to not put the sequences in a box, so this picture is a lot more open. These changes heighten the feeling of happiness. The fifth picture in my sequence uses a flat wall vertically aligned with the figure. This figure is also in the open and the wall stands taller than the figure. The lighting and the space make this picture feel happy. The sixth picture in my sequence uses two flat walls parallel to each other and two columns vertically aligned and the figure is walking through them. This picture is out in the open as well but the lighting is a little dark and does not achieve the emotion of joy. The seventh picture in the sequence uses one flat wall. The wall is angled away from the figure and the figure is walking past the wall. This picture is out in the open and the lighting shades the wall making it a little darker than I wanted. The eighth picture in my sequence uses a flat wall vertically raised at an angle above the figure. This picture is out in the open and the lighting is behind the figure. The lighting and position of the wall provoke the emotion of happiness. The nineth picture in my sequence uses a flat wall angled away from the figure like a ramp. This picture is bright and out in the open these qualities I added make the figure look bigger. They also add to the feeling of joy. The tenth picture in my sequence uses two flat walls fused together at an angle. The figure looks smaller compared to the walls and the lighting is darker than I intended I should have adjusted the lighting to make it brighter in order to create to feeling of joy. The eleventh picture in my sequence uses two flat walls and two columns. One wall is straight and the other is angled and the two columns are horizontally positioned at the end of the walls. The lighting is behind the figure and makes the background darker. The emotion could bet presented better. The twelfth picture in my sequence uses one flat wall that is elevated above the figure. The lighting makes the figure look bright and bigger. The final progression of this picture presents the emotion of joy the best.

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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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Work #1. Sequence of Wall, Column, and Space Sadness

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For my Sequence model Project, I chose the emotion Sadness. Throughout the course of this assignment, I have felt that most of the photos we were instructed to take illustrated strong feelings of melancholy or jealousy. I found it easier for myself to create a mindset of the human figure, putting myself in their shoes. Since we had also already created these exact scenes, I wanted to add more dimension and create a thorough flow throughout each stage. Category 21: 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 distant and desolate as I can’t fully interact with another figure, they are out of reach. This image makes me resent the idea of interacting with another figure, I feel unwanted nor valuable enough. Category 29: These 7 images show the overall surroundings of 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 excluded as I watch two other human figures converse about an abject, while I’m left to observe from the outside. Category 31: These 17 images illustrate two walls that have been formed together to make a corner that continuously opens 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. As my body is pointed toward the cornering walls, I am trapped. These feelings could also be interpreted as sadness, since I have no one to interact with. Category 36: 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 am jealous that I am not on the outside facing the crowd having people cheer for myself. I have always felt like I have been left in the shadow. Category 42: 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 nervous and ashamed to think that I could ever go out into the real world and be myself. Behind those walls lie a whole word of monsters who will eat you alive if you do not meet their expectations. Category 46: 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. It’s almost as if every mistake I have ever made is being broadcasted to the whole world. Category 47: These images illustrate the different formations and combinations of columns and walls with 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. As I stare down into this ominous circular figure I question my entire life, deciding If I should jump and end it all. Category 48: 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 can discover different walls or figures that may not have been noticeable before. I have been shoved into a dark corner, no one around to see me because I have built walls around myself, rejecting anyone who attempts to join my life. Category 53: These images depict the emotions and stages of grief as our human figures watch 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. No one notices the outsiders, and it’s not to say its their fault, but It would be nice to have a friend. Category 49: 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 can see opposing points of views. I feel jealous as I watch my silhouette live the better version of my life. Category 59: 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 climb 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. Addiction is not something I take pride in; in fact I am ashamed. Category 54: These images show an illustration of 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. 96

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Category 21:This image illustrates a human with columns between themselves and another human. As one figure moves closer to the other figure, the opposing figure becomes obstructed by the clear column. For my first draft on the space cube assignment, category 21 has been shrunk to a smaller scale, given the size of the cube. There is not a distinct difference between the updated scenes except for the size of the area. I have also used clear acrylic columns instead of white plastic, I did this because I believe it looks more artistic and also conveys my message of isolation more clearly. This image makes me resent the idea of interacting with another figure, I feel unwanted or valuable enough.I feel restricted and compact, same as before. Category 29: This image illustrates a human figure moving through a combination of columns toward a second figure. As the first figure moves closer to the columns his outline becomes obstructed. I feel excluded as I watch two other human figures converse about an abject, while I’m left to observe from the outside. In my first draft of the space cube assignment I altered the amount of poles used in the scene due to space. It appeared extremely cluttered. Category 31: This new scene created from category 31 we are able to see a figure standing between a set of stairs and a wall that is opened up toward the figure, if the figure were to step back they would be trapped. As the figure moves away from the cornered walls they move out of frame towards the stairs. I feel scared at first, the cornered walls make me nervous given that there is no way out if I walk directly toward them, but as I turn to walk up the stairs I am relieved. Category 36: This new scene illustrates a scene of two figures, one standing in front of a curved wall while the other stands behind said wall. As the first figure is standing in the light, they block the other figure from the outside light source. I feel sad in this scene, I am cut off from the rest of the world with not a chance at having any sort of spotlight. Category 42: This scene depicts a tunnel-like curved wall area with a human figure standing before the turn. As the human figure moves past the column he begins to come closer to the center of the curved circle. I feel anxious to walk towards what could be within those walls. Category 46: This scene illustrates a figure sitting on a ledge with a skylight opening hung above him. As the figure moves farther towards the edge, he becomes closer to falling and farther away from the main building. I feel depressed as the light shines down on me, I do not feel worthy of being here therefore I continue to get closer to the edge. Category 47: For this category, I decided to slightly alter the scene by changing the shape of the whole in which the figure stands before, which is now a rectangular shape. As the figure moves closer they endangered themselves by falling down. I am Category 48: This image illustrates a human figure standing in the center of 4 columns with an opening from above. As the figure moves forward, he is no longer under the sky light and will enter through a doorway. I feel nervous as I enter through a doorway that I am not able to see behind. Category 53: In this new scene, there is a figure with his back towards the wall and a set of two figures connected behind with curved walls to separate the two groups. As the human figure moves past the group of two other humans his shadow becomes obstructed. Category 49: This scene illustrates a curved floating ceiling with a human figure standing below. As the human figure moves forward they are no longer being shadowed by the above surface. Category 59: This scene illustrates a human figure between 4 columns. As they begin to move forward they struggle. I feel drained from walking so much and hope I am close to the end. Category 54: This scene illustrates two figures across from each other on two separate floating surfaces. As the figure on the left moves forward he inches toward the edge. I feel envious of the figure across from me and want to become closer. Overall, these altered scenes relay the same message as compared to the other drafts btu with higher skill level and 98 tehcnicality.

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Category 21:This scene illustrates a figure in front of two walls connected. As the figure moves forward they become closer to a set of stairs. I feel paranoid as I cannot see what is behind me. Category 29: This scene illustrates two figures on separate decks/platforms with curved walls and a bridge separating them. As the first figure moves onto the bridge he joins the other figure on the second deck. I feel curious and nervous as I join the separate figure, for they may not enjoy my presence. Category 31: This scene illustrates a figure sitting on a bench-like shape under a ceiling with columns surrounding. As The figure moves out from under the ceiling he enters a more open space. I feel lonely sitting alone here, so I have decided to be brave and explore the open territory. Category 36: This scene illustrates a figure leaning against a column while in the background there are two figures connected. Between these figures are curved walls that hang from above them. As the first figure moves towards the two other figures, their outline becomes obstructed by the walls. I feel excluded and saddened by the fact that I do not have a companion like they do. Category 42:This scene illustrates two figures standing across from each other with columns surrounding. As one figure moves out from under the column area, they join the second figure and become very close. I feel angry as I conversate with this figure, I feel as though I need to become closer so they can understand what I am saying. Category 46: This scene illustrates a figure on the outside of a curved wall. As the figure moves around the wall they become close to the edge. I feel anxious as I am becoming nervously close to the edge of the floor with no railing. Category 47:This scene illustrates a figure standing on an elevated surface with a circle on the floor. As the figure moves close to the circular hole they eventually fall through. I feel saddened by the fact that I have forced myself to make this treacherous jump. Category 48:This scene illustrates a figure sitting on the ledge with two pipe-like objects hanging above. As the figure moves closer to the pipe on the right they become sucked up. I feel curios and addicted as I move closer to the pipe, I cannot resist its energy. Category 53:This scene illustrates a human figure laying inside of a casket shaped object. As the figure had fallen from above in a past scene, they have now layed down. I feel numb and hopeless as I take my last breaths. Category 49: This scene illustrates a human figure standing before a set of arranged columns. As the figure moves forward they weave around the set of columns. I feel confused as I walk around these columns, I am not sure why they have been placed here but there must be an explanation. Category 59:This scene illustrates a figure standing in the middle of 4 columns. As the figure moves forward they enter a new space of openness. I feel relieved to have moved away from this intense portal. Category 54: This scene illustrates two figures placed across from each other on separate surfaces. As one moves forward the other inches away resulting in obstruction of their figures. I am scared to get so close to the edge but I have to place myself in closer proximity to my enemy. Overall, these scenes depict a new set of stories that I have interpreted through creativity and interpretation.

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Category 21: This scene illustrates two figures standing across from one another with 4 columns surrounding. As 1 figure steps back the other figure becomes more distant and separated. I feel excluded since my fellow figure seems to be in some sort of w=ring of columns while I am left behind. Category 29: This scene depicts some sort of showing while two figures are surrounding an exhibit and the 3rd is farther back in the distance observing. As the human figure walks towards the 2 fellow figures he weaves between columns. I feel curious to see what these two figures are conversing about and would like to join although I am not sure I am wanted. Category 31:This scene shows a figure standing before two walls cornered together with a set of stairs ahead. As the human figure moves away from the set of walls conjoined together they become closer to approaching the stairs. I feel safe as I slowly become farther away from the claustrophobic sets of cornered walls, they make me feel unsafe and pressured. Category 36: This scene depicts a set of figures separated by a short curved wall between them as well as another wall to the left that is straight, acting as a railing away from the edge.As the human figure to the left of the curved wall walks forward they pass the curved wall as well as the other figure. I feel excluded at first as I pass the human figure who is entrapped between the wall wall and curved wall, but then soon realize I would feel too suffocated in that space anyways so I continue on. Category 42: This scene illustrates two human figures on a 2 part balcony with a small bridge connecting them. As the first human figure passes the column, they travel across the skinny narrow bridge like construction to the other side as they join the other figure. I feel envious of the other human figures. I am curious as to why they are in the position that they are and want to find out for myself what lies ahead. Category 46: This scene depicts a human figure standing in an area that holds tall ceilings and 4 columns to support said ceiling. As the human figure moves forward they remove themselves from below the rectangular cutout in the ceilings.I am scared of what might happen if I stay in place below the cutout in the ceiling given the fact that I am not able to fully see what is coming from above. Category 47: This scene shows a human figure standing before a circular cutout in the ground of the second floor. As the human figure moves towards the hole they eventually drop through and land on the ground. I am confused with myself and the life I have created, therefore I have decided to take the chance of allowing myself to explore the possibilities of falling through this trap. Category 48: This scene illustrates a human figure sitting on some sort of couch with two columns separating them from the existing area. As the human figure begins to move closer inside the seating, they become more sheltered and obscured by the light. I am ashamed of who I am and the only way I know of helping myself is to hide my body so I know I am not to be found. Category 53: This scene illustrates a human figure lying in a casket on the ground with a half circle sort of shape hanging above them. As the human figure lies there, they begin to become obscured by the casket door shutting. I feel hopeless and saddened by the fact that I feel I have reached my full potential. There is nothing left for me to give. Category 49: This category illustrates two figures sitting across from each other on separate surfaces that are floating. As the figure on the left inches closer attempting to reach the other, the become closer to the edge of the surface. I am jealous of the figure sitting across for me as they are who I desire to be. I know in my heart that I am at my full potential. Category 59: This scene illustrates a figure sitting on the ground with two spout looking cylinders pointing towards the figure. As the human inches closer towards the more wiry spout with light pouring out he is sucked in. I feel addicted and lost as I follow this string light, I can’t help my temptation.

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Category 54: This scene illustrates a figure leaned up against a column with two curved pieces draping behind in the back, as well as another set of two figures on one another’s shoulders. As the two figures on eachothers shoulders move closer, they become more clear and less of a blur. I feel saddened by the fact that I do not have a partner. 231

After finishing my final draft of my space cube model, I can tell a noticable differnce in the craftmanship and detailed areas.

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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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Work #1. Sequence of Wall, Column, and Space Fear

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The emotion selected for this project was fear. In its most basic form, fear evokes a significantly specific response that is individualistic changing from person to person. In this project specifically, these photographs along with the physical model are aimed to take the viewer through a structure that evokes this visceral response. From tight crawl spaces to larger-than-life walls, this structure is engineered to draw out the uncomfortability and anxiety within each individual viewer. 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. 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. 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. 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. 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. 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. 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. 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. 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. 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. 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. Category: #50 Void between curve-linear Surfaces (You can develop your own organic pattern) 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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Work #2. Space Cube_First Space Cube Model

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The emotion selected for this project was fear. In its most basic form, fear evokes a significantly specific response that is individualistic changing from person to person. In this project specifically, these photographs along with the physical model are aimed to take the viewer through a structure that evokes this visceral response. From tight crawl spaces to larger-than-life walls, this structure is engineered to draw out the uncomfortability and anxiety within each individual viewer. Especially with a shortened 9”x 9”x 9” cube, the feelings of anxiety and fear are immensely overstated. From the entrapped walls and thin corners, to the steep inclines and winding path, this newer compressed model brings to light all of the expressive features of fear. 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. 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. 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. 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. 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. 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. 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. 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. 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. 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. 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. Category: #50 Void between curve-linear Surfaces (You can develop your own organic pattern) 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. 97 259

Work #2. Space Cube_Second Space Cube Model

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The emotion selected for this project was fear. In its most basic form, fear evokes a significantly specific response that is individualistic changing from person to person. In this project specifically, these photographs along with the physical model are aimed to take the viewer through a structure that evokes this visceral response. From tight crawl spaces to larger-than-life walls, this structure is engineered to draw out the uncomfortability and anxiety within each individual viewer. Especially with a shortened 9”x 9”x 9” cube, the feelings of anxiety and fear are immensely overstated. From the entrapped walls and thin corners, to the steep inclines and winding path, this newer compressed model brings to light all of the expressive features of fear. Category #9: 8ft high floating and aligned wall. This category allows 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. With a smaller frame of view here in the smaller model, the human figure is confined to a limited area, causing more of an anxious feeling. Category #15: Floating wall surface facing edge with an incline. In this category, 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. With a smaller viewpoint in this 9” x 9” x 9” cube, the human figure is able to experience a more intense level anxiety and fear in a more pointed manner. Category: #17 Inclined ramp to facing wall This category illustrates 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. The enclosed space here allows for the human figure to have more of an encapsulated feel rather than an open floorplan. Category: #21 Four Columns: This category’s photograph shows 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. Within the cubic constraints of this project, the human figure experienced more of a suffocated feeling behind the construction of the four columns. Category: #29 Space composed with 5+ columns and 2 walls This category evokes 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. While being pushed into this cubic structure, the human figure is able to experience the increasing pressing constriction in a brand-new way. Category: #33 Three connected walls This category allows 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. Constricting walls and viewpoints in this new cube forces the human figure to see from one tight vantage point. Category: #34 Curved wall inside In this category, 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. Category: #35 Curved wall outside This category depicts 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. Category: #37 Entering into a space between Parallel Curved Walls This category illustrates 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. In this smaller cube, there is a stress on the lighting and constriction that these parallel curved walls make. Category: #44 Curved wall and S-curve wall In this category, 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. Category: #45 1-point perspective pictures: Void on the upside This category allows 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. Even in the smaller cube, the void can still be seen, however, there is a hyper-fixation on the lighting conditions. Category: #50 Void between curve-linear Surfaces (You can develop your own organic pattern) This category illustrates 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. 99

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The emotion selected for this project was fear. In its most basic form, fear evokes a significantly specific response that is individualistic changing from person to person. In this project specifically, these photographs along with the physical model are aimed to take the viewer through a structure that evokes this visceral response. From tight crawl spaces to larger-than-life walls, this structure is engineered to draw out the uncomfortability and anxiety within each individual viewer. Especially with a shortened 9”x 9”x 9” cube, the feelings of anxiety and fear are immensely overstated. From the entrapped walls and thin corners, to the steep inclines and winding path, this newer compressed model brings to light all of the expressive features of fear. Category #9: 8ft high floating and aligned wall. This category portrays an aligned floating wall with a human figure facing directly head-on. As you move through the model, the human figure loses their viewpoint to their right side, however, the rest of their vantage point is clear. I feel that walking through this space, there is a sense of emphasis on the aligned wall, as well as the lines and shapes that are used to form this space. This leaves the human figure with a feeling of tremendous anxiety on top of uncomfort. Category #15: Floating wall surface facing edge with an incline. In this category, there is an illustration of an angled facing edge floating in front of a human figure. Moving through the model, the human figure is met with this angled floating wall which seems to block their path using line, space, and contrast. All of these factors move together to allow the human figure to experience fear, Category: #17 Inclined ramp to facing wall This category shows the viewer how an inclined ramp oriented to a facing wall affects a human figure. While moving to this category in the model, the human figure is met with a complete obstruction of their frontal view. I felt as though the world was curling in front of me as I was met with a massive incline. The use of emphasis and form for this category allows the human figure to be exposed to true fright. Category: #21 Four Columns This category conveys four columns closing in on a singular human figure. As the human figure moves into this category, they gain a sense of claustrophobia from the pressing wall configuration. I felt that walking through this space I am completely closed in and unable to move throughout the space. The configuration of this space comes across to the viewer as scary or fearful because of the heightened values and shapes used here. Category: #29 Space composed with 5+ columns and 2 walls This category portrays the crushing space of two converging walls with a column blocking the way of a human figure. When moving to this category, the human figure has no free space to move about, they are squeezed into a small crease. I felt as if the world was closing in around me as I walked through this converging hallway. The space that was used in this design lends itself to this crushing feeling as well as the frail feeling. Category: #33 Three connected walls In this category, there are their walls that are connected with a human figure within them. As the human figure moves to this category, they are greeted with an enclosed space with one entrance and one exit. I felt as if I was walking into darkness without any sort of roadmap, filling me with fear and anxiety. From a design standpoint, the main points in this category are the lines and value that are built into this structure. Category: #34 Curved wall inside This category illustrates the effects of a curved wall inside on a human figure. As the human figure moves to this final category in the sequence, they are met with a larger-than-life wall that curves around them. I felt as if I was completely insignificant standing next to such an astounding wall. The emphasis and line work in this category lends itself to that frail and insignificant feeling that the human figure experiences. Category: #35 Curved wall outside This category shows the viewer the connection between a human figure and an outside curved wall. While the human figure approaches this category, they walk up to a massive, curved wall that blocks their path. I felt as if I was being forced to move in a different direction see as how this massive wall was blocking my way. The emphasis, space, and form of this category complete its purpose by filling the human figure with fear and despair. Category: #37 Entering into a space between Parallel Curved Walls This category conveys the effects of a human figure as they enter a section between two parallel curved walls. As the human figure walks through this category, they are only able to walk in the path that is outlined for them, leaving no freedom. I felt as if I had no choice in this situation, filling me with frustration and hesitation. Art elements such as the line design in this category convey that feeling of only having one option to move. Category: #44 Curved wall and S-curve wall In this category, there is an illustration of a curved wall and an s-curved wall, and their connection to a human figure. As the human figure moves to this category, they are met with another section where they have no freedom to move, there is only one walkable path. I felt fearful in this situation to know what was on the other side of this dark path knowing that I cannot go anywhere else. Again, here there is an overwhelming use of line design to convey these emotions. Category: #45 1-point perspective pictures: Void on the upside This category portrays how a voided square affects a human figure. As the human figure approaches this category, they are met with a drop off with no certain floor. I felt that as I was approaching this hole in the floor there was nothing beneath filling me with fear and anxiety. Designing this space with form and space in mind, allows the human figure to experience all these emotions. Category: #50 Void between curve-linear Surfaces (You can develop your own organic pattern) In this category, the viewer is able to see the connection between an organic void and a human figure. As the human figure enters this category, they get a new lighting condition that comes through the void above them. I felt that as I moved through this space, there was a sense of something looming above me. 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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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Space cube paragraphs 1-9 with intro For my space cube i decided to make a 9x9 inch cube with 9 rooms. These 9 rooms are divided on 3 levels spread out 3 inches apart height-wise. The cube has inner walls dividing the rooms but no walls on the outside to allow for viewing. In each of the rooms I kept the same designs I had in my other recent projects. I kept to concept of fear by not quite making the paths clear or put together to go to the next floor and level. I also kept the same room designs allowing me to make a design that held the same concept. 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 It could drop on my heads making me not want to move forward. 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. 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. 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 I feel like I should not continue because the lighting is making it scary. 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. 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 the 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. 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 like a trip and makes me want to follow it. 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. 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 the 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 asylum because the lighting is very different.

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The second draft of my space cube is the better-crafted project of all the drafts. As I continue to build my space cube to make it fearful I have come to the conclusion that I would be more successful making my emotion discomfort. Throughout all of my rooms I have slightly altered the original categories to make them more uncomfortable than they originally were. In my paragraphs I will add what additions I have made and explain how they show discomfort not instead of fear. Some other discomfortable features that the pictures do not include are the staris with the missing step and the path to the next room with missing floor. 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 category but is overcome by a lifted 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 It could drop on my heads making me not want to move forward. So for my category when the wall is lifted it makes the room annoying and uncomfortable because I would have to get around the wall before I can continue on my path Category #13: Wall surface with an incline • Wall surface with an incline is a photograph that shows a wall that is to the left of the human. The wall is then tilted to about 45 degrees. The human is walking underneath the structure. When I look at this scene, 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. Category: #21 Four Columns: • Four columns is a pair of two images showing 4 columns set in a square for ym scene I added an open square roof. The man is standing in the middle 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. I feel uneasy being in this room. Category: #26 Two Walls and two Columns with two lighting conditions_02 • Two Walls and two Columns with two lighting conditions is a picture where there are two perpendicular walls with an opening in between the two. The columns Guide the path of where the human goes that is placed in the middle of them in the pictures. When I look at these images I feel like I should not continue because the lighting is making it scary and I do not know what is around the walls. 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 facing away from the camera. The human is walking in between the two walls. In the pictures where the curves are facing away I feel scared to enter because the walls are huge and I have no way to see what is around them unless I go through them. Category: #38 Entering a space between curved mirror walls_01 • Entering a space between curved and mirrored walls is a picture that shows similar sized curves that are set parallel to each other. The human figure appears the 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. Also the space in the middle of the curves is tiny making it uncomfortable to get through. Category: #44 Curved wall and S-curve wall • Curved wall and s curve wall is an image that shows 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 getannoyed and uncomfortable. The s curved wall makes this entrance feel like a trip and makes me want to avoid it. I also cut out the floor where the path isnt making it uncomfortable and the wall is just below the handrail height also making that uncomfortable. 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 a circle with a circle in it for these pictures. Right below the light the human is standing so they are lit from the top. When I see these pictures I feel anxious that the circle could wall through the opening and I’m not sure how to get aground it. Category: #46 Void on the upside with columns or walls • Void on the upside with columns or walls is another picture similar to 45 because they have the hole in the ceiling which gives a specific light shape from above in this one a square. 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 asylum because the lighting is very different and the columns are spaced out making the room feel odd. 101 293

Work #2. Space Cube_Last Space Cube Model

Phase #1: Category #

Phase #2: Category #

Phase #3: Category #

Phase #4: Category #

Phase #5: Category #

Phase #6: Category #

Phase #7: Category #

Phase #8: Category #

Phase #9: Category #

102 294

The third draft of my space cube is the best-crafted project of all the drafts. As I continue to build my space cube to make it fearful I have come to the conclusion that I would be more successful making my emotion discomfort. Throughout all of my rooms I have slightly altered the original categories to make them more uncomfortable than they originally were. In my paragraphs I will add what additions I have made and explain how they show discomfort not instead of fear. Some other uncomfortable features that the pictures do not include are the stairs with the missing step and the path to the next room with missing floor. Some things I have added from the second to my third is I cleaned up the lines and edges. I made all of the finishes completely fit so my final looked complete. 1 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 category but is overcome by a lifted 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 It could drop on my heads making me not want to move forward. So for my category when the wall is lifted it makes the room annoying and uncomfortable because I would have to get around the wall before I can continue on my path 3 Category #13: Wall surface with an incline • Wall surface with an incline is a photograph that shows a wall that is to the left of the human. The wall is then tilted to about 45 degrees. The human is walking underneath the structure. When I look at this scene, 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. 4 Category: #21 Four Columns: • Four columns is a pair of two images showing 4 columns set in a square for my scene I added an open square roof. The man is standing in the middle 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. I feel uneasy being in this room. 2 Category: #26 Two Walls and two Columns with two lighting conditions_02 • Two Walls and two Columns with two lighting conditions is a picture where there are two perpendicular walls with an opening in between the two. The columns Guide the path of where the human goes that is placed in the middle of them in the pictures. When I look at these images I feel like I should not continue because the lighting is making it scary and I do not know what is around the walls. 5 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 facing away from the camera. The human is walking in between the two walls. In the pictures where the curves are facing away I feel scared to enter because the walls are huge and I have no way to see what is around them unless I go through them. 8 Category: #38 Entering a space between curved mirror walls_01 • Entering a space between curved and mirrored walls is a picture that shows similar sized curves that are set parallel to each other. The human figure appears the 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. Also the space in the middle of the curves is tiny making it uncomfortable to get through. 9 Category: #44 Curved wall and S-curve wall • Curved wall and s curve wall is an image that shows 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 getannoyed and uncomfortable. The s curved wall makes this entrance feel like a trip and makes me want to avoid it. I also cut out the floor where the path isnt making it uncomfortable and the wall is just below the handrail height also making that uncomfortable. 7 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 a circle with a circle in it for these pictures. Right below the light the human is standing so they are lit from the top. When I see these pictures I feel anxious that the circle could wall through the opening and I’m not sure how to get aground it. 6 Category: #46 Void on the upside with columns or walls • Void on the upside with columns or walls is another picture similar to 45 because they have the hole in the ceiling which gives a specific light shape from above in this one a square. 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 asylum because the lighting is very different and the columns are spaced out making the room feel odd. 103 295

Work #2. Space Cube_Series of Space Cube Models

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104

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Work #3. Floor Plans

298

106

20' 107 299

Work #3. Floor Plans

108 300

109 301

Work #3. Elevations 20

15'

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110 302

15'

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111 303

Work #3. Elevations 20

15'

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112 304

15'

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113 305

Work #3. Sections 20

15'

, 1

114 306

20'

115 307

Work #3. Axonometric

116 308

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Work #4. Casting Model

118 310

119 311

Work #4. Casting Model

Top

Bottom

Front

Back

120 312

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Work #4. Casting Model

122 314

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L and r y Dula Port foli o 316

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

1 317

Work #1. Sequence of Wall, Column, and Space Selected Emotion

Phase #1: Category #

Phase #2: Category #

Phase #3: Category #

Phase #4: Category #

Phase #5: Category #

Phase #6: Category #

Phase #7: Category #

Phase #8: Category #

Phase #9: Category #

Phase #10: Category #

Phase #11: Category #

Phase #12: Category #

94 318

LANDRY DULA

95 319

Work #1. Sequence of Wall, Column, and Space_Sequence Model Views

Phase #1: Category #58

Phase #2: Category #38

Phase #3: Category #29

Phase #4: Category #30

Phase #5: Category #33

Phase #6: Category #2

Phase #7: Category #10

Phase #8: Category #9

Phase #9: Category #19

Phase #10: Category #7

Phase #11: Category #12

Phase #12: Category #47

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Work #2. Space Cube_First Space Cube Model

Phase #1: Category #58

Phase #2: Category #38

Phase #3: Category #29

Phase #4: Category #30

Phase #5: Category #33

Phase #6: Category #2

Phase #7: Category #10

Phase #8: Category #9

Phase #9: Category #19

Phase #10: Category #7

Phase #11: Category #12

Phase #12: Category #47

98 322

My selected emotion was fear. I found that the feeling was a common occurrence throughout all the categories primarily because a lot of the photos consisted of floating objects or walls atop of the figures, resulting in the felling of being trapped or surrounded. My strategy in choosing the order that the photos ended up in was finding similarities within them to find a way to transition easily from one to another with a story. The story that I developed is a very familiar feeling to young women like myself, the fear of a man following and cornering her into a bad situation. The setting is a gallery, when a man arrives alone and approaches a woman who is also alone and very clearly uncomfortable because of the man and his strange demeanor. The woman comes up with an excuse to get out of the conversation she is in and gets away, but not for long. The man approaches her for the second time only this time she has even less of an escape route. After remembering that the museum is meant to feel tight enclosed and trapped, this might be one of her last opportunities to get away, the woman takes off and runs away when she feels that the situation has escalated and was getting very uncomfortable. The man tries to go after her to find her, only to find nothing but the confusing walls and format of the art in the gallery. I used a sphere with a curved wall behind the sphere to create an obstructed view and separation in the contents behinso the sphere can remain as the focal point of the scene. The figure is standing to the right of the build looking toward the center. This makes me feel scared thinking about how the sphere emerges from the ground, and also makes me question whether or not it will continue to rise. In this category photo there is two tall, curved walls positioned very close together. A figure is walking directly forward in-between the two walls that has a very small opening. This makes me feel scared because the space is so tight I fear getting stuck in-between or the walls moving closer together and squishing the figure. In this category is five columns and two walls set up like an obstacle for the figure to navigate through. 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 trying to determine which direction to go. Two walls are connected at a 90 degree angle and shaped like the letter “L”. there is a woman standing with her back facing the back wall and a man in front of her, facing her, closest to the wall on the right. This category make me feel scared because if the woman didn’t want to be near that man or standing in that spot anymore, it makes for a possibly scary, or awkward situation to navigate out of the “L” shape to walk away. There are tree walls set up at 90 degrees each, with figures inside like a room. There is a man closer to the wall on the left, facing the enclosed section and the woman who is standing in the center of the back wall facing the man. This category make me feel scared for the same reason as the previous category, if the woman didn’t want to be near that man or standing in that spot anymore, it makes for a possibly scary, or awkward situation to navigate out of the shape to walk away. This photo has a singular standing wall. There is a man walking on the edge of the right side of the wall. This photo makes me feel scared because of the angle of the wall, the figures view is obstructed of what is behind the wall and they are approaching it. This category has a square shape on the back wall as if it is being displayed like a piece of artwork. There is a man standing out in front of the square, slightly to the right, viewing it. This makes me scared because what if the handing square were to drop from the wall and fall forward and crush the human? This photo is of a floating wall attached to a back wall. The floating wall is slight left and out in-front of a man, with the narrow end parallel to the figure. This makes me feel scared because what if it were to keep protruding out toward the figure and eventually hit them? This category photo has two columns vertically aligned. There is a figure out in front of the columns and to the left, approaching them. This makes me feel scared and intimidated because the large columns look like they would be very heavy and if they were to fall on the human, it could injure them. This photo is of a very short wall sitting on the ground horizontally. There is a man standing out in front of the wall, facing it. The makes me scared because if someone were to not see the wall when looking straight out ahead of them, the could tri over it and hurt themselves. This category is a cutout square raised a level above the ground. There is a man standing very close, and facing the inside of the square. This makes me feel scared because what if someone were to fall on the inside of the square and get stuck. This picture is of a cutout square similar to the previous category only this one has a raised overhead floating surface, with a narrow wall connected and going straight down through the larger square cutout. This makes me feel scared for the same reason as the previous category, what if someone were to fall on the inside of the square and get stuck, it could be very deep.

99 323

Work #2. Space Cube_Second Space Cube Model

Phase #1: Category #58

Phase #2: Category #38

Phase #3: Category #29

Phase #4: Category #30

Phase #5: Category #33

Phase #6: Category #2

Phase #7: Category #10

Phase #8: Category #9

Phase #9: Category #19

Phase #10: Category #7

Phase #11: Category #12

Phase #12: Category #47

100 324

My selected emotion was fear. I found that the feeling was a common occurrence throughout all the categories primarily because a lot of the photos consisted of floating objects or walls atop of the figures, resulting in the felling of being trapped or surrounded. My strategy in choosing the order that the photos ended up in was finding similarities within them to find a way to transition easily from one to another with a story. The story that I developed is a very familiar feeling to young women like myself, the fear of a man following and cornering her into a bad situation. The setting is a gallery, when a man arrives alone and approaches a woman who is also alone and very clearly uncomfortable because of the man and his strange demeanor. The woman comes up with an excuse to get out of the conversation she is in and gets away, but not for long. The man approaches her for the second time only this time she has even less of an escape route. After remembering that the museum is meant to feel tight enclosed and trapped, this might be one of her last opportunities to get away, the woman takes off and runs away when she feels that the situation has escalated and was getting very uncomfortable. The man tries to go after her to find her, only to find nothing but the confusing walls and format of the art in the gallery. Furthermore, each photo differed from Phase 1 in size, many of the photos were scaled down to fit in a smaller space, other than that there was little to no change in the photos. I used a sphere with a curved wall behind the sphere to create an obstructed view and separation in the contents behind so the sphere remained the focus of the photo. The figure is standing to the right of the build looking toward the center. The sphere emerging from the ground makes me scared that it could have hurt someone standing underneath. In this category photo there is two tall, curved walls positioned very close together. A figure is walking directly forward in-between the two walls that has a very small opening. This makes me feel scared because the space is so tight I fear getting stuck in-between or the walls moving closer together and squishing the figure. In this category is five columns and two walls set up like an obstacle for the figure to navigate through. 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 the scene reminds me of a maze and it is very easy to get lost in mazes. Two walls are connected at a 90 degree angle and shaped like the letter “L”. there is a woman standing with her back facing the back wall and a man in front of her, facing her, closest to the wall on the right. This category make me feel scared because if the woman didn’t want to be near that man or standing in that spot anymore, it makes for a possibly scary, or awkward situation to navigate out of the “L” shape to walk away. There are tree walls set up at 90 degrees each, with figures inside like a room. There is a man closer to the wall on the left, facing the enclosed section and the woman who is standing in the center of the back wall facing the man. This category make me feel scared for the same reason as the previous category, if the woman didn’t want to be near that man or standing in that spot anymore, it makes for a possibly scary, or awkward situation to navigate out of the shape to walk away. This photo has a singular standing wall. There is a man walking on the edge of the right side of the wall. This photo makes me feel scared because the figures view is obstructed and therefore cannot see possible danger that could be behind the wall. This category has a square shape on the back wall as if it is being displayed like a piece of artwork. There is a man standing out in front of the square, slightly to the right, viewing it. This makes me scared because the figure seems to be memorized by the piece, what if they are being hypnotized and didn’t even realize it was happening until it was too late. This photo is of a floating wall attached to a back wall. The floating wall is slight left and out in-front of a man, with the narrow end parallel to the figure. This makes me feel scared because what if the wall were to fall off the back wall onto the floor, would the figure get hurt? This category photo has two columns vertically aligned. There is a figure out in front of the columns and to the left, approaching them. This makes me feel scared and intimidated because if the columns were to fall, they could be very heavy and injure the figure. This photo is of a very short wall sitting on the ground horizontally. There is a man standing out in front of the wall, facing it. The makes me scared because if someone were to not see the wall when looking straight out ahead of them, the could tri over it and hurt themselves. This category is a cutout square raised a level above the ground. There is a man standing very close, and facing the inside of the square. This makes me feel scared because what if someone were to fall on the inside of the square and get stuck. This picture is of a cutout square similar to the previous category only this one has a raised overhead floating surface, with a narrow wall connected and going straight down through the larger square cutout. This makes me feel scared for the same reason as the previous category, what if someone were to fall on the inside of the square and get stuck, it could be very deep.

101 325

Work #2. Space Cube_Last Space Cube Model

Phase #1: Category #58

Phase #2: Category #38

Phase #3: Category #29

Phase #4: Category #30

Phase #5: Category #33

Phase #6: Category #2

Phase #7: Category #10

Phase #8: Category #9

Phase #9: Category #19

Phase #10: Category #7

Phase #11: Category #12

Phase #12: Category #47

102 326

My selected emotion was fear. I found that the feeling was a common occurrence throughout all the categories primarily because a lot of the photos consisted of floating objects or walls atop of the figures, resulting in the felling of being trapped or surrounded. My strategy in choosing the order that the photos ended up in was finding similarities within them to find a way to transition easily from one to another with a story. The story that I developed is a very familiar feeling to young women like myself, the fear of a man following and cornering her into a bad situation. The setting is a gallery, when a man arrives alone and approaches a woman who is also alone and very clearly uncomfortable because of the man and his strange demeanor. The woman comes up with an excuse to get out of the conversation she is in and gets away, but not for long. The man approaches her for the second time only this time she has even less of an escape route. After remembering that the museum is meant to feel tight enclosed and trapped, this might be one of her last opportunities to get away, the woman takes off and runs away when she feels that the situation has escalated and was getting very uncomfortable. The man tries to go after her to find her, only to find nothing but the confusing walls and format of the art in the gallery. Furthermore, each photo differed from Phase 1 in size, many of the photos were scaled down to fit in a smaller space, other than that there was little to no change in the photos. I used a sphere with a curved wall behind the sphere to create an obstructed view and separation in the contents behind so the sphere remained the focus of the photo. The figure is standing to the right of the build looking toward the center. This makes me feel scared because what if whatever is behind the obstructed view is dangerous? it could be dangerous an the figure isn’t able to see it because of the sphere and wall blocking their view. In this category photo there is two tall, curved walls positioned very close together. A figure is walking directly forward in-between the two walls that has a very small opening. This makes me feel scared because the space is so tight I fear getting stuck in-between or the walls moving closer together and squishing the figure. In this category is five columns and two walls set up like an obstacle for the figure to navigate through. 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 trying to determine which direction to go. Two walls are connected at a 90 degree angle and shaped like the letter “L”. there is a woman standing with her back facing the back wall and a man in front of her, facing her, closest to the wall on the right. This category make me feel scared because if the woman didn’t want to be near that man or standing in that spot anymore, it makes for a possibly scary, or awkward situation to navigate out of the “L” shape to walk away. There are tree walls set up at 90 degrees each, with figures inside like a room. There is a man closer to the wall on the left, facing the enclosed section and the woman who is standing in the center of the back wall facing the man. This category make me feel scared for the same reason as the previous category, if the woman didn’t want to be near that man or standing in that spot anymore, it makes for a possibly scary, or awkward situation to navigate out of the shape to walk away. This photo has a singular standing wall. There is a man walking on the edge of the right side of the wall. This photo makes me feel scared because of the angle of the wall, the figures view is obstructed of what is behind the wall and they are approaching it. This category has a square shape on the back wall as if it is being displayed like a piece of artwork. There is a man standing out in front of the square, slightly to the right, viewing it. This makes me scared because what if the handing square were to drop from the wall and fall forward and crush the human? This photo is of a floating wall attached to a back wall. The floating wall is slight left and out in-front of a man, with the narrow end parallel to the figure. This makes me feel scared because what if it were to keep protruding out toward the figure and eventually hit them? This category photo has two columns vertically aligned. There is a figure out in front of the columns and to the left, approaching them. This makes me feel scared and intimidated because the large columns look like they would be very heavy and if they were to fall on the human, it could injure them. This photo is of a very short wall sitting on the ground horizontally. There is a man standing out in front of the wall, facing it. The makes me scared because if someone were to not see the wall when looking straight out ahead of them, the could tri over it and hurt themselves. This category is a cutout square raised a level above the ground. There is a man standing very close, and facing the inside of the square. This makes me feel scared because what if someone were to fall on the inside of the square and get stuck. This picture is of a cutout square similar to the previous category only this one has a raised overhead floating surface, with a narrow wall connected and going straight down through the larger square cutout. This makes me feel scared for the same reason as the previous category, what if someone were to fall on the inside of the square and get stuck, it could be very deep.

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Work #2. Space Cube_Series of Space Cube Models

104 328

329

105

Work #3. Floor Plans

106 330

107 331

Work #3. Floor Plans

108 332

109 333

Work #3. Elevations

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111 335

Work #3. Elevations

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113 337

Work #3. Sections

114 338

115 339

Work #3. Axonometric

116 340

117 341

Work #4. Casting Model

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Work #4. Casting Model

Top

Bottom

Front

Back

Left

Right

120 344

Top

Bottom

Front

Back

345

Left

Right

Work #4. Casting Model

346

122

347

123

Ha ley Eargle Port foli o 348

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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Work #1. Sequence of Wall, Column, and Space Selected Emotion

Phase #1: Category #

Phase #2: Category #

Phase #3: Category #

Phase #4: Category #

Phase #5: Category #

Phase #6: Category #

Phase #7: Category #

Phase #8: Category #

Phase #9: Category #

Phase #10: Category #

Phase #11: Category #

Phase #12: Category #

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Work #1. Sequence of Wall, Column, and Space_Sequence Model Views

Phase #1: Category #

Phase #2: Category #

Phase #3: Category #

Phase #4: Category #

Phase #5: Category #

Phase #6: Category #

Phase #7: Category #

Phase #8: Category #

Phase #9: Category #

Phase #10: Category #

Phase #11: Category #

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The emotion I chose was fear due to the amounts of pictures that evoked unsettling feelings due to large obstruction, constricting spaces and haunting feelings within the images. The strategies I used to create these scenes within the sequence creation truly was scaling it down and still making the space functional. I struggled to create a space that looked visually pleasing meanwhile being able to photograph the images in the same way. The 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 the example I chose appeared to give little to no room for me to move forward, however the lighting is inside, the space to move forward seems larger. The photos demonstrate how the curved wall at different lengths looks in comparison to the human figure moving in different paths. When the walls change, the human figure appears in different proportions. In the image I chose, the large walls that I could move forward through but felt restricted on either side of me. The photos show 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 specific photo I chose of the human figure appears small. The 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. In the image I chose, it is a larger wall that makes the human figure appear very small compared to the wall. The images illustrate how the curved wall and straight 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 and appears as different sizes. The wall in the image I chose show the easy movement forward through the walls with little to no obstruction forward but constriction from either side. The photos illustrate how the walls, void and columns at different positions look 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. However, in the image I chose, the human figure appears to be trapped in the box with restriction if it were to move around too much. The photos illustrate how the void appears at different sizes and shapes in comparison to the human figure. When the position changes, the human figure appears in different conditions. The example I chose leave room to move forward with no obstruction and highlight the figure with the lighting from the voids that appear in the room to be haunted. 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 feels closed off due to the vertical wall going through the void. The light going through the void gives the entire scene an eerie feeling. The six photos capture how the walls 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 but more from the left side. The lighting shining though the space gave the scene a creepy feeling. The 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. The image I chose was at 90 degrees, the wall completely blocked my way, leaving me feeling unable to move forward. The photographs illustrate a human figure walking past the thin part of a wall on the left. As the human figure moves past the wall, it becomes decreasingly less obstructed. In the image I chose, in the fifth image, the human figure can move freely again after completely passing the wall that he appears to be frustrated and storming past the wall.

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Work #2. Space Cube_First Space Cube Model

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The emotion I chose was fear due to the amounts of pictures that evoked unsettling feelings due to large obstruction, constricting spaces and haunting feelings within the images. The strategies I used to create these scenes within the cube creation truly was scaling it down and still making the space functional. I struggled to create a space that looked visually pleasing meanwhile being able to photograph the images in the same way. This first draft was more of a struggle than anything, however, leaves lots of room to improve in my next cubes. The original 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 the example I chose are smaller in comparison to the sequence model and give little to no room for me to move forward. The original photos demonstrate how the curved wall at different lengths looks in comparison to the human figure moving in different paths. When the walls change, the human figure appears in different proportions. In the image I chose, the walls in the are smaller in comparison to the sequence model that I could slightly move forward through but felt restricted on either side of me. The original photos show 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 specific photo I chose the walls in the example are smaller in comparison to the sequence model of the human figure appears constricted. The original 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. In the image I chose the walls in the example I chose are smaller in comparison to the sequence model and make the human appear the same size as the wall and appears claustrophobic. The original images illustrate how the curved wall and straight 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 and appears as different sizes. The wall in the image I chose is smaller in comparison to the sequence model the previous easy movement forward through the walls now is more constricted and lots of constriction from either side. The original photos illustrate how the walls, void and columns at different positions look 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. However, in the image the walls in the example are smaller in comparison to the sequence model and the human figure appears to be trapped in the box with restriction if it were to move around even a little. The original photos illustrate how the void appears at different sizes and shapes in comparison to the human figure. When the position changes, the human figure appears in different conditions. In the example the walls are smaller in comparison to the sequence model and leave room very little room to move forward with no obstruction and highlight the figure with the lighting from the voids that appear in the room to be haunted and claustrophobic. The original 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 walls in the example I chose are smaller in comparison to the sequence model and the smaller void doesn’t allow me to move forward whatsoever. However, the space feels closed off due to the vertical wall going through the void. The light going through the void gives the entire scene an eerie feeling. The original six photos capture how the walls 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. The walls in the example I chose are smaller in comparison to the sequence model and I had little to no possibility of moving forward and felt restricted from both sides but more from the left side. The lighting shining though the space gave the scene a creepy feeling. The original 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. The image I took the walls are smaller in comparison to the sequence model, however the wall was still at 90 degrees, the wall completely blocked my way, leaving me feeling unable to move forward. The original photographs illustrate a human figure walking past the thin part of a wall on the left. As the human figure moves past the wall, it becomes decreasingly less obstructed. In the image, the walls in the example I chose are smaller in comparison to the sequence model, the human figure can move freely again after completely passing the wall that he appears to be walking into an unknown space.

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Work #2. Space Cube_Second Space Cube Model

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The emotion I chose was fear due to the amounts of pictures that evoked unsettling feelings due to large obstruction, constricting spaces and haunting feelings within the images. The strategies I used to create these scenes within the cube creation truly was scaling it down and still making the space functional. I struggled to create a space that looked visually pleasing meanwhile being able to photograph the images in the same way. This first draft was more of struggle than anything, however, leaves lots of room to improve in my next cubes. The second draft was honestly more of a struggle since I was creating a more functional, visually pleasing and utilize more craftmanship. In my final images, I successfully captured my desired emotion and depicted images that were correctly taken. The original 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. Within this final version of the model, I left sufficient space for me to photograph, and the walls appeared to give little room for me to move forward. The original photos demonstrate how the curved wall at different lengths looks in comparison to the human figure moving in different paths. When the walls change, the human figure appears in different proportions. I could slightly move forward through but felt restricted on either side of me. Within this final version of the model, I created more space within the platform to place my model elements and correctly made this image fully able to be photographed. The original photos show 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. Within this final version of the model, the human figure appears constricted to depict fear and can move left or right but not forward. The original 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. Within this final version of the model, the human appears the same size as the wall and appears claustrophobic due to the closeness to the wall. The original images illustrate how the curved wall and straight wall at different heights and different positions looks in compar son to the human figure. When the position changes, the human figure appears in different conditions and appears as different sizes. Within this final draft of the model, the slight movement forward through the walls is possible, yet would feel very constricting and lots of constriction from either side. The original photos illustrate how the walls, void and columns at different positions look 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. However, within this final version of the model the human figure appears to be unable to move very freely due to the size of the small box. The original photos illustrate how the void appears at different sizes and shapes in comparison to the human figure. When the position changes, the human figure appears in different conditions. Within this final draft of the model, the walls leave room very little room to move forward with no obstruction and the lighting from the voids that appear in the room appear haunted and claustrophobic. The original 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. Within this final version of the model the void doesn’t allow me to move forward whatsoever. However, the space feels closed off due to the vertical wall going through the void. The light going through the void that gave the entire scene an eerie feeling. The original six photos capture how the walls 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. Within this final version of the model, I had little to no possibility of moving forward and felt restricted from both sides but more from the left side. The lighting though the space gave the scene a creepy feeling. The original photographs illustrate how the angle of the wall facing the human figure gradually changes at 10-degree incr ments 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. The wall was still at 90 degrees, the wall completely blocked my way, leaving me feeling unable to move forward. Within final version of the model, the wall I placed was smaller than every other model, however still captured the essence of facing a wall. The original photographs illustrate a human figure walking past the thin part of a wall on the left. As the human figure moves past the wall, it becomes decreasingly less obstructed. In the image, within this final version of the model, the human figure can’t move completely freely and after completely passing the wall and he appears to be walking into an unknown space.

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Work #2. Space Cube_Last Space Cube Model

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The emotion I chose was fear due to the amounts of pictures that evoked unsettling feelings due to large obstruction, constricting spaces and haunting feelings within the images. The strategies I used to create these scenes within the cube creation truly was scaling it down and still making the space functional. I struggled to create a space that looked visually pleasing meanwhile being able to photograph the images in the same way. This first draft was more of a struggle than anything, however, leaves lots of room to improve in my next cubes. The second draft was honestly more of a struggle since I was creating a more functional, visually pleasing and utilize more craftmanship The original 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. Within this draft two of the model, I left less space for me to photograph, and the walls appeared to give little to no room for me to move forward. The original photos demonstrate how the curved wall at different lengths looks in comparison to the human figure moving in different paths. When the walls change, the human figure appears in different proportions. I could slightly move forward through but felt restricted on either side of me. Within this draft two of the model, I created more space within the platform to place my model elements. However, I still struggled to include lighting due to the restriction with the added walls. The original photos show 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. Within this draft two of the model, the human figure appears constricted especially more than the other images due to my struggle to fit all the elements into the cube. The original 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. Within this draft two of the model, the human appears the same size as the wall and appears extremely claustrophobic. I struggled to fit this image into my cube, The original images illustrate how the curved wall and straight 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 and appears as different sizes. Within this draft two of the model, the slight movement forward through the walls now is more constricted and lots of constriction from either side due to my changing and rearranging of elements. The original photos illustrate how the walls, void and columns at different positions look 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. However, within this draft two of the model the human figure appears to be trapped in the box with restriction if it were to move around even a little. I struggled to make the void to scale in this model. The original photos illustrate how the void appears at different sizes and shapes in comparison to the human figure. When the position changes, the human figure appears in different conditions. Within this draft two of the model, the walls leave room very little room to move forward with no obstruction and I failed to highlight the figure with the lighting from the voids that appear in the room whereas before they were meant to appear haunted and claustrophobic. The original 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. Within this draft two of the model the smaller void doesn’t allow me to move forward whatsoever. However, the space feels closed off due to the vertical wall going through the void. The light going through the void that gave the entire scene an eerie feeling I struggled to include within this draft 2. The original six photos capture how the walls 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. Within this draft two of the model, I had little to no possibility of moving forward and felt restricted from both sides but more from the left side. The lighting, again, was a struggle to include shining though the space gave the scene a creepy feeling. The original 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. The wall was still at 90 degrees, the wall completely blocked my way, leaving me feeling unable to move forward. Within this draft two of the model, the wall I placed was smaller than every other model due to restriction of space. The original photographs illustrate a human figure walking past the thin part of a wall on the left. As the human figure moves past the wall, it becomes decreasingly less obstructed. In the image, within this draft two of the model, the human figure can’t move freely again due to the placement of my elements and after completely passing the wall and he appears to be walking into an unknown space.

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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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Work #1. Sequence of Wall, Column, and Space For this project, I selected anger as my emotion because that is exactly what I was at the time, angry.

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Work #1. Sequence of Wall, Column, and Space_Sequence Model Views

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To invoke a sense of anger, I created a scene where a man is chasing his lover through a maze. In the end, he cannot find her and instead finds another man. Each category was specially chosen to create this maze. I found that each image from each category made me feel many different emotions, which, to me, is quite frustrating because you cannot pick just one. One curved wall surrounds a person. The pictures show varied sizes, widths, heights, and lighting around the person. This made me feel entrapped because there was nowhere else to go other than around the space. 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 large home, as the walls were tall, and the lighting made it seem as if it went on forever. 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. A ceiling with a void cut into the center of it hovers 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. 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 all the other buildings and down to the street. 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 distinct positions. This made me feel confused, as the curve seemed to have no purpose and the void with the lighting made me feel like the focus was on me in my confused state. An S-curved wall is placed on the left of a curved wall with room to walk through. The pictures display 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. 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 unwelcome in the space I was in. 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. 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 an exceptionally 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 highlight how large the space can feel from every angle. 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 large space. 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.

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Work #2. Space Cube_First Space Cube Model

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Work #2. Space Cube_Second Space Cube Model

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Originally, to invoke a sense of anger, I created a scene where a man is chasing his lover through a maze. In the end, he cannot find her and instead finds another man. Each category was specially chosen to create this maze. I found that each image from each category made me feel many different emotions, which, to me, is quite frustrating because you cannot pick just one. However, when revising my model to turn it into the space cube, I realized some much-needed changes had to be made. Reviewing my structure helped me realize that it struggled to convey feelings of anger. The space was quite easy to walk through and straightforward; so, for my model, I tried to confuse the space and allow for more emotions to be felt whilst inside. For my second model, I tried to organize the space because it seemed scarier than it did angry. One curved wall surrounds a person. The pictures show varied sizes, widths, heights, and lighting around the person. This made me feel entrapped because there was nowhere else to go other than around the space. 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 large home, as the walls were tall, and the lighting made it seem as if it went on forever. 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. A ceiling with a void cut into the center of it hovers 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. 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 all the other buildings and down to the street. 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 distinct positions. This made me feel confused, as the curve seemed to have no purpose and the void with the lighting made me feel like the focus was on me in my confused state. An S-curved wall is placed on the left of a curved wall with room to walk through. The pictures display 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. 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 unwelcome in the space I was in. 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. 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 an exceptionally 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 highlight how large the space can feel from every angle. 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 large space. 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.

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Work #2. Space Cube_Last Space Cube Model

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Introduction to the pace Cube or my final space cube, I did not make any changes to the design itself other than curving the staircase more and perfecting my craftmanship to the best of my abilities. I think my design was successful overall, however in the end, my space invokes an emotion of confusion rather than anger. Anger and confusion can reside on the same plane, but they are not the same. Categorical xplanation and tory The person walking through my story begins inside of a curved wall. The wall acts as a stage to show that he is the center of attention and the main character of the entire story. e seems lost and without direction. e then see him pass around the wall to his right and through another curved wall directly behind it. The walls are situated far enough apart to allow room for him to pass. owever, the space is cramped. After he passes through the hallway, he finds a small edge that is exceedingly di cult to walk over. e then turns around and wonders why the space was so small. e is frustrated because nothing makes sense to him, and he is confused as to where he is going. e then walks along the s-curved wall and finds another space. owever, this time it is too small to walk through. e is becoming increasingly upset because a theme of confusion is following him through the space. e then turns around and finds a doorway. e peers through to the other side and sees a new and accessible area. e finds himself excited because he thinks that the space will finally make sense. As he passes through the doorway he is met with a staircase and another curved wall. e looks down and sees that the stairs create a square void. is feeling of excitement stays with him. e begins to walk down the stairs. The curve of the wall creates a pathway that forces the person to continue down the stairs. owever, he decides to have a seat and wait for a moment to catch his brain up to speed. As he continues down the staircase, he realizes that they are far too steep and not tall enough for a person of his stature to pass through. is exciting feelings immediately dissipate, and he finds himself angrier than before. e comes to the bottom of the staircase and sees an opening. e passes in between a column that has no purpose along a wall. As he gets closer to the edge, he realizes that there is no opening, and there is only a drop off. e then turns around to see a ridiculously small opening that looks like it should be a doorway. e realizes that is the only way he can go in order to get out of the space. e gets down and crawls through the gap. hile he passes through his feelings of anger increase. hen he makes it through the gap he turns around and stares at the space he was just forced to crawl through. hen he turns around, he sees a bridge. e is entirely annoyed because there does not appear to be an exit. After he crosses over the bridge, there is a vertically curved wall that makes him feel claustrophobic and two columns that create an opening. e walks around to the columns and sees that the only way out is to jump. e is angry and does not know what to do.

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Work #2. Space Cube_Series of Space Cube Models

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Work #3. Floor Plans

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Work #3. Floor Plans

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Work #3. Elevations

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Work #3. Elevations

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Work #3. Sections

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Work #3. Axonometric

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Work #4. Casting Model

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Work #4. Casting Model

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Work #4. Casting Model

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Ka y ly n n G ra fe Port fo lio 412

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? -

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Work #1. Sequence of Wall, Column, and Space Selected Emo�on

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Work #1. Sequence of Wall, Column, and Space_Sequence Model Views

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96 416

For this project I chose emo�on fear. I wanted to show the journey of following a path or one’s goals without knowing what’s ahead. I chose this because I feel that many of my peers and I are in a situa�on like this and so are many other people. This �me in a person’s life can be filled with uncertainty of what the future holds, and we don’t necessarily know what is ahead of us. I wanted to represent this through making a pathway through the different categories we have used. The first category shows a side wall with two pillars across from them with a small opening towards the back of the side wall. The figure is not obscure by any walls or columns and the figure stands in front of the opening in the back of the pose. I wanted the pose of the figure and the set up of this category to seem as if they are taking the next big step in their life and in this case into the next scene. The scene includes a straight back wall and then a circular wall to the far right in front of the straight wall crea�ng a small opening in between them. In certain angles the figure does look covered by the curved wall. I wanted to give the sense of the unknown by not being able to see behind the curved wall. This scene pictures a long-curved wall with a small pillar in between it and a circular wall, the circular wall stands in front of the first curved wall. The figure is shown going in between the two walls. I was aiming for a feeling of being unsure of what’s ahead because the circular wall is blocking the view of the exit into the next scene, I wanted to give it a slightly uneasy feeling not knowing where you are going Scene four shows a slightly curved back wall crea�ng an S shape with a circular wall in front of it. The figure stands in front of the slightly curved wall I wanted them to look like they were about to walk through the small space in between the curved wall and the circular wall, I angled the person to look as if they are peering into the space in between the two walls. I wanted this scene to also feel uncertain or uneasy by having the character standing right before the opening in between the walls to represent another uncertain part in one journey to their goal. The fi�h set up shows three pillars spaced horizontally. The figure is posi�oned in between the first and second pillar slightly behind them but not being blocked by them. I wanted this scene to appear simple because there are �mes in our goals when things slow down and seems straight forward. The sixth set up shows a vary curved wall in the back with another shorter wall making a semi-circle in front of this wall the two walls making a corridor. I had the figure slightly angled to appear to be peering around the corner of the outside wall into the next scene. I wanted this to represent the moments in where the journey to our goals seems long and uncertain. The seventh scene is quite similar in set up to the fourth scene except where the back wall for the fourth scene is mor of an S shape the wall in this scene is more of a slightly curved wall and the walls are much closer together crea�ng a �nier pathway. I did this to show the expecta�ons and goals we set for ourselves becoming more apparent or closing in around us. I wanted this to feel more claustrophobic with the small amount of space in between the walls. The eight scene shows just a simple long curved wall connec�ng with the back wall of the previous scene. The figure follows the curve of the wall into the next scene. I wanted this to feel almost too simple as there are �mes when our journey to our goals does seem to have its easier moments. I want to show that our journey is not always hard but not always simple either. The ninth scene shows two short walls, one poin�ng to the back wall and another wall. However, this one is moved towards the front of the scene and on the right side instead of the le� side of the scene to represent a sort of pathway. There are also two pillars that are in front of each other next to the first wall. I wanted the pillar in the front to also make it seem like there are two pathways so two choices in where to go. I have the figure in between the pillars and in front of the far-right wall. I chose this because I wanted it to seem like the figure is making a choice in which way to go because one way leads into con�nuing your journey to reach your goal and the other leads to nothing or away from your goals. I wanted this to seem like a choice because the choices in our lives can influence if we are able to achieve our goals or not. The tenth scene shows two walls angled towards each other to form an opening into a scene of pillars formed into a circle with a very �ny pillar in the center of these to form a si�ng area. The figure is placed si�ng on the smaller pillar in the middle of the circle of pillars. I wanted this to represent hesita�on or fear of moving forward as I wanted it to seem like the figure is contempla�ng to move forward with their goals as we have all contemplated if what we are a�er is worth it or not. The eleventh scene shows a second floor with a square void in the middle of this floor that has a very curved surface coming out of the bo�om of that void onto the bo�om floor. The figure is shown at the biggening of this curved surface and on the bo�om floor. I wanted this to seem like a very steep or daun�ng task to get to the top of the second floor as a last push to reach the end of your goal as the last step to our goals some�mes seem like the hardest. Lastly the final scene shows a large ver�cal wall with a square void in the middle with a horizontal rectangular surface to represent a floor in the middle of this square void. I have my figure si�ng at the edge of the rectangular surface. I wanted this to represent the end of the current goal and the drop off being the future showing the uncertainty and fear of what comes next and if the figure should make the jump into the next phase of their life.

97 417

Work #2. Space Cube_Second Space Cube Model

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For this project I chose emo�on fear. I wanted to show the journey of following a path or one’s goals without knowing what’s ahead. I chose this because I feel that many of my peers and I are in a situa�on like this and so are many other people. This �me in a person’s life can be filled with uncertainty of what the future holds, and we don’t necessarily know what is ahead of us. I wanted to represent this through making a pathway through the different categories we have used. My main problem I had with the space cube was trying to figure out a set up. For my second space cube I started by removing all the walls. The first category shows a side wall with two pillars across from them with a small opening towards the back of the side wall. The figure is not obscure by any walls or columns and the figure stands in front of the opening in the back of the pose. With the space cube I felt that I struggled to find the right sizing of each piece . I changed the height of my walls and curved walls to 2 inches. The scene includes a straight back wall and then a circular wall to the far right in front of the straight wall crea�ng a small opening in between them. In certain angles the figure does look covered by the curved wall. When I was scoring the board the hardest part was finding how thick my cuts should be because while ¼ inch worked fine on the large sequence model, it did not work in crea�ng a curved wall in the sized down space cube. To change this on my second space cube I switched to every 1-8th of an inch which made it much easier to bend into circular shapes. This scene pictures a long-curved wall with a small pillar in between it and a circular wall, the circular wall stands in front of the first curved wall. The figure is shown going in between the two walls. I was aiming for a feeling of being unsure of what’s ahead because the circular wall is blocking the view of the exit into the next scene. I felt I had trouble laying out a good layout to where the scenes would s�ll flow together since it’s a 9x9x9 instead of my long sequence model where I did not have to worry about that as much. To change this I curved my scenes into almost a spiral instead of just having them be on the very edges of the 9x9x9 and had them raised with pillars to every 3/4th of an inch for each scene to I could fit all the scenes on the given space. Scene four shows a slightly curved back wall crea�ng an S shape with a circular wall in front of it. The figure stands in front of the slightly curved wall I wanted them to look like they were about to walk through the small space in between the curved wall and the circular wall, I angled the person to look as if they are peering into the space in between the two walls. Again with the right sized cuts for the curved walls because the pieces were too big, it was harder to arrange the walls in an actual no�ceable curve. Having the cuts being every 1/8th of an inch made smoother more circular looking circles and curvier walls however they were hard to break apart when scoring the board. The fi�h set up shows three pillars spaced horizontally. The figure is posi�oned in between the first and second pillar slightly behind them but not being blocked by them. The dowel rods took forever to cut and on all of the walls and columns I had neglected to make sure the walls and pillars were taller than my figure so when I compared a figure to them, the figures head peaked over the walls and pillars. To fix this issue I changed the height of all the walls and pillars to 2 inches. The sixth set up shows a vary curved wall in the back with another shorter wall making a semi-circle in front of this wall the two walls making a corridor. I had the figure slightly angled to appear to be peering around the corner of the outside wall into the next scene. Again with arranging the scenes to match with the next one, because this was the end of the last scene on the second floor it need to connect somehow with the scene and floor above however with the way my box was set up, it would have made an awkward way of ge�ng around it. With changing to a spiral shape in the second space cube, this made it easier to make the scenes run into each other. The seventh scene is quite similar in set up to the fourth scene except where the back wall for the fourth scene is mor of an S shape the wall in this scene is more of a slightly curved wall and the walls are much closer together crea�ng a �nier pathway. I did this to show the expecta�ons and goals we set for ourselves becoming more apparent or closing in around us. The walls on all sides except for the front made it a challenge to place walls and items inside. I completely removed the walls in the second space cube and instead use pillars to hold up each floor or scene The eight scene shows just a simple long curved wall connec�ng with the back wall of the previous scene. The figure follows the curve of the wall into the next scene. I wanted this to feel almost too simple as there are �mes when our journey to our goals does seem to have its easier moments. Making the scenes run smoothly together was a challenge. The ninth scene shows two short walls, one poin�ng to the back wall and another wall. However, this one is moved towards the front of the scene and on the right side instead of the le� side of the scene to represent a sort of pathway. There are also two pillars that are in front of each other next to the first wall. I wanted the pillar in the front to also make it seem like there are two pathways so two choices in where to go. I have the figure in between the pillars and in front of the far-right wall. I chose this because I wanted it to seem like the figure is making a choice in which way to go because one way leads into con�nuing your journey to reach your goal and the other leads to nothing or away from your goals. This scene in par�cular was very awkward because it was right under scene ten and they both use pillars and are supposed to flow into each other some however this was not the case as the scenes were in different levels. This scene is now not below the tenth and is instead next to it. The tenth scene shows two walls angled towards each other to form an opening into a scene of pillars formed into a circle with a very �ny pillar in the center of these to form a si�ng area. The figure is placed si�ng on the smaller pillar in the middle of the circle of pillars. This scene was not that hard to make smaller as I only need the make the circle smaller. The only thing changed was changing the heights of the pillars to two inches. The eleventh scene shows a second floor with a square void in the middle of this floor that has a very curved surface coming out of the bo�om of that void onto the bo�om floor. The figure is shown at the biggening of this curved surface and on the bo�om floor. Because I had my measurements wrong for the space cube and my figures end up bigger then the height of most of the walls, the figure was not able to stand underneath the hanging void. Again, changed the height to two inches Lastly the final scene shows a large ver�cal wall with a square void in the middle with a horizontal rectangular surface to represent a floor in the middle of this square void. I have my figure si�ng at the edge of the rectangular surface. The floor that was used for the rest of the scenes in the space cube seem very awkward right underneath the ledge the figure is supposed to sit on. I changed the height. I cut off the excess material so it’s a straight drop down from the ledge

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Work #2. Space Cube_Last Space Cube Model

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102 420

For this project I chose emo�on fear. I wanted to show the journey of following a path or one’s goals without knowing what’s ahead. I chose this because I feel that many of my peers and I are in a situa�on like this and so are many other people. This �me in a person’s life can be filled with uncertainty of what the future holds, and we don’t necessarily know what is ahead of us. I wanted to represent this through making a pathway through the different categories we have used. My main problem I had with the space cube was trying to figure out a set up. The first category shows a side wall with two pillars across from them with a small opening towards the back of the side wall. The figure is not obscure by any walls or columns and the figure stands in front of the opening in the back of the pose. With the space cube I felt that I struggled to find the right sizing of each piece . The scene includes a straight back wall and then a circular wall to the far right in front of the straight wall crea�ng a small opening in between them. In certain angles the figure does look covered by the curved wall. When I was scoring the board the hardest part was finding how thick my cuts should be because while ¼ inch worked fine on the large sequence model, it did not work in crea�ng a curved wall in the sized down space cube. This scene pictures a long-curved wall with a small pillar in between it and a circular wall, the circular wall stands in front of the first curved wall. The figure is shown going in between the two walls. I was aiming for a feeling of being unsure of what’s ahead because the circular wall is blocking the view of the exit into the next scene. I felt I had trouble laying out a good layout to where the scenes would s�ll flow together since it’s a 9x9x9 instead of my long sequence model where I did not have to worry about that as much. I used the element of form to make a cylinder and a curved wall Scene four shows a slightly curved back wall crea�ng an S shape with a circular wall in front of it. The figure stands in front of the slightly curved wall I wanted them to look like they were about to walk through the small space in between the curved wall and the circular wall, I angled the person to look as if they are peering into the space in between the two walls. Again with the right sized cuts for the curved walls because the pieces were too big, it was harder to arrange the walls in an actual no�ceable curve. The fi�h set up shows three pillars spaced horizontally. The figure is posi�oned in between the first and second pillar slightly behind them but not being blocked by them. The dowal rods took forever to cut and on all of the walls and columns I had neglected to make sure the walls and pillars were taller than my figure so when I compared a figure to them, the figures head peaked over the walls and pillars. The sixth set up shows a vary curved wall in the back with another shorter wall making a semi-circle in front of this wall the two walls making a corridor. I had the figure slightly angled to appear to be peering around the corner of the outside wall into the next scene. Again with arranging the scenes to match with the next one, because this was the end of the last scene on the second floor it need to connect somehow with the scene and floor above however with the way my box was set up, it would have made an awkward way of ge�ng around it. Shape was the used art element. The seventh scene is quite similar in set up to the fourth scene except where the back wall for the fourth scene is mor of an S shape the wall in this scene is more of a slightly curved wall and the walls are much closer together crea�ng a �nier pathway. I did this to show the expecta�ons and goals we set for ourselves becoming more apparent or closing in around us. The walls on all sides except for the front made it a challenge to place walls and items inside. The eight scene shows just a simple long curved wall connec�ng with the back wall of the previous scene. The figure follows the curve of the wall into the next scene. I wanted this to feel almost too simple as there are �mes when our journey to our goals does seem to have its easier moments. Making the scenes run smoothly together was a challenge. I used the art element of space to show the length of the curved wall and the size of the figure compared to that wall The ninth scene shows two short walls, one poin�ng to the back wall and another wall. However, this one is moved towards the front of the scene and on the right side instead of the le� side of the scene to represent a sort of pathway. There are also two pillars that are in front of each other next to the first wall. I wanted the pillar in the front to also make it seem like there are two pathways so two choices in where to go. I have the figure in between the pillars and in front of the far-right wall. I chose this because I wanted it to seem like the figure is making a choice in which way to go because one way leads into con�nuing your journey to reach your goal and the other leads to nothing or away from your goals. This scene in par�cular was very awkward because it was right under scene ten and they both use pillars and are supposed to flow into each other some however this was not the case as the scenes were in different levels. Line was used to show the walls. The tenth scene shows two walls angled towards each other to form an opening into a scene of pillars formed into a circle with a very �ny pillar in the center of these to form a si�ng area. The figure is placed si�ng on the smaller pillar in the middle of the circle of pillars. This scene was not that hard to make smaller as I only need the make the circle smaller. I used the art elements of lines to create pillars that reach into the sky. The eleventh scene shows a second floor with a square void in the middle of this floor that has a very curved surface coming out of the bo�om of that void onto the bo�om floor. The figure is shown at the biggening of this curved surface and on the bo�om floor. Because I had my measurements wrong for the space cube and my figures end up bigger then the height of most of the walls, the figure was not able to stand underneath the hanging void. Form was used to show the curve and rise of the curved surface. Lastly the final scene shows a large ver�cal wall with a square void in the middle with a horizontal rectangular surface to represent a floor in the middle of this square void. I have my figure si�ng at the edge of the rectangular surface. The floor that was used for the rest of the scenes in the space cube seem very awkward right underneath the ledge the figure is supposed to sit on. Space is used to show the openness off the ledge and the void below it.

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Work #2. Space Cube_Series of Space Cube Models

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Work #3. Eleva�ons

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Work #3. Sec�ons

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Work #3. Axonometric

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Work #4. Cas�ng Model

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Work #4. Cas�ng Model

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Bentley Gunn Port foli o 442

What I learned...

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Work #1. Sequence of Wall, Column, and Space Selected Emotion ANGER

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Work #1. Sequence of Wall, Column, and Space_Sequence Model Views

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13 Paragraphs I chose to select the emotion anger for this Space Cube project. I felt as if the wall, column, and space project was focused on blocking or interfering the human figure with these structures. I chose anger based on this thinking process of the human figure being blocked and unable to get around the structures in these settings. My strategy while creating this model was to make sure that in every scene some type of wall, column, or space was blocking their path. As humans we usually get angry when something doesn’t go our way, in my model my human figure is blocked at every turn it makes. While working through all 3 models I made changes. When creating the first model, I wanted to just get my idea from my mind into something physical. I needed to make sure every wall fit inside the 9 by 9 cube. It was difficult to figure out where things should go. I came up with the idea to make my model eye appealing, but when walking through you feel the emotion of anger. With the first model, all my categories were still in somewhat of an order similar to the last model we created. By the final model my categories were out of order due to the fact itt just made more sense to the eye and created a maze-like feeling which I was centering my model around. I do think I achieved a maze-like model with the last attempt, but I do think it could have been less cluttered. The clutter adds to the feeling of anger. White cutting the foam board I also had to make some changes in order for the final to look clean. In my second model I had a hard time getting the foam board to cut a cylinder in a clean way, so in the last model that was a change I had to make. With the first and second model my columns were a lot taller than my human figures. With my last model I decided to make the columns as tall or even shorter than the human figure. I wanted it to add a more cluttered feeling, because personally that would make me angry. I started this project by thinking of how I wanted to create this cube. I wanted the walls/outside of this model to be very simple so it wouldn’t take away from what is going on inside of it. I also knew I wanted to add layers. I had 3 different types of walls, so I wanted to add layers and separate each type of wall on a floor. I started with the first floor as all straight walls. The walls are always blocking the human figure, but are still straight. This first floor really helps set the mood for the maze type feeling. As we are ready for the second floor we are stuck with a ladder to get up. Personally I would much rather have stairs, so I felt as if a ladder added to the emotion of anger. As we approach the second floor we can right away tell there is a lot going on. It is feeling very cluttered, and very intimidating with the cylinders and curved walls. I wanted the second floor to have curved walls because it is just one step up from straight walls. As we walk through the second floor we see stars leaving to floor 3 and 4. We may be happy there are finally stairs now, but they are all messed up. We get more angry. When we got to these floors we now noticed there were columns. Adding the columns with walls makes the human figure feel irritated as to why they are there, why they are placed weirdly, and why they are so short. Both floors 3 and 4 have the same type of feel. We then see another ladder leading us up to the 5th and final floors. This is really almost pushed up to the limit because now there is another ladder! As we get up to the second floor we are pushed past the limit now. There are walls blocking us and columns blocking us from going any farther. We would now have to go all the way back down to even get out. This really makes the human figure angry and feel as if they might explode. When doing the last and final model I really started to connect with the emotion. At first I was just going along with the anger emotion I picked, but while building and putting together this model and these categories, I started to get angry with how it was turning out. I loved the design and the throughout process behind this because I really now see my emotion through this model. From seeing others models I do think my portrays a story and really connected with my emotion. I first chose the emotion of anger because I thought it would be easy, but I realized that was not the case. I finally realized the emotion and rhythm of my model with the final attempt. I had such a fun time playing with not only mine but my callmates’ creative thinking. It was fun to challenge myself with an emotion I would have never picked and I am really glad I did so.

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Work #2. Space Cube_First Space Cube Model

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Work #2. Space Cube_Second Space Cube Model

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Work #2. Space Cube_Series of Space Cube Models

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Work #4. Casting Model

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Ad ia n Hampton Port foli o 472

What I learned...

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Work #1. Sequence of Wall, Column, and Space Selected Emotion:

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Fear

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Work #1. Sequence of Wall, Column, and Space_Sequence Model Views

Phase #1: Category #12

Phase #2: Category #15

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Phase #12: Category #58

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Figures in the ark Category 57 shows a large wall with many appendages that create strangely shaped shadows which, in perspective, can be creatively interpreted to be coming off of many different things. The figurine stands near the wall leaning forward as if to try and get a closer look without moving towards it, as if he is scared to approach since he does not know what is over there. This is the fear of the unknown personified, as the figure’s posture looks very uneasy and almost tense, and the fact that you could be staring something straight down and still be unable to see it properly makes this scene even more frightening. Inescapable Anxiety The final scene is from category 58, which centers around a large sphere freestanding at the edge of the structure. Two figures are shown here, one seemingly trapped underneath the sphere but is actually only barely holding it on their back, and the other looking on from the side. This is another double meaning scene, with one being the feeling of helplessness from being trapped under something so gigantic and heavy compared to one’s self, afraid of what will happen when you finally give out, and the other is a representation of the inescapable reality that is having anxiety. Anyone with anxiety knows how hard it is to get over it if such a thing is possible , even with the best treatments money can buy, and how living with anxiety feels like you are constantly carrying around this huge weight on your back that you can never set down. The weight only becomes easier to carry as you learn how to live with it, no matter how much you s uirm trying to get out from under it, there is no way to fully escape. Additionally, it can feel rather lonely which often makes it worse, as people may sympathize and be there for you, yet there is nothing they can do necessarily to make things better nor can they understand what it feels like to be in your position, living in fear.

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Work #2. Space Cube_First Space Cube Model

Phase #1: Category #12

Phase #2: Category #15

Phase #3: Category #16

Phase #4: Category #21

Phase #5: Category #29

Phase #6: Category #31

Phase #7: Category #37

Phase #8: Category #44

Phase #9: Category #45

Phase #10: Category #57

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Phase #11: Category #58

When I would show people the pictures I took from earlier this week, I was often told that they were dark and scary, so when we were given the choice of an emotion to exemplify in model form, I of course chose fear. Fear presents itself in many ways, as it is an intensely uncomfortable primal response to any perceived threat, so I wanted to portray various types of fear and combine it into one structure. My model is meant to be very dense with a disordered and unpredictable se uence that progressively gets more intense as you follow it, with heavy emphasis on a cramped spaces leading to areas you can not perceive until you actually get there. The major themes I wanted to invoke were claustrophobia namesake , loneliness fear of being alone and fear of not being alone, anxiety, and survivable heights drops, and the categories I chose that I felt best brought all of them out were 12, 15, 16, 21, 29, 31, 39, 44, 45, 48, 57, and 58. Sinking Feeling The se uence starts with category 12, where the focus is on a lowered floor surrounded by a raised floor that can not be seen at eye level from the pit, with a very thin staircase leading up to the next scene meant to be so thin, one could never find balance. The figurine stands in the center of the lowered floor, appearing to look flustered and confused as to how to get out, yet alone she remains with no one in sight to assist. iewing this scene from her perspective made me feel helpless, as she is essentially stuck with no clear way out, and even if there was someone to help, she would not be able to see unless they were standing directly above her, which just brings out that feeling even more. Trust Fall Category 15 is taken from a sideways perspective, with a piece of the floor seeming to end directly upward, yet when taken out of perspective, it is actually an extension of the previous room protruding outwards for an inconceivable distance. The figure is walking down the wall, oblivious to the fact she is walking on a wall and not the floor, into a dark area. This is the precursor of fear, where blind faith is misplaced, yet nothing has happened that would imply that anything is wrong, yet to everyone else it is clear that once the gravity’ of her situation catches up, an intense feeling of vulnerability and betrayal would likely soon follow. Invitation Category 16 uses the other half of the floor wall from 15, and shows it protruding out from the dark, inviting someone to approach and see where it leads, with the space under being so low that you would have to crawl in order to proceed. The figure stands at the front end of it, unsure whether to proceed or not, since the intentions of the path are impossible to gleam unless he were to follow it. This gave me an uneasy feeling, where this uncertainty factor could have deadly implications. Trapped Category 21 showcases a very small cell hidden underneath the upper floor, where the columns define the area however are also slightly lopsided to imply that the structure above is not entirely stable, especially with the inclusion of the trapdoor which someone could unknowingly walk over and end up here. The figure stands facing one of the walls, trapped and unable to proceed and holding a very defensive posture. This is where the feelings of claustrophobia are really brought out, as the cell is incredibly small and the ceiling above appears to be slowly collapsing, making you feel trapped and confined to a fate outside your control. Cramped Corridors Category 29 is this small, dark hallway, that leads to a corridor with a bright light shining beaming from the other side. Additionally, the dimensions of the walls are exact enough to where you would have to duck slightly, giving that feeling of closeness even more volume. The figure is approaching the sharp corridor with a hesitant posture and slow walking pace. This gave me a very uncomfortable feeling, as up until this point the structure has been dark and lonely, however a light at the end of the hall implies someone else is right around the corner, however there is no way of knowing for sure until you’re actually there. Closing In Category 31 is a very angular hallway where the walls appear to move closer together the further down you go while also getting progressively darker. The figure stands at the mouth of the hall, appearing massive compared to the space beyond. This made me claustrophobic, as the walls, small as they already were, moved inward to be even more confining, and also brought out that fear of the unknown as the hall extends for an imperceivable distance, where if something were inside it, you would not know until it is too late. Spiraling Category 37 shows a descending spiral staircase which progressively gets thinner as you go down, creating a cramped sense meant also to mimic what it is like to go on a spiral. The figure stands in the spiral, unsure whether to proceed or return from where he came from. This scene has a double meaning behind it, the first is the manifest function that contrasts itself to rest by making you feel small in an uncomfortably large, static space where you would expect many people to be, yet no one else can be seen. This scene is also meant to be representative of what it feels like to go down a mental spiral, where anxieties compound exponentially so much so that you lose sight of what is in front of you and essentially move in it infinitely until you realize how long you have been going, yet are unable to tell how far you went. scape Category 44 is a dark, small space where curved walls obstruct the path in front of you, with light coming in from the end of it meant to give a brief sense of optimism, while in reality it just leads to another dark room. The figure is walking into the light, towards the crevice, with a strong posture that implies a feeling of anticipation, possibly of an escape from this frightful place. Of course, you could technically say that an escape is on the other side, only a very undesirable one. ain and death are the underlying causes of all fear, as all fears are of something that could cause either, and so a uestion is begged by this scene would you rather die instantly or potentially survive while risking a painful death. Stage Freight Category 45 is the most distinct of all the scenes I created, as it shows a dark room with a platform lit by the opening above, meant to represent what it looks like underneath a stage before the performer is lifted, which one would have to go up in order to proceed. The figure stands on the center of the platform, facing outwards as if in anticipation of an audience above. This brings out a whole different type of fear anxiety. I personally hate public speaking, and am always so uncomfortable of going out in front of large groups of people for any purpose, and so I created a scene where the fear one would have for performing would be magnified by the fact that you do not have control over when exactly you are placed in front of the audience and the transition from an empty, dark room to a massive room filled with people expecting so much of you. Is anyone there Category 48 displays a dark room where the main wall is composed of dense columns that curve in a way that makes it look like there should be a door, yet it sealed once someone entered. The figure I chose was a child holding a teddy bear in one hand with the other outstretched towards the wall in a way that makes it seem like she’s trying to get someone’s attention or say Wait This scene really brought out the fear of being alone and of being forgotten, as the child was seemingly left behind and looks rather dejected. ue to the thickness of the pillars composing the wall, no one can hear her on the other side, so she is essentially trapped there, left to a lonely end. This one made me the most uncomfortable Figures in the ark Category 57 shows a large wall with many appendages that create strangely shaped shadows which, in perspective, can be creatively interpreted to be coming off of many different things. In order to move forward, one would have to follow these curves to reach the floor below, however the darkness and contorting shapes make it daunting to want to move, since other elements remain still casting shadows. The figurine stands near the wall leaning forward as if to try and get a closer look without moving towards it, as if he is scared to approach since he does not know what is over there. This is the fear of the unknown personified, as the figure’s posture looks very uneasy and almost tense, and the fact that you could be staring something straight down and still be unable to see it properly makes this scene even more frightening. Inescapable Anxiety The final scene is from category 58, which centers around a large sphere freestanding at the edge of the structure. The human figure is shown trapped underneath of it, as if she ran in the opposite direction yet was unable to get away, due to the apparent dead end. This is another double meaning scene, with one being the feeling of helplessness from being trapped under something so gigantic and heavy compared to one’s self, afraid of what will happen when you finally give out, and the other is a representation of the inescapable reality that is having anxiety. Anyone with anxiety knows how hard it is to get over it if such a thing is possible , even with the best treatments money can buy, and how living with anxiety feels like you are constantly carrying around this huge weight on your backthat you can never set down. The weight only becomes easier to carry as you learn how to live with it, no matter how much you s uirm trying to get out from under it, there is no way to fully escape. Additionally, it can feel rather lonely which often makes it worse, as people may sympathize and be there for you, yet there is nothing they can do necessarily to make things better nor can they understand what it feels like to be in your position, living in fear.

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Work #2. Space Cube_Second Space Cube Model

Phase #1: Category # 12

Phase #2: Category # 15

Phase #3: Category # 16

Phase #4: Category #21

Phase #5: Category # 29

Phase #6: Category #31

Phase #7: Category #37

Phase #8: Category #44

Phase #9: Category #45

Phase #10: Category #57

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Phase #11: Category #58

When I would show people the pictures I took from earlier this week, I was often told that they were dark and scary, so when we were given the choice of an emotion to exemplify in model form, I of course chose fear. Fear presents itself in many ways, as it is an intensely uncomfortable primal response to any perceived threat, so I wanted to portray various types of fear and combine it into one structure. My model is meant to be very dense with a disordered and unpredictable se uence that progressively gets more intense as you follow it, with heavy emphasis on a cramped spaces leading to dark, aggressive areas that. The major themes I wanted to invoke were claustrophobia, loneliness fear of being alone and fear of not being alone, anxiety, and survivable heights drops, and the categories I chose that I felt best brought all of them out were 12, 15, 16, 21, 29, 31, 39, 44, 45, 48, 57, and 58. Sinking Feeling The se uence starts with category 12, where the focus is on a lowered floor surrounded by a raised floor that can not be seen at eye level from the pit, with a very thin staircase leading up to the next scene meant to be so thin, one could never find balance. The figurine stands in the center of the lowered floor, appearing to look flustered and confused as to how to get out, yet alone she remains with no one in sight to assist. iewing this scene from her perspective made me feel helpless, as she is essentially stuck with no clear way out, and even if there was someone to help, she would not be able to see unless they were standing directly above her, which just brings out that feeling even more. Trust Fall Category 15 is taken from a sideways perspective, with a long wall leading down with a weak velcro attachment on the side, meant for you to walk down, however the ceiling is so close that you have to walk sideways on an already unstable walkway, giving an impression of insecurity. The figure is walking down the wall, oblivious to the fact she is walking on a wall and not the floor, into a dark area. This is the precursor of fear, where blind faith is misplaced, yet nothing has happened that would imply that anything is wrong, yet to everyone else it is clear that once the gravity’ of her situation catches up, an intense feeling of vulnerability and betrayal would likely soon follow. Invitation Category 16 uses the other half of the floor wall from 15, and shows it protruding out from the dark, inviting someone to approach and see where it leads, with the space under being so low that you would have to crawl in order to proceed. The figure stands at the front end of it, unsure whether to proceed or not, since the intentions of the path are impossible to gleam unless he were to follow it. This gave me an uneasy feeling, where this uncertainty factor could have deadly implications. Trapped Category 21 showcases a very small cell hidden underneath the upper floor, where the columns define the area however are also slightly lopsided to imply that the structure above is not entirely stable, especially with the inclusion of a highlighted false staircase which would drop someone into the cell who unknowingly walked over and end up here. The figure stands facing one of the walls, trapped and unable to proceed and holding a very defensive posture. This is where the feelings of claustrophobia are really brought out, as the cell is incredibly small and the ceiling above appears to be slowly collapsing, making you feel trapped and confined to a fate outside your control. Cramped Corridors Category 29 is this small, dark hallway, that leads to a corridor with a bright light shining beaming from the other side. Additionally, the dimensions of the walls are exact enough to where you would have to duck slightly, giving that feeling of closeness even more volume. The figure is approaching the sharp corridor with a hesitant posture and slow walking pace. This gave me a very uncomfortable feeling, as up until this point the structure has been dark and lonely, however a light at the end of the hall implies someone else is right around the corner, however there is no way of knowing for sure until you’re actually there. Closing In Category 31 is a very angular hallway where the walls appear to move closer together the further down you go while also getting progressively darker. The figure stands at the mouth of the hall, appearing massive compared to the space beyond. This made me claustrophobic, as the walls, small as they already were, moved inward to be even more confining, and also brought out that fear of the unknown as the hall extends for an imperceivable distance, where if something were inside it, you would not know until it is too late. Spiraling Category 37 shows a descending spiral staircase which progressively gets thinner as you go down, creating a cramped sense meant also to mimic what it is like to go on a spiral. The figure stands in the spiral, unsure whether to proceed or return from where he came from. This scene has a double meaning behind it, the first is the manifest function that contrasts itself to rest by making you feel small in an uncomfortably large, static space where you would expect many people to be, yet no one else can be seen. This scene is also meant to be representative of what it feels like to go down a mental spiral, where anxieties compound exponentially so much so that you lose sight of what is in front of you and essentially move in it infinitely until you realize how long you have been going, yet are unable to tell how far you went. scape Category 44 is a dark, small space where curved walls obstruct the path in front of you, with light coming in from the end of it meant to give a brief sense of optimism, while in reality it just leads to another dark room. The figure is walking into the light, towards the crevice, with a strong posture that implies a feeling of anticipation, possibly of an escape from this frightful place. Of course, you could technically say that an escape is on the other side, only a very undesirable one. ain and death are the underlying causes of all fear, as all fears are of something that could cause either, and so a uestion is begged by this scene would you rather die instantly or potentially survive while risking a painful death. Stage Freight Category 45 is the most distinct of all the scenes I created, as it shows a dark room with a platform lit by the opening above, meant to represent what it looks like underneath a stage before the performer is lifted, which one would have to go up in order to proceed. The figure stands on the center of the platform, facing outwards as if in anticipation of an audience above. This brings out a whole different type of fear anxiety. I personally hate public speaking, and am always so uncomfortable of going out in front of large groups of people for any purpose, and so I created a scene where the fear one would have for performing would be magnified by the fact that you do not have control over when exactly you are placed in front of the audience and the transition from an empty, dark room to a massive room filled with people expecting so much of you. Is anyone there Category 48 displays a dark room where the main wall is composed of dense columns that curve in a way that makes it look like there should be a door, yet it sealed once someone entered. The figure I chose was a child holding a teddy bear in one hand with the other outstretched towards the wall in a way that makes it seem like she’s trying to get someone’s attention or say Wait This scene really brought out the fear of being alone and of being forgotten, as the child was seemingly left behind and looks rather dejected. ue to the thickness of the pillars composing the wall, no one can hear her on the other side, so she is essentially trapped there, left to a lonely end. This one made me the most uncomfortable Figures in the ark Category 57 shows a large wall with many appendages that create strangely shaped shadows which, in perspective, can be creatively interpreted to be coming off of many different things. In order to move forward, one would have to follow these curves to reach the floor below, however the darkness and contorting shapes make it daunting to want to move, since other elements remain still casting shadows. The figurine stands near the wall leaning forward as if to try and get a closer look without moving towards it, as if he is scared to approach since he does not know what is over there. This is the fear of the unknown personified, as the figure’s posture looks very uneasy and almost tense, and the fact that you could be staring something straight down and still be unable to see it properly makes this scene even more frightening. Inescapable Anxiety The final scene is from category 58, which centers around a large sphere freestanding at the edge of the structure. The human figure is shown trapped underneath of it, as if she ran in the opposite direction yet was unable to get away, due to the apparent dead end. This is another double meaning scene, with one being the feeling of helplessness from being trapped under something so gigantic and heavy compared to one’s self, afraid of what will happen when you finally give out, and the other is a representation of the inescapable reality that is having anxiety. Anyone with anxiety knows how hard it is to get over it if such a thing is possible , even with the best treatments money can buy, and how living with anxiety feels like you are constantly carrying around this huge weight on your back that you can never set down. The weight only becomes easier to carry as you learn how to live with it, no matter how much you s uirm trying to get out from under it, there is no way to fully escape. Additionally, it can feel rather lonely which often makes it worse, as people may sympathize and be there for you, yet there

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Work # .

a eC

e Model

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e as

When I would show people the pictures I took from earlier this week, I was often told that they were dark and scary, so when we were given the choice of an emotion to exemplify in model form, I of course chose fear. Fear presents itself in many ways, as it is an intensely uncomfortable primal response to any perceived threat, so I wanted to portray various types of fear and combine it into one structure. My model is meant to be very dense with a disordered and unpredictable se uence that progressively gets more intense as you follow it, with heavy emphasis on a cramped spaces leading to dark, aggressive areas that. The major themes I wanted to invoke were claustrophobia, loneliness fear of being alone and fear of not being alone, anxiety, and survivable heights drops, and the categories I chose that I felt best brought all of them out were 12, 15, 16, 21, 29, 31, 39, 44, 45, 48, 57, and 58. Sinking Feeling The se uence starts with category 12, where the focus is on a lowered floor surrounded by a raised floor that can not be seen at eye level from the pit, with a very thin staircase leading up to the next scene meant to be so thin, one could never find balance. The figurine stands in the center of the lowered floor, appearing to look flustered and confused as to how to get out, yet alone she remains with no one in sight to assist. iewing this scene from her perspective made me feel helpless, as she is essentially stuck with no clear way out, and even if there was someone to help, she would not be able to see unless they were standing directly above her, which just brings out that feeling even more. Trust Fall Category 15 is taken from a sideways perspective, with a long wall leading down with a weak velcro attachment on the side, meant for you to walk down, however the ceiling is so close that you have to walk sideways on an already unstable walkway, giving an impression of insecurity. The figure is walking down the wall, oblivious to the fact she is walking on a wall and not the floor, into a dark area. This is the precursor of fear, where blind faith is misplaced, yet nothing has happened that would imply that anything is wrong, yet to everyone else it is clear that once the gravity’ of her situation catches up, an intense feeling of vulnerability and betrayal would likely soon follow. Invitation Category 16 uses the other half of the floor wall from 15, and shows it protruding out from the dark, inviting someone to approach and see where it leads, with the space under being so low that you would have to crawl in order to proceed. The figure stands at the front end of it, unsure whether to proceed or not, since the intentions of the path are impossible to gleam unless he were to follow it. This gave me an uneasy feeling, where this uncertainty factor could have deadly implications. This really brought out the principle of space, and the lack thereof communicates a very tight and uncomfortable feeling, almost as if its hard to breathe. Trapped Category 21 showcases a very small cell hidden underneath the upper floor, where the columns define the area however are also slightly lopsided to imply that the structure above is not entirely stable, especially with the inclusion of a highlighted false staircase which would drop someone into the cell who unknowingly walked over and end up here. The figure stands facing one of the walls, trapped and unable to proceed and holding a very defensive posture. This is where the feelings of claustrophobia are really brought out, as the cell is incredibly small and the ceiling above appears to be slowly collapsing, making you feel trapped and confined to a fate outside your control. Cramped Corridors Category 29 is this small, dark hallway, that leads to a corridor with a bright light shining beaming from the other side. Additionally, the dimensions of the walls are exact enough to where you would have to duck slightly, giving that feeling of closeness even more volume. The figure is approaching the sharp corridor with a hesitant posture and slow walking pace. This gave me a very uncomfortable feeling, as up until this point the structure has been dark and lonely, however a light at the end of the hall implies someone else is right around the corner, however there is no way of knowing for sure until you’re actually there. I used the element of value to create a contrast between the shaded and open spaces, in order to emphasize the fear of the unknown as the darkness conceals anything which would be a threat, and the conspicuous emptiness makes one feel unease, as if something is about to happen. Closing In Category 31 is a very angular hallway where the walls appear to move closer together the further down you go while also getting progressively darker. The figure stands at the mouth of the hall, appearing massive compared to the space beyond. This made me claustrophobic, as the walls, small as they already were, moved inward to be even more confining, and also brought out that fear of the unknown as the hall extends for an imperceivable distance, where if something were inside it, you would not know until it is too late. I leaned into the element of form to create this sense of claustrophobia and tightness, as the specific form of the walls brings out a feeling of confinement that progressively intensifies as you move further down the path. Spiraling Category 37 shows a descending spiral staircase which progressively gets thinner as you go down, creating a cramped sense meant also to mimic what it is like to go on a spiral. The figure stands in the spiral, unsure whether to proceed or return from where he came from. This scene has a double meaning behind it, the first is the manifest function that contrasts itself to rest by making you feel small in an uncomfortably large, static space where you would expect many people to be, yet no one else can be seen. This scene is also meant to be representative of what it feels like to go down a mental spiral, where anxieties compound exponentially so much so that you lose sight of what is in front of you and essentially move in it infinitely until you realize how long you have been going, yet are unable to tell how far you went. The progressively sharper and smaller steps moving down creates this pattern which conveys this sense of unbalance which threatens to send you down the spiral uicker than you would proceed linearly, as one misstep could make the difference between careful procedure or uncontrollable descent. scape Category 44 is a dark, small space where curved walls obstruct the path in front of you, with light coming in from the end of it meant to give a brief sense of optimism, while in reality it just leads to another dark room. The figure is walking into the light, towards the crevice, with a strong posture that implies a feeling of anticipation, possibly of an escape from this frightful place. Of course, you could technically say that an escape is on the other side, only a very undesirable one. ain and death are the underlying causes of all fear, as all fears are of something that could cause either, and so a uestion is begged by this scene would you rather die instantly or potentially survive while risking a painful death. Stage Freight Category 45 is the most distinct of all the scenes I created, as it shows a dark room with a platform lit by the opening above, meant to represent what it looks like underneath a stage before the performer is lifted, which one would have to go up in order to proceed. The figure stands on the center of the platform, facing outwards as if in anticipation of an audience above. This brings out a whole different type of fear anxiety. I personally hate public speaking, and am always so uncomfortable of going out in front of large groups of people for any purpose, and so I created a scene where the fear one would have for performing would be magnified by the fact that you do not have control over when exactly you are placed in front of the audience and the transition from an empty, dark room to a massive room filled with people expecting so much of you. I used contrast to highlight the difference between the dark, small space underneath the stage and the bright, open space above, as one might be comforting in some aspects as you would be insulated from everything outside, while the other leaves you out in the open, expose to anything and anyone which might have ill intent for you. Figures in the ark Category 57 shows a large wall with many appendages that create strangely shaped shadows which, in perspective, can be creatively interpreted to be coming off of many different things. In order to move forward, one would have to follow these curves to reach the floor below, however the darkness and contorting shapes make it daunting to want to move, since other elements remain still casting shadows. The figurine stands near the wall leaning forward as if to try and get a closer look without moving towards it, as if he is scared to approach since he does not know what is over there. This is the fear of the unknown personified, as the figure’s posture looks very uneasy and almost tense, and the fact that you could be staring something straight down and still be unable to see it properly makes this scene even more frightening. Inescapable Anxiety The final scene is from category 58, which centers around a large sphere freestanding at the edge of the structure. The human figure is shown trapped underneath of it, as if she ran in the opposite direction yet was unable to get away, due to the apparent dead end. This is another double meaning scene, with one being the feeling of helplessness from being trapped under something so gigantic and heavy compared to one’s self, afraid of what will happen when you finally give out, and the other is a representation of the inescapable reality that is having anxiety. Anyone with anxiety knows how hard it is to get over it if such a thing is possible , even with the best treatments money can buy, and how living with anxiety feels like you are constantly carrying around this huge weight on your back that you can never set down. The weight only becomes easier to carry as you learn how to live with it, no matter how much you s uirm trying to get out from under it, there is no way to fully escape. Additionally, it can feel rather lonely which often makes it worse, as people may sympathize and be there for you, yet there is nothing they can do necessarily to make things better nor can they understand what it feels like to be in your position, living in fear. Scale is used here to make you feel tiny and powerless compared to this unstoppable, indiscriminate force which threatens to end you at the very last second, ending the whole se uence in hopelessness.

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Work #2. Space Cube_Series of Space Cube Models

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Work #3. Floor Plans

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Work #3. Floor Plans

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Work #3. Elevations

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Work #3. Elevations

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Work #3. Sections

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Work #3. Axonometric

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Work #4. Casting Model

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Work #4. Casting Model

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What I learned...

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Work #1. Sequence of Wall, Column, and Space Selected Emotion is Fear

Phase #1: Category #13

Phase #2: Category #15

Phase #3: Category #16

Phase #4: Category #34

Phase #5: Category #38

Phase #6: Category #44

Phase #7: Category #45

Phase #8: Category #47

Phase #9: Category #48

Phase #10: Category #49

Phase #11: Category #52

Phase #12: Category #56

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Work #1. Sequence of Wall, Column, and Space_Sequence Model Views

Phase #1: Category #13

Phase #2: Category #15

Phase #3: Category #16

Phase #4: Category #34

Phase #5: Category #38

Phase #6: Category #44

Phase #7: Category #45

Phase #8: Category #47

Phase #9: Category #48

Phase #10: Category #49

Phase #11: Category #52

Phase #12: Category #56

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I chose the emotion fear because there are lot more and better examples that are closer to fear. I chose the emotion fear because there are lot more and better examples that are closer to fear. The model involves a floating design with five sections stacked on top of each other. There is a person in each of the rectangular shaped sections. They spiral around on top of each other for 180 degrees. The first one is category 13, it has an elevated surface that points away from the camera. It changes its angle and height in every picture as it eventually ends up at the very top of the picture above the person. I feel a sense of fear because of the large floating surface directly above me that can fall on me. The second one is category 15, it has an elevated vertical surface that points away from the camera. It floats above the person as it rotates while keeping the same distance from the person. I feel a sense of fear as if I am about to get squished. The third one is category 16, it is a tall free-standing vertical wall that changes in angle towards and away from the camera. The person stands underneath the tall free-standing vertical wall. I feel a sense of fear as if I am underneath a giant mouse trap. The fourth one is category 34, it has a wide horizontal curved wall that faces towards the camera. I feel a sense of fear because I fear I may not accomplish anything in life, it feels very empty. The fifth one is category 38, it has two curved walls that curve from the outside to the middle of the picture. They leave a small gap which is where the person stands. I feel a sense of fear as if I am walking into the unknown, nothing is out there. The sixth one is category 44, it has one wall that curves around the inner wall from left to right of the picture. The person stands in the middle of the two walls. I feel a sense of fear because I feel claustrophobic, as if the walls are closing in and towering over me. The seventh one is category 45, there is a flat elevated surface with a large square wall cut out of the middle of it. The person stands in the void underneath the elevated surface. I feel a sense of fear as if I feel exposed, as if I am naked in a classroom. The eighth one is category 47, there is a tall vertical wall spanning through the square hole in the elevated surface. The person stands on the elevated surface right on the edge of the square hole. I feel a sense of fear as if I am deep in my own thoughts, standing on a ledge. The ninth one is category 48, there is an elevated surface with two horizontal walls underneath. The person is standing in the void looking at the gap between the two walls. I feel a sense of fear as if the walls are closing in, and I am going to miss out on an opportunity. The tenth one is category 49, there is a tall flat elevated surface with a square opening in the middle of it. The person stands on the corner overlooking the other person that stands beneath. I feel a sense of fear as if I feel that I will not live up to my own expectations. The eleventh one is category 52, there is a tall vertical curved wall. The person stands underneath the vertical wall as it curved over him. I feel a sense of fear as if I am stuck in an endless loop, never breaking bad habits. The twelfth one is category 56, there is a floating circular shaped curved wall. The curved wall floats above the person in a circular shape. I feel a sense of fear as if I was having an out of body experience and being able to watch my life, but not being able to interact with it.

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Work #2. Space Cube_First Space Cube Model

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Work #2. Space Cube_Second Space Cube Model

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I chose the emotion fear because there are lot more and better examples that are closer to fear. I chose the emotion fear because there are lot more and better examples that are closer to fear. The model involves a floating design with five sections stacked on top of each other. There is a person in each of the rectangular shaped sections. They spiral around on top of each other for 180 degrees. Each of the five sections has a major purpose. Section 1 is designed to be heavy to keep the entire structures from toppling. Section 2 houses category 1,2, and 3 within the walls. Section 3 houses category 4 and 5. Section 4 houses category 6, 7, 8, and 9. Section 4 houses category 10, 11, and 12. They all balance on top of section 1. The first one is category 13, with an elevated surface attached to the ceiling and points away from the camera. It changes its angle and height in every picture as it eventually ends up at the very top of the picture above the person. I feel a sense of fear because of the large floating surface directly above me that can fall on me. The second one is category 15, it has an elevated vertical surface that points away from the camera. It floats above the person as it rotates while keeping the same distance from the person. It is between categories 13 and 16. I feel a sense of fear as if I am about to get squished. The third one is category 16, it is a tall free-standing vertical wall situated along the side wall that changes in angle towards and away from the camera. The person stands underneath the tall free-standing vertical wall. I feel a sense of fear as if I am underneath a giant mouse trap. The fourth one is category 34, it has a wide horizontal curved wall that faces towards the camera. I feel a sense of fear because I fear I may not accomplish anything in life, it feels very empty. The fifth one is category 38, it has two curved walls that curve from the outside to the middle of the picture. They leave a small gap which is where the person stands. I feel a sense of fear as if I am walking into the unknown, nothing is out there. The sixth one is category 44, it has one wall that curves around the inner wall from left to right of the picture. The person stands in the middle of the two walls. I feel a sense of fear because I feel claustrophobic, as if the walls are closing in and towering over me. The seventh one is category 45, there is a flat elevated surface with a large square wall cut out of the middle of it. The person stands in the void underneath the elevated surface. I feel a sense of fear as if I feel exposed, as if I am naked in a classroom. The eighth one is category 47, there is a tall vertical wall spanning through the square hole in the elevated surface. The person stands on the elevated surface right on the edge of the square hole. I feel a sense of fear as if I am deep in my own thoughts, standing on a ledge. The ninth one is category 48, there is an elevated surface with two horizontal walls underneath. The person is standing in the void looking at the gap between the two walls. I feel a sense of fear as if the walls are closing in, and I am going to miss out on an opportunity. The tenth one is category 49, there is a tall flat elevated surface with a square opening in the middle of it. The person stands on the corner overlooking the other person that stands beneath. I feel a sense of fear as if I feel that I will not live up to my own expectations. The eleventh one is category 52, there is a tall vertical curved wall. The person stands underneath the vertical wall as it curved over him. I feel a sense of fear as if I am stuck in an endless loop, never breaking bad habits. The twelfth one is category 56, there is a floating circular shaped curved wall. The curved wall floats above the person in a circular shape. I feel a sense of fear as if I was having an out of body experience and being able to watch my life, but not being able to interact with it.

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Work #2. Space Cube_Last Space Cube Model

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13 Paragraphs

I chose the emotion fear because there are lot more and better examples that are closer to fear. I chose the emotion fear because there are lot more and better examples that are closer to fear. The model involves a floating design with five sections stacked on top of each other. There is a person in each of the rectangular shaped sections. They spiral around on top of each other for 180 degrees. Each of the five sections has a major purpose. Section 1 is designed to be heavy to keep the entire structures from toppling. Section 2 houses category 1,2, and 3 within the walls. Section 3 houses category 4 and 5. Section 4 houses category 6, 7, 8, and 9. Section 4 houses category 10, 11, and 12. They all balance on top of section 1. I made section 1 shorter on purpose to use less foam board and to make it disappear more. I made certain categories smaller with less foam board so then they fit within the walls better. Each section is offset from the next one to allow for an open feel in the middle, showing there is no core structure. The entire model balances on eachother and all sections are supported freely by the first section at the very bottom. The first one is category 13, with an elevated surface attached to the ceiling. It overhangs at the end of the second section. It looks as though there is nothing holding the elevated surface. I feel a sense of fear because of the large floating surface directly above me that can fall on me. The second one is category 15, with an elevated vertical surface parallel to the side walls. It floats above the person as it rotates while keeping the same distance from the person. It is between categories 13 and 16. I feel a sense of fear as if I am about to get squished. The third one is category 16, a person height-free-standing vertical wall along the side wall. The person stands underneath the free-standing vertical wall. I feel a sense of fear as if I am underneath a giant mouse trap. The fourth one is category 34, it has a wide horizontal curved wall that spans from one side of the side walls, to the other. The person stands directly in front of the curved wall. I feel a sense of fear because I fear I may not accomplish anything in life, it feels very empty. The fifth one is category 38, it has two curved walls that curve from the outside to the middle of the picture. They leave a small gap which is where the person stands. I feel a sense of fear as if I am walking into the unknown, nothing is out there. The sixth one is category 44, it has one long deep wall that curves from one side to the other. The person stands at the start as the wall curves in front of him. I feel a sense of fear because I feel claustrophobic, as if the walls are closing in and towering over me. The seventh one is category 45, there is a flat elevated surface with a large square hole cut out of the middle of the far end of it. The person stands in the void underneath the opening. I feel a sense of fear as if I feel exposed, as if I am naked in a classroom. The eighth one is category 47, there is a tall vertical wall spanning through the square hole in the elevated surface. The person stands on the elevated surface right on the edge of the square hole. I feel a sense of fear as if I am deep in my own thoughts, standing on a ledge. The ninth one is category 48, there is an elevated surface with two horizontal walls underneath. The person is standing in the void looking at the gap between the two walls. I feel a sense of fear as if the walls are closing in, and I am going to miss an opportunity. The tenth one is category 49, there is a tall flat elevated surface with a square opening in the middle of it. The person stands on the corner overlooking the other person that stands on the section below. I feel a sense of fear as if I feel that I will not live up to my own expectations. The eleventh one is category 52, there is a tall vertical curved wall. The person stands underneath the vertical wall as it curves over him. I feel a sense of fear as if I am stuck in an endless loop, never breaking bad habits. The twelfth one is category 56, there is a floating circular shaped curved wall. The curved wall floats above the person in a circular shape. I feel a sense of fear as if I were having an out of body experience and being able to watch my life, but not being able to interact with it. 103 513

Work #2. Space Cube_Series of Space Cube Models

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Pey ton H enr y Port foli o 534

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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Work #1. Sequence of Wall, Column, and Space Selected Emotion

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en e o Wall Col

For cur cur tio Th sta pho Th 2nd sho Th fro Th voi figu vs o Th ing ano dir My rig of t fac Th pla edg abo Th pla the cam Th sev dow sio pla Th wa dec Th Tw twe Th col em

r my first photo, I decided to replicate the second photo from my original 12 pictures. I used high rved walls, one loose and open, the other tight and skinny. I placed a figure in the middle of the two rved walls to emphasize the height of how tall the walls were compared to the singular figure. My emo on is sadness, so I created this scene to display the smallness you can feel when sad. The second photo features two flat walls, one at an angle going behind the other flat wall. A column ands far off to the left side of the frame. A figure is placed in front of where the two walls meet. The oto’s dark lighting and singular human shadow felt very lonely when looking at this scene. This scene displays the tall, curved wall from the 1st picture, the column and intersecting walls from the d picture, and a new column vertically aligned with the column from the 2nd picture. Two figures are own, one in between the curved wall and a side wall, the other far off next to the intersecting walls. There are multiple figures in this scene, yet they feel so far away from each other. The light coming in om the side, beaming on the figure on the left while the figure on the right is stuck in the dark. This photo places the inside of a tall, curved wall, a short, curved wall, column behind wall, and a square id from the top of the ceiling. A figure is placed in front of the outside-facing curved wall. I placed the ure this way in reference to my 3rd photo from my original 12 photos, I felt the contrast of the inside outside curved wall with the void at the top gave a nice effect. This scene was a recreation/reimagination of the 3rd photo in the 12 original photos. I placed a front-fac g figure to the far-left side next to a tall, curved wall with a column placed behind. The other side had other tall, curved wall opposite the first and another column next to the wall. The square shaped void rectly above the single figure gives the allusion of sadness. y 6th picture is another angle of the previous photo, this time of a column close to the camera on the ght-hand side, a tall, curved wall and the square void in the back. The figures in this photo are in front the curved wall and towards the back behind another curved wall. The two figures are far apart and ce opposite of each other, the feeling of separation and anxiety are present within the photo. This photo takes place on the top level of the model, features a curved, outward-facing wall, and a square atform with a void leading down to the second level. A figure faced toward the curved wall and the ge of the floor. The figure by himself in front of the curved wall feels as if he is thinking very hard out what’s in front of him. The 8th scene shows a square platform with a smaller square void cut into the center. The void of the atform looks over through the other square void in the floor of the 3rd level. A figure is sitting over e ledge of the platform and can see into the hole going down. As he sits by himself, back turned to the mera, the feeling of sadness and desperation can be interpreted through the photo. The 9th picture of this sequence displays a bird’s eye view over the top level of the model. You can see veral of the figures standing/sitting in various places around the model. The two square voids that lead wn to the second level, showing a figure at the bottom one of the voids. This photo gives the impreson of emptiness or hopelessness, especially when looking at the figure sitting on the ledge of the voided atform. This photo of the second level of the model shows several columns around the area, both tall, curved alls, and the short, curved wall. I placed two figures facing each other, but with a wall in between. I cided the separation, but the closeness of the figures gave the sense of sadness and loneliness. The 11th scene shows two levels of the model with many curved walls, a ladder, and several columns. wo figures in this photo are shown on different levels separating them individually. The shadows beeen the curved walls, columns and figures give the sensation of anxiety, looming dread, and sadness. This photo is another angle of the previous photo. You can see two figures again as well as the ladder, lumns, and walls. The two figures far apart and not facing each other show the despair and somber 97 539 motions of this dark and secluded space.

Work #2. Space Cube_First Space Cube Model

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My first photo is a full front-facing view of the entire model, this model includes 3 tiers, a staircase, and several variants of walls and platforms. Figures are placed around each tier of the model to display the depth and perspective of each wall, column, void, or platform to the fullest. Each figure is singular and distant from the others, often looking away or in the opposite direction to the other figures. I believe this placement of such a spaced-out area with distant figures gives the allusion and feeling of displacement and uncomfortable feelings. 2nd pictureThe second photo in my sequence shows a view of the stairs, columns, curved and flat walls, and a floating cylinder within the ceiling void. Two figures are seen within the photo, one underneath the ceiling void and floating cylinder, the other facing the inside curved wall. The separation of the two figures along with the large void hanging over one of the figure’s heads, I chose this as a literal representation of having something ‘hanging over your head’. These types of burdens, physical or psychological, can leave many very isolated and sad. 3rd pictureThe third scene displays a 90-degree angled wall, a floating seat attached to the front facing wall, along with several columns and a curved wall behind. I wanted to use one of the sitting models for this scene, so I added a seat-like extra piece of foamboard to let the figure sit on and add more interest to the space. The figure is sitting alone in this scene, in an open section of the model, alluding to sadness, loneliness, and dread. 4th pictureThis photo shows off the several heights and dynamics within a space between columns, flat and curved walls. Three figures are shown in this scene, one inside the curved wall, one facing the flat wall with a void, and the last on the stairs at the very back. The shadows I used in this photo allowed me to express the solemness and bleakness of each space and how the figure acts within that space. 5th pictureMy 5th photo shows another angle of the second tier, this time showing the other side of the large, curved wall, and now facing the voided flat wall. Three figures are once again shown with one in between a large, curved wall and a short, curved wall, another looking down into the void reaching down to the first tier, and the same figure as before on the stairs. The main point I was attempting to make in this photo was the feeling of looking over the edge or walking through a too tight for comfort hallway. 6th pictureThe 6th photo shows a side view of the staircase, voided wall, columns, and the void leading down to the first tier. The figure on the stairs faces away from the camera, another figure is scene facing the voided wall. This scene was trying to show the figure on the stairs maybe having a moment of crisis or an anxiety attack, the choice of putting them on the stairs adds to the level of unease being felt by the figure or viewer of the model. 7th pictureThe 7th scene in my sequence offers a look into the circular void in the floor, the platform held by two half-circle legs, and the side of a small, curved wall. A figure is placed sitting over the ledge, another on top of the platform and the last looking over the edge of the 3rd tier floor. Each figure in this scene shows themselves in a compromising position, either standing on a ledge or sitting on one. I believe this sort of placement along with placement of the walls/forms gives the impression of overwhelming sadness and pain. 8th pictureAnother look at the 3rd tier of the model, only facing the edge of the floor, and the backside of the platform. The figures from the previous scene remain in the same position. This viewpoint of the model really goes the extra mile to emphasize a potentially uncomfortable and painful/sad situation. 9th pictureThis is a top view of the top tier of the model. You can see three figures, one sitting on the square platform over the void, one on the edge of the floor, and the last figure is seen through the void on the right side of the floor. The figure seen underneath the floor gives a depth and feeling of sinking into the model. 10th pictureTwo tall, curved walls, a short, curved wall, and three columns are seen displayed with the ceiling and two voids in this photo. Two figures are on each side of the short, curved wall standing facing each other. The separation of the walls and the figures gives the intention of sadness and loneliness. 11th pictureThe 11th photo in this sequence goes back to the first tier of the model, angled towards the two tall, curved walls with the ladder on the side of the frame. A singular figure is placed in between the curved walls. I enjoyed the symmetry that the photo shows, I felt as if the off-centered but even walls added an interesting feel in the photos. 12th pictureThe last photo of this sequence displays the inside of the one of the curved walls, two crossing flat walls, the ladder, and a column to the right-hand side. Two figures are seen, one in between the two curved walls as before, and the other in the space between the two intersecting walls. The darkness and different shadows conveyed through the photo are unsettling and lonely.

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Work #2. Space Cube_Last Space Cube Model

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My first photo of the sequence is a display of all three tiers of the model at a front viewpoint. Various figures are placed around the model to provide depth, perception, feel, and see how the space I’ve created would interact with humans. I used extra embellishments to several places inside and outside areas of the model to convey extra emotions. 2nd pictureThe second photo shows the front view of the first tier of the model, I used extra pieces of the foamboard I had from the cutouts for the walls and doors and used that to place in areas of the voids to create added interest to the model. I decided to used a backlighting for this scene to give a moodiness to the empty room. 3rd pictureThis scene of the sequence shows the separated space by walls along with a curved wall bent over the wall. Two figures are shown back facing toward the camera, the angle gives the feeling of longing and misguided feelings. 4th pictureThe scene shown in this photo is the spiral staircase, various wall cutouts, and different pieces of foamboard to add essence to the walls and forms. There are no figures shown in this scene. This lack of life gives the shadows of the features the space shows extra emphasis as well as the overall emptiness of the setting. 5th pictureThe 5th scene shows the second and third tier of the model with the second tier of the model underneath. Several figures are seen with one on the second tier, the two figures standing on the third tier and the last figure sitting on the platform above the third tier. The direct light between the voids and the steps of the staircase gave an interesting feel and gave off the setting of sadness or anxiety. 6th pictureMy 6th photo features the second tier of the model with several walls, a column, voids, and the staircase included in the scene. A singular figure is placed facing toward the voids with the staircase. The single figure walking toward the void and staircase gives the impression of feeling singled out or on your own in a sense. 7th pictureThis scene features the bottom part of the first tier, the whole second tier, and a bit of the third tier. Figures are placed next to various walls or freestanding to show height difference, feeling, and tone. All of the figures are separated into different sections of the photograph, some behind a wall and some standing next to each other, my intention was to focus on the pit of the void leading down the spiral staircase, as well as indicate the emotions of the figures within the space. 8th pictureThis photo shows the top tier of my model, including the elevated surface, several walls and a curved surface. Two figures can be seen in the photo, one standing in front of both the curved wall and the elevated surface, the other sitting on the back lip of the surface. The figures being placed apart along with the several added elements to the scene give the sense of sadness or disassociation. 9th pictureThis scene shows the inside of another curved wall, along with another back angle of the elevated/floating surface. A woman figure is standing in the hallway type area of the scene while the man can be seen in this shot through the curved walls opening. My intention with this photo was to emphasize the distance between the two figures, as well as the other interesting values and factors they must face within the model. 10th pictureMy 10th photo displays another, whole floor view while only getting one specific angle of the model. The same sitting man from the 8th photo is again on the lip of the floating surface while the spiral staircase sits behind him. My inspiration for this picture was to attempt to display the figure’s head space and mental health, the spiral staircase taking literal form of ‘descent into madness’. 11th pictureThis photo goes along similarly with the previous scene. I wanted to get a top viewpoint of the model to show the voids leading downward the stairs. This is another attempt to display a feeling of madness. 12th pictureMy last photo in my sequence was an attempt to show two different levels of the model at once from an interesting perspective. I achieved this by putting three figures within different spaces of the model. I decided to use one of the walls up close in the front of the frame to add extra depth and interest.

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Anna-Clai r e E. Hudgins Port fol i o 564

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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Work #1. Sequence of Wall, Column, and Space Sadness

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Work #1. Sequence of Wall, Column, and Space_Sequence Model Views

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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. 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. 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 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. 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. 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. Category #3: Blocking wall This wall movement was headed 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. 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. 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. 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. 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. 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.

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Work #2. Space Cube_First Space Cube Model

Phase #1: Category #35

Phase #2: Category #44

Phase #3: Category #45

Phase #4: Category #47

Phase #5: Category #58

Phase #6: Category #59

Phase #7: Category #3

Phase #8: Category #16

Phase #9: Category #18

Phase #10: Category #21

Phase #11: Category #26

Phase #12: Category #33

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For the Wall, Column, Space I chose the emotion sadness. Choosing sadness was an easy move because I knew that many of these pictures had that vibe and was full of that emotion. I made a collage of different photos from different categories that portrayed the feeling of sadness. There are so many different ways that sadness can be portrayed including lighting and size or height of walls and columns. My goal for the space cube was to create a journey through the different stages of sadness where the human figure feels alone but doesn’t realize there are so many other people on the same path just in different stages. I chose to have my first category start on the bottom because I felt like since it was the start of the journey it made sense to be the lowest. As for the last category, it’s the highest and ends right above the first category so the human figure can look down upon where he was 11 stages ago. Category #35 For this category I attach the curved wall to the side of the 9 x 9 x 9 cube. I did this so it would feel secluded and away from everything else. The human figure is beginning his journey through this path of sadness. Category #44 I connected this category to the left side wall as well. I did this to make a dead end on the left side forcing the human figure to take a right and continue on his journey. The feeling I’m feeling is dread and loneliness as he is walking this path by himself. Category #45 This category is placed in the back of the cube in an open space. The human figure is isolated and the spotlight is on him. I’m feeling nervous as the human figure is advancing in his journey and about to head uphill. Category #47 The space is elevated off of the ground and have stairs connecting to the ground. The human figure makes his way up the stairs and sees another person sitting on the ledge. I’m feeling nervous as I walk by someone stuck in a sad place not able to move but I must advance. Category #58 More stairs lead to a loft with a ball attached to the right wall. Alone, next to the ball stands a woman staring off into the distance in the opposite direction of the journey. I feel like she has given up because she is significantly higher up then she was before and thinks this is the best she’s going to get. Category #59 This wall is a little bit more difficult with no stairs reaching it but it’s a ledge with a cave feeling wall piece. Alone sits a man looking over the course watching everyone else go on their journey. With this category being harder to get to I feel like its saying that you need to make the jump if you want to advance in the course. Category #3 Stairs led from category #47 up to category #3 making it easy to get there. The human figure faces the wall looking at himself from the reflection. The feeling he gets is sadness because he looks at himself and sees how much further he still has to go. Category #16 A slanted wall hangs from above. The human figure is standing directly under it looking down at the course but his view is halfway cut off due to the wall covering some of his sight. Category #18 This category has stairs that take you down for a moment to experience the phase then you can go right back up. There’s a human figure trying it out. She is standing in front of the singular column seeing how its standing all alone. I feel stressed thinking I won’t make it through this journey but looking at the lonely column successfully standing alone makes me have some hope as well. Category #21 Stairs led up to this category where you enter an area with four columns surrounding you. The human figure has to walk through and try and fit through the columns to move on. I get the feeling of anxiety confusion as I try and make my way through to the next stage. Category #26 This category is super easy to get through as long as you don’t get distracted. It’s just two walls and two columns creating a walkway to the next category. I’m feeling hopeful but also worried that I’ll get stuck since I’m so close. Category #33 This is the last category. It forces you to make jump from category #26 if you want to finish. Once the human figure has jumped, they are in a box with three walls reflecting upon their journey. Stairs lead back down to the floor in front of level one so they can start the process again if needed.

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Work #2. Space Cube_Second Space Cube Model

Phase #1: Category #35

Phase #2: Category #44

Phase #3: Category #45

Phase #4: Category #47

Phase #5: Category #58

Phase #6: Category #59

Phase #7: Category #3

Phase #8: Category #16

Phase #9: Category #18

Phase #10: Category #21

Phase #11: Category #26

Phase #12: Category #33

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The emotion I’ve chosen for the wall, column, space and space cube is sadness. With the second space cube I wanted to obviously clean up the edges and have a better thought process, but I also wanted to make sure that all of my categories were cohesive and represented sadness very clearly. Category#35 Just like in the last draft of the space cube, I attached the curved wall to the side of the cube. I continue to try and make the secluded and away from everything else. Human figure begins his journey feeling nervous. Category #44 I connected this category to the left side as well. I did this to make a dead end. I’m the left side still forcing the human figure to take a right and continue his journey. The feeling is dread and loneliness as he’s walking his path by himself. Category #45 This category I placed on the far right corner this time instead of in the middle. The human figure is still isolated in the spotlight is on him. He’s feeling nervous as the human figure is advancing in his journey and about to head uphill. Category #47 This space is elevated off of the ground and have a bridge connecting to category 45. The human figure made his way up the stairs and over the bridge and another person sitting on the ledge. I’m feeling nervous as I walk by someone stuck in the place, unable to move forward. Category #58 More stairs lead to a loft with a ball attached to the right wall. Next to the ball stands a woman staring off into the distance except this time she’s looking at the course. I have a feeling that she is afraid to move forward and take that step into the next phase. Category #59 I made this category accessible, because I feel like it is a necessary part of the process. It’s a cave with a man sitting down inside of it attached to the right wall. The man is sitting alone looking over the course, watching everyone else go on their journey. Category #3 This category is connected on the same platform as category #59. This time it’s more secluded in the corner. The human figure is alone and reflecting. Category #16 Stairs led from category #3 to a slanted wall hanging over a guy sitting in front of it. The human figure is looking at the wall falling towards him. Figure is full of sadness and regret sitting there underneath a falling wall. Category #18 This category is connected to category 16 and an open area. The figure is staring at a singular column. I feel a connection between the human figure and the column as they are both standing still alone. Category #21 Directly to the left of category 18 is category 21. The human figure is isolated inside the four columns feeling trapped. I can imagine him feeling claustrophobic and sad. Category #26 Down the ladder is category 26. This is a super simple category as long as you don’t get distracted. I’m feeling hopeful that the human figure is towards the end but also worried that he’ll get stuck since he’s so close. Category #33 This is the last category. It has a nice staircase and ladder leading to the end where I flipped the three walls and made one of the walls a ceiling. This space feels safe being in the corner but also super lonely. Stairs lead down to the beginning again.

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Work #2. Space Cube_Last Space Cube Model

Phase #1: Category #35

Phase #2: Category #44

Phase #3: Category #45

Phase #4: Category #47

Phase #5: Category #58

Phase #6: Category #59

Phase #7: Category #3

Phase #8: Category #16

Phase #9: Category #18

Phase #10: Category #21

Phase #11: Category #26

Phase #12: Category #33

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For the wall, column, space, space cube project I had the idea to make it a journey through my chosen emotion which is sadness starting at the bottom and circling around to the top. For my last and final space cube I chose to use that same idea but make as many edges as possible have round edges instead of sharp. I feel like this gives a smooth look and does a good job at portraying the emotion I chose. Category #35 For this first category, I wanted to do the same thing as I had done in the previous cubes and attach the curved wall to the left wall. The human figure is still standing in front of it but is in the middle of two walls. I feel anxious for the start of the journey. Category #44 I also connected this category to the left side wall. I did this to make a dead end, so the human figure has to go the right way. I’m feeling stuck as I navigate through this course. Category #45 This category I placed in the front center on the floor. The human figure is isolated, and the spotlight is on him. He’s feeling nervous as a human figure advancing in his journey and about to head up pill. Category #47 Space is elevated off of the ground just like category #45. The human figure made his way across the bridge and into this category. He stands at the end of the bridge, waiting to advance. He’s feeling lonely on the small ledges. Category #58 Stairs and a ladder led up to the half ball on the wall. I chose to put this category on the opposite side as I did on the last space cube. The human figure is walking past. He is struggling because he is having to go around on a thin walkway to get to his next destination. Category #59 The cave is sitting at the highest point of the wall. The human figure is looking over the journey. He’s sad because he’s so alone in such an awesome yet scary place. Category #3 You have to slide down a pole to get to this category. The human figure is on a ledge. They are feeing separated from the rest of the journey. Category #16 The slanted wall is hanging from the bottom of the wall on a big ledge. The human figure is underneath the wall. He is feeling alone and worried as he’s alone with something bothering him. Category #18 A ladder leads up to the ledge with a human figure and a singular column. I made them ledge a half circle leveled off of the platform. The human figure is feeling alone and worried they’ll be alone forever. Category #21 Down the stairs is the next category with 4 columns. The human figure is in the middle of the columns alone. He’s feeling isolated. Category #26 From the four columns you go up to this category. Alone a man is getting mixed up and confused in which direction he is supposed to be going. He is feeling stressed. Category #33 Alone towards the bottom sits this category. It has stairs leading to the level but not able to get from category 26 to there because the last phase is always the hardest. He is feeling sad again because he is once again at the bottom just like in the beginning.

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Work #2. Space Cube_Series of Space Cube Models

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Work #3. Floor Plans

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Work #3. Floor Plans

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Work #3. Elevations

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Work #3. Elevations

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Work #3. Sections

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Work #3. Axonometric

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Work #4. Casting Model

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Work #4. Casting Model

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Work #4. Casting Model

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What I learned...

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Work #1. Sequence of Wall, Column, and Space Joy

Phase #1: Category #

Phase #2: Category #

Phase #3: Category #

Phase #4: Category #

Phase #5: Category #

Phase #6: Category #

Phase #7: Category #

Phase #8: Category #

Phase #9: Category #

Phase #10: Category #

Phase #11: Category #

Phase #12: Category #

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Work #1. Sequence of Wall, Column, and Space_Sequence Model Views

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Work #2. Space Cube_First Space Cube Model

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My selected emotion is joy. To be more specific, I chose the childlike sense of wonder type of joy. My idea was to make an art music, and I placed the human figures around in a somewhat chaotic or sporadic order, in order to replicate a childlike and energetic pattern. For the space cube, I took the part that stuck out to the side and put the walls and figurines on the wall of the second floor. The first category in my sequence is a single column. The human figure is positioned right beside it. I intended for this pose to replicate that moment when you first enter a new place, where you take a second to breathe and prepare yourself for the upcoming excitement. By positioning this part on the wall, there is now more of a background than just a blank wall. From this perspective, one can see the void and another human figurine before. The second category I chose was multiple columns. The figure is positioned in the middle of these columns. I imagined this being the moment where you walk into what feels like a regal palace with such fancy and detailed columns. By also positioning this on the wall, and with the more limited space than the original, all of the four coulombs could not fit within the frame, and the human figurine meant for this category is no longer centered in the image. The third category is the curved wall inside. The human figure is posed right in the center of the curved wall. This pose was meant to be representative of the moment where your mother begs you for a picture to comoderate the memory, even though all you want to do is explore. Although this image was not nearly as affected by the change in proportions as the previous category, this one was still affected, causing the image to capture multiple figures and even part of the second floor. The fourth category I chose is the curved walls and flat walls. The human figure is passing between the two types of walls. This is the moment you finally get to enter and see all of the exciting pieces of art. The human figure is farther away in the picture and once again you can see more of the second floor. The fifth category is an 80 degrees inclined surface to a facing wall. The human figure is positioned in front of the wall. This is one of the first art pieces that isn’t just a painting on the wall, and it almost looks like it could be climbed, which would fill a child with excitement and fill their parents with dread and embarrassment. There is very little difference in this one, only that there is a part of another human figure in the frame that wasn’t visible in the original. The sixth category is a void(s) with a combination of curved walls. The human figure is positioned in the center. I imagined this to be the moment you would reach the end of the first floor, and so you decide to step back to get a good look at everything in the room and all its glory. There is almost no obvious difference between this version and the original for this category. The seventh category is passing outside of a curved wall. The human figure is positioned beside the curved wall. I imagined this human figure lightly grazing the ornate walls as they were walking to head to the upstairs portion. This category is also not really affected by the change in size. The eighth category is facing a 90 degree surface. The human figure is positron in the center. This is supposed to be the door that leads to the stairs that lead to the upper floor, and where the excitement of what you’ll see next sets in. Once again, the only difference is that there is another human figure that is within the frame for this category. The ninth category is void on the downside with walls. The human figure is positioned in the center, facing the void. I imagined this to be the moment where you look down from the second floor and into the first as you’re in awe of the feeling you might fall, but less in a scary way and more of an exciting blood rushing sort of way. This category was greatly affected by the change in proportions, causing the photo to have to be from a different angle to capture the image. The 10th category is curved walls with an s-curve wall. The human figure is positioned between the walls. This is meant to represent the excitement of bobbing and weaving in a hall filled with beautiful paintings, not knowing what you’ll see next until you reach it. The only noticeable difference in this category is that the walls are slightly shorter. The 11th category is a blocking wall. The human figure is positioned to the side of the wall. This wall, decorated with one last painting, is meant to feel as though the museum and art itself is reaching out to you as you make your way out to leave, filling you with joy as you realize you’ll remember this fun experience. This category was also greatly affected by the placement of the objects on the wall as well as the smaller proportions, causing the photo and placement of the human figure to have to be located in a different position. The 12th and final category is entering a space between curved mirror walls. The human figure is positioned between the two walls. This is meant to signify that final moment of awe at the beauty that is the museum and its contents as a whole. The final category was affected by having to be photographed from a different angle due to the smaller scale. 99 603

Work #2. Space Cube_Second Space Cube Model

M t t s

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My selected emotion is joy. To be more specific, I chose the childlike sense of wonder type of joy. My idea was to make an art music, and I placed the human figures around in a somewhat chaotic or sporadic order, in order to replicate a childlike and energetic pattern. For the space cube, I took the part that stuck out to the side and put the walls and figurines on the wall of the second floor. For the second model of the space cube, I changed some of the portions of the walls and placements of them in order to make more room, along with adding a few extra details. The first category in my sequence is a single column. The human figure is positioned right beside it. I intended for this pose to replicate that moment when you first enter a new place, where you take a second to breathe and prepare yourself for the upcoming excitement. By positioning this part on the wall, there is now more of a background than just a blank wall. From this perspective, one can see the void and another human figurine before. The only change made since the first space cube is that the columns are now made of wooden dowel rods. The second category I chose was multiple columns. The figure is positioned in the middle of these columns. I imagined this being the moment where you walk into what feels like a regal palace with such fancy and detailed columns. By also positioning this on the wall, and with the more limited space than the original, all of the four coulombs could not fit within the frame, and the human figurine meant for this category is no longer centered in the image. Again, the only difference in the 2nd space cube model for this category is that the columns are different, and they are a bit more spaced out than before but not much. The third category is the curved wall inside. The human figure is posed right in the center of the curved wall. This pose was meant to be representative of the moment where your mother begs you for a picture to comoderate the memory, even though all you want to do is explore. Although this image was not nearly as affected by the change in proportions as the previous category, this one was still affected, causing the image to capture multiple figures and even part of the second floor. This category was only slightly affected by the change in proportions, causing a better view of the human figure. The fourth category I chose is the curved walls and flat walls. The human figure is passing between the two types of walls. This is the moment you finally get to enter and see all of the exciting pieces of art. The human figure is farther away in the picture and once again you can see more of the second floor. The change in proportions provided a clearer image for this category, however the view is still affected by the proportions, causing the view of another human figure in the frame. The fifth category is an 80 degrees inclined surface to a facing wall. The human figure is positioned in front of the wall. This is one of the first art pieces that isn’t just a painting on the wall, and it almost looks like it could be climbed, which would fill a child with excitement and fill their parents with dread and embarrassment. There is very little difference in this one, only that there is a part of another human figure in the frame that wasn’t visible in the original. The adjustment in bigger proportions made this category a bit more clear than the last model, but other human figures are still seen in the frame. The sixth category is a void(s) with a combination of curved walls. The human figure is positioned in the center. I imagined this to be the moment you would reach the end of the first floor, and so you decide to step back to get a good look at everything in the room and all its glory. There is almost no obvious difference between this version and the original for this category. The adjustment in bigger proportions made this category less clear because the curved walls are far less visible in the frame. The seventh category is passing outside of a curved wall. The human figure is positioned beside the curved wall. I imagined this human figure lightly grazing the ornate walls as they were walking to head to the upstairs portion. This category is also not really affected by the change in size. There is almost no obvious difference in the category’s image once again. The eighth category is facing a 90 degree surface. The human figure is positron in the center. This is supposed to be the door that leads to the stairs that lead to the upper floor, and where the excitement of what you’ll see next sets in. Once again, the only difference is that there is another human figure that is within the frame for this category. For the second model, I added an actual door in order to make it look more like how it was intended. The ninth category is void on the downside with walls. The human figure is positioned in the center, facing the void. I imagined this to be the moment where you look down from the second floor and into the first as you’re in awe of the feeling you might fall, but less in a scary way and more of an exciting blood rushing sort of way. This category was greatly affected by the change in proportions, causing the photo to have to be from a different angle to capture the image. For the second model, this view is far better due to the increase in space on the model. The 10th category is curved walls with an s-curve wall. The human figure is positioned between the walls. This is meant to represent the excitement of bobbing and weaving in a hall filled with beautiful paintings, not knowing what you’ll see next until you reach it. The only noticeable difference in this category is that the walls are slightly shorter. There is no noticeable difference for this category. The 11th category is a blocking wall. The human figure is positioned to the side of the wall. This wall, decorated with one last painting, is meant to feel as though the museum and art itself is reaching out to you as you make your way out to leave, filling you with joy as you realize you’ll remember this fun experience. This category was also greatly affected by the placement of the objects on the wall as well as the smaller proportions, causing the photo and placement of the human figure to have to be located in a different position. Along with the better view of the human figure caused by the changing of the proportions and increase in space, I also added what is meant to be a painting. The 12th and final category is entering a space between curved mirror walls. The human figure is positioned between the two walls. This is meant to signify that final moment of awe at the beauty that is the museum and its contents as a whole. The final category was affected by having to be photographed from a different angle due to the smaller scale. Although this category was improved by allowing a clearer image of the human figure for this category, there is still an issue with the spacing that has caused another human figure to be in the frame.

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Work #2. Space Cube_Last Space Cube Model

My selected emoti around in a somew and put the walls them in order to m positioned it on th floor as well as a f

The first category enter a new place background than that the columns

The second catego feels like a regal p lombs could not fi model for this cat but the further sh

The third category where your mothe change in proporti was only slightly a

The fourth catego and see all of the provided a clearer no change for this

The fifth category painting on the w very little differen made this categor slightly smaller du

The sixth category end of the first flo version and the or Due to being even

The seventh categ walls as they were category’s image o

The eighth catego per floor, and whe category. For the s facing a blank pain

The ninth categor down from the se category was grea is far better due to the background o

The 10th category weaving in a hall fi slightly shorter. Th

The 11th category museum and art i also greatly affect be located in a diff meant to be a pai

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The 12th and fina moment of awe a to the smaller sca has caused anothe

tion is joy. To be more specific, I chose the childlike sense of wonder type of joy. My idea was to make an art music, and I placed the human figures what chaotic or sporadic order, in order to replicate a childlike and energetic pattern. For the space cube, I took the part that stuck out to the side and figurines on the wall of the second floor. For the second model of the space cube, I changed some of the portions of the walls and placements of make more room, along with adding a few extra details. For the third and final space cube model, I repositioned what was originally on the wall, and he first floor instead, causing a rearranging and shrinking of everything else in order to fit this new change. I also added a ramp leading to the second few more painting cutouts.

in my sequence is a single column. The human figure is positioned right beside it. I intended for this pose to replicate that moment when you first e, where you take a second to breathe and prepare yourself for the upcoming excitement. By positioning this part on the wall, there is now more of a just a blank wall. From this perspective, one can see the void and another human figurine before. The only change made since the first space cube is are now made of wooden dowel rods. The only change is that there is now a cutout for a door.

ory I chose was multiple columns. The figure is positioned in the middle of these columns. I imagined this being the moment where you walk into wha palace with such fancy and detailed columns. By also positioning this on the wall, and with the more limited space than the original, all of the four cou fit within the frame, and the human figurine meant for this category is no longer centered in the image. Again, the only difference in the 2nd space cub tegory is that the columns are different, and they are a bit more spaced out than before but not much. Not only is the new door cutout also visible her hrinking of space has caused the image to be even more limited.

y is the curved wall inside. The human figure is posed right in the center of the curved wall. This pose was meant to be representative of the moment er begs you for a picture to comoderate the memory, even though all you want to do is explore. Although this image was not nearly as affected by the tions as the previous category, this one was still affected, causing the image to capture multiple figures and even part of the second floor. This categor affected by the change in proportions, causing a better view of the human figure. Little to nothing has changed for this category.

ory I chose is the curved walls and flat walls. The human figure is passing between the two types of walls. This is the moment you finally get to enter exciting pieces of art. The human figure is farther away in the picture and once again you can see more of the second floor. The change in proportions r image for this category, however the view is still affected by the proportions, causing the view of another human figure in the frame. There is little to s category as well.

y is an 80 degrees inclined surface to a facing wall. The human figure is positioned in front of the wall. This is one of the first art pieces that isn’t just a wall, and it almost looks like it could be climbed, which would fill a child with excitement and fill their parents with dread and embarrassment. There is nce in this one, only that there is a part of another human figure in the frame that wasn’t visible in the original. The adjustment in bigger proportions ry a bit more clear than the last model, but other human figures are still seen in the frame. The only noticeable change is that the angled wall is now ue to the change in proportions.

y is a void(s) with a combination of curved walls. The human figure is positioned in the center. I imagined this to be the moment you would reach the oor, and so you decide to step back to get a good look at everything in the room and all its glory. There is almost no obvious difference between this riginal for this category. The adjustment in bigger proportions made this category less clear because the curved walls are far less visible in the frame. n smaller, the proportions of this image are smaller and more cramped.

gory is passing outside of a curved wall. The human figure is positioned beside the curved wall. I imagined this human figure lightly grazing the ornate e walking to head to the upstairs portion. This category is also not really affected by the change in size. There is almost no obvious difference in the once again. Once again, the image is slightly more cramped than before.

ory is facing a 90 degree surface. The human figure is positron in the center. This is supposed to be the door that leads to the stairs that lead to the up ere the excitement of what you’ll see next sets in. Once again, the only difference is that there is another human figure that is within the frame for thi second model, I added an actual door in order to make it look more like how it was intended. Instead of facing a blank wall, the human figure is now nting cutout and is on the second floor instead of the first.

ry is void on the downside with walls. The human figure is positioned in the center, facing the void. I imagined this to be the moment where you look econd floor and into the first as you’re in awe of the feeling you might fall, but less in a scary way and more of an exciting blood rushing sort of way. Th atly affected by the change in proportions, causing the photo to have to be from a different angle to capture the image. For the second model, this vie o the increase in space on the model. The angle is far worse due to the shrinking of proportions, and the contents of the ninth category is now visible of this category.

y is curved walls with an s-curve wall. The human figure is positioned between the walls. This is meant to represent the excitement of bobbing and filled with beautiful paintings, not knowing what you’ll see next until you reach it. The only noticeable difference in this category is that the walls are here is no noticeable difference for this category. There is little to no change for this category.

y is a blocking wall. The human figure is positioned to the side of the wall. This wall, decorated with one last painting, is meant to feel as though the itself is reaching out to you as you make your way out to leave, filling you with joy as you realize you’ll remember this fun experience. This category w ted by the placement of the objects on the wall as well as the smaller proportions, causing the photo and placement of the human figure to have to fferent position. Along with the better view of the human figure caused by the changing of the proportions and increase in space, I also added what is inting. Now that this category is positioned on the first floor instead of the second, there is a different view in the background of the image.

al category is entering a space between curved mirror walls. The human figure is positioned between the two walls. This is meant to signify that final at the beauty that is the museum and its contents as a whole. The final category was affected by having to be photographed from a different angle due ale. Although this category was improved by allowing a clearer image of the human figure for this category, there is still an issue with the spacing that er human figure to be in the frame. The angle is far worse for this category due to the shrinking of proportions. 103 607

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Work #3. Floor Plans

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Work #3. Elevations

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Work #3. Elevations

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Work #3. Sections

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Work #3. Axonometric

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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? -

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Work #1. Sequence of Wall, Column, and Space Joy

Phase #1: Category #3

Phase #2: Category #29

Phase #3: Category #34

Phase #4: Category #37

Phase #5: Category #38

Phase #6: Category #42

Phase #7: Category #44

Phase #8: Category #47

Phase #9: Category #49

Phase #10: Category #53

Phase #11: Category #56

Phase #12: Category #57

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Work #1. Sequence of Wall, Column, and Space_Sequence Model Views

Phase #1: Category #3

Phase #2: Category #29

Phase #3: Category #34

Phase #4: Category #37

Phase #5: Category #38

Phase #6: Category #42

Phase #7: Category #44

Phase #8: Category #47

Phase #9: Category #49

Phase #10: Category #53

Phase #11: Category #56

Phase #12: Category #57

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The emotion selected was joy. Through the specific scenes I chose I tried to make sure if there were obstacles with the figure they were aligned in stature like a column, open like a curved wall, or in free space like a floating surface or flat wall. In category 3, 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 gone 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. In category 29, 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 an open circle of columns within an open space within the walls. The feelings from these scenes are feelings of content and triumph as the figure overcomes the obstacle of walls. In category 34, 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. In category 37, 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. In category 38, 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 adding complexity to the image with the curvature of the walls and path produced for the figure. The feelings from these scenes are joyful as the individual is focused solely and can move about freely. In category 42, 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 there 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. In category 44, 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 of their allowance of movement. In category 47, 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. In category 49, 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. In category 53, 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. In category 56, These images show a hanging curved surface above the figure. The setting of 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. In category 57, 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.

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Work #2. Space Cube_First Space Cube Model

Phase #1: Category #3

Phase #2: Category #29

Phase #3: Category #34

Phase #4: Category #37

Phase #5: Category #38

Phase #6: Category #42

Phase #7: Category #44

Phase #8: Category #47

Phase #9: Category #49

Phase #10: Category #53

Phase #11: Category #56

Phase #12: Category #57

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In category 44, 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 of their allowance of movement. In category 47, 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. In category 49, 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. In category 53, 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. In category 56, These images show a hanging curved surface above the figure. The setting of 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. In category 57, 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.

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Work #2. Space Cube_Second Space Cube Model

Phase #1: Category #3

Phase #2: Category #29

Phase #3: Category #34

Phase #4: Category #37

Phase #5: Category #38

Phase #6: Category #42

Phase #7: Category #44

Phase #8: Category #47

Phase #9: Category #49

Phase #10: Category #53

Phase #11: Category #56

Phase #12: Category #57

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Work #2. Space Cube_Last Space Cube Model

Phase #1: Category #3

Phase #2: Category #29

Phase #3: Category #34

Phase #4: Category #37

Phase #5: Category #38

Phase #6: Category #42

Phase #7: Category #44

Phase #8: Category #47

Phase #9: Category #49

Phase #10: Category #53

Phase #11: Category #56

Phase #12: Category #57

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Work #2. Space Cube_Series of Space Cube Models

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Work #3. Floor Plans

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Work #3. Elevations

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2.5

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Work #3. Axonometric

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Work #4. Casting Model

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A sh ley J . P o r t fo lio 656

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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Work #1. Sequence of Wall, Column, and Space Joy

Phase #1: Category #44 - Image 3

Phase #2: Category #25 - Image 6

Phase #3: Category #29 - Image 1

Phase #4: Category #59 - Image 2

Phase #5: Category #36 - Image 2

Phase #6: Category #53 - Image 3

Phase #7: Category #54 - Image 5

Phase #8: Category #30 - 160 Degree

Phase #9: Category #37 - Image 2

Phase #10: Category #51 - Image 2

Phase #11: Category #34 - Image 3

Phase #12: Category #57 - Image 2

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Work #1. Sequence of Wall, Column, and Space_Sequence Model Views

Phase #1: Category #44 - Image 3

Phase #2: Category #25 - Image 6

Phase #3: Category #29 - Image 1

Phase #4: Category #59 - Image 2

Phase #5: Category #36 - Image 2

Phase #6: Category #53 - Image 3

Phase #7: Category #54 - Image 5

Phase #8: Category #30 - 160 Degree

Phase #9: Category #37 - Image 2

Phase #10: Category #51 - Image 2

Phase #11: Category #34 - Image 3

Phase #12: Category #57 - Image 2

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Project 04 used a series of special elements to intentionally evoke an emotional response through a series of 12 images from the 59 categories from the Wall, Column, and Space Project we completed last week. The human figures were placed in a position throughout the series to illustrate his journey and show the tough walls he must climb in order to reach success and happiness. I selected the emotion of joy and used images that included a variety of light and shadows, and different curved ramps leading into a void to represent the figure’s perseverance to never give up and to show his optimistic view. Image 1: Category 44 – Image 3: Two curved walls are used to illustrate large apartment buildings with a narrow opening of light between them. Jon, the human figure, approaches his girlfriend’s apartment doors preparing to propose and start the rest of his life. I selected this image because the narrow opening between the two buildings is filled with light and the figure is shown walking confidently towards it to represent the joy he is experiencing. Image 2: Category 25 – Image 6: Two vertical columns and two facing walls are used in the space to create a hallway into the apartment building. Jon walks slowly towards the opening between the two columns preparing himself to propose. Once again, the light in the opening represents the optimism he feels and what he believes to be a bright future in front of him. Image 3: Category 29 – Phase 1: The image uses 5 vertical columns and two walls to create a wide open space that shows a variation of lighting. Jon and his girlfriend are placed in the center of the image facing each other, they both argue and before he can even propose she breaks up with him. I think this image starts Jon’s journey off and this was his first challenge, he tries his best to be optimistic but he must overcome this challenge to reach his joy. Image 4: Category 59 – Image 2: - A piece of twisted paper is used to create a seat for the figure to sit on and illustrate the twisted structures and lighting segment we went over in the first project. Jon is shown taking a seat on a chair after his girlfriend breaks up with him to illustrate his confusion and loneliness. I think the darkness and twisted material used in this image helps to show the lost emotion Jon is experiencing before he can start his journey. Image 5: Category 36 – Image 2: Image 5 uses a flat wall and a curved fall to create a hallway towards a void that the figure can walk through. Jon walks out of his girlfriend’s apartment into the world trying his best to remain optimistic and remain confident in himself. I used this image as a transition space for the space cube project to represent the structure of the girlfriend’s apartment. Image 6: Category 53 – Image 3: - A small curved wall is used to create a building in the distance and a long curved wall is used to create a bridge and ramp through the city outside of Jon’s girlfriend’s apartment. John is shown walking on the bridge towards a ramp in front of him. I think this image was another transition image to show the wide open space and the new journey Jon is beginning. Image 7: Category 54 – Image 5 This image shows a curved wall and a ramp leading into a circle void to represent a staircase into the unknown. Jon is shown at the bottom of the staircase looking at the tough climb ahead. I selected this image to show the void filled with light and the steep ramp leading to it to illustrate the difficult climb Jon has to make but he knows it will lead to happiness so he remains optimistic. Image 8: Category 30 – 160 degree: A facing wall is placed to illustrate the area where Jon sees a ad posted for his dream job and that interviews are currently being held. Jon is shown in the center of the image reading the ad and hopeful for getting this opportunity. This image allowed me to start the next part of his journey and show that his emotion of joy will allow him to open himself up to new opportunities. Image 9: Category 37 – Image 2: One curved wall with a narrow opening is used to represent the building the interviews are being held and where the new job would be. Jon is shown walking quickly towards the bright opening excited for what lies ahead of him. I used this image as a transition point to shown him walking into another bright light excited for the opportunity ahead. Image 10: Category 51 – Image 2: Three levels are represented in this image to show the rankings and levels in the office by using curved walls, circular voids, and other figures placed at the different levels. Jon stands at the bottom of the image intimidated by the people around him, but he remains hopeful and continues to go up for his interview. This image helped me to show the next part of Jon’s journey and his excited emotion to start his new career. Image 11: This category shows a curved wall to represent the room Jon will have his interview in. Jon walks into the room waiting for his interview. This image helped me to create another transition scene for Jon’s journey. Image 12: Category 56 – Image 2: The last image uses a half sphere and a piece of paper to represent the view that the figures have outside of the building and “the world” that is still left to explore. Jon and his interview stand in front of the view when Jon is given the job, and they both stand and discuss how far Jon has come due to his mindset and optimistic view. I think this image was a perfect scene to close on because it shows the success and calm feeling that Jon has reached because he remained filled with joy during his journey.

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Work #2. Space Cube_First Space Cube Model

Phase #1: Category #44

Phase #2: Category #25

Phase #3: Category #29

Phase #4: Category #59

Phase #5: Category #36

Phase #6: Category #53

Phase #7: Category #54

Phase #8: Category #30

Phase #9: Category #37

Phase #10: Category #51

Phase #11: Category #34

Phase #12: Category #57

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Phase 1: Since the new model is much more condensed than the previous project it was a little more difficult to capture a high-quality picture to represent the shadows and space in the original scene. The human figure is shown once again walking between two curved walls into the light. This picture just got smaller and narrower due to the limitation of a 9’x 9’ x 9’ measurements. Phase 2: This image includes the use of pillars and light to make the picture visually appealing and also represents the theme of joy. Image two shows a human figure walking through two pillars into a lighted area. This photo was not as high quality as the initial image but I think it was a cool use of the space because I used the doorway in the cylinder staircase to create this. Phase 3: Image 5 uses pillars instead of wooden columns to recreate the first image but also matches better with the surrounding structures in the model. The two human figures stand in the center of the image with light coming from various perspectives. Although this image was created with different components and pillars on both sides of them I think it created a cool effect with the lighting. Phase 4: Image 4 uses a chair made from foam board instead of tissues and also adds the element of a staircase behind it. The human figure sits down in his chair looking past the camera while another human figure walks up the stairs. I like this picture a lot more than the original because I feel like it has more depth and does a better job of using the surrounding space and telling a story. Phase 5: Image 5 originally is shown with a flat curved wall and a flat facing wall, but in order to make it flow with the surrounding space I used the perimeter of pillars and doorway to the cylinder staircase. The human figure is shown from a side back angle walking towards the open doorway leading to the stairs. I think that although this image looks different it represents the same idea of new doors or spaces leading to new beginnings and the unknown. Phase 6: A small curved wall placed on top of the structure is used to represent the initial image in category 6. There is only one figure shown due to measurement limitations but she is shown walking on top of the curved bridge. I think the first image does a better job to represent the idea of a big city like I was originally going for, but with the condensed space I think this image still helps to tell a story. Phase 7: Image 7 uses a staircase going into a rectangular void instead of a ramp going into a circle void because I thought it flowed better with the model, looked more realistic, and did a better job conveying the message of the light at the end of the tunnel. The human figure is still shown climbing the stairs towards the void. I enjoy this image much more because I think it has a better perspective and has more of an influence from the light and shadows. Phase 8: Image 8 shows a man outside of the cylinder staircase staring at a blank wall. The human figure is placed in the center of the image facing the wall. I think this image is pretty similar to the initial one I took and just has differences in lighting and space available. Phase 9: Image 9 uses the perimeter of pillars and a curved wall to recreate the initial image from category 37. The human figure is shown slightly off-centered walking towards the opening that is projecting light. I think this image continues to carry the theme of joy due to the lighting used. Phase 10: Image 10 shows the spiral staircase and the different levels it leads to. The main human figure keeps his original position at the bottom of the staircase looking up at the climb ahead of him. I think both images from this selection are my favorites from this entire project because even though they follow the same concept they are both so unique. Phase 11: Image 11 was originally included as a transition image, but the recreation of the image also includes a bit of the spiral staircase coming down. The human figure remains in his original position staring at the black curved wall in front of him. I think with the limited space available in the new model this was a good representation of scene 11. Phase 12: The last image in this sequence shows two men looking into the darkness. Two human figures are placed on top of the new model looking outward. I loved the initial scene of image 12, but since I was so limited with space I was not able to include all o the details that made the first picture so intriguing.

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Work #2. Space Cube_Second Space Cube Model

Phase #1: Category #44

Phase #2: Category #25

Phase #3: Category #29

Phase #4: Category #59

Phase #5: Category #36

Phase #6: Category #53

Phase #7: Category #54

Phase #8: Category #30

Phase #9: Category #37

Phase #10: Category #51

Phase #11: Category #34

Phase #12: Category #57

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Phase 1: In the previous model, two curved walls are used to represent a hallway, but in the new model two curved models are also included but with a flat cutout wall is in the background. The human figure is shown once again walking between two curved walls into the light. This picture just got smaller and narrower due to the limitation of a 9’x 9’ x 9’ measurements, but I also included the cutout to add more dimension to the model. Phase 2: In the previous model, this image includes the use of pillars and light to make the picture visually appealing and also represents the theme of joy, but in the new model I used a wooden dowel rod and a flat facing wall with cutouts to make the model more complex and handcrafted. The initial image shows a human figure walking through two pillars into a lighted area, but the new model shows the human figure next to the column looking ahead at the cutouts. I think this adjustment helped to add more dimension to the model and makes the architecture more complete and intriguing. Phase 3: The initial images used a cube of columns to recreate the original scene, but the new image from this model uses curved lines to make the figures a center point. The two human figures stand in the center of the image with the curved lines leading to them, while in the initial image that are just standing inside the cube. I felt like this change made the structure feel more inviting and less like a cage. Phase 4: Image 4 in the previous model shows a circular void looking into a room with a spiral staircase and a man sitting below the stairs in darkness, but I switched up the lighting and added more curves to the chair. The human figures in both images is shown sitting down surrounded by darkness but hopeful for what is around him. I made an adjustment to the second image in the model because I think it shows a better perspective and seems more joyful than the first model. Phase 5: In the initial image I used the perimeter of pillars and doorway to the cylinder staircase, but I made an adjustment two the second image two make a better flow for the model using two curved walls. The human figure is shown from a side back angle walking towards the open doorway leading to the stairs for both images. I think that although this image looks different it represents the same idea of new doors or spaces leading to new beginnings, and it made more sense with the new model. Phase 6: In the initial model, a small curved wall placed on top of the structure is used to represent the initial image in category 6, but in the new model I used the spiral staircase to make the scene more hopeful and flow better with the rest of the space. In the first image, there is only one figure shown due to measurement limitations, but the new model shows two figures walking up the path. I think the adjustment does a better job including the flow of the model, lighting, and implementing the emotion of joy. Phase 7: Image 7 uses a staircase going into a rectangular void instead of a ramp going into a circle void, but I made an adjustment of the new model by placing the figure at the bottom of the spiral staircase. Both figures are shown climbing up the stairs into a void, but the new model uses a spiral staircase. I think this adjustment uses better lighting to represent the tough climb ahead but good lighting at the top to represent hope and joy. Phase 8: The initial image shows a man staring at a blank facing wall to recreate the first model, but in the new model arches are included to help with the architecture and make the scene more inviting. The human figure in the first images faces a flat wall, while I’m the second picture he looks outside of the three windows, I made this change because I thought it added more character to the structure while also implementing the emotion of joy because he is looking out on the world on all of his opportunities. Phase 9: Image 9 was originally made to create a transition scene so in the initial image the model uses the perimeter of pillars and a curved walls, but I used a spiral staircase in the second image to make it flow with the model and show my craftsmanship. The human figure is shown slightly off-centered walking towards the opening that is projecting light in the first image, while in the new scene the figure is shown walking up the stairs. I think this image continues to carry the theme of joy due to the lighting used at the top of the stairs and helps the flow of the space. Phase 10: Image 10 shows the spiral staircase and the different levels it leads to, while the new model shows a wider angle with a better representation of the lighting and how it impacts the different figures. The main human figure keeps his original position at the bottom of the staircase looking up at the climb ahead of him. I think both images do a good job conveying the climb ahead but the staircase illustrates the different levels and the path to joy. Phase 11: Image 11 was originally included as a transition image, but the recreation of the image also includes a bit of the spiral staircase coming down, the new model shows a cutout archway showing the final destination of the scenes. The human figure in the first image stares at a blank wall, while the figure in the second image shows the figure about to walk down the hallway. I think this image represents a better illustration of the path ahead and the destination the figure is about to reach. Phase 12: The last image in this sequence shows two men looking into the darkness, but in the new model two figures are shown sitting down having a conversation. Both figures are shown sitting down on a circular platform discussing the joy they are experiencing and implementing the theme of connection in this space. I believe that this new adjustment helps to tell a better story while also making the space more comfortable for the figures and the model.

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Work #2. Space Cube_Last Space Cube Model

Phase #1: Category #44

Phase #2: Category #25

Phase #3: Category #29

Phase #4: Category #59

Phase #5: Category #36

Phase #6: Category #53

Phase #7: Category #54

Phase #8: Category #30

Phase #9: Category #37

Phase #10: Category #51

Phase #11: Category #34

Phase #12: Category #57

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Phase 1: The final model and the second model both feature two curved walls with a flat cutout wall in the background. The human figure is depicted walking between the curved walls towards the light. The picture has become smaller and narrower due to the 9’ x 9’ x 9’ size limitation, but the inclusion of the cutout adds more dimension to the model. Phase 2: In the previous model, I used a wooden dowel rod and a flat facing wall with cutouts to make the model more complex and handcrafted, and in the final model I just made cleaner cuts and made the cutouts more symmetrical. Both model show the human figure next to the column looking ahead at the cutouts. I think this adjustment helped to add more dimension to the model and makes the architecture more intriguing and joyful. Phase 3: The previous model uses curved lines of foam board to make the figures a center point, and in the new model I made those curves cleaner and added a thin sheet of paper on top of each curved structure to make it more complete. The two human figures stand in the center of the image with the curved lines leading to them. I felt like this change made the structure feel more realistic and helped to make the model look more professional. Phase 4: In the previous model shows a circular void looking into a room with a spiral staircase and a man sitting below the stairs in darkness, but I decided to make the stairs more symmetrical in the new model and changed the lighting so it was more focused on the man sitting down. The human figures in both images are shown sitting down surrounded by darkness but hopeful for what is around him. I made an adjustment because I think it shows a better perspective and seems more joyful than the second model. Phase 5: In the previous model, I used two curved walls leading to the doorway of the cylinder staircase, but in the new model I made those curved walls different heights to include more depth and changed the lighting so it lit up the pathway better. The human figure is shown from a side back angle walking towards the open doorway leading to the stairs for both images. I think that although this image looks different it represents the same idea of new doors or spaces leading to new beginnings, and it made more sense with the new model. Phase 6: In the second model, I used the spiral staircase to make the scene more hopeful and flow better with the rest of the space going from the roof to the bottom floor, and in the final model I kept the same concept for the structure but made the staircase more symmetrical with cleaner cuts. In both models, two figures are shown walking up the spiral staircase. I think the adjustment does a better job including the flow of the model, lighting, and implementing the emotion of joy. Phase 7: In the previous model, the figure was positioned at the bottom of a spiral staircase, looking up into the void above. In the new model, the staircase is shifted to the right side, connecting to the flat wall and ascending into the void. Both figures are shown climbing the stairs into the void, but the previous model features a spiral staircase, while the new one has a more straightforward design. This adjustment enhances the lighting to better symbolize the challenging climb ahead, with brighter light at the top representing hope and joy. Phase 8: In the second space cube model, a human figure is shown on the first floor in the right cube between a curved wall and a pillar, and in the new model cutouts of the windows are more distinct. The human figure in both models shows him looking outside of the three windows, I made this change because I thought it added more character to the structure while also implementing the emotion of joy because he is looking out on the world on all of his opportunities. Phase 9: In the second model, I used a spiral staircase to make it flow with the model and show my craftsmanship, and in the final model I just made the stairs look cleaner. The human figure is shown walking up the stairs in both models. I think this image continues to carry the theme of joy due to the lighting used at the top of the stairs and helps the flow of the space. Phase 10: Image 10 shows the spiral staircase and the different levels it leads to, and both models show a wider angle with a better representation of the lighting and how it impacts the different figures. The main human figure keeps his original position at the bottom of the staircase looking up at the climb ahead of him. I think both images do a good job conveying the climb ahead but the staircase illustrates the different levels and the path to joy. Phase 11: The previous model shows a cutout archway showing the final destination of the scenes, and in the new model I included cutouts on the archway to make it more detailed. The human figure in both models are shown walking down the hallway behind the arch ahead of them. I think this image represents a better illustration of the path ahead and the destination the figure is about to reach. Phase 12: The previous model displays two figures sitting down having a conversation, and in the final model I made the table and chairs they are using have cleaner cuts. Both figures are shown sitting down on a circular platform discussing the joy they are experiencing and implementing the theme of connection in this space. I believe that this new adjustment helps to tell a better story while also making the space more comfortable for the figures and the model.

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Work #4. Casting Model

pictures of foam-core board, plaster, and cement models

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A l y ssa Kl i n e Port foli o 688

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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Work #1. Sequence of Wall, Column, and Space Selected Emotion: Joy

Phase #1: Category #48

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Work #1. Sequence of Wall, Column, and Space_Sequence Model Views

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The emotion that I chose is joy. To create this feeling through design, I used straight and curved walls, columns, and voids. By thinking about how these elements interact with the human figure, my goal was to create spaces that feel warm, inviting, and happy. The first photograph shows a curved wall that I turned upside down to create the illusion of a tunnel or entryway. The human figure stands in front of the tunnel to show that it can be walked into. With the theme of joy in mind, the tunnel is representative of walking into a gateway of happiness. The second photograph shows two curved walls facing each other. The human figure stands in front of the two parallel walls. The walls create a hallway to walk to the other side of the building or model. The arrangement of the walls creates a sense of warmness. The third photograph shows two curved walls, one is the hallway, and the other is the tunnel. The figure stands in front of the two connected walls. The connected walls make the space feel dynamic and create a lively energy. The fourth photograph shows two connected walls with two columns in front of the walls. The human figure stands in between the walls and columns. The setup creates a balanced and structured area, and emphasizes stability. The fifth photograph shows an elevated surface. One human figure stands below the elevated surface, and another human figure stands on the top. The setup suggests a progression or journey with one figure at the top and the other at the bottom. The sixth photograph shows a wall with a curved object on the ceiling. The human figure stands below the curved object looking up. This creates a feeling of openness and possibility. The seventh photograph shows a curved wall. The human figure stands in front of the curved wall. This reminds me of waves, making the space serene. The eighth photograph shows two curved walls together with a small opening. The human figure stands in front of the small opening. This creates a sense of discovery. The ninth photograph shows a square void elevated on top of various walls. The human figures stand below and are illuminated by the light that comes through the void. This is similar to a skylight, filling the space with light and aligns with the feeling of happiness or joy. The tenth photograph shows a straight wall. The human figure stands directly in front of the straight wall. The simple design creates clarity and gives the space a sense of purpose. The eleventh photograph shows a void with a curved object coming through. The human figure stands directly in front of the curved object. This creates a feeling of curiosity and discovery. The twelfth photograph shows a straight wall and curved wall put together, with darker lighting from the closed off space. The human figure stands in the middle of the walls. This creates coziness and makes the space feel warm and inviting.

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Work #2. Space Cube_First Space Cube Model

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Work #2. Space Cube_Second Space Cube Model

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The emotion that I chose is joy. To create this feeling through design, I used straight and curved walls, columns, and voids. Creating this model, the color and simplicity, along with the abstractness created by the placement of the varying objects reminded me of a cloudlike, dreamy atmosphere. So, I wanted to create a space that almost felt like being in a dream or dreamland, also known as a dreamscape. My goal was to create a space that felt calm, light, and fluid. By thinking about how these elements interact with the human figure, my goal was to create spaces that feel warm, inviting, and happy. The first photograph shows an elevated square void. The human figure stands under the square void and is illuminated by the square shaped lighting coming through. The lighting draws attention to the figure, and creates a spotlight effect that can create a feeling of importance or happiness. I added an elevated surface on top of the void, but the lighting is still the same. The second photograph shows two curved walls with different heights at an intersection. The human figure stands in front of the intersection of the two curved walls. The different heights of the walls provide movement, which make the environment intriguing. The two curved walls sit at the back of the model, and the varying sizes add depth. The third photograph shows a curved wall turned upside down to create an entryway. The human figure stands under the tunnel created by the curve. The entryway creates curiosity and excitement as the figure moves through it. I changed the placement of the tunnel from being elevated to being on the ground. This way, the entrance to the building or model is easier to find. The fourth photograph shows a blank space with a void at the top. The human figure stands under the void. The void is similar to a skylight, which makes the model uplifting by promoting openness and is on-theme with the idea of joy. The void is now covered by an elevated surface that is facing the top of the void, but the light can still come in. The fifth photograph shows an elevated surface. One human figure stands below the elevated surface, while another human figure stands on the elevated surface looking down. The positioning of the elevation allows the figures to interact on different levels, and is similar to a playground. The different heights of the elevated surfaces puts emphasis on the one figure that is standing on a higher level. The sixth photograph shows a square void with a curved object coming from the ceiling and meeting the ground. The human figure stands in front of the curved surface below the void. The combination of organic and straight shapes adds a whimsical element to the model. In this version of the model, I changed two voids to be separate, but still close to each other, allowing for the curved surface of each void to be more visible. The seventh photograph shows a void with a curved surface in the shape of a U connected to the void. The human figure stands directly under the curved surface. The U shape creates a comforting feeling and allows the figure standing under it to feel secure. I connected this void with a bridge to the other void that has the curved surface meeting the ground. The eighth photograph shows a straight wall. The human figure faces the wall. The simplicity of the wall is calm and focused, allowing for a moment of quietness. In this version of the model the figure is in the same space, but I removed the tunnel shape to allow for more visibility of the wall. The ninth photograph shows two straight walls with two columns parallel to the longer wall. The human figure stands in between the walls and the columns. The space provided by the walls is structured but open, and creates a feeling of harmony. I changed the position of the short wall and long wall from the previous model, so now the placement of the two are opposite of each other. The tenth photograph shows a single curved wall. The human figure stands in front of the edge of the curved wall. The curved wall creates movement and fluidity. In this model the curved wall is in the same area as the other curved wall, but they’re different sizes, allowing for additional movement and clear divided sections. The eleventh photograph shows two curved walls with the same height and a small opening between the two walls. The human figure stands in front of the opening. The small opening allows for feelings of exploration and creates intrigue in the model. The two curved walls are in close proximity to the other curved walls on that level. The small opening allows for the figure to peek through and view what’s happening on the other side of the walls. The twelfth photograph shows two curved walls, almost parallel to each other. The human figure stands in between the opening provided by the parallel walls. The walls created a guided pathway for the figure and encourages exploration. The human figure can walk through the pathway provided by the walls to explore the rest of the space.

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Work #2. Space Cube_Last Space Cube Model

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The emotion that I chose is joy. To create this feeling through design, I used straight and curved walls, columns, and voids. Creating this model, the color and simplicity, along with the abstractness created by the placement of the varying objects reminded me of a cloudlike, dreamy atmosphere. So, I wanted to create a space that almost felt like being in a dream or dreamland, also known as a dreamscape. My goal was to create a space that felt calm, light, and fluid. By thinking about how these elements interact with the human figure, my goal was to create spaces that feel warm, inviting, and happy. The first photograph shows an elevated square void. The human figure stands under the square void and is illuminated by the square shaped lighting coming through. The lighting draws attention to the figure, and creates a spotlight effect that can create a feeling of importance or happiness. I added an elevated surface on top of the void, but the lighting is still the same. Under the void, I added curved walls, which create a pathway for the figure to walk through. The second photograph shows two curved walls with different heights at an intersection. The human figure stands in front of the intersection of the two curved walls. The different heights of the walls provide movement, which make the environment intriguing. The two curved walls sit at the back of the model, and the varying sizes add depth. In this version of the model, I kept the walls in the same place. Having the bigger walls in the back allows there to be an obvious end to the model and helps show where it begins and ends. The third photograph shows a curved wall turned upside down to create an entryway. The human figure stands under the tunnel created by the curve. The entryway creates curiosity and excitement as the figure moves through it. I changed the placement of the tunnel from being elevated to being on the ground. This way, the entrance to the building or model is easier to find. I moved this tunnel to be close to a curved wall. This way, the figure can navigate through the tunnel and into a hallway that allows further exploration of the model. The fourth photograph shows a blank space with a void at the top. The human figure stands under the void. The void is similar to a skylight, which makes the model uplifting by promoting openness and is on-theme with the idea of joy. The void is now covered by an elevated surface that is facing the top of the void, but the light can still come in. In this model, I kept this void in the same place. The fifth photograph shows an elevated surface. One human figure stands below the elevated surface, while another human figure stands on the elevated surface looking down. The positioning of the elevation allows the figures to interact on different levels, and is similar to a playground. The different heights of the elevated surfaces puts emphasis on the one figure that is standing on a higher level. In this version of the model I added stairs to the elevated surface, which allows the figure on the bottom level to travel to the top. This way the space flows better and allows for a more realistic balcony. The sixth photograph shows a square void with a curved object coming from the ceiling and meeting the ground. The human figure stands in front of the curved surface below the void. The combination of organic and straight shapes adds a whimsical element to the model. In this version of the model, I changed two voids to be separate, but still close to each other, allowing for the curved surface of each void to be more visible. I added a bridge between this void and the other. I changed the placement of the elevated surface so it wouldn’t be as high up, creating more flow in the model. The seventh photograph shows a void with a curved surface in the shape of a U connected to the void. The human figure stands directly under the curved surface. The U shape creates a comforting feeling and allows the figure standing under it to feel secure. I connected this void with a bridge to the other void that has the curved surface meeting the ground. In this model I added stairs that go from the elevated surface into the next sequence. The eighth photograph shows a straight wall. The human figure faces the wall. The simplicity of the wall is calm and focused, allowing for a moment of quietness. In this version of the model the figure is in the same space, but I removed the tunnel shape to allow for more visibility of the wall. This wall is connected to an elevated surface. Besides the stairs, the wall is the only other object on the elevated surface, creating openness. The ninth photograph shows two straight walls with two columns parallel to the longer wall. The human figure stands in between the walls and the columns. The space provided by the walls is structured but open, and creates a feeling of harmony. I changed the position of the short wall and long wall from the previous model, so now the placement of the two are opposite of eachother. The tenth photograph shows a single curved wall. The human figure stands in front of the edge of the curved wall. The curved wall creates movement and fluidity. In this model the curved wall is in the same area as the other curved walls, but they’re different sizes, allowing for additional movement and clear divided sections. I decided to keep the curved wall in the same place, because when it is paired with the other walls, it creates a distinct pathway. The eleventh photograph shows two curved walls with the same height and a small opening between the two walls. The human figure stands in front of the opening. The small opening allows for feelings of exploration and creates intrigue in the model. The two curved walls are in close proximity to the other curved walls on that level. The small opening allows for the figure to peek through and view what’s happening on the other side of the walls. The two curved walls now sit directly in front of the walls towards the back of the model, which I did to create diversity and range in this model. The twelfth photograph shows two curved walls, almost parallel to each other. The human figure stands in between the opening provided by the parallel walls. The walls created a guided pathway for the figure and encourages exploration. The human figure can walk through the pathway provided by the walls to explore the rest of the space. The two curved walls are now attached to the wall of the cube, creating a dead end. This is to help define the pathway created by the other walls, in which the figures can travel through, instead of there being multiple pathways to walk through.

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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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Work #1. Sequence of Wall, Column, and Space Selected emotion: Fear

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Work #1. Sequence of Wall, Column, and Space_Sequence Model Views

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Phase #2: Category #13

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Phase #4: Category #27

Phase #5: Category #43

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Fear was a common emotion I found amongst my paragraphs when asked to describe my emotions from the environmental elements in all of the different categories. Fear could be used to describe fright, lost, stuck, unsafe, and eerie. My strategies are in order from most simplistic to most complex. As my figure moves through each strategy, he is challenged with a greater obstacle. The idea behind the layout of my model was a maze. In some spots, it appears the figure doesn’t have much room to get to the next category, seemingly stuck. My figure has to figure out how to get from the beginning to the end. Ten 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 gradually becomes 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. Four photographs illustrate how the angle of the wall protruding towards the human figure gradually changes, resulting in a blockage of the human figure’s view above him. As the wall gradually moves directly over the human figure, the human figure is then unable to look up. 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). This made me feel like the wall could collapse on me at any given time. The wall appeared sharp and dangerous. Eight 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. 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 side. 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 sporadically on each side of me, this made me feel like I had to keep looking out for more columns. I felt spooked because there were no walls, and no purpose for the columns to be placed randomly in an open space. 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. 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. The large wall caused me to feel boxed in. 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). I had little room to move and felt barricaded and abandoned. Six 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. Because of the brightness and large size of the void, I felt like I could be taken by a spaceship at any second. 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. 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. I needed something to grab onto, incase I were to lose my balance and fall in. These photographs illustrate shadows and dimensions. As the layout remains the same, the human figure sees different perspectives of layering and depth. 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 were overlooking a very large hole. Since the hole was so large and there was little space to walk around the void, I felt very unsafe. These photographs illustrate a wall holding a sphere, creating the allusion 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. 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.

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Work #2. Space Cube_First Space Cube Model

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A person can often feel afraid when learning new things and being faced with many challenges along the way. I wanted my figure to feel like he was in a maze. Each category is something new and unknown. As he escapes one category, he is faced with another problem he has to solve. I imagine my cube to be turning as the figure finds a way to escape the current category he is in. If the cube itself is continuously turning, that means my figure is on a timer. As the cube rotates, the floors are also constantly rotating from flat to diagonal. The figure has several minutes to figure out how to escape his box before he loses balance. Within this cube, I imagine my figure to feel lost, stuck, frustrated, and wanting to take the easy way out to avoid facing many challenges by jumping off the edge.

This photograph illustrates 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 gradually becomes 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 stuck and claustrophobic. This photograph illustrates how the angle of the wall protruding towards the human figure gradually changes, resulting in a blockage of the human figure’s view above him. As the wall gradually moves directly over the human figure, the human figure is then unable to look up. The wall made the area around me very shaded, this made me feel like I was in a dark space. I felt like I didn’t have much room to move around the protruding wall because there was a small horizontal wall directly behind me. This photograph illustrates how the angle of the wall above the human figure gradually changes, resulting in the gradual covering of the human figure. As the walls change, the human figure becomes partially covered. When the wall protruded outward at an angle of 60 degrees, I felt the wall was unsafe and didn’t have much support to hold it up. As I walked beneath the wall, I felt like I had to cover my head, and fastly walk under the protruding wall incase it were to collapse on me. This photograph illustrates how the placement of columns facing the human figure is sporadically placed, 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. With the columns being unproportionally placed, I felt uncomfortable. The low-standing walls helped direct me towards the columns but once I got past the wall, I was introduced to an openness with randomly placed columns. This made me feel like I didn’t belong there. This category illustrates how the placement of walls can change the atmosphere of a space. As the walls created an opened space, the light in between the walls made me wanat to follow that path.. But when the lighting was coming in front of the walls, the space behind the walls appeared dark and mysterious, and I felt hesitant to walk forward. With the columns being spaced out, I also felt like I was out in the open, exposed. There was no direction for me to go once I got past the low-standing walls. This category illustrates 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 space to the human figure’s right becomes gradually obstructed. As I walked past the angled wall, the large size of the wall made me feel like it was towering over me. I felt off balance and uncomfortable. The wall obstructed my view and I was unable to see past it. This category illustrates 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. As I walked around the walls, I felt less restricted because I had plenty of space behind me to walk in. But I felt like my entire right side was obstructed (120-170 degrees). With the wall obstructing the view to my right, I felt off-balance and uncomfortable. This category illustrates 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. Because of the brightness and large size of the void, I felt like I could be taken by a spaceship at any second. 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. The opening directly above me made me feel unsafe. This category illustrates 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 a top level looking down at the void, I felt unsafe. I needed something to grab onto, incase I were to lose my balance and fall in. The wall coming out of the void made me feel like its intent was for me to slide down the vertical wall into a place of unknown darkness. These photographs illustrate dimension. The vertical wall coming out of the void allows the human figure to see depth when looking across the void. The void’s large size leaves little room for the human figure to move around the void. When standing on the edge, I felt like I had to watch every step I took and remain very focused, as I made my way around the void. The large size of the void made me feel unsafe and dangerous. These photographs illustrate a wall holding a sphere, creating the allusion 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. I didn’t trust that the sphere was securely attached to the wall. The light from above also cast a shadow underneath the sphere, making the atmosphere feel more eerie. 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. I was hesitant to walk underneath the curved walls because their size was very large.

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Work #2. Space Cube_Second Space Cube Model

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I had to make many adjustments to the previous space cube. Although I wanted my space cube to feel like a maze, and I envisioned it turning, I had to think of my space cube in a more efficient and stationary way. To start, I added a base. I still wanted my space cube to have an “X” look so I made diagonal platforms as the base. I then added a center wall on both platforms. Then I added floors to design the rooms on. I feel like this design is much more efficient and functional while still incorporating the feeling of fear. My figure still faced many challenges when trying to maneuver through each category. Some categories were larger than others, trying to relay a fearful scenario. In my mind, the larger something is, the more intimidating it will be. In many categories, the figure was faced with large voids, obnoxiously tall walls or columns, and hanging walls. Upon entering this room, I immediately noticed what seemed to be a wall hanging from the ceiling. As I walked around the wall, I felt creeped out by it. I didn’t trust that it was securely attached to the ceiling, as it could fall at any given moment. The flat, thin wall had sharp edges, making me not want to get too close. (small wall) As I walked into the room, I noticed there was a lot going on, there was a small standing wall to my left that partially obstructed my view. I felt like the wall made the space more enclosed, leaving me with little room to see around things. This made me feel claustrophobic and unaware of what was going on around me. The longer I was in the room, the more annoyed I got at the wall. It served no purpose. This room was very busy. Walls were randomly placed throughout the room, hanging from the ceiling and on the sides of the room. While in the room, I noticed how there was a tall wall in the corner. Since it protruded outward on both sides, it obstructed my view. This made me feel trapped and hindered my ability to see. When walking into this room, there was an odd-looking sculpture in the center of the room. It was balanced on the ground and as I walked closer to it, I felt very unsafe even though it appeared to be sturdy. There was a sphere in the center of this sculpture, protruding out of both sides that could detach at any point. The large size of the sculpture and the way it was balanced gave me an uneasy feeling. When walking into the next room, I felt like there should be more to it. There was just a wall that obstructed my view. I found it annoying and pointless. Not being able to see around the corner scared me, I felt like something could jump out at me. The was so flat that I could see my reflection when standing close to the wall. As I walked into this room, I almost took a step backward. Curves were coming out of a straight verticle wall. The curves were so large and powerful, I had to tilt my head to look up. As I got closer, I felt hesitant to stand directly underneath. The curves blocked my view and cast a shadow on the walls to the right. The shadow darkened the room, making the room feel abandoned. When I walked up the stairs, I was introduced to two medium-sized vertical walls and columns. As I got closer to the two walls, I felt like there wasn’t a clear path for me to follow which made me hesitant to walk past the two walls. I felt the columns were extremely tall, the height of the column made me feel like I was the size of an ant when standing up against them. As I stood at the top of the stairs, I immediately noticed columns placed randomly on the platform I was standing on. There were a couple of walls in my way but the columns were so tall, I could see the majority of the columns sticking out past the walls. I felt that the columns were very large and served no purpose. The columns were intimidating and appeared to be a good distance away. When I walked up the stairs I noticed a void with a skinny wall sticking straight out of it. I was confused as to what its intent could be. The wall added depth and made me feel like I had something to busy myself with. The void alone was frightening to me. I took careful steps as I slowly made my way to the edge of the void. With no rail, I was afraid I was going to fall in. When I got to the top of the stairs, I immediately stopped. There was a huge void in the floor. The void took up most of the floor space. There was not much room to walk around the edge of the void, I was certain I would fall off if I tried. I had to crawl my way around. I was on the very top floor with a very large void in the floor; it was like asking for a death wish. As I crawled my way over, I noticed I had more room to walk around. There was a circular void in the floor this time but I don’t believe that was the point. On the right-hand side of the circle was a floating wall. The wall was decently sized, not terribly small or large. Again, I was very hesitant to stand underneath the wall. With the wall being close to the edge, I tried to keep my distance from the floating wall. As I walked down the stairs and walked off onto the platform on the second level, I notice there was a circular platform waiting to be stood on. When I stood in the center of that platform, I noticed there was a circular void directly above me. The light coming through the void was bright. I felt hot and alone. It was like being in a spotlight waiting to be seen and judged. I felt uncomfortable when standing there.

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Work #2. Space Cube_Last Space Cube Model

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I felt my second space cube was not a smooth layout. The human figure did not flow throughout the space like I wanted him to. I decided to design a different, less complex cube. I feel like my space cube is very functional and direct. This is my favorite layout out of the three cubes. I wanted to keep the same idea of a maze, so I made the different levels around the edge of the square 9x9 base. feel like this design is much more efficient and functional while still incorporating the feeling of fear. My figure still faced many challenges and intimidating objects when trying to maneuver through each category. Large voids, obnoxiously tall walls or columns, and hanging walls were objects used that I thought described fear. The first photograph illustrates a large protruding curved objects that add dominion to the space. The curved objects are so large that shadows are cast underneath the object, making the underneath of the curved objects very dark. As I stood under the curved objects, I felt very small. The curves were peaceful to look at but the environment was spooky. I couldn’t see in front of me from the shadows of the curved objects. When I turned around, I walked next to a large sculpture to my right. As I moved closer towards the object, I felt like I was getting smaller with each step I took. The sculpture appeared to be floating. This made me feel unsafe. While observing the sculpture, I noticed the top left and bottom right pieces were identical. This made the sculpture feel balanced. The ball in the center gave the sculpture depth. When I walked up the steep stairs, I immediately stopped because I almost fell into a massive void. I carefully walked around the square void, standing on the side to observe a wall sticking straight out of the void. The wall felt misplaced and the void alone made me feel extremely uncomfortable. I was anxious in this environment and ready to face my next challenge. I continued up the stairs to two walls that obstructed my view. I felt blocked. With the two vertical walls at the front as soon as you walk up the stairs, the space immediately feels small and confined. The area behind the walls was dark, which made me hesitant to proceed walking forward. Though the walls weren’t the same length, they provided a sense of unity. As I got closer to the walls, I noticed there were two columns next to the walls and a column in the distance. The columns seemed misplaced. The emphasis on the columns made the environment eerie. The columns made a statement for no reason it seemed. As I was walking through all of the randomly placed columns, I felt lost and abandoned. I hurried past the columns straight into another void. This time, the void was much smaller. A wall stuck out of the void like the last one. My view directly in front of me was obstructed by the wall. The void cast a shadow onto the wall, emphasizing the darkness of the void even more. I felt uneasy about not being able to see into the void. The vertical wall naturally made my eyes move upward. As I was walking up the next set of stairs, I almost ran into a floating wall. The wall was large in size, making me feel small and unsafe. The wall was very smooth with sharp edges. The wall cast a shadow on the stairs. As I got closer to the wall, my view was gradually obstructed. I felt annoyed that I had to walk around this wall that was randomly placed in the middle of a staircase. I walked past the floating wall into an area of openness. At first, I was anticipating my next challenge to jump at me out of nowhere, but I then realized everything around me was very bright. I looked up and noticed there was a circular void directly above me and I was standing in the center of it. The bright light shining into the void made me feel like I was being watched. I felt like prey waiting to be caught. I was hot and alone. It was like being in a spotlight waiting to be seen and judged. I felt uncomfortable when standing there. I walked up the stairs and in between two walls. The first wall I stood next to extruded outward. The wall itself was tall and long. The gradual obstruction of my view made me feel trapped. The wall was very smooth. One side appeared to be longer than the other, but as I walked past the wall, the longer wall seemed to shorten. My perspective of the wall changed based on my position. When I turned around, there was another wall the same height but this wall was shorter in length. The wall had a sharper angle to it. My view was obstructed and I could not see anything on my left. I felt short when standing next to this wall. This wall was also smooth. In comparison to the other wall, this wall appeared taller but that could’ve been because the wall was much skinnier than the other wall. I walked up the stairs, there was a wall angled, seemingly floating. This wall made a statement. Its large size and position of this wall were overbearing. When I walked under the wall, I felt like I had to duck my head. There was a shadow on the ground as I walked under the wall. I felt like the wall could fall on me at any moment. This made me feel scared and I quickly hurried out from under the wall. I walked up the stairs, there was a long short horizontal wall. While there was plenty of space to move around, I felt that the wall hindered my space. The placement of the wall gave no perception of depth. If it were placed at an angle, I would’ve felt the environment was more spacious. I found the wall annoying, as it served no purpose. The wall itself had no movement, it was straight. The wall had no emphasis, it was short and I could easily stand next to it without feeling intimidated.

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Work #2. Space Cube_Series of Space Cube Models

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pictures of your colored casting model with surrounding

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London Lammer s 752

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Work #1. Sequence of Wall, Column, and Space Selected Emotion

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Work #1. Sequence of Wall, Column, and Space_Sequence Model Views

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Work #2. Space Cube_Last Space Cube Model

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Young-Su Y. L opez Port foli o 774

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Work #1. Sequence of Wall, Column, and Space_Sequence Model Views

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Work #2. Space Cube_First Space Cube Model

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Fiona McAfee 794

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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Work #1. Sequence of Wall, Column, and Space Selected Emotion

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The emotion I chose was sadness. To keep the theme ongoing for the space cube, I built it with many shadows and floors to make it seem compact and dark. I also added tall walls to help keep the shadows inside the cube. As I built the sequence of photos upward, I followed the direction of the perimeter like a spiral and ended it with an exit of long stairs. The first photo demonstrates a figure entering a small dark space of two curved walls the figure passes through. As the figure stands in the dark between the entrance of two curved walls, the curves change as they get taller compared to the figure, shining light at the end. I was walking into a new restaurant with a cool entry and as I walked closer to the entrance the walls made an illusion they were growing taller. I was scared so I wasn’t ready to walk in the entrance, which made me sad. The second photo illustrates an S-curved wall and a normal curved wall at different heights and lighting. As the figure walks through the dark hallway, it stays the same. I was entering a curvy hallway (photo 1). I entered a few steps deeper and stopped because I preferred the aura and vibe of the dark. The third photo illustrates different angles and positions of the void upside down with different walls and columns as the objects change the void around the figure changes but never obstructs 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 and lonely. The fourth photos illustrate different paths the figure is taking with curved and flat walls around it shining different types of shadows down. The figure is walking past the curved walls and aligned to the straight/ walking towards it. I exit and it leads to a curved wall that blocks out most of the light (making it dark) and I feel gloomy because it is mostly void and darkness. The fifth photo demonstrates the different positioning of a column and a curved wall with an entryway 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 figure’s path. I was walking up the stairs and walked against the inner curved wall wondering why there was a column standing there and wishing it wasn’t. I was then walking down the other part of the curve and there was another column, it made more sense but it was so tall it made me feel insignificant. The sixth photo demonstrates 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 various perspectives, thelighting is shining down but covered with a ceiling only letting 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, he stares at the dark void in front and realizes he is feeling small and sad. The seventh photo demonstrates different angles of a curved wall and upper-level floor with a figure in different lighting zones. The angles change the path of light changes and shine on different spaces around the figure. The figure is sitting staring at a blank huge curved wall. I was sitting on an elevated surface with the light shining behind me, I was staring at a huge wall and was pondering my emotions and felt alone and little. The eighth photo demonstrates 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. The space becomes wider when it changes into the horizontal alignment and more light comes through. I was walking between the columns and walls (photo 1) when they shifted and made my pathway much bigger and brighter, making me stop and stand in the dark and rethink. The ninth photo demonstrates 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 a horizontal alignment the space becomes wider and less light comes through. I was walking in between the columns and walls (photo 1) when they shifted and made my pathway much bigger but darker, making me sad (photo 2). The 10th photo illustrates a square cut out on the ceiling, with the lighting coming down onto the ceiling, providing light in the room. As the figure is pictured, he is staying in the corner of the room and is standing in the shadows looking at the light shadow cast down onto the floor. As I stood there pondering staring at the light but staying in the dark I realized I felt very lonely and filled with sadness. The 11th photos demonstrate voids in different angles, and positions, on the upside of walls and columns. As

the walls and columns move, the void shifts to various 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, it turned right and the void shifted and I was in the dark, making me sad.

The 12th photo illustrates curves with convexities and concavities, not obstructing the viewer’s path. The figure is in a dark long archway tunnel with light at the end of the tunnel. Asthe figure is standing in a dark tunnel with very little light, he is pondering and lonely. As he is about to exit and leave he realizes it is a big staircase and even more sad that there was no elevator.

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Work #2. Space Cube_First Space Cube Model

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The emotion I chose was sadness. To keep the theme ongoing for the space cube, I built it with many shadows and made it four-story floors to make it seem compact and dark but also make it seem like it was too much effort to walk. I also added tall walls to help keep the shadows inside the cube. Inside there are many windows sizes to bring in minimal light (so the people/figures can see). As I built the sequence of photos upward, I followed the direction of the perimeter like a spiral and ended it with an exit of long stairs. The first photo demonstrates a figure entering a small dark space of two curved walls the figure passes through. As the figure stands in the dark between the entrance of two curved walls, the curves change as they get taller compared to the figure, shining light at the end. I was walking into a new restaurant with a cool entry and as I walked closer to the entrance the walls made an illusion they were growing taller. I was scared so I wasn’t ready to walk in the entrance, which made me sad. The second photo illustrates an S-curved wall and a normal curved wall at different heights and lighting. As the figure walks through the dark hallway, it stays the same. I was entering a curvy hallway (photo 1). I entered a few steps deeper and stopped because I preferred the aura and vibe of the dark. The third photo illustrates different angles and positions of the void upside down with different walls and columns as the objects change the void around the figure changes but never obstructs 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 and lonely. The fourth photos illustrate different paths the figure is taking with curved and flat walls around it shining different types of shadows down. The figure is walking parallel to the curved wall and walking towards the straight. As you leave the hallway and enter this part of the sequence, you realize it is in the dark corner of the layout making very little light coming through. I exit and it leads to a curved wall that blocks out most of the light (making it dark) and I feel gloomy because it is mostly void and darkness. The fifth photo demonstrates the different positioning of a column and a curved wall with an entryway never obstructed. The wall that is curved from the outside, makes the figure in the dark while the light is on the other side of the wall. I was walking against the inner curved wall wondering why there was a column standing there and wishing it wasn’t. I was then walkingdown the other part of the curve and there was another column, it made more sense but was so tall it made me feel insignificant, it was very dark making me lonely. The sixth photo demonstrates 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 various perspectives, the lighting is shining down but covered with a ceiling only letting 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, he stares at the dark void in front and realizes he is feeling small and sad. The seventh photo demonstrates different angles of a curved wall and upper-level floor with a figure in different lighting zones. The angles change the path of light changes and shine on different spaces around the figure. The figure is sitting staring at a blank huge curved wall. I was sitting on an elevated surface with the light shining behind me, I was staring at a huge wall and was pondering my emotions and felt alone and little. The eighth photo demonstrates 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. The space becomes wider when it changes into the horizontal alignment and more light comes through. I was walking between the columns and walls (photo 1) when they shifted and made my pathway much bigger and brighter, making me stop and stand in the dark and rethink. The ninth photo demonstrates 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 a horizontal alignment the space becomes wider and less light comes through. I was still walking in between the columns and walls (photo 1) when they shifted and made my pathway much bigger but darker, making me sad (photo 2). But there were stairs at the end of it and eas even more sad that there still was no elevator. The 10th photo illustrates a square cut out on the ceiling, with the lighting coming down onto the ceiling, providing light in the room. As the figure is pictured, he is staying in the corner of the room and is standing in the shadows looking at the light shadow cast down onto the floor. As I stood there pondering staring at the light but staying in the dark I realized I felt very lonely and filled with sadness. The 11th photos demonstrate voids in different angles, and positions, on the upside of walls and columns. As the walls and columns move, the void shifts to various positions aroundthe 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, it turned right and the void shifted and I was in the dark, making me sad. The 12th photo illustrates curves with convexities and concavities, not obstructing the viewer’s path. The figure is in a dark long archway tunnel with light at the end of the tunnel with a huge opening at the end that leads to the outside. As the figure is standing in a dark tunnel with very little light, he is pondering and lonely. As he is about to exit and leave he realizes it is a big staircase and even more sad that there is no elevator and trudges down the stairs but is grateful that he saw a nice view.

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Work #2. Space Cube_Second Space Cube Model

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The emotion I chose was sadness. I selected 12 photos from different categories that illustrate the emotion by picking photos that the figure was in the shadows, walking toward the shadows, tall walls, or had a void. These observations make the emotion sad because tall walls can make you feel insignificant and lonely, dark rooms that barely have light can make you feel depressed, etc. As the figure takes the sequence it seems like he is staring at a void in front of him while he is in the dark, stirring up the emotion that the figure is sad. The first photo demonstrates different lighting on the entering space of two curved walls the figure passes through. As the figure stands in the dark between the entrance of two curved walls, the curves change as they get taller compared to the figure, shining light at the end. I was walking into a new restaurant with a cool entry and as I walked closer to the entrance the walls made an illusion they were growing taller. I was scared so I wasn’t ready to walk in the entrance and it made me sad. The second photo illustrates an S-curved wall and a normal curved wall at different wall heights and lighting. As the walls change the figure’s path never gets obstructed. I was entering a curvy hallway (photo 1). As I entered a few steps deeper I saw the hallway was bright with light and stopped right before because I always preferred the dark. The third photo illustrates different angles and positions of the void upside down with different walls and columns. As the objects change the void around the figure changes but never obstructs 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 and lonely. The fourth photos illustrate different paths the figure is taking with curved and flat walls around it shining different types of shadows down. The figure is walking past the curved walls and aligned to the straight/ walking towards it. I exit and it leads to a curved wall that blocks out most of the light (making it dark) and I feel gloomy because it is mostly void and darkness. The fifth photo demonstrates the different positioning of a column and a curved wall with an entryway 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 figure’s path. I was walking against the inner curved wall wondering why there was a column standing there and wishing it wasn’t. I was then walking down the other part of the curve and there was another column, it made more sense but it was so tall it made me feel insignificant.The sixth photo demonstrates 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 various perspectives, the lighting is shining down but covered with a ceiling only letting 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 realizes he is feeling small and sad. The seventh photo demonstrates different angles of a curved wall and upper-level floor with a figure in different lighting zones. The angles change the path of light changes and shine on different spaces around the figure. The figure is sitting staring at a blank huge curved wall. I was sitting on an elevated surface with the light shining behind me, I was staring at a huge wall and was pondering my emotions and felt alone and little. The eighth photo demonstrates 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. The space becomes wider when it changes into the horizontal alignment and more light comes through. I was walking between the columns and walls (photo 1) when they shifted and made my pathway much bigger and brighter, making me stop and stand in the dark and rethink. The ninth photo demonstrates 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 a horizontal alignment the space becomes wider and less light comes through. I was walking in between the columns and walls (photo 1) when they shifted and made my pathway much bigger but darker, making me sad (photo 2). The 10th photo illustrates a square cut out on the ceiling, with the lighting coming down onto the ceiling, providing light in the room. As the figure is pictured, he is staying in the corner of the room and is standing in the shadows looking at the light shadow cast down onto the floor. As I stood there pondering staring at the light but staying in the dark I realized I felt very lonely and filled with sadness. The 11th photos demonstrate voids in different angles, and positions, on the upside of walls and columns. As the walls and columns move, the void shifts to various 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, it turned right and the void shifted and I was in the dark making me feel sad.The 12th photo illustrates curves with convexities and concavities, not obstructing the viewer’s path. The figure is in a dark long archway 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 artwork, he is pondering and lonely.

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The emotion I chose was sadness. To keep the theme ongoing for the space cube, I built it with many shadows and made it four-story floors to make it seem compact and dark but also make it seem like it was too much effort to walk. I also added tall walls to help keep the shadows inside the cube. Inside there are many windows sizes to bring in minimal light (so the people/figures can see). As I built the sequence of photos upward, I followed the direction of the perimeter like a spiral and ended it with an exit of long stairs. I also made clean cuts for the final space cube and opened the space for more viewing. The first photo demonstrates a figure entering a small dark space of two smooth curved walls the figure passes through. As the figure stands in the dark between the entrance of two curved walls, the curves change as they get taller compared to the figure, shining light at the end. I was walking into a new office building with a cool entry and as I walked closer to the entrance the walls made an illusion that they were growing taller. I was scared so I wasn’t ready to walk in the entrance, which made me sad. The second photo illustrates an S-curved smooth wall and a normal curved wall at different heights and lighting. As the figure walks through the dark hallway, it stays the same. I was entering a curvy hallway. I entered a few steps deeper and stopped because I preferred the aura and vibe of the dark. The third photo illustrates different angles and positions of the void upside down with three different curved walls and columns. The walls never obstructed the figure’s path and there was an overhead cut out on the ceiling in the shape of a circle, drawing in light in a small section. 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 and lonely. The fourth photos illustrate different paths the figure is taking with curved and flat walls around it shining different types of shadows down. The figure is walking parallel to the curved wall and walking towards the straight. As you leave the hallway and enter this part of the sequence, you realize it is in the dark corner of the layout making very little light coming through. I exit and it leads to a curved wall that blocks out most of the light (making it dark) and I feel gloomy because it is mostly void and darkness. The fifth photo demonstrates the different positioning of a column and a curved wall with an entryway never obstructed. The wall that is curved from the outside, makes the figure in the dark while the light is on the other side of the wall. I was walking against the inner curved wallwondering why there was a column standing there and wishing it wasn’t. I was then walking down the other part of the curve and there was another column, it made more sense but was so tall it made me feel insignificant, it was very dark making me lonely. The sixth photo demonstrates 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 various perspectives, the lighting is shining down but covered with a ceiling only letting 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, he stares at the dark void in front and realizes he is feeling small and sad and continues and walks up the stairs. The seventh photo demonstrates different angles of a curved wall and upper-level floor with a figure in different lighting zones. The angles change the path of light changes and shine on different spaces around the figure. The figure is sitting staring at a blank huge curved wall. I was sitting on an elevated surface bench with the light shining behind me, I was staring at a huge wall and was pondering my emotions and felt alone and little. The eighth photo demonstrates 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. The space becomes wider when it changes into the horizontal alignment and more light comes through. I was walking up the stairs and when I finally reached the top I was between the columns and walls. When they shifted and made my pathway much bigger and brighter, making me stop and stand in the dark and rethink. The ninth photo demonstrates 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 a horizontal alignment the space becomes wider and less light comes through. I was still walking in between the columns and walls when they shifted and made my pathway much bigger but darker, making me sad. But there were stairs at the end of it and eas even more sad that there still was no elevator. The 10th photo illustrates a square cut out on the ceiling, with the lighting coming down onto the ceiling, providing light in the room. As the figure is pictured, he is staying in the corner of the room and is standing in the shadows looking at the light shadow cast down onto the floor. As I stood there pondering staring at the light but staying in the dark I realized I felt very lonely and filled with sadness.The 11th photos demonstrate voids in different angles, and positions, on the upside of walls and columns. As the walls and columns move, the void shifts to various 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, it turned right and the void shifted and I was in the dark, making me sad. The 12th photo illustrates curves with convexities and concavities, not obstructing the viewer’s path. The figure is in a dark long archway tunnel with light at the end of the tunnel with a huge opening at the end that leads to the outside. The canopy arch above the figure’s body makes him feel enclosed and small. As the figure is standing in a dark tunnel with very little light, he is pondering and lonely. As he is about to exit and leave he realizes it is a big staircase and even more sad that there is no elevator and trudges down the stairs but is grateful that he saw a nice view.

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What I learned...

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Work #1. Sequence of Wall, Column, and Space Selected Emotion

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Work #1. Sequence of Wall, Column, and Space_Sequence Model Views

This project’s go signs, and jagge . The word I’m r you’re afraid of

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My first scene r the column is n an unattainable the exact emoti Paragraph 2

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As we go down feel captures fe of being down i Paragraph 3

Moving into the figure’s view. Th Paragraph 4

Coming out of t the figure appe Feeling belittled

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Paragraph 5 Moving past be in the distance. Paragraph 6

This scene show and the other s corrupt option human consciou Paragraph 7

The next shows of the two walls

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At number eigh has created. Th

Paragraph 9 In figure 9 we s columns as if he Paragraph 10

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This one shows in the next scen Paragraph 12 96 830

The last sequen awe. The spher

oal was to create structures that would instill fear within the viewer. I created a story through my work that used a heavy emphasis on verticality, morbid deed points. While creating a visual story ,as in this project, that would leave the audience astonished but horrified I kept a singular word in the back of my mind referring to precisely portrays the emotion I was trying to create with my work. The word is wynorrific, and the word means something is so beautiful that f that very thing. This type of fear is what i try to create throughout my project.

resembles category 18 where we see a singular free standing column. I added carved out floors and a hole that leads to the void in my next scene. We see that noticeably larger than the man in the figure in the scene and with the combination of the pit that separates the column and the figure it captures the essence of e goal. The seemingly unattainable goal is one of my biggest fears and when I was creating this scene it made me feel helpless and fearful of the future which is tion I was going for.

n the void into the next scene we see it in the shape of a triangle and narrows down to a very tight opening based on category 45. The narrow passageway I ear and discomfort perfectly. The positioning of the man on the rim of the circle created by the light helped capture the feeling of anxiety and the helplessness in a hole.

e third scene we can see a maze-like sequence of curved walls as seen in category 44. The curvature of the wall creates an undivulged feeling in relation to the his feeling captures the fear of the unknown as a human when going trough changes or opening a new chapter in your life.

the maze we come to a cathedral-like structure with a curved vertical wall as seen in category 32. The angle of the cathedrals wall and the verticality makes ear very small as well as the focus. This is the feeling of judgment by someone you admire. This fear is something that I myself have come across many times. d by a figure such as your father or a teacher is truly a vexing feeling.

elittlement we come across a long walkway that has four columns erected at the end like category 5. The figure can be seen moving towards the four columns . This distance can be credited to feeling overwhelmed. This is the fear of deadlines and expectations.

ws 3 platforms perched on 2 walls with obscure shapes and designs like category 49. The figure is shown looking at two other figures, one hanging upside down sitting upright. This is indecisiveness which can be portrayed by the two different positions of the far off figures on upside down representing the crooked and and the upright representing the pure and upright way of life. This is the fear, the pressure of life and the tugging feeling of the good and evil deep within our usness.

s two walls parallel but offset and two columns aligned with each other like in category 27. The figure is facing the structure where he is directed to the center s. This gives off the fear of tight species with the uncomfortable shape of the passageway.

ht our attention is directed at a free standing object that experiences curves with ties back to catagorey 58. The figure is looking into the hole that the shapes his displays the fear of our imagination and fears that consume our minds that are impossible and unrealistic.

see two walls that narrow down to a point that barely makes visible 4 columns in the distance; this is to replicate category 29. The figure is seen looking at the e dreads walking past them. This scene represents the fear of judgment.

shows a flat wall and a curved surface close together creating an unusually narrow walkway as seen in category 36. The figure is seen walking through this ay. This represents the flat and round the real and abstract, overthinking and physical pain.

s a flat wall and another flat wall at a perpendicular where they form an unobservable entrance as seen in 26. The man is in no position to view the centerpiece ne because the two walls create a corner where he’s able to see; this creates a fear of not knowing what’s to come.

nce shows a sphere erected in the air thus creating an obvious focus for the structure like in category 58. The figure is shown facing the sphere in a state 97 of 831 re is representative of an angelic being. This is also to signify the fear of God

Work #2. Space Cube_First Space Cube Model

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This project’s goal was to create structures that would instill fear within the viewer. I created a story through my work that used a heavy emphasis on verticality, morbid designs, and jagged points. While creating a visual story ,as in this project, that would leave the audience astonished but horrified I kept a singular word in the back of my mind . The word I’m referring to precisely portrays the emotion I was trying to create with my work. The word is wynorrific, and the word means something is so beautiful that you’re afraid of that very thing. This type of fear is what I try to create throughout my project. Paragraph 1. My first scene resembles category 18 where we see a singular free standing column with a sphere. I hybridized my 1st and 12th sequence from my model to create a beginning and end all on one. I added carved out floors and a moon shaped hole that leads to the void in my next scene. We see that the column and sphere is noticeably larger than the man in the figure in the scene and with the combination of the pit that separates the column and the figure it captures the essence of an unattainable goal. The seemingly unattainable goal is one of my biggest fears and when I was creating this scene it made me feel helpless and fearful of the future which is the exact emotion I was going for. As well as capturing the fear of God portrayed by the large sphere. Paragraph 2 As we go down the void into the next scene we see it in the shape of a triangle and narrows down to a very tight opening based on category 45. Moving past the void we can see the free standing curved structure from catagorey 59. The narrow passageway I feel captures fear and discomfort perfectly. And the free and twisted shape gives off the fear of imaginary realities. The positioning of the man on the rim of the circle created by the light helped capture the feeling of anxiety and the helplessness of being down in a hole. Paragraph 3 Moving into the third scene we can see a maze-like sequence of curved walls as seen in category 44. With the curved walls we also have a flat wall that the figure is passing which also incorporates the scene from sequence 10 .The curvature of the wall creates an undivulged feeling in relation to the figure’s view.As well as the flat wall which corrals the figure into the maze. This feeling captures the fear of the unknown as a human when going through changes or opening a new chapter in your life. Paragraph 4 We next move up to the curved vertical wall as seen in category 32. The figure is small in comparison to the structure that goes up to a point which gives a scorpion like shape. We look up to these curved walls like we do people we admire but in this instance this wall is disappointed. This is the feeling of judgment by someone you admire. This fear is something that I myself have come across many times. Feeling belittled by a figure such as your father or a teacher is truly a vexing feeling. Paragraph 5 Moving past belittlement we come across four columns erected at the end like category 5. The figure can be seen moving towards the four columns in the distance. This distance can be credited to feeling overwhelming and claustrophobia with the narrow way out. This is the fear of deadlines and expectations. Paragraph 6 This scene shows 2 platforms perched on 2 walls with obscure shapes and designs like category 49. The figure is shown looking at two other figures, one walking across the bridge while losing balance and the other sitting upright. This is indecisiveness which can be portrayed by the two different positions of the far off figures: the one walking and off balance representing the crooked and corrupt option and the upright representing the pure and upright way of life. This is the fear, the pressure of life and the tugging feeling of the good and evil deep within our human consciousness Paragraph 7 The next shows two walls parallel but offset and two columns aligned with each other like in category 27. This scene can also be viewed as sequence 11 through the two flat walls creating an opening for the figure. We can also see a curved wall that includes the structure from sequence 10. The figure is facing the structure where he is directed to the center of the two walls. This gives off the fear of tight species with the uncomfortable shape of the passageway.

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Work #2. Space Cube_Second Space Cube Model

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Work #2. Space Cube_Last Space Cube Model

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This here is my final space cube and I worked on hybridization to the maximum by fitting in all 12 sequences of fear in 6 scenes. I feel this is my most complete, clean, and fear inducing work. This sequence shows a man standing in a void facing a staircase with two walls surrounding the staircase bending to create unforeseeable opening as seen in sequence 11 . The figure is standing in the shadow created by the triangular structure. This shows what it’s like to be faced with a challenge while standing in the shadows as the challenge feels larger than life. I used shape to convey emphasis on the top of the staircase. This sequence shows 4 sequences all in one. There are four columns and two flat walls that are creating an opening as well facing a flat structure with a flat wall running parallel with the figure. The figure is shown standing facing in the middle of the structure which represents fear as an enclosed space with a narrow doorway. This gives the feeling of claustrophobia . This next scene shows the 6th sequence with two different platforms. The figure at the top shows cowering in fear under the spike. The second figure is seen walking along the spiral where he eventually will meet the same demise. This scene makes me feel scared for the person who is traveling up the spiral as well as sadness of the person who has been stabbed. I used shape to convey emphasis on the person who was impaled on the ground as well as the structure being at head level for the other figure creating discomfort. This scene shows a curved wall that the figure is facing.this shows the feeling of being trapped. This feeling is a very fearful experience especially with the wall being curved creating a sort of impossible slope to climb over. I used form to create contrast to show how large the wall is in comparison to the figure. This scene shows 4 different elements from my sequences. I used a spiked ball to represent the sphere in sequence 12, the walls narrowing in to show 9, the free and curved shapes around the spike to represent 8, and the position of the figure looking at a vertical structure to represent figure 1. The figure is facing the spike-like sphere as he gazes upon the structure with fearful curiosity. I used shape to create emphasis by using the walls points to generate a focus on the spike. Using the points atop the walls that angled back to the sphere created a unified focus. In this scene I used a curved wall along with a regular cured wall to create an ambiguous path for the figure. The figure is facing the opening where he knows not what lays ahead. This is a fear of the unknown. I used shape to create a balance in the structure which proves a clean and yet erie path.

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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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The emotion I selected for these series of pictures was anger. I chose the pictures from the categories that would be best for making a person feel angry or uncomfortable being in that situation. The picture from category three illustrates 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. These photos from category seven illustrate the wall getting bigger until it obstructs the human figure’s view. As the wall gets taller the human figure is cut off from the other side of the wall. When the wall was small, I felt like it wasn’t a problem but the bigger it got it just obstructed my view. These photos in category fourteen illustrate the wall getting bigger until it obstructs the human figure’s 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 and made me angry. The pictures from category thirty-three show the figure standing in a narrow room with three walls. The narrower the room the closer the view of the human figure is. I feel like the narrower the room is, makes it very tight and compact compared to a more open and spacious room. This category shows pictures of the human figure walking in between two different curved walls. The human figure is hidden when the walls are facing away but when they are opened 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. These pictures from category thirty-eight 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 narrower it makes the space feel tight and uncomfortable to walk through. The photos from category thirty-nine 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 feels smaller and harder to walk through. 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 dark and tight tunnel which makes me unsure. 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 and a small, dark room, whereas the taller walls make the room feel much bigger. This category’s photos show the human figure standing in front of a square on 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, making there less space to move around, and lack of lighting. These photos from category forty-nine 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 but also irritates me because there is no way to reach the floating surfaces. 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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Scace Cube Thirteen Paragraphs For this space cube project, I chose to use the emotion of fear. I chose fear because I felt like there were many different categories that represented this emotion. I decided which pictures to use by trying to find categories that create a narrow space, have large walls, or make the person feel small. The first room in my sequence shows a human figure standing in front of a wall. The human figure cannot move or go anywhere since the wall is in front of him. This made me feel like I was trapped in the room because I couldn’t move forward since the wall was obstructing my path. The next category in the space cube is a picture of a human figure standing in front of a half wall. This also obstructs the human figures path causing him to stay put. I chose this picture as an example of fear because the wall is short enough to show you what is on the other side of it but tall enough to where you cannot get passed it. For the third category I chose a picture of the human figure standing next to a slanted wall. The human figure’s path of view is not obstructed by this wall. This slanted wall engulfs fear because it isn’t a normal wall and is just awkwardly placed next to the figure which might make someone feel uncomfortable. The fourth room in the space cube illustrates a human figure standing in front of two walls at a ninety-degree angle. The human figure cannot move forward or even see around since the walls are tall andobstruct the view. Standing in the corner of two walls make me feel like I can’t get out of the room because there is no pathway forward. The next category shows a human figure standing before two curved walls. The human figure’s only pathway is to walk forward between the two curved walls. This develops fear because the curved walls are very large and tall and make the human figure feel smaller. For the next room in the sequence, the picture shows a human figure walking in between two curved walls. Since the walls are so close together, the view of the human figure is obstructed. I chose this category because the walls are so narrow which makes the space feel tight and uncomfortable, which might create fear. The seventh room in the space cube show the human figure standing in front of two very large, curved walls. Since the walls are so big it makes the human figure smaller and harder to see. This room produces fear because the walls are so big and tall that they make the room feel very large and the human figure feel small. The next category illustrates the human figure walking in between a column and a curved wall. The human figure is walking forward into what looks like a tunnel. The human figure walking forward makes me feel nervous and scared because the space between the two walls is narrow and claustrophobic. The eight room in the sequence shows a human figure standing in front of two sshaped walls. Thehuman figure is walking right into the narrow pathways between the walls. This created a sense of fear because the space is so small and tight while the walls are quite large. The next room is a picture of a human figure standing in front of a large square in the floor. The human figure is stuck with no where to go since there is a hole in the floor and his pathway. The hole in the floor makes the room feel smaller and like there is less room to move around which creates a sense of uneasiness. For the next category, it shows a man standing on a floating surface above the floor. The angle of the human can sometimes be obstructed since he is sitting on a floating surface. This creates fear because the figure is standing on the surface with no where to go and the chance he could fall off and become injured. The last room in the sequence shows a human figure standing under a curved wall. The view of the human figure is obstructed when he is standing under the curved wall. This creates fear because it makes me feel claustrophobic and like I’m in a narrow space.

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Work #2. Space Cube_Second Space Cube Model

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Scace Cube Thirteen Paragraphs For this space cube project, I chose to use the emotion of fear. I chose fear because I felt like there were many different categories that represented this emotion. I decided which pictures to use by trying to find categories that create a narrow space, have large walls, or make the person feel small. In my series, the first room features a human figure standing in front of a wall. Because the wall is in front of him, the human figure is immobile and cannot go anywhere. Because the wall was blocking my route and I was unable to move ahead, I felt as though I was stuck in the room. An image of a human being in front of a half wall is the next category in the space cube. Additionally, this blocks the human figure’s path, making him remain still. Because the wall is large enough to prevent you from climbing past it yet low enough to reveal what is on the other side, I chose this image to represent fear. For the third category I chose a picture of the human figure standing next to a slanted wall. The human figure’s path of view is not obstructed by this wall. This slanted wall engulfs fear because it isn’t a normal wall and is just awkwardly placed next to the figure which might make someone feel uncomfortable. The fourth room in the space cube illustrates a human figure standing in front of two walls at a ninety-degree angle. The human figure cannot move forward or even see around since the walls are tall and obstruct the view. Standing in the corner of two walls make me feel like I can’t get out of the room because there is no pathway forward. The next category shows a human figure standing before two curved walls. The human figure’s only pathway is to walk forward between the two curved walls. This develops fear because the curved walls are very large and tall and make the human figure feel smaller. For the next room in the sequence, the picture shows a human figure walking in between two curved walls. Since the walls are so close together, the view of the human figure is obstructed. I chose this category because the walls are so narrow which makes the space feel tight and uncomfortable, which might create fear. The human figure is seen standing in front of two enormous, curved walls in the seventh room of the space cube. The size of the walls makes it difficult to perceive and makes the human form appear smaller. The enormous, tall walls in this room provide the impression that the space is much larger than it is, which makes people feel afraid. The next category illustrates the human figure walking in between a column and a curved wall. The human figure is walking forward into what looks like a tunnel. The human figure walking forward makes me feel nervous and scared because the space between the two walls is narrow and claustrophobic. The eight room in the sequence shows a human figure standing in front of two sshaped walls. The human figure is walking right into the narrow pathways between the walls. This created a sense of fear because the space is so small and tight while the walls are quite large. A depiction of a human being standing in front of a sizable square in the floor may be found in the following room. Due to a hole in the floor and his path, the human figure is stuck and has nowhere to move. There is an uneasy feeling in the room because of the floor hole, which makes it appear smaller and less spacious. For the next category, it shows a man standing on a floating surface above the floor. The angle of the human can sometimes be obstructed since he is sitting on a floating surface. This creates fear because the figure is standing on the surface with no where to go and the chance he could fall off and become injured. In the final room in the series, a human figure is standing beneath a curved wall. When the human figure is standing beneath the curving wall, his view is obscured. I become scared because I feel like I’m in a small place and am claustrophobic.

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Work #2. Space Cube_Last Space Cube Model

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13 Paragraphs

For this space cube project, I chose to use the emotion of fear. I chose fear because I felt like there were many different categories that represented this emotion. I decided which pictures to use by trying to find categories that create a narrow space, have large walls, or make the person feel small. The first room in the series displays a human figure standing in front of a blank wall. Since the wall is directly in front of the figure, he is unable to move forward. This room illustrates balance because it is symmetrically pleasing. Fear is also demonstrated because the figure cannot go anywhere and is stuck in his place. The next room in the space cube is a human figure standing in front of a half wall. Much like the first room, this wall is also blocking his path and making him remain where he is, which might create fear. This room portrays that the proportion of the half wall is different compared to the remaining walls in the cube. For the third category in thesequence, it shows a human figure standing in front of two walls at ninety-degrees. This category highlights balance as well because both walls are equal and create symmetry. This room develops fear because it does not allow the human figure to go right or left, making him feel trapped. The fourth room is a photo of a human figure standing to the right of an angled wall. This might transform fear because the wall is not standing normally and gives the sense that it might fall over. Emphasis is used on the wall since it is the only slanted wall used in the space cube. The next room in the series shows a human figure standing in front of two curved walls. I chose this room because the curved walls are much bigger than the human figure which might make him feel claustrophobic and uncomfortable. The form of the curved walls also created fear since they are leading the human figure in a path right in between them. For the sixth room in the sequence, the picture shows a human figure walking in between two curved walls. Since the walls are so close together, the view of the human figure is obstructed. I chose this category because the walls are so narrow that it makes the space feel tight and uncomfortable, which might create fear. This room demonstrates balance because the two curved walls are the same size and equally distanced apart from each other. The next room in the space cube illustrates the human figure standing in front of two large, curved walls. Since the walls are bigger than the figure it also makes the room feel large, creating a sense of fear for being small. The vertical lines on the curved walls make them feel taller which makes the room feel bigger. Continuing into the next room of this series, it shows the human figure walking in between a column and a curved wall. This room creates fear because the path between the column and wall feels like walking into a narrow tunnel, which makes me feel claustrophobic. Adding the column into the sequence created a little contrast since only walls have been used in the space cube. The ninth room in this sequence displays a human figure standing in front of two sshaped walls. This created a sense of fear because the space is so small and tight while the walls are quite large. This room illustrates the different forms of the walls since they are shaped in an S-like way. For the tenth category in the cube, it shows a human figure standing in front of a hole in the floor in the shape of a square. Due to a hole in the floor and his path, the human figure is stuck and has nowhere to move. This creates fear because the hole in the floor makes the room feel smaller and like the figure might fall through since there is no railing. For the next category, it shows a human figure standing on a floating surface above the floor. The angle of the human can sometimes be obstructed since he is sitting on a floating surface. This creates fear because the figure is standing on the surface with nowhere to go and the chance he could fall off and become injured. This also puts emphasis on the human figure since he is the only figure sitting on the ledge. For the final room in the sequence, it illustrates a human figure standing beneath a curved wall. The curved wall being directly above the human figure creates the feeling of being claustrophobic and in a narrow space. This form of a curved wall created fear because it is so close to the ground causing the human figure to be cautious.

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Work #2. Space Cube_Series of Space Cube Models

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Caroline Mutschler Port foli o 890

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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Work #1. Sequence of Wall, Column, and Space Fear

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Work #1. Sequence of Wall, Column, and Space_Sequence Model Views

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For this project, I chose the emotion of fear. To capture this feeling, I looked for categories that portrayed aloneness and confinement to evoke fear of being trapped and alone. After I chose my 12 categories and photos, I started building a sort of maze that had only an entrance, and no exit. I used tall walls and voids to give the feeling that someone was watching from above or below. Overall, I created a series of rooms with one path to summon fearfulness. The phase category demonstrates two curved walls forming a path with inside lighting. The human figure is walking through the two curves and appears to be smaller than it really is because of the height of the walls. The tall walls make me feel like I have longer of a path to follow and as the lighting glows from inside the space, I feel nervous to walk in. The second phase demonstrates an S-curved wall and a normal curved wall with inside lighting conditions. The human figure is positioned facing the light and passing through the curves, down the pathway. The curves of the wall make it look mysterious because you can’t see what is at the end. The light coming from inside also makes it seem like something unknown is going on inside. The phase category illustrates the entrance to the inside space of two curved walls. The human figure is positioned within one of the curved walls inside the space. The height of the walls and all the obstructing curves make me feel confined because there is only one path to follow. The fourth phase illustrates a floating, horizontal surface. The human figure walks up steps to be elevated with the surface and it looks down on the surface below. The darkness below the surface makes me nervous because I can’t see what is below. Because of the absence of light from underneath, I feel fearful of the unseen. The fifth phase portrays a vertical-curved surface hovering over a flat surface. The human figure is positioned directly under the curved surface, which obstructs the figure’s upward vision. In this category, I feel belittled and smaller than I actually am because of the large-scale aspects. The sixth phase demonstrates a pathway formed from four columns that lead to two perpendicular flat walls. The human figure passes the columns towards the two walls and becomes obstructed. Walking down this hallway I feel like I am forced to go left into another space, and I feel scared because of the contrast in light and dark and the tall walls that block my vision from seeing over. The seventh phase illustrates an empty space with an upward square void and a facing wall coming down through the void. The human figure is obstructed because of the wall and is put directly in the light that is coming down from above. Standing in this room I feel alone and like something is watching from above because of the bright shining light shining down on me. The eighth phase illustrates an upper circle void with light shing through from above. The human figure is positioned directly in the middle of the light and is lit up. Standing under the void makes me feel like I have been placed in a spotlight in an empty room. I feel fearful because it puts emphasis on me and makes me feel like someone is watching me. The ninth phase shows a different perspective of the circle void, but from above. The human figure is placed above the void and the light now shines from below up onto the figure. Standing above the void now, I feel isolated because of all the empty space above. Looking around, I can’t see much of the pathway below, so I also feel fearful and confused on where to go. The tenth phase illustrates a floating, open cylinder that is angled downwards towards the floor. The human figure is facing the cylinder and is positioned to look straight up it. Standing in front of the object, I feel small and confused on how it is floating. This evokes fear because I feel that I cannot climb up it to escape. The phase category demonstrates an angled wall that is connected to a vertical, flat wall. The human figure passes under it and along the flat passing wall. Walking under the angled wall, I feel like it is coming down on me, so I feel confined especially because it is pushing me against the wall to the right of me. This evokes fear in me that I can’t move around much. The phase and final category illustrates a room with a square void above, as well as four columns placed along a curved wall. The human figure is positioned under the void and next to the columns. This room makes me feel the most fear because it is supposed to be the end of the ‘maze’ but it has no exit. Knowing that I can’t get through the void, I feel trapped and that my only option is to return the way I came.

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Work #2. Space Cube_First Space Cube Model

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Based on my sequence, I decided to take the most important aspects and combine them all into a 9’x9’ cube. Still considering the emotion, fear, I wanted my space cube to reflect my sequence with tall walls and confined, lonely spaces. To do this, I designed my space cube to have an upward pathway with multiple layers containing each phase of my sequence. The first category is portrayed as the entrance to the space cube. It depicts two curved walls with inside lighting. As the two walls curve, the human figure passes through them, towards the inside lighting. Passing through the two walls, I feel confined because of the proximity to each side of them. The second category illustrates an elevated surface with a square void opening to the surface floor. After passing up the ramp, the human figure is positioned above the void, looking down to the floor. Looking down on the dark room below me, I feel alone and lost. The third category demonstrates a floating surface with a square void and a passing wall coming through. The human figure is positioned in front of the wall and is obstructed. The obstructing wall makes me feel stuck while also knowing I can’t go up through the void. The fourth category illustrates a slanted wall that is connected to a horizontal surface above. The human figure is positioned under the slant with not much room above it. Standing under the slant and low surface above, I feel claustrophobic because of the little space I have. The slanted wall makes me feel like I need to crouch while walking around. The fifth category depicts a floating surface with a circular void and lighting from above. The human figure is positioned directly under the void and is hit with light. Standing in the center of the void, I feel worried as if someone put a spotlight on me and is watching me from above. The sixth category demonstrates an elevated surface with a circular void and light coming from below. The human figure is standing in front of the void and is looking down at the light. Standing here, I feel an eerie feeling from the bright light coming from below and shining up on me in the darkness. The seventh category depicts three columns leading to a curved wall. The human figure passes the columns and is eventually obstructed by the wall. The columns make me feel like I only have one path to follow and as I approach the curved wall, it forces me to turn right on to a ramp. The eighth category demonstrates a floating cylinder with lighting shining through its hole. The human figure is facing the cylinder and is hit with light. Staring into this cylinder I get a weird and mysterious feeling because of its random placement and floating characteristics. The ninth category illustrates a floating surface with a vertical, curved surface arching above. The human figure is directly under the curved surface and is in the shadows. Sitting under the curved wall, I feel lonely and scared because my view is of a wall, and I am positioned in the darkness. The tenth category depicts a curved wall with a horizontal surface above. The human figure is positioned within the curves of the wall and under the surface. Standing within the wall makes me feel trapped and that I don’t have anywhere to go.

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Work #2. Space Cube_Second Space Cube Model

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After creating my first space cube, I didn’t like how chaotic it seemed in the end. Because of this, I decided to structure my second space cube differently and address the issues I didn’t like in my last one. To do this, I made two separate floors within the cube and spaced out all my different phases throughout. The first phase, similar to my last space cube, is two curved walls with inside lighting. As the human figure passes the two walls, it enters the room. Walking through these two walls, I feel confined because of how close they are, and I feel small because of their tall height. The second phase depicts an “s” curved wall and one normal curved wall. The human f igure is positioned in the middle of the room with light shining on it. Standing in this room, I feel trapped and almost like the walls are closing in on me because of their “s” shaped curves. This gives the wall a sense of movement. The third phase depicts a curved wall with three columns aligned along its curve, and a square void above with light shining through. As the human figure passes the columns, it steps into the light and its pathway becomes obstructed by the wall. Walking into this room I feel forced to turn right. All the curved walls give me an eerie feeling because they block certain parts of my view. The fourth phase demonstrates a floating slanted wall. The human figure passes under it to pass through the hallway. Walking under this slanted wall I feel trapped and forced to walk under it. Because of its low elevation I feel worried that it might fall or hit me. The fifth phase illustrates a floating cylinder next to a flat wall. The human figure is positioned in front of the cylinder, with its line of sight straight up it. The floating cylinder gives me a weird feeling because it seems heavy and that it shouldn’t be able to float. It gives me a fear of something mysterious. The sixth phase demonstrates an elevated surface with a square void in the center of it. The human figure is positioned on the elevated surface, behind the void. Standing on the surface makes me feel like I am floating, which makes me feel uncomfortable and that the surface I am on is unnatural. The seventh phase depicts an elevated surface with a circular void above and light shining through. As the human figure moves on the path of the surface, it gradually steps into the spotlight. Walking along the surface into the light makes me feel like someone put me in the spotlight and is watching me. This feeling makes me feel uncomfortable and like I want to get out of the light. The eighth phase illustrates a staircase leading up to the second level of the space cube. As the human figure steps up the steps, it enters the second floor. The narrowness and steepness of the stairs looks scary and dangerous. I feel nervous walking up them to the next level. The ninth phase depicts a flat surface with a circle void carved in the middle. The human f igure is positioned on the surface and is lit up by the light shining from below the void. Looking down through the void I feel worried because of the height. The large diameter of the void is also daunting. The tenth phase illustrates three aligned columns that are perpendicular to a wall, and two connected corner walls. As the human figure passes the columns, it enters the room formed by the walls. The columns seem to form a hallway into a new room. The wall straight in front of me makes me feel trapped and that I must go around it in order to continue my path. The eleventh phase depicts a vertical-curved surface that is arched over a flat surface. The human figure is positioned under the arch and in its shadow. Sitting this high up makes me feel nervous and like there is a lot of empty space around me. The arch gives me a sense of sadness that also makes me nervous.

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Work #2. Space Cube_Last Space Cube Model

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After my second space cube, I noticed that it seemed closed in and hard to view details towards the center of it, so I wanted to make sure I changed that for my final project. To do this, I left the outer sides of the space cube open and made sure not to clutter it with big objects. Overall, my f inal space cube ended up being more balanced and easier to move around in. The first phase depicts the entrance with two curved walls and inside lighting. As the human f igure passes between the two walls, it enters the space cube. Walking between these two walls I feel confined because of how close they are and their tall height. The second phase illustrates a slanted surface that is connected to a flat, vertical wall. The human figure passes under the surface and along the wall. Walking under the slanted surface I feel trapped because it forces me to walk under it. It makes me feel like I need to crouch while passing under it. The third phase depicts a narrow hallway with three aligned columns and two perpendicular walls. As the human figure passes the columns, it becomes obstructed by the two walls it is facing. Walking through this hallway I feel worried because I can’t see what is beyond the two walls that are forcing me to walk around and through them. The fourth phase illustrates a vertical, flat wall with a circular void above and light shining through. The human figure is positioned under the void and is directly in the light. Because of the wall behind it, it is forced to go left. Standing under the void I feel weird because the light seems to be putting me in a spotlight and putting a mysterious emphasis on me. The fifth phase demonstrates a floating cylinder with light shining through it. As the human f igure passes by, its perspective is shifted upwards through the cylinder and into the light. Seeing this large, floating object gives me a mysterious feeling because it feels as if it would be too heavy to float. Its random placement also gives me an eerie feeling. The sixth phase depicts a large staircase that connects the second and first level of the space cube. As the human figure moves down the stairs, it enters the first level again. Looking at the abnormally large size of the staircase, I get an eerie feeling. Its windy and long, flat steps make it appear that it is never ending. The seventh phase demonstrates an ‘s’ curved wall and a normal curved wall. As the human f igure approaches the two walls, its pathway is obstructed. Standing within the curves of the wall, I feel trapped. The curves add movement to the walls and make them seem like they are forming hiding crevasses within the room. The eighth phase depicts a flat, vertical wall with a rectangular cutout. As the human figure passes through the cutout, it enters a new room. The height of the cut out is very short and leaves little room for me to pass through. The short height and darkness of the space beyond it makes me feel scared of what I am about to walk in to. The ninth phase illustrates a curved wall with three aligned columns and a square void above. As the human figure passes by, the curve in the wall obstructs its pathway. This certain space makes me feel like people are watching me from above. Since the space is so open, I feel vulnerable. The tenth phase depicts the previous void from above, on the topmost level of the space cube. The human figure is positioned on the edge of the void looking down to the second level. The openness of the third level makes me feel lonely since there is not much going on. The void’s large size makes me worried and cautious. The eleventh phase illustrates a flat surface with a circular void and light shining from below. The human figure is positioned on the edge of the surface and is unable to move forward without falling through the void. The narrow edges around the void make me feel scared of falling. The lighting from below also gives off an ominous vibe that makes me uncomfortable. The twelfth phase demonstrates an elevated surface with a square void and a flat wall coming down through it. As the human figure passes through the space, it is obstructed by the wall. The wall makes me feel like my only path is to continue going left. The void gives me a view to the upper level and because the room is so open, I feel vulnerable.

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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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Work #1. Sequence of Wall, Column, and Space Fear

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Work #1. Sequence of Wall, Column, and Space_Sequence Model Views

Phase #1: Category # 4

Phase #2: Category # 6

Phase #3: Category # 11

Phase #4: Category # 18

Phase #5: Category # 20

Phase #6: Category # 23

Phase #7: Category # 25

Phase #8: Category # 26

Phase #9: Category # 34

Phase #10: Category # 37

Phase #11: Category # 46

Phase #12: Category # 49

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Throughout the Wall, Column, Space sequence I chose the emotion fear. By choosing this emotion I put together pictures from different categories that seemed either intimidating or fearful in my eyes. This could be seen as larger walls or columns compared to the human figure. As well as darker lit areas with not a lot of space or wiggle room. As my sequence moved from category to category it can also be seen as a maze which most people would find a bit scary. Category #4: Passing the blocking wall. In the space cube 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 Category #6: Passing the aligned wall. - In the space cube the human figure approaches a 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 closer. On a walk I began walking in a straight line passing a aligned wall started to make me feel trapped between. Category #11: floating horizontal surface - In the space cube there is a floating horizontal surface above the human 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. Category: #18 One Column - In the space cube 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 looking as if it is walking towards the column. I began to feel less confident as the column began growing on me. Category: #20 Three Columns: -Within the space cube the human figure is walking through an assortment of the three columns. The human figure can be seen walking in a line with the columns on both sides of the figure. Walking beside the three columns It began feeling like I was in a maze and I had to swerve around them. Category: #23 One Wall and two Columns - In the space cube the human figure gets closer to one wall and two columns. With each step the human figure can be seen approaching the wall and column trapped between both. While exploring through some walls and columns i notice that the walls begin to shift and the columns move making the space around me very fearful. Category: #25 Two Walls and two Columns with two lighting conditions_01 - In the space cube the two walls and two columns there is a dark hallway with light at the end. The human figure can be seen to be the center of attention with light approaching. The lights began to switch allowing me to see certain elements at different times narrowing into the end of the walls I began to see the light. Category: #26 Two Walls and two Columns with two lighting conditions_02 - In the space cube the two wall and two columns the lighting continues to change between 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. Category: #34 Curved wall inside - In the space cube it shows the different curvature of a human figure placed in front of them. The human figure can be seen in front of different a curve. Placed next in the small curve with the light focused on me it made me feel very important and focused in on but also made me feel a bit nervous. Category: #37 Entering into a space between Parallel Curved Walls - Two curved wall come together to create almost a spiral entering an open room with a human figure. The one human figure can be seen entering a dark hallway into the lit room. 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. Category: #46 Void on the upside with columns or walls - In the space cube it can be seen with a column, wall, and Square void. The human figure can look obstructed within the position placed with shadows obstructing the figure. Walking in the closed off room with columns I walk down the hallway with a void opening over my head shining a big light onto me. Category: #49 Void between Floating Surfaces -In the space cube you can see a different yet unique angle of a figure looking up onto other floating surfaces. The figure can view the two surfaces above their head. While walking between the void the floating surfaces make me nervous for what could fall.

97 927

Work #2. Space Cube_First Space Cube Model

Phase #1: Category # 4

Phase #2: Category # 6

Phase #3: Category # 11

Phase #4: Category # 18

Phase #5: Category # 20

Phase #6: Category # 23

Phase #7: Category # 25

Phase #8: Category # 26

Phase #9: Category # 34

Phase #10: Category # 37

Phase #11: Category # 46

Phase #12: Category # 4

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In the space cube 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 In the space cube the human figure approaches a 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 closer. On a walk I began walking in a straight line passing a aligned wall started to make me feel trapped between. In the space cube there is a floating horizontal surface above the human 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. In the space cube 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 looking as if it is walking towards the column. I began to feel less confident as the column began growing on me. Within the space cube the human figure is walking through an assortment of the three columns. The human figure can be seen walking in a line with the columns on both sides of the figure. Walking beside the three columns It began feeling like I was in a maze and I had to swerve around them. In the space cube the human figure gets closer to one wall and two columns. With each step the human figure can be seen approaching the wall and column trapped between both. While exploring through some walls and columns i notice that the walls begin to shift and the columns move making the space around me very fearful. In the space cube the two walls and two columns there is a dark hallway with light at the end. The human figure can be seen to be the center of attention with light approaching. The lights began to switch allowing me to see certain elements at different times narrowing into the end of the walls I began to see the light. In the space cube the two wall and two columns the lighting continues to change between 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. In the space cube it shows the different curvature of a human figure placed in front of them. The human figure can be seen in front of different a curve. Placed next in the small curve with the light focused on me it made me feel very important and focused in on but also made me feel a bit nervous. Two curved wall come together to create almost a spiral entering an open room with a human figure. The one human figure can be seen entering a dark hallway into the lit room. 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. In the space cube it can be seen with a column, wall, and Square void. The human figure can look obstructed within the position placed with shadows obstructing the figure. Walking in the closed off room with columns I walk down the hallway with a void opening over my head shining a big light onto me. In the space cube you can see a different yet unique angle of a figure looking up onto other floating surfaces. The figure can view the two surfaces above their head. While walking between the void the floating surfaces make me nervous for what could fall.

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Work #2. Space Cube_Second Space Cube Model

Phase #1: Category # 4

Phase #2: Category # 6

Phase #3: Category # 11

Phase #4: Category # 18

Phase #5: Category # 20

Phase #6: Category # 23

Phase #7: Category # 25

Phase #8: Category # 26

Phase #9: Category # 34

Phase #10: Category # 37

Phase #11: Category # 46

Phase #12: Category # 49

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In the space cube 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 and I couldn’t see what might be around it. In the space cube 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 closer. I began walking in a straight line passing an aligned wall started to make me feel trapped between unable to tell what may be next. In the space cube there is a floating horizontal surface above the human. The human figure can be seen as walking under the floating surface. As I began moving toward a wide surface, a floating ceiling began going over my head. In the space cube 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 looking as if it is walking towards the column. I began to feel less confident as the column began growing on me. Within the space cube the human figure is walking through an assortment of the three columns. The human figure can be seen walking in a line with the columns on both sides of the figure. Walking beside the three columns It began feeling like I was in a maze, and I had to swerve around the columns unsure of where to go. In the space cube the human figure gets closer to one facing wall and two columns. With each step the human figure can be seen approaching the wall and column trapped between both. While exploring through some walls and columns I notice that the wall and the two columns make me squished in between unsure of where to go. In the space cube the two walls and two columns there is a dark hallway with light at the end. The human figure can be seen to be the center of attention with light approaching. The lights began to switch allowing me to see certain elements at different times narrowing into the end of the walls I began to see the light. In the space cube the two wall and two columns the lighting seems towards the end of the tunnel. The human figure begins walking past the columns entering a side hallway that looks dark. As I follow the path I am scared as I am forced to enter into a dark side hallway unable to see what it is down until I turn the corner. In the space cube it shows the different curvature of a human figure placed in front of them. The human figure can be seen in front of different a curve. Placed next in a small curve with the light focused on me it made me feel very important and focused in on but also made me feel a bit nervous. Two curved walls come together to create almost a spiral entering an open room with a human figure. The one human figure can be seen entering a dark hallway spiraling. While approaching the dark hallway it is very intimidating and as I turn the corner the room keeps turning. In the space cube it can be seen with a column, wall, and square void. The human figure can look obstructed within the position placed with shadows obstructing the figure. Walking in the closed off room with columns I walk down the hallway with a void opening over my head shining a big light onto me. In the space cube you can see a different yet unique angle of a figure looking up onto other floating surfaces. The figure can view the two surfaces above their head. While walking between the voids the floating surfaces make me nervous for what could fall.

101 931

Work #2. Space Cube_Last Space Cube Model

Phase #1: Category #

Phase #2: Category #

Phase #3: Category #

Phase #4: Category #

Phase #5: Category #

Phase #6: Category #

Phase #7: Category #

Phase #8: Category #

Phase #9: Category #

Phase #10: Category #

Phase #11: Category #

Phase #12: Category #

102 932

Throughout the Space cube sequence, I chose the emotion fear. By choosing this emotion I put together pictures from different categories that seemed either intimidating or fearful in my eyes. This could be seen as larger walls or columns compared to the human figure with darker areas with not a lot of space or wiggle room. As my sequence moved from category to category it can also be seen as a three-story maze continuously going you and downstairs never knowing where you might go. In the space cube 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 and I couldn’t see what might be around it. In the space cube 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. I began walking in a straight line passing an aligned wall started to make me feel trapped between unable to tell what may be next. In the space cube there is a floating horizontal surface above the human. The human figure can be seen as walking under the floating surface. As I began moving toward a wide surface, a floating ceiling began going over my head. In the space cube 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 looking as if it is walking towards the column. I began to feel less confident as the column began growing on me. Within the space cube the human figure is walking through an assortment of the three columns. The human figure can be seen walking in a line with the columns on both sides of the figure. Walking beside the three columns It began feeling like I was in a maze, and I had to swerve around the columns unsure of where to go. In the space cube the human figure gets closer to one facing wall and two columns. With each step the human figure can be seen approaching the wall and column trapped between both. While exploring through some walls and columns I notice that the wall and the two columns make me squished in between unsure of where to go. In the space cube the two walls and two columns there is a dark hallway with light at the end. The human figure can be seen to be the center of attention with light approaching. The lights began to switch allowing me to see certain elements at different times narrowing into the end of the walls I began to see the light. In the space cube the two wall and two columns the lighting seems towards the end of the tunnel. The human figure begins walking past the columns entering a side hallway that looks dark. As I follow the path I am scared as I am forced to enter into a dark side hallway unable to see what it is down until I turn the corner. In the space cube it shows the different curvature of a human figure placed in front of them. The human figure can be seen in front of different a curve. Placed next in a small curve with the light focused on me it made me feel very important and focused in on but also made me feel a bit nervous. Two curved walls come together to create almost a spiral entering an open room with a human figure. The one human figure can be seen entering a dark hallway spiraling. While approaching the dark hallway it is very intimidating and as I turn the corner the room keeps turning. In the space cube it can be seen with a column, wall, and square void. The human figure can look obstructed within the position placed with shadows obstructing the figure. Walking in the closed off room with columns I walk down the hallway with a void opening over my head shining a big light onto me. In the space cube you can see a different yet unique angle of a figure looking up onto other floating surfaces. The figure can view the two surfaces above their head. While walking between the voids the floating surfaces make me nervous for what could fall.

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Work #2. Space Cube_Series of Space Cube Models

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Work #3. Floor Plans

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107 937

Work #3. Floor Plans

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Work #3. Elevations

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Work #3. Elevations

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Work #3. Sections

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Work #3. Axonometric

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Work #4. Casting Model

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Work #4. Casting Model

Top

Front

Back

Left

Right

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Top

Front

Back

Left

Right

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Work #4. Casting Model

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Jaylin Perez Port foli o 954

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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Work #1. Sequence of Wall, Column, and Space Sadness

Phase #1: Category #18

Phase #2: Category #31

Phase #3: Category #32

Phase #4: Category #33

Phase #5: Category #34

Phase #6: Category #35

Phase #7: Category #37

Phase #8: Category #39

Phase #9: Category #47

Phase #10: Category #53

Phase #11: Category #56

Phase #12: Category #58

94 956

95 957

Work #1. Sequence of Wall, Column, and Space_Sequence Model Views

Phase #1: Category #18

Phase #2: Category #31

Phase #3: Category #32

Phase #4: Category #33

Phase #5: Category #34

Phase #6: Category #35

Phase #7: Category #37

Phase #8: Category #39

Phase #9: Category #47

Phase #10: Category #53

Phase #11: Category #56

Phase #12: Category #58

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For my sequence of wall, column, and space, I chose the emotion sadness. Therefore, my space cube follows this same emotion and sequence In my first sequence, it shows one column on a surface. This is on the ground floor of my space cube. The human figure is standing off to the side vertically, feeling very empty. I can clearly see where the light is causing shadow and how it changes the lighting on the human figure and column. The one column category provokes the sadness emotion very well due to its emptiness and plainness. In my second sequence, it shows an aligned wall with connected wall. This is still in the same room as my first category. The human figure cannot even fit inside the aligned walls if it wanted. There is not much room to be lively or see. This category fits with my emotion due to its closed off surfaces. This puts out a closed-off and suffocating feeling. In my third sequence, it shows a human figure facing the connected edge of two walls right next to my second sequence. My human figure is standing on the outside of the surfaces. At this point in the walls, they are very narrow. I feel as if this category fits well with my emotion (sadness) due to the way it blocks the human figure. This is causing it to not have room to move forward, I feel as if this could be disappointing. As you go through the next room, there is my fourth sequence, it shows narrow facing walls. While my human figure is barely fitting comfortably in this narrow space, I feel as if it’s uncomfortable with not much room to move around. As the wall width is closed off, there is plenty of shadow. In my fifth sequence, it shows a 16-foot curved wall with a human figure right in front of my fourth category, almost guiding the figure out to the next room. This is an outside photo, causing the lighting to be very dim and causing a dull mood. While the human figure is beside the very bold wall, the emotions put off sense of sadness due to the outside lighting. I feel as if this category fits well with my emotion (sadness) due to the lighting shadows. In my sixth sequence, it shows a 16-foot curved wall with a human figure standing outside of it. The human figure seems to be feeling left out due to the lighting being bright on the other side, while it stands in the darkness. I feel as if the lighting and the location of the human figure portray a sad and left-out emotion, which fits perfectly with my emotion (sadness). In my seventh sequence, it shows a human figure entering a space between parallel 16-foot curved walls right by the previous sequence. These parallel walls guide the human figure out to the next room which is up the stairs. The curved walls make the darkness even more noticeable. I feel like since the lighting is left behind the human figure, they are almost walking into the darkness, causing a dark and dull mood. I feel as if this category fits with my emotion (sadness) due to the dark and dramatic shadows. As you enter the first room upstairs, there is my eighth sequence, it shows a human figure entering a space between 16-foot curved mirror walls. The human figure being outside of two walls feels very shut out. This category provokes the sadness emotion due to its location (outside) and the lighting it causes. In the next room is my ninth sequence, it shows category 45 with a 3’ diameter void and a human figure standing on top of it. The human figure is looking down into the light. Feeling empty and helpless. The lighting is shining from the void, causing the standing location to be dark. I feel like this fits with my emotion due to the scenery almost seeming like the human figure is looking for the light, while it stands in the dark. In my last room upstairs, is my tenth sequence, it 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. In my eleventh sequence, it shows a human figure standing in front of a curved surface. Nothing other than the room feeling empty, causes my human figure to seem to have a disappointing feeling. This emptiness of surfaces fits well with my emotion. In my twelfth sequence, it shows a sphere with a strong center and centripetal force. While the sphere is very bold and large, it makes my human figure feel very little and unseen. I feel like the emotion fits with this category as the attention is very much on the large and eye grabbing sphere.

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Work #2. Space Cube_First Space Cube Model

Phase #1: Category #18

Phase #2: Category #31

Phase #3: Category #32

Phase #4: Category #33

Phase #5: Category #34

Phase #6: Category #35

Phase #7: Category #37

Phase #8: Category #39

Phase #9: Category #47

Phase #10: Category #53

Phase #11: Category #56

Phase #12: Category #58

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Work #2. Space Cube_Second Space Cube Model

Phase #1: Category #18

Phase #2: Category #31

Phase #3: Category #32

Phase #4: Category #33

Phase #5: Category #34

Phase #6: Category #35

Phase #7: Category #37

Phase #8: Category #39

Phase #9: Category #47

Phase #10: Category #53

Phase #11: Category #56

Phase #12: Category #58

100 962

For my sequence of wall, column, and space, I chose the emotion sadness. Therefore, my space cube follows this same emotion and sequence. The following describes my second space cube. In my first sequence, it shows one column on a surface. This is on the ground floor of my space cube, along with the second and third catagory. The human figure is standing off to the side vertically, feeling very empty. I can clearly see where the light is causing shadow and how it changes the lighting on the human figure and column. The one column category provokes the sadness emotion very well due to its emptiness and plainness. In my second sequence, it shows an aligned wall with connected wall. This is still in the same room as my first category. The human figure cannot even fit inside the aligned walls if it wanted. There is not much room to be lively or see. This category fits with my emotion due to its closed off surfaces. This puts out a closed-off and suffocating feeling. Lastly, in the first room is my third sequence, it shows a human figure facing the connected edge of two walls right next to my second sequence. My human figure is standing on the outside of the surfaces. At this point in the walls, they are very narrow. I feel as if this category fits well with my emotion (sadness) due to the way it blocks the human figure. This is causing it to not have room to move forward, I feel as if this could be disappointing. As you go upstairs to the next room, there is my fourth sequence, it shows narrow facing walls. While my human figure is barely fitting comfortably in this narrow space, I feel as if it’s uncomfortable with not much room to move around. As the wall width is closed off, there is plenty of shadow. In my fifth sequence, it shows a 16-foot curved wall with a human figure to the side of my fourth category, almost guiding the figure out to the next room. This is an outside photo, causing the lighting to be very dim and causing a dull mood. While the human figure is beside the very bold wall, the emotions put off sense of sadness due to the outside lighting. I feel as if this category fits well with my emotion (sadness) due to the lighting shadows. In my sixth sequence in the next room, it shows a 16-foot curved wall with a human figure standing outside of it. The human figure seems to be feeling left out due to the lighting being bright on the other side, while it stands in the darkness. I feel as if the lighting and the location of the human figure portray a sad and left-out emotion, which fits perfectly with my emotion (sadness). Next, moving bac stairs is my seventh sequence, it shows a human figure entering a space between parallel 16-foot curved walls right by the previous sequence. These parallel walls guide the human figure out to the next room which is up the stairs. The curved walls make the darkness even more noticeable. I feel like since the lighting is left behind the human figure, they are almost walking into the darkness, causing a dark and dull mood. I feel as if this category fits with my emotion (sadness) due to the dark and dramatic shadows. Right next to my previous category, is my eighth sequence, it shows a human figure entering a space between 16-foot curved mirror walls. The human figure being outside of two walls feels very shut out. This category provokes the sadness emotion due to its location (outside) and the lighting it causes. In the next room upstairs is my ninth sequence, it shows category 45 with a 3’ diameter void and a human figure standing on top of it. The human figure is looking down into the light. Feeling empty and helpless. The lighting is shining from the void, causing the standing location to be dark. I feel like this fits with my emotion due to the scenery almost seeming like the human figure is looking for the light, while it stands in the dark. In my last room upstairs, is my tenth sequence, it 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. In my eleventh sequence on the ground floor, it shows a human figure standing in front of a curved surface. Nothing other than the room feeling empty, causes my human figure to seem to have a disappointing feeling. This emptiness of surfaces fits well with my emotion. Lastly, right next to my eleventh category, is my twelfth sequence, showing a sphere with a strong center and centripetal force. While the sphere is very bold and large, it makes my human figure feel very little and unseen. I feel like the emotion fits with this category as the attention is very much on the large and eye grabbing sphere.

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Work #2. Space Cube_Last Space Cube Model

Phase #1: Category #18

Phase #2: Category #31

Phase #3: Category #32

Phase #4: Category #33

Phase #5: Category #34

Phase #6: Category #35

Phase #7: Category #37

Phase #8: Category #39

Phase #9: Category #47

Phase #10: Category #53

Phase #11: Category #56

Phase #12: Category #58

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13 Paragraphs For my sequence of wall, column, and space, I chose the emotion sadness. Therefore, my space cube follows this same emotion and sequence. The following describes my final space cube. In my first sequence, it shows one column on a surface. This is on the ground floor of my space cube, along with the second and third category. The human figure is standing off to the side vertically, feeling very empty. I can clearly see where the light is causing shadow and how it changes the lighting on the human figure and column. The one column category provokes the sadness emotion very well due to its emptiness and plainness. In my second sequence, it shows an aligned wall with connected wall. This is still in the same room as my first category. The human figure does not have much room to move around the aligned walls if it wanted. There is not much room to be lively or see. This category fits with my emotion due to its closed off surfaces. This puts out a closed-off and suffocating feeling. Lastly, in the first room is my third sequence, it shows a human figure facing the connected edge of two walls right next to my second sequence. My human figure is standing on the outside of the surfaces. At this point in the walls, they are very narrow. I feel as if this category fits well with my emotion (sadness) due to the way it blocks the human figure. This is causing it to not have room to move forward, I feel as if this could be disappointing. As you go to the next room on the ground floor, there is my fourth sequence, it shows narrow facing walls. While my human figure is barely fitting comfortably in this narrow space, I feel as if it’s uncomfortable with not much room to move around. As the wall width is closed off, there is plenty of shadow. In my fifth sequence, it shows a 16-foot curved wall with a human figure to the side of my fourth category, almost guiding the figure out to the next room. This is an outside photo, causing the lighting to be very dim and causing a dull mood. While the human figure is beside the very bold wall, the emotions put off sense of sadness due to the outside lighting. I feel as if this category fits well with my emotion (sadness) due to the lighting shadows. In my sixth sequence in the next room, it shows a 16-foot curved wall with a human figure standing outside of it. The human figure seems to be feeling left out due to the lighting being bright on the other side, while it stands in the darkness. I feel as if the lighting and the location of the human figure portray a sad and left-out emotion, which fits perfectly with my emotion (sadness). Next, moving up the stairs, is my seventh sequence. It shows a human figure entering a space between parallel 16-foot curved walls right by the previous sequence. These parallel walls guide the human figure out to the next room which is up the stairs. The curved walls make the darkness even more noticeable. I feel like since the lighting is left behind the human figure, they are almost walking into the darkness, causing a dark and dull mood. Also, these walls are very tall, feeling bold and powerful. In the next room, is my eighth sequence, it shows a human figure entering a space between 16-foot curved mirror walls. The human figure being outside of two walls feels very shut out. This category provokes the sadness emotion due to its location (outside) and the lighting it causes. Right next to my previous category, is my ninth sequence. It shows category 45 with a 3’ diameter void and a human figure standing on top of it. The human figure is looking down into the light. Feeling empty and helpless. The lighting is shining from the void, causing the standing location to be dark. I feel like this fits with my emotion due to the scenery almost seeming like the human figure is looking for the light, while it stands in the dark. In my last room upstairs, is my tenth sequence, it 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. Right next to my previous category, is my eleventh sequence, it shows a human figure standing in front of a curved surface. Nothing other than the room feeling empty, causes my human figure to seem to have a disappointing feeling. This emptiness of surfaces fits well with my emotion. Lastly, right next to my eleventh category, is my twelfth sequence, showing a sphere with a strong center and centripetal force. While the sphere is very bold and large, it makes my human figure feel very little and unseen. I feel like the emotion fits with this category as the attention is very much on the large and eye grabbing sphere.

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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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Work #1. Sequence of Wall, Column, and Space Selected Emotion

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Work #1. Sequence of Wall, Column, and Space_Sequence Model Views

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13 Paragraphs Paragraph 1: In this project, I focused on the emotion of Fear. The majority of my category pictures depicted walls, and very few noteworthy things. I reflected on my emotions during the initial week of the Studio and framed it as a loop. As the sequence concludes, the human figure encounters a hole in the floor, which leads her back to the beginning. Paragraph 2: The first image originates from category 44, featuring curved walls and an S-curved wall. Two curved walls form an S-curved wall, and a mirrored curved wall reveals the pathway. Humans proceed along the S-curved path, initiating a sense of perplexity for my human figure at the start, contemplating the destination of this S-curved wall. Paragraph 3: The second image is from category 38, portraying the entrance into a space bounded by mirrored curved walls. Two curved walls facing each other reflect the curvature. People could opt to follow either curved wall and observe where it leads. At this point, my human character experiences confusion about their next course. Paragraph 4: The third image is derived from category 33, showcasing three interconnected walls. Three walls unite to create a wideopen area. The spaciousness of this area may feel accommodating to a human, but the presence of a blocked wall elicits a hint of anger in the depicted individual. Paragraph 5: The fourth image is sourced from category 24, illustrating two walls and two columns. It displays a vertical and a horizontal wall, with two columns positioned in front of the horizontal wall, creating lighting effects. After progressing through various wall phases and encountering columns that seem out of place, my human character begins to feel fear. Paragraph 6: The fifth image belongs to category 18, featuring a single column placed centrally in a space devoid of any other elements. A human can approach the column and move around it. In this instance, my human character manifests a state of confusion regarding the presence of this isolated column. Paragraph 7: The sixth image hails from category 34, portraying a tall curved wall within an interior space. The imposing nature of the curved wall accentuates the contrast in height and piques human curiosity. My human character experiences a sense of intrigue and wonders about the potential direction that the curved wall might lead to. Paragraph 8: The seventh image originates from category 7, displaying walls of varying heights. There is a very short wall, potentially reaching the same height as another element. A human may attempt to look over this wall in search of an exit. This prompts my human character to try to look over the wall to find a way out. Paragraph 9: The eighth image is from category 49, depicting the space between floating surfaces. It showcases two floating surfaces, emphasizing the interplay of light and shadows at varying heights. A human can traverse these different levels. My human character endeavors to ascend the surface to explore what lies at the summit. Paragraph 10: The ninth image is derived from category 10, showcasing an 8ft high floating wall and a faced wall. This represents the vertical extent of a wall with space underneath it. Humans can either be at the same height as the wall or move beneath it. My human assumes the existence of another room beyond and passes under the wall. Paragraph 11: Image 10 falls under category 25 and features two walls and two columns under different lighting conditions, resulting in varying shadow effects. Observing the columns’ distance from the wall and witnessing the impact of light on shadows can be intriguing to a viewer. I found it interesting to encounter a similar setup and wondered about the purpose of the columns’ placement. Paragraph 12: The eleventh image is categorized under 47 and showcases a void below with columns or walls around it. The presence of a sizable open circle downwards allows viewers to observe the space beneath the surface. Walking around the void can create an unsettling feeling, almost as if being stuck in a loop due to the hole leading back down, instigating a sense of fear. Paragraph 13: Belonging to category 21, the twelfth image presents four individual columns positioned at a considerable distance from one another, emphasizing the space between them. A viewer can explore the area surrounding all four columns, revealing the ample space available. Some viewers might harbor apprehension at the sight of random columns in a space, contributing to a feeling of fear.

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Work #2. Space Cube_First Space Cube Model

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aragraphs aragraph or this project, I explored the theme of fear. Most of the photos in my collection featured walls, with few other notable elements. I represented my emotions from the first week of the studio as a loop, culminating in the human figure encountering a hole in the floor, leading back to the starting point. A few changes were made to make my space cube better than before. It’s more walkable and smaller. aragraph The first image is from category , featuring curved walls and an -curved wall. The -curved path creates a sense of uncertainty for the human figure, prompting contemplation of where it leads. There weren’t any changes to this space cube. aragraph The second image from category depicts an entrance between mirrored curved walls. The human character experiences confusion about which path to follow, adding to the feeling of perplexity. No changes were made, again. aragraph Category ’s image shows three interconnected walls creating a spacious area. The blocked wall in this expansive space evokes a hint of anger in the depicted individual. My human has to climb up ladders to the second floor to fill this category, that was my only change. It used to be on the first floor, but due to the small space I put it on the second floor. The other change is that, after this category they have to climb down the second ladder to go down for the next category. aragraph 5 In the fourth image from category , two walls and two columns create various lighting effects. rogressing through the different wall phases, encountering seemingly out-of-place columns, evokes fear in the human character. My change here is that the lighting won’t really come in due to a second floor above. aragraph The fifth image in category features a single column in a space devoid of other elements, causing the human character to manifest a state of confusion about its presence. No change was made, but probably the position of my human being, due to limited space. aragraph The sixth image from category depicts a tall curved wall within an interior space, sparking intrigue and curiosity in the human character about the potential direction it might lead to. No changes were made. aragraph Category ’s image displays walls of varying heights, prompting the human character to try to look over the wall in search of an exit. No changes were made to this category, but probably the height of the wall got smaller than my human. aragraph The eighth image portrays the space between floating surfaces, encouraging the human character to ascend the surface to explore what lies at the summit. A third ladder was added to reach the second floor, and that was to make my space cube more walkable. aragraph The ninth image showcases an ft high floating wall and a faced wall, prompting the human to assume the existence of another room beyond and pass under the wall. No changes were made to this category, it glues on to a passing wall. aragraph Image features two walls and two columns under different lighting conditions. Observing the columns’ distance from the wall and the impact of light on shadows sparks intrigue in the viewer. My only changes you would see is lighting effects, my lighting is placed right above. aragraph elonging to category , the twelfth image presents four individual columns positioned at a considerable distance from one another, revealing ample space which may evoke apprehension in some viewers. ue to limited space, I swapped it with the last category. aragraph The eleventh image displays a void below with columns or walls around it, creating an unsettling feeling and instigating fear due to the hole leading back down. This category was swapped with the four columns, due to very small space in my cube.

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Work #2. Space Cube_Last Space Cube Model

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13 Paragraphs Paragraph 1: During this project, I made improvements to my cubes and focused on the theme of fear. The majority of photos in my collection featured walls, and I depicted my emotions from the first week as a loop, ending with a human figure encountering a hole in the floor, leading back to the starting point. I made changes to make my cube look neater and more cohesive. Paragraph 2: The first image is from category 44, featuring curved walls and an S-curved wall. The S-curved path creates a sense of uncertainty for the human figure, prompting contemplation of where it leads. This space cube didn’t undergo any changes. Paragraph 3: The second image from Category 38 depicts an entrance between mirrored curved walls. The human character experiences confusion about which path to follow, adding to the feeling of perplexity. No changes were made to this space cube. Paragraph 4: Category 33’s image shows three interconnected walls creating a spacious area. The blocked wall in this expansive space evokes a hint of anger in the depicted individual. My only change was moving this category to the second floor and arranging the path accordingly. Paragraph 5: In the fourth image from category 24, two walls and two columns create various lighting effects. Progressing through the different wall phases, encountering seemingly out-of-place columns, evokes fear in the human character. My change here is to block the lighting due to the second floor above. Paragraph 6: The fifth image in category 18 features a single column in a space devoid of other elements, causing the human character to manifest a state of confusion about its presence. No change was made, except for potentially adjusting the position of the human due to limited space. Paragraph 7: The sixth image from category 34 depicts a tall curved wall within an interior space, sparking intrigue and curiosity in the human character about the potential direction it might lead to. No changes were made to this space cube. Paragraph 8: Category 7’s image displays walls of varying heights, prompting the human character to try to look over the wall in search of an exit. No changes were made to this category, except that the wall height may have been adjusted. Paragraph 9: The eighth image portrays the space between floating surfaces, encouraging the human character to ascend the surface to explore what lies at the summit. A third ladder was added to reach the second floor, making my space cube more walkable. Paragraph 10: The ninth image showcases an 8-high floating wall and a faced wall, prompting the human to assume the existence of another room beyond and pass under the wall. No changes were made to this category. Paragraph 11: Image 10 features two walls and two columns under different lighting conditions. Observing the columns’ distance from the wall and the impact of light on shadows sparks intrigue in the viewer. The only changes you would see are lighting effects, with the lighting placed in a way that only the human shadow is visible. Paragraph 12: Belonging to category 21, the twelfth image presents four individual columns positioned at a considerable distance from one another, revealing ample space that may evoke apprehension in some viewers. Due to limited space, I swapped it with the last category. Paragraph 13: The eleventh image displays a void below with columns or walls around it, creating an unsettling feeling and instigating fear due to the hole leading back down. This category was swapped with another due to very limited space in my cube, and the circle hole was made smaller.

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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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Work #1. Sequence of Wall, Column, and Space Selected Emotion

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Work #1. Sequence of Wall, Column, and Space_Sequence Model Views

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The 12-model sequence is based around the emotion of sadness. When looking at the photos from the Wall, Column, Space project, I searched for images that sparked a depressive emotion. These images may have made the human figure look lonely or vulnerable. These images may have also included round or circular surfaces. In my opinion, these shapes are sad because a circle is a solemn and mellow shape. 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. 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 lead to. It reminds me of a maze, which kind of adds a chaotic element. 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. 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. 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. 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. 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. 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. 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. 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. The hanging curved surfaces add 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. 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.

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Work #2. Space Cube_First Space Cube Model

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The compactness of the spaces starts to lessen the sad impact on the space. I find that the smaller spaces are harder to fully encapsulate emotion as compared to a larger space. 1. The first scene contains a blank, round wall, giving the room a somber feeling. This makes the human figure look lonely and bored. This makes me feel depressed and alone because of the emptiness of the space. 2. This scene uses the parallel curved lines to convey a curious and eager tone. This makes the human figure wonder what is around the corner. The curiosity is actually leaning towards fright in this case because of the lighting. 3. The different directions of the walls make the space appear to be confusing and daunting. This could cause the viewer to feel overwhelmed or nervous. However, the roundness of the walls makes the space feel more serious and windy. 4. The round walls coming in from both sides feels claustrophobic to me. It makes the viewer feel like they are being confined and that the walls are caving in on them. This makes me feel anxious and fearful that the space is too tight. 5. This scene highlights the void on the ceiling, which makes the human figure appear to be vulnerable. The shadowing effect makes the space feel empty, yet filled with light. This shadow effect makes me feel intimidated because of how dramatic it is. 6. The vertical incline that is pictured acts as a hardship in my eyes. The figure is experiencing a struggle to get up. This makes me feel tired and upset because of the struggle that the scene puts off. 7. The overhead curvature makes the scene feel heavy and quiet. This may cause people within the space to feel overwhelmed about free-floating spaces above. The curved surfaces all around make the scene feel daunting and overwhelming, sparking an anxious feeling for many. 8. The curved spaces may spark a happy and joyous tone for some, but for me they spark an uneasy tone. The overhead curved surface paired with the concave surface might make the viewer feel dizzy or uneasy as well. 9. The centripetal force of the sphere makes the space feel top heavy. This may worry the viewer about the heavy overhead object. This makes me feel unsafe and like the sphere may not be secure. 10. The single column in the empty space gives the scene an absence. The solemness of the vacant space may make the viewer feel alone and exposed. This makes me feel empty and vulnerable. 11. The double columns create a symmetry within the space. The figure facing towards a single column causes the figure to appear unphased by the columns. This makes me feel careless and detached from the space. 12. The single column and the passing wall create an unbalanced scene, which causes uncomfort within the space. This could throw the viewer off because of the different directions they could go. This makes me feel conflicted and uninterested with the space.

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Work #2. Space Cube_Second Space Cube Model

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The refined Space Cube uses more curved walls and lightweight structures to convey sadness. This space cube also uses pathways to tell a story. Instead of using walls to hold up the surfaces, I used columns, which added a nicer, lightweight feel to the space. This made the space more accessible and navigable to viewers. This space uses round walls to convey the feeling of loneliness. The viewer stands in the empty space and only has the curvature of the wall to look at. This makes me feel helpless and tortured because the space is kind of boring for the viewer. The parallel curved walls give the space a wondrous feel. Because the viewer had to walk through the space, it feels like they are going in blind, which is scary. This makes me feel unsure and unsafe. The mirrored curved walls make the space feel kind of grand. At this point, the viewer can start to notice that they are becoming more elevated within the space. This makes me feel intimidated because the formal feeling of the walls combined with the tight space is uncomfortable. The boxy, shadowed look adds a contradictory element to the space because it does not use curves. Rather it conveys sadness in a different way. It makes the viewer feel cold and alone within the space. This room gives me a daunting feeling because of how dramatic and intimidating the effect of the light is. The vertical structure makes the space feel overwhelming. It reminds me of a ramp that is too steep for the viewer to travel up. This makes me share the struggle of the figure and makes me feel weak and not confident. The vertical structure paired with the overhead curved wall creates a dramatic feeling because the size of them is greater in scale compared to the figure than the rest of the scenes. This makes me feel anxious that the overhead structure could fall or become loose. The horizontal curved structure and the concave above makes the space feel mellow and calm. However, the circular elements give me the feeling of sadness. The elements cause the viewer to get a strong visual experience with all of the curvatures. This makes me feel mellow and collected. This scene uses the sphere overhead to give the feeling of being overwhelmed due to its large size. The human figure may feel confined or frightened because of the immense size. This makes me feel like I am being tortured because of the height that the sphere leaves for the viewer to walk under. The size and shape of this scene causes it to be underwhelming. The tiny triangular structure leaves little room for the viewer to stand on which could cause some anxiety. This makes me feel belittled because the scene is far smaller in size than the rest and there is little room for the viewer to walk around. The double columns add a balance that the space needs. The parallel columns add a route for the viewer to walk through. This makes me feel satisfied and calm because of the placement of the columns. The final scene uses a passing wall and a column to create an unbalanced and lonely scene. It feels like the viewer made their way throughout the space to get here and they are extremely underwhelmed by the final product. This makes me feel let down and upset because the space does not offer any happiness or interest.

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Work #2. Space Cube_Last Space Cube Model

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Within the space, I felt I needed to make the space feel less chaotic. The addition of the central box allows the space to be more calm and each individual scene can be clearly seen. It also acts as an anchor for the space. The cleaner lines also make the space feel more sterile. The addition of the straighter wall with the slight bend allows the space to feel more serene, yet enhances the lonely feeling. This makes the viewer feel more free, yet bored because there is less curvature of the wall. This makes me feel lonely and cold because of the bare, slick walls. The parallel curved walls add a direct pathway through the space. This makes the viewer confined within the space, causing them to feel lonely. This makes me feel scared and curious about where the path leads to. The mirrored curved space makes the space feel tight and overwhelming. This makes the viewer feel impeded upon and claustrophobic. This makes me feel anxious and nervous about having to pass through the space. The shrinking of the hallway with curves in different directions makes the space feel less important and like a passway between two separate spaces, rather than its own space. This could make the viewer feel as though they are in a maze or not free in an open space. This makes me feel manipulated and controlled about where I could walk within the space. The shadow that is cast on the area makes the space feel open, yet the lighting makes it very dramatic. This causes the human to feel exposed and impeded upon. This makes me feel cold and depressed because the light is focused on the human. The vertical surface draws the eye up, yet makes the space feel like there is no way out. This may make the viewer feel trapped or confined. This makes me feel like I am being controlled and pinned in. The vertical surface with the overhead curvature being turned diagonally makes the space even more dramatic. It almost overshadows the previous space because so many more elements have been added. This makes the viewer feel less confined because there is more space now that the display has been turned diagonally. This makes me feel free, yet confined overhead. The concave and curved surface are now touching, allowing the space to look droopy. This may make the viewer feel that the concave surface could pull the overhead surface down, on top of them. This makes me feel exhausted and drained because the concave surface creates a melted or tired feeling. The centripetal force of the sphere makes the space feel surreal and quiet. It also causes the figure to feel fragile because the sphere does not look secure. This makes me feel anxious and worried that the sphere could fall. The singular column makes the space feel empty and not interesting. This causes the figure to blend in with the vertical structure. This makes me feel bored, yet it gives me a sterile feeling because there is only the column to view. The two columns being placed diagonally adds dimension and interest to the space. This creates a pathway for the human, while also giving them something to look at. This makes me feel welcomed and safe within the space. The passing wall being placed parallel to the drop off provides a sense of security and an ending point for the sequence. This allows the viewer to feel warned that there is a drop off, yet also safe because there is an ending. This makes me feel empowered because it is at the highest level of the sequence, yet had a grand feel because the staircase is in the center. All of the other spaces only experience a stairwell on the side of each scene.

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Work #2. Space Cube_Series of Space Cube Models

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Work #3. Floor Plans

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Work #3. Floor Plans

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Work #3. Elevations

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Work #3. Elevations

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Work #3. Sections

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Work #3. Axonometric

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Work #4. Casting Model

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Work #4. Casting Model

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Top

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Work #4. Casting Model

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Summer Reichl FI v e We e k S um m e r S t udi o P or t f ol i o

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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.

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Work #1. Sequence of Wall, Column, and Space /^'h^d

WŚĂƐĞ ηϭ͗ ĂƚĞŐŽƌǇ ηϮϰ

WŚĂƐĞ ηϮ͗ ĂƚĞŐŽƌǇ ηϯϲ

WŚĂƐĞ ηϯ͗ ĂƚĞŐŽƌǇ ηϯϳ

WŚĂƐĞ ηϰ͗ ĂƚĞŐŽƌǇ ηϰϮ

WŚĂƐĞ ηϱ͗ ĂƚĞŐŽƌǇ ηϴ

WŚĂƐĞ ηϲ͗ ĂƚĞŐŽƌǇ ηϱϯ

WŚĂƐĞ ηϳ͗ ĂƚĞŐŽƌǇ ηϰϲ

WŚĂƐĞ ηϴ͗ ĂƚĞŐŽƌǇ ηϭϱ

WŚĂƐĞ ηϵ͗ ĂƚĞŐŽƌǇ ηϮϱ

WŚĂƐĞ ηϭϬ͗ ĂƚĞŐŽƌǇ ηϰϴ

WŚĂƐĞ ηϭϭ͗ ĂƚĞŐŽƌǇ ηϮϴ

WŚĂƐĞ ηϭϮ͗ ĂƚĞŐŽƌǇ ηϯϭ

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tŽƌŬ ηϭ͘ ^ĞƋƵĞŶĐĞ ŽĨ tĂůů͕ ŽůƵŵŶ͕ ĂŶĚ ^ƉĂĐĞͺ^ĞƋƵĞŶĐĞ DŽĚĞů sŝĞǁƐ

WŚĂƐĞ ηϭ͗ ĂƚĞŐŽƌǇ ηϮϰ

WŚĂƐĞ ηϮ͗ ĂƚĞŐŽƌǇ ηϯϲ

WŚĂƐĞ ηϯ͗ ĂƚĞŐŽƌǇ ηϯϳ

WŚĂƐĞ ηϰ͗ ĂƚĞŐŽƌǇ ηϰϮ

WŚĂƐĞ ηϱ͗ ĂƚĞŐŽƌǇ ηϴ

WŚĂƐĞ ηϲ͗ ĂƚĞŐŽƌǇ ηϱϯ

WŚĂƐĞ ηϳ͗ ĂƚĞŐŽƌǇ ηϰϲ

WŚĂƐĞ ηϴ͗ ĂƚĞŐŽƌǇ ηϭϱ

WŚĂƐĞ ηϵ͗ ĂƚĞŐŽƌǇ ηϮϱ

WŚĂƐĞ ηϭϬ͗ ĂƚĞŐŽƌǇ ηϰϴ

WŚĂƐĞ ηϭϭ͗ ĂƚĞŐŽƌǇ ηϮϴ

WŚĂƐĞ ηϭϮ͗ ĂƚĞŐŽƌǇ ηϯϭ

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Summer Reichl IARD 1035 06/01/24 Chung Disgust Space Cube

Disgust is a noun used to describe the, “Feeling of revulsion or strong Disapproval aroused by something unpleasant or offensive.” (Wikipedia) As I reviewed my work, I realized that the photos that aroused the feeling of disgust most frequently were walls, columns, voids and other surfaces that caused the feeling of irritation or confusion to their placement. This project was slightly difficult due to the fact that the images that gave me a sense of disgust were also more difficult to fit together as they did not seem to flow as you walked from room to room. That was of course the direction I was taking with the feeling of disgust, so I hope I was able to translate that into my work. In my first space selected from category 24, I will be illustrating the effects of two walls and two columns on a human figure. The walls are horizontal and vertical with a person passing, and the columns shift along the walls. In my image where my human is passing the horizontal columns the left feels useless and out of place. This is the entrance to his workspace. He then enters the reception room, illustrated by how a human figure is altered in contrast to a flat wall and curved wall in category 36. As the human shifts along the walls, he is gradually obstructed. The room is constructed of a vertical flat wall and an open curved wall. The room just does not make much sense as a reception room as it does not feel like there is much direction leading the man to his office. The third area is designed around the feeling of being lost, there are two very tall parallel walls that feel very open, the only direction it seems to be leading towards is through the two walls that creates a curved hallway. This area was what the human had as an office in my story, but he has been relocated and needs to find his way to his new office. Room four feels similar to room three, as if one may be wandering around not sure of the direction, they are aiming for illustrated by the way columns flat walls and curved walls affect the human figure. The human is obstructed but the column and differing walls. In the image with a parallel curved wall and flat wall with a column the room feels extremely uncomfortable and like there is no real freedom to walk. The column is out of place and feels irritating to look at. Room five is an office, the wall is much too high as it is being used as a whiteboard, but no one can reach the wall to write on and when they have meetings the human's necks hurt after

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because they must look so high the whole time. It is much to low for it to feel like a genuine room. Room 6 is how different elevated surfaces and curved surfaces affect a human figure. As the curves and surfaces change the human figure is gradually obstructed. In the image with the curved surface over the human with the double floating ledge, the human figure seems small, and the room also feels small, but elevated, this is the boss's office, nice, pleasing, and enjoyable to be in, he is irritated that he now has an office that is nothing like it. Room seven is a shared area, but it feels cramped and as if there is no freedom or space to move. In these images I am illustrating how the human figure is obstructed by differing walls, columns, and voids. The large void in the center gives the room wonderful openness, but the columns take up so much space and freedom to wander. In this room I am demonstrating the effect that walls and angles have on a human figure. This walls seems very uncomfortable to navigate. I feel as though they are always in the way and do not serve much purpose more than just being there. For this area I imagined an outdoor indoor space, the large wall that is shifted is meant to be a poorly built terrace that has slightly collapsed and arouses a feeling of discomfort and irritability. This area is an illustration of how columns and differing walls affect a human figure. The human figure is obstructed by the columns and walls when the columns are vertical to the horizontal wall. Room nine is very out of place to me, the columns have a feeling of being blocked off and are so poorly placed. The area does not flow well into the next room. Room 10 is an illustration of how the human figure is obstructed by differing walls, columns, and voids. As the walls and heights change the human is gradually obstructed. In the image with one curved wall, a column and a void with a facing wall the room is very distorted and distracting. Room 11 is how two vertical walls and columns affect the obstruction of a human figure. He is walking between the columns and the vertical walls, again the columns are poorly placed and give no general direction to the room and area. Room 12 is an illustration of a room that is 60 degrees, the human is obstructed as he is large in comparison to the smallness and closeness of the room. This is his last straw, he finally arrived at his office and it is a tiny room with narrow walls that he has little to no space in. He was absolutely disgusted with the room he was put in and plans on quitting.

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tŽƌŬ ηϮ͘ ^ƉĂĐĞ ƵďĞͺ&ŝƌƐƚ ^ƉĂĐĞ ƵďĞ DŽĚĞů

WŚĂƐĞ ηϭ͗ ĂƚĞŐŽƌǇ ηϮϰ

WŚĂƐĞ ηϮ͗ ĂƚĞŐŽƌǇ ηϯϲ

WŚĂƐĞ ηϯ͗ ĂƚĞŐŽƌǇ ηϯϳ

WŚĂƐĞ ηϰ͗ ĂƚĞŐŽƌǇ ηϰϮ

WŚĂƐĞ ηϱ͗ ĂƚĞŐŽƌǇ ηϴ

WŚĂƐĞ ηϲ͗ ĂƚĞŐŽƌǇ ηϱϯ

WŚĂƐĞ ηϳ͗ ĂƚĞŐŽƌǇ ηϰϲ

WŚĂƐĞ ηϴ͗ ĂƚĞŐŽƌǇ ηϭϱ

WŚĂƐĞ ηϵ͗ ĂƚĞŐŽƌǇ ηϮϱ

WŚĂƐĞ ηϭϬ͗ ĂƚĞŐŽƌǇ ηϰϴ

WŚĂƐĞ ηϭϭ͗ ĂƚĞŐŽƌǇ ηϮϴ

WŚĂƐĞ ηϭϮ͗ ĂƚĞŐŽƌǇ ηϯϭ

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Summer Reichl IARD 1035 06/09/24 Chung Disgust Space Cube

Disgust is a noun used to describe the, “Feeling of revulsion or strong Disapproval aroused by something unpleasant or offensive.” (Wikipedia) As I was determining the best way to craft a 9/9/9 cube, I wanted the human to be able to freely wander the area but for the destinations to be uncomfortable and oddly placed. I realized the best way to do that was to determine what areas aroused the feeling of disgust most frequently. I did not fully understand the instructions for this assignment so I accidentally placed the human figure on a wall. While working with images I realized it was difficult to fit the rooms together, so a lot of my tactic was to use the same walls for different spaces. That was of course the direction I was taking with the feeling of disgust, so I hope I was able to translate that into my work. In my first space selected from category 24, I will be illustrating the effects of two walls and two columns on a human figure. The walls are horizontal and vertical with a person passing, and the columns shift along the walls. In my image where my human is passing the horizontal columns the left feels useless and out of place. The human figure in contrast to the walls and columns seems crammed, and the space is uncomfortable. Area two is illustrated by how a human figure is altered in contrast to a flat wall and curved wall in category 36. As the human shifts along the walls, he is gradually obstructed. The room is constructed of a vertical flat wall and an open curved wall. The human figure seems very large in this small area, the lighting is not giving a welcoming space. The third area is designed around the feeling of being lost, there are two very tall parallel walls that feel very open, the only direction it seems to be leading towards is through the two walls that creates a curved hallway. The walls are very close and tight, making the human figure obstructed. Room four feels similar to room three, as if one may be wandering around not sure of the direction, they are aiming for illustrated by the way columns, flat walls, and curved walls affect the human figure. The human is obstructed but the column and differing walls. In the image with a parallel curved wall and flat wall with a column the room feels extremely uncomfortable and like there is no real freedom to walk. The column is out of place and feels irritating to look at. The room is oddly placed and the human figure was not genuinely able to reach that room if they wanted to.

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This area is illustrated by a floating wall. The human figure is obstructed by the wall in front of them. The wall is much too high, but also not high enough for the human to comfortably walk under. The area is just uncomfortable overall. The next area is about how different elevated surfaces and curved surfaces affect a human figure. As the curves and surfaces change the human figure is gradually obstructed. In the image with the curved surface over the human with the double floating ledge, the human figure seems small, and the room also feels small, but elevated. This area in my 9/9 seems slightly out of place, and crammed. Room seven is a shared area, but it feels cramped and as if there is no freedom or space to move. In these images I am illustrating how the human figure is obstructed by differing walls, columns, and voids. The large void in the center gives the room wonderful openness, but the columns take up so much space and freedom to wander. The human is very small in comparison to the area. In this room I am demonstrating the effect that walls and angles have on a human figure. This walls seems very uncomfortable to navigate. I feel as though they are always in the way and do not serve much purpose more than just being there. The wall is elevated at an angle, the wall is in the way. This area is an illustration of how columns and differing walls affect a human figure. The human figure is obstructed by the columns and walls when the columns are vertical to the horizontal wall. The columns have a feeling of being blocked off and are so poorly placed. The area does not flow well into the next room, making it seem as if there is no guidance. The human figure is obstructed by differing walls, columns, and voids. As the walls and heights change the human is gradually obstructed. In the image with one curved wall, a column and a void with a facing wall the room is very distorted and distracting. Two vertical walls and columns affect the obstruction of a human figure. He is walking between the columns and the vertical walls, again the columns are poorly placed and give no general direction to the room and area. The final room is an illustration of a room that is 60 degrees, the human is obstructed as he is large in comparison to the smallness and closeness of the room. The area is so small and closed off off, the direction of the room leads to a small corner, and it is uncomfortable and irritating.

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tŽƌŬ ηϮ͘ ^ƉĂĐĞ ƵďĞͺ^ĞĐŽŶĚ ^ƉĂĐĞ ƵďĞ DŽĚĞů

WŚĂƐĞ ηϭ͗ ĂƚĞŐŽƌǇ ηϮϰ

WŚĂƐĞ ηϮ͗ ĂƚĞŐŽƌǇ ηϰϴ

WŚĂƐĞ ηϯ͗ ĂƚĞŐŽƌǇ ηϯϲ

WŚĂƐĞ ηϰ͗ ĂƚĞŐŽƌǇ ηϱϯ

WŚĂƐĞ ηϱ͗ ĂƚĞŐŽƌǇ ηϰϮ

WŚĂƐĞ ηϲ͗ ĂƚĞŐŽƌǇ ηϮϱ

WŚĂƐĞ ηϳ͗ ĂƚĞŐŽƌǇ ηϯϳ

WŚĂƐĞ ηϴ͗ ĂƚĞŐŽƌǇ ηϮϴ

WŚĂƐĞ ηϵ͗ ĂƚĞŐŽƌǇ ηϰϲ

WŚĂƐĞ ηϭϬ͗ ĂƚĞŐŽƌǇ ηϭϱ

WŚĂƐĞ ηϭϭ͗ ĂƚĞŐŽƌǇ ηϴ

WŚĂƐĞ ηϭϮ͗ ĂƚĞŐŽƌǇ ηϯϭ

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Summer Reichl IARD 1035 06/09/24 Chung Park Disgust Space Cube Disgust is a noun used to describe the, “Feeling of revulsion or strong DisapprovDO DURXVHG E\ VRPHWKLQJ XQSOHDVDQW RU RႇHQVLYH ´ :LNLSHGLD $V , ZDV GHWHUPLQLQJ WKH EHVW ZD\ WR FUDIW D FXEH , ZDQWHG WKH KXPDQ WR EH DEOH WR IUHHO\ ZDQGHU WKH DUHD EXW IRU WKH GHVWLQDWLRQV WR EH XQFRPIRUWDEOH DQG RGGO\ SODFHG , UHDOL]HG WKH EHVW ZD\ WR GR WKDW ZDV WR GHWHUPLQH ZKDW DUHDV DURXVHG WKH IHHOLQJ RI GLVJXVW PRVW IUHTXHQWO\ , GLG QRW IXOO\ XQGHUVWDQG WKH LQVWUXFWLRQV IRU WKLV DVVLJQPHQW VR , DFFLGHQWDOO\ SODFHG WKH KXPDQ ¿JXUH RQ D ZDOO :KLOH ZRUNLQJ ZLWK LPDJHV , UHDOL]HG LW ZDV GLႈFXOW WR ¿W WKH URRPV WRJHWKHU VR D ORW RI P\ WDFWLF ZDV WR XVH WKH VDPH ZDOOV IRU GLႇHUHQW VSDFHV 7KDW ZDV RI FRXUVH WKH GLUHFWLRQ , ZDV WDNLQJ ZLWK WKH IHHOLQJ RI GLVJXVW $IWHU VWXG\LQJ P\ VSDFH FXEH , FKDQJHG WKH ZD\ WKH KXPDQ ZDONHG DURXQG D WRQ 7KH ÀRZ RI WKH URRPV WKH VKDSH RI WKH DUHDV DQG PDGH HYHU\WKLQJ YHU\ PHVV\ DQG KRQHVWO\ JURVV , KRSH , ZDV DEOH WR WUDQVODWH WKDW LQWR P\ ZRUN ,Q P\ ¿UVW VSDFH VHOHFWHG IURP FDWHJRU\ , ZLOO EH LOOXVWUDWLQJ WKH HႇHFWV RI WZR ZDOOV DQG WZR FROXPQV RQ D KXPDQ ¿JXUH 7KH ZDOOV DUH KRUL]RQWDO DQG YHUWLFDO ZLWK D SHUVRQ SDVVLQJ DQG WKH FROXPQV VKLIW DORQJ WKH ZDOOV ,Q P\ LPDJH ZKHUH my human is passing the horizontal columns the left feels useless and out of SODFH 7KH KXPDQ ¿JXUH LQ FRQWUDVW WR WKH ZDOOV DQG FROXPQV VHHPV FUDPPHG DQG WKH VSDFH LV XQFRPIRUWDEOH 7KH OLJKW FRPLQJ IURP WKH YHU\ VPDOO IUDPHG GRRUZD\ LV FUDPPHG DQG WKH ZDOO WKDW LV EORFNLQJ LW LV LQ D KRUULEOH SODFH 5RRP WZR , DP LOOXVWUDWLQJ WKH HႇHFWV RI FXUYHG ZDOOV ÀDW ZDOOV DQG D YRLG DQG D FROXPQ RQ WKH KXPDQ ¿JXUH 7KH URRP LV PHDQW WR IHHO YHU\ FRQIXVLQJ WR QDYLJDWH 7KH KXPDQ LV GLVWRUWHG E\ WKH OLJKW GLႇHUHQFH $UHD WKUHH LV LOOXVWUDWHG E\ KRZ D KXPDQ ¿JXUH LV DOWHUHG LQ FRQWUDVW WR D ÀDW ZDOO DQG FXUYHG ZDOO LQ FDWHJRU\ $V WKH KXPDQ VKLIWV DORQJ WKH ZDOOV KH LV JUDGXDOO\ REVWUXFWHG 7KH URRP LV FRQVWUXFWHG RI D YHUWLFDO ÀDW ZDOO DQG DQ RSHQ FXUYHG ZDOO 7KH KXPDQ ¿JXUH VHHPV YHU\ ODUJH LQ WKLV VPDOO DUHD WKH OLJKWLQJ LV QRW JLYLQJ D ZHOFRPLQJ VSDFH 7KH DUHD PDNHV WKH VSDFH FXEH IHHO YHU\ FLUFXODU DQG FRQIXVLQJ WR ZDQGHU VLPLODU WR D IXQ KRXVH DW D FDUQLYDO 7KH QH[W DUHD LV DERXW KRZ GLႇHUHQW HOHYDWHG VXUIDFHV DQG FXUYHG VXUIDFHV DႇHFW D KXPDQ ¿JXUH $V WKH FXUYHV DQG VXUIDFHV FKDQJH WKH KXPDQ ¿JXUH LV JUDGXDOO\ REVWUXFWHG ,Q WKH LPDJH ZLWK WKH FXUYHG VXUIDFH RYHU JUDGXDOO\ REVWUXFWHG ,Q WKH LPDJH ZLWK WKH FXUYHG VXUIDFH RYHU WKH KXPDQ ZLWK WKH GRXEOH ÀRDWLQJ OHGJH WKH KXPDQ ¿JXUH

1059

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1060

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1061

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1062

1063

Work #3. Floor Plans

1064

1065

Work #3. Floor Plans

1066

1067

tŽƌŬ ηϯ͘ ůĞǀĂƟŽŶƐ

1068

1069

tŽƌŬ ηϯ͘ ůĞǀĂƟŽŶƐ

1070

1071

tŽƌŬ ηϯ͘ ^ĞĐƟŽŶƐ

1072

1073

Work #3. Axonometric

1074

1075

tŽƌŬ ηϰ͘ ĂƐƟŶŐ DŽĚĞů

1076

1077

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Top

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1078

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1080

1081

Lydia Rivera Port foli o 1082

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 1083

Work #1. Sequence of Wall, Column, and Space Anger

Phase #1: Category #1

Phase #2: Category #32

Phase #3: Category #22

Phase #4: Category #42

Phase #5: Category #31

Phase #6: Category #44

Phase #7: Category #8

Phase #8: Category #12

Phase #9: Category #45

Phase #10: Category #47

Phase #11: Category #25

Phase #12: Category #58

94 1084

95 1085

Work #1. Sequence of Wall, Column, and Space_Sequence Model Views

Phase #1: Category #1

Phase #2: Category #32

Phase #3: Category #22

Phase #4: Category #42

Phase #5: Category #31

Phase #6: Category #44

Phase #7: Category #8

Phase #8: Category #12

Phase #9: Category #45

Phase #10: Category #47

Phase #11: Category #25

Phase #12: Category #58

96 1086

The emotion I chose to disapply through my sequence is anger. Anger is defined as a strong feeling of annoyance, displeasure or hostility. I chose to focus on the words displeasure, vexation, annoyance and irritation to tell a story about anger. There is a man that has had a hard day. He was feeling annoyed because his left knee had been hurting all day from a previous accident. The only thing he wanted to do was go to his favorite taco shop, Don Chui’s, and buy some tacos. However, he discovered that the taco shop closed last week due to an infestation. All bummed out, he walked to the next taco shop and bought an order of tacos even though he knew they would not be as good as Don Chui’s. He walks out of the shop and bumps into an old lady dropping his food on a muddy puddle. The man is now extremely frustrated he decided to walk back home, cool down, and clear his mind. In his mind, he keeps replaying the events of the day, when all of a sudden, he finds himself on a path he does not recognize. This is where my sequence starts. Category 1: facing a surface. One photograph illustrates 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, my path is fully obstructed from moving forward so I will have to follow the wall. Category 32: facing the connected edge of two walls. One photograph 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 continues 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, it ends up opening to ninety degrees forcing me to make a left turn. Category 22: one wall and one column. One photograph illustrates a sedentary wall and a column that moves from left to right, 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 must walk in the constraints the column is making. It makes me irritated being constrained. Category 42: role of a column between curved and flat walls. One photograph illustrates how a column is in between curved walls or flat walls. As the walls change positions, it limits the space the person must 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. 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. The angle of the wall is small and condense with the human inside. As the angle of the wall starts at ten degrees, my path is blocked, and I feel extremely claustrophobic. Category 44: curved wall and s-curved 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” shaped 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. Category 8: floating and faced wall. One photograph illustrates how a wall changes positions by floating upwards in front of a human. If the wall floats up, the line of sight of the person positively correlates with the wall. If it stays in place, the wall blocks the human’s path. 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 annoyingly blocks my path and the only way through is going under the wall. Category 12: horizontal surfaces with different heights. One photograph illustrates how a platform has an opening with a floating surface above slowly descending. As the floating surface descends, the space between the platform where the human stands and the floating surface shrinks. As I see a floating surface above me and a wide-open hole in front of me, I am hit with a sense of anger as I must go through the opening to continue my path. Category 45: 1-point perspective pictures: void on the upside. One photograph illustrates 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 cast on the human. As I stand beneath the voids. I am confused as to how I will get above ground again. Category 47: void on the downside with columns or walls. One photograph illustrates a void as the floor with changing walls, lighting and columns. As the walls and lighting change, it either opens 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 this could be a dangerous situation. As well as the wall going through the void is vexing to me. Category 25: two walls and two columns with two lighting conditions_01: one photograph 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 will have to shimmy my way through the right side opening to go down there. Category 58: a sphere with a strong center and centripetal force. One photograph 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. 97 1087

Work #2. Space Cube_First Space Cube Model

Phase #1: Category #1

Phase #2: Category #32

Phase #3: Category #22

Phase #4: Category #42

Phase #5: Category #31

Phase #6: Category #44

Phase #7: Category #8

Phase #8: Category #12

Phase #9: Category #45

Phase #10: Category #47

Phase #11: Category #25

Phase #12: Category #58

98 1088

The emotion I chose to disapply through my space cube is anger. Anger is defined as a strong feeling of annoyance, displeasure or hostility. I chose to focus on the words displeasure, vexation, annoyance and irritation to tell a story about anger. There is a man that has had a hard day. He was feeling annoyed because his left knee had been hurting all day from a previous accident. The only thing he wanted to do was go to his favorite taco shop, Don Chui’s, and buy some tacos. However, he discovered that the taco shop closed last week due to an infestation. All bummed out, he walked to the next taco shop and bought an order of tacos even though he knew they would not be as good as Don Chui’s. He walks out of the shop and bumps into an old lady dropping his food on a muddy puddle. The man is now extremely frustrated he decided to walk back home, cool down, and clear his mind. In his mind, he keeps replaying the events of the day, when all of a sudden, he finds himself on a path he does not recognize. This is where my sequence starts. Category 1: facing a surface. One photograph illustrates 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, my path is fully obstructed from moving forward so I will have to follow the wall. Category 32: facing the connected edge of two walls. One photograph illustrates how two walls at an acute angle, facing away from a human, open into an obtuse angle. As the angle of the wall continues 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, it ends up opening to ninety degrees forcing me to make a left turn. Category 22: one wall and one column. One photograph illustrates a sedentary wall and a column that moves from left to right, 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 must walk in the constraints the column is making. It makes me irritated being constrained. Category 42: role of a column between curved and flat walls. One photograph illustrates how a column is in between curved walls or flat walls. As the walls change positions, it limits the space the person must 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. 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. The angle of the wall is small and condense with the human inside. As the angle of the wall starts at ten degrees, my path is blocked, and I feel extremely claustrophobic. Category 44: curved wall and s-curved 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” shaped 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. Category 8: floating and faced wall. One photograph illustrates how a wall changes positions by floating upwards in front of a human. If the wall floats up, the line of sight of the person positively correlates with the wall. If it stays in place, the wall blocks the human’s path. 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 annoyingly blocks my path and the only way through is going under the wall. Category 12: horizontal surfaces with different heights. One photograph illustrates how a platform has an opening with a floating surface above slowly descending. As the floating surface descends, the space between the platform where the human stands and the floating surface shrinks. As I see a floating surface above me and a wide-open hole in front of me, I am hit with a sense of frustration as I must go through the opening to continue my path. I have to fall two stories to hit the ground again. Category 45: 1-point perspective pictures: void on the upside. One photograph illustrates 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 cast on the human. As I stand beneath the voids. I am confused as to how I will get above ground again. Category 47: void on the downside with columns or walls. One photograph illustrates a void as the floor with changing walls, lighting and columns. As the walls and lighting change, it either opens 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 this could be a dangerous situation. As I realize what slanted wall means, it is vexing to thing that i mist climb it to get atop again Category 25: two walls and two columns with two lighting conditions_01: one photograph illustrating a change in light conditions and columns placement as two walls stay in place and a person 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 will have to shimmy my way through the right side opening to go down there. Category 58: a sphere with a strong center and centripetal force. One photograph 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. 99 1089

Work #2. Space Cube_Second Space Cube Model

Phase #1: Category #1

Phase #2: Category #32

Phase #3: Category #22

Phase #4: Category #42

Phase #5: Category #31

Phase #6: Category #44

Phase #7: Category #8

Phase #8: Category #12

Phase #9: Category #45

Phase #10: Category #47

Phase #11: Category #25

Phase #12: Category #58

100 1090

Ater building my first draft of the space cube, I notice that some needed to change. My sequence is still emoting anger, I just had to tweak some dimensions and mirror phases eleven, and twelve. I decided to change the direction of these categories so that the overall flow of my model would be smoother. I was also encouraged to think about the volume of the space cub rather than only on the space. I incorporated this by defining the path the man in my story takes. I made sure that the foam board was cut so it was clear where the route was. It made the space have capacity and purpose. Category 1: facing a surface. One photograph a sedentary wall facing a human head on. As the wall remains still, the view and path of the human figure is obstructed. As I look at the wall, my only option is to turn right and continue forward by following the wall until it ends. Category 32: facing the connected edge of two walls. One photograph illustrates how two walls connect forming a right angle. As the angle of the wall is ninety degrees, the human must make a sharp left turn to continue its path and not get obstructed. As I see the approaching corner, I am forced to make a left turn or else I will fall off the surface I stand on. Category 22: one wall and one column. One photograph illustrates a sedentary wall and a column positioned closely to the left wall. As the column stays put, it does not fully block the person’s view or path; however, it makes the human maneuver carefully around the column to get past it. As I approach this section of my path, I must walk in the constraints the column is making. It makes me irritated being constrained. Category 42: role of a column between curved and flat walls. One photograph illustrates how a column is in between a flat and curved wall. As the walls are positioned closely together, the column in between further encloses the space the human has to pass by. 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. Category 31: aligned wall with connected wall. Seventeen photographs illustrating two walls at an acute angle of ten degrees. The angle of the wall is small and condense with the human inside; there is only enough space to turn around. I approach a dead end as my path is fully blocked. I feel extremely claustrophobic and irritated that there is absolutely no space in here for a person to be in. Category 44: curved wall and s-curved wall. One photograph illustrates two curved walls in the shape of an “S”. Since the “S” shaped walls are long in length, the human must walk a great distance to get through. The heigh does not negatively or positively impact the human. As I walk through the “S” shaped curved walls, the longer they are, the more tired and annoyed I get to walk so much. Category 8: floating and faced wall. One photograph illustrates a floating wall facing the human head on with minimum space underneath for passing by. As the floating wall stays in place, the wall blocks the human’s path, and they must go underneath to get by. When I am faced with the floating wall, it annoyingly blocks my path and the only way through is going under the wall. I hate this. Category 12: horizontal surfaces with different heights. One photograph illustrates how a platform has an opening with a floating surface above. As the floating surface is in the air, the space between the platform where the human stands and the floating surface is small. As I see a floating surface above me and a wide-open hole in front of me, I am hit with a sense of frustration as I must go through the opening to continue my path. I have to fall two stories to hit the ground again. Category 45: 1-point perspective pictures: void on the upside. One photograph illustrates a one-point perspective shot of a square void. As the light comes down through the squared shaped void, it directly impacts the size and shape of the light cast on the human. As I stand beneath the voids. I am enraged that I hurt myself falling two stories down a whole, as well as to the fact that I still must continue on this path. Category 47: void on the downside with columns or walls. One photograph illustrates a square void as the floor and ceiling, a wall slashing the two layers, and lighting coming down from the top. As the lighting comes through the opening top, it guides the human to climb the wall to continue their path. As I look up at the wall i am supposed to climb, I am filled with sense of great displeasure as I am already a crippled man forced to climb a wall after falling two stories. It is ridiculous. Category 25: two walls and two columns with two lighting conditions_01: one photograph illustrating two sedentary walls perpendicular to each other, and two columns placed close by the vertical wall with lighting coming from an opening. As the light comes in from the left, the person is left slightly in the dark and they have a blocked path by the two columns and tight walking grounds. As I sense the light coming from my left, I am drawn to it thinking I might be at the end of this exertion. I am in the dark, which gives me an eerie feeling, and am starting to get extremely upset by these columns and tightly placed wall blocking my path. Category 58: a sphere with a strong center and centripetal force. One photograph illustrates a sphere that is placed on the edge of the curved walls. As the spere stays in place, it takes up a good chunk of the room leaving limited space for the human to move in. As I see the light at the end of the tunnel, I come face to face with a sphere that has no meaning to it, other than occupying my space. It is so unnecessary that it makes me angry just thinking about it. 101 1091

Work #2. Space Cube_Last Space Cube Model

Phase #1: Category #1

Phase #2: Category #32

Phase #3: Category #22

Phase #4: Category #42

Phase #5: Category #31

Phase #6: Category #44

Phase #7: Category #8

Phase #8: Category #12

Phase #9: Category #45

Phase #10: Category #47

Phase #11: Category #25

Phase #12: Category #58

102 1092

After building two drafts of the space cube, I finalized all the minute details and made a final model. I incorporated all twelve phases of the sequence, took into consideration volume rather than space, and tried to create a clean and nice model. My second and final model are similar; however, one can clearly see the progress in craftmanship between the two models. My sequence and story that goes along are the same, just with minor changes done to make everything flow better. My model has a good balance of shapes varying from straight lines to curved ones. The squared shapes next to the curved ones have good contrast. The space the human has to walk in my sequence is intentionally narrow, adding to the irritation factor. Movement is evident as well, as the course the human takes is easy to follow. Category 1: facing a surface. One photograph a sedentary wall facing a human head on. As the wall remains still, the view and path of the human figure is obstructed. As I look at the wall, my only option is to turn right and continue forward by following the wall until it ends. Category 32: facing the connected edge of two walls. One photograph illustrates how two walls connect forming a right angle. As the angle of the wall is ninety degrees, the human must make a sharp left turn to continue its path and not get obstructed. As I see the approaching corner, I am forced to make a left turn or else I will fall off the surface I stand on. Category 22: one wall and one column. One photograph illustrates a sedentary wall and a column positioned closely to the left wall. As the column stays put, it does not fully block the person’s view or path; however, it makes the human maneuver carefully around the column to get past it. As I approach this section of my path, I must walk in the constraints the column is making. It makes me irritated being constrained. Category 42: role of a column between curved and flat walls. One photograph illustrates how a column is in between a flat and curved wall. As the walls are positioned closely together, the column in between further encloses the space the human has to pass by. 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. Category 31: aligned wall with connected wall. Seventeen photographs illustrating two walls at an acute angle of ten degrees. The angle of the wall is small and condense with the human inside; there is only enough space to turn around. I approach a dead end as my path is fully blocked. I feel extremely claustrophobic and irritated that there is absolutely no space in here for a person to be in. Category 44: curved wall and s-curved wall. One photograph illustrates two curved walls in the shape of an “S”. Since the “S” shaped walls are long in length, the human must walk a great distance to get through. The heigh does not negatively or positively impact the human. As I walk through the “S” shaped curved walls, they are long and curvy making me dizzy and annoyed. Category 8: floating and faced wall. One photograph illustrates a floating wall facing the human head on with minimum space underneath for passing by. As the floating wall stays in place, the wall blocks the human’s path, and they must go underneath to get by. When I am faced with the floating wall, it annoyingly blocks my path and the only way through is going under the wall. I hate this. Category 12: horizontal surfaces with different heights. One photograph illustrates how a platform has an opening with a floating surface above. As the floating surface is in the air, the space between the platform where the human stands and the floating surface is small. As I see a floating surface above me and a wide-open hole in front of me, I am hit with a sense of frustration as I must go through the opening to continue my path. I have to fall two stories to hit the ground again. Category 45: 1-point perspective pictures: void on the upside. One photograph illustrates a one-point perspective shot of a square void. As the light comes down through the squared shaped void, it directly impacts the size and shape of the light cast on the human. As I stand beneath the voids. I am enraged that I hurt myself falling two stories down a whole, as well as to the fact that I still must continue on this path. Category 47: void on the downside with columns or walls. One photograph illustrates a square void as the floor and ceiling, a wall slashing the two layers, and lighting coming down from the top. As the lighting comes through the opening top, it guides the human to climb the wall to continue their path. As I look up at the wall i am supposed to climb, I am filled with sense of great displeasure as I am already a crippled man forced to climb a wall after falling two stories. It is ridiculous. Category 25: two walls and two columns with two lighting conditions_01: one photograph illustrating two sedentary walls perpendicular to each other, and two columns placed close by the vertical wall with lighting coming from an opening. As the light comes in from the left, the person is left slightly in the dark and they have a blocked path by the two columns and tight walking grounds. As I sense the light coming from my left, I am drawn to it thinking I might be at the end of this exertion. I am in the dark, which gives me an eerie feeling, and am starting to get extremely upset by these columns and tightly placed wall blocking my path. Category 58: a sphere with a strong center and centripetal force. One photograph illustrates a sphere that is placed on the edge of the curved walls. As the spere stays in place, it takes up a good chunk of the room leaving limited space for the human to move in. As I see the light at the end of the tunnel, I come face to face with a sphere that has no meaning to it, other than occupying my space. It is so unnecessary that it makes me angry just thinking about it. 103 1093

Work #2. Space Cube_Series of Space Cube Models

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105 1095

Work #3. Floor Plans

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Work #3. Floor Plans

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Work #3. Elevations

11'

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Work #3. Elevations

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113 1103

Work #3. Sections

10.5

114 1104

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Work #3. Axonometric

116 1106

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Work #4. Casting Model

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Work #4. Casting Model

Top

Bottom

Front

Back

Left

Right

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Top

Bottom

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Back

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Work #4. Casting Model

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Ka leig h Satter white Port foli o 1114

What I learned...

1 1115

Work #1. Sequence of Wall, Column, and Space Selected Emotion

Phase #1: Category 24

Phase #2: Category 36

Phase #3: Category 30

Phase #4: Category 42

Phase #5: Category 33

Phase #6: Category 51

Phase #7: Category 55

Phase #8: Category 56

Phase #9: Category 37

Phase #10: Category 23

Phase #11: Category 17

Phase #12: Category 54

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Work #1. Sequence of Wall, Column, and Space_Sequence Model Views

Phase #1: Category 24

Phase #2: Category 36

Phase #3: Category 30

Phase #4: Category 33

Phase #5: Category 42

Phase #6: Category 51

Phase #7: Category 55

Phase #8: Category 56

Phase #9: Category 37

Phase #10: Category 23

Phase #11: Category 17

Phase #12: Category 54

86 1118

The emotion I chose for my wall, column, and space sequence was joy. I selected this emotion to create a space where one might experience joy in some fashion. As I planned my sequence and decided which categories to incorporate, I wanted to include noticeable height differences and curved services. I intended to combine these two aspects to evoke feelings of having fun and letting loose. The first structure in my sequence was inspired by category twenty-four, featuring two walls and two columns. As one approaches the front of the sequence, one would walk alongside a vertical wall, pass through two vertical columns, and encounter a flat wall behind. I chose the arrangement of walls and columns because it evokes a sense of curiosity, as the viewer is anticipating what’s inside. My second set of walls is from category thirty-six, which contains curved and flat walls. After walking through the entrance, the person meets with the outside of a curved wall to their left and a flat-facing wall behind the curved wall. I chose these two walls for my second set of structures because they heightened the excitement of not knowing what lies ahead. The design instills a sense of anticipation, making the viewer eager to explore further. I chose two connected walls in category thirty for my third set of structures. As one passes through the space between the flat and curved wall, one faces two connecting walls of a degree more significant than ninety. Incorporating this wider angle within two walls aided in opening up the space and would provide people with calmness as they proceeded. I chose three connecting walls from category thirty-three for my fourth set of structures. After passing through the previous section, visitors begin facing a wide wall with two wings. When residing in the space, the two exterior broad wings bring a sense of expansion and feelings of freedom as one continues traveling. I gathered the fifth set of surfaces from category forty-two. This category involved different roles of a singular column between curved and flat walls. After passing the last two walls, one would walk through the space between two curved walls and a column from within the inside of one curved wall. My hope for this set of walls and columns was that it would increase excitement as they continued. I gathered the sixth set of walls and columns from category fifty-one, which involved a void and a combination of walls and columns. From my previous scenes, I decided to include different angles and heights of the wall and two extended columns raising a flat surface. While standing inside, the person would see partially outside while light comes in at different points within due to the high-rise roof. These structures were appropriate because they extended the space vertically and gave people passing a moment to gaze up and appreciate the fractured light entering the space. I included a curved vertical surface created in category fifty-five for the seventh surface. As people continue their journey, they eventually face a curved vertical surface that extends over and behind their perspective. I chose this curved vertical surface because its nature felt calming and brought forth happy feelings due to its natural curvature. I decided to use two tall walls varying in height for my eighth structure. This sequence also includes draping material between the two walls that meet at nearly a ninety-degree angle. As someone approaches and stands beneath, they are underneath a curvy awning. The design of this structure encourages feelings of contentment and comfort, enhancing the overall experience of the space. Again, I chose two curved walls from category thirty-seven for the ninth set of surfaces. These two parallel curved walls create a passage to travel through into the next separate space. The space between the curved walls encourages continuance and helps bring excitement back into the journey. I gathered the tenth set of surfaces from category twenty-three, which involved one flat-facing wall and two vertical columns. After making the passage between the previous two parallel curved walls, one would walk between the space of the flat wall and two vertical columns. I chose this set of structures because it allowed viewers to experience one last moment of curiosity before nearing the end of the sequence. The eleventh surface I incorporated was an inclined wall from category seventeen. The purpose of this inclined wall concerning those experiencing the sequence is to serve as a ramp that guides visitors to the final destination. The ramp is an appropriate way to provoke anticipation toward reaching the risen platform without seeing what remains there. Lastly, I used a curved vertical surface with an upper floor for my twelfth and final set of surfaces. After making it to the ramp, you land on a risen surface that overlooks all ahead and shade provided by the curved vertical surface atop that partially covers the plane. This final stage in the sequence brings forth the feeling of reward and encourages a sense of appreciation of perspective.

87 1119

Work #2. Space Cube_First Space Cube Model

Phase #1: Category 24

Phase #2: Category 36

Phase #3: Category 36

Phase #4: Category 33

Phase #5: Category 42 & 51

Phase #6: Category 42

Phase #7: Category 56

Phase #8: Category 23

Phase #9: Category 17

Phase #10: Category 54

88 1120

Inspired by category twenty-four, the first structure in my sequence features two walls and two columns. For my first space cube, I altered the placement of one of the previously horizontal walls in my sequence. Instead of being horizontal, I moved it at an angle, creating an additional entryway through the front. This arrangement helps to evoke a sense of curiosity, as the viewer is left anticipating what’s inside. My second set of walls, drawn from category thirty-six, originally introduced the element of curved walls in combination with flat walls. A person entering through the front entrance immediately meets a short staircase connected to a lifted platform to their right. During the reconfiguration process, I used a short, curved, and front-facing wall to serve as the platform’s boundary facing an outside view. This design choice intends to heighten the excitement of not knowing what lies ahead, instilling a sense of anticipation and making the viewer eager to explore further. I chose two connected walls from category thirty for my third set of structures. I removed this category while creating my first space cube due to its lack of necessity. I eliminated this aspect during the refining process and replaced it with another set of stairs. My original intention behind incorporating was to aid in opening up the space and provide people with a sense of calmness as they proceed, inspiring a feeling of tranquility. I chose three connecting walls from category thirty-three for my fourth set of structures. Before walking through the space between the parallel curved walls, as one makes it to the top of the stairs, one immediately faces the same three connecting walls, still at a wide angle. However, for my space cube, I shortened the height of the walls to serve as the border of a balcony instead. This alteration allows people to view outside from above on the second level and provide them with a sense of peace. I gathered the fifth set of surfaces from category forty-two. This category involved different roles of a singular column between curved and flat walls. While reconfiguring my sequence into the first space cube model, I decided to use the same two curved walls with a column inside one curved wall. After reaching the top of the staircase, one would meet the parallel curved walls and pass the singular column on the inside of one curved wall as they continue their journey. I gathered the sixth set of walls and columns from category fifty-one, which involved a void and a combination of walls and columns. Unlike my first sequence, I reduced the number of walls in this category to one flat wall that serves as a roof of one particular area on the second floor of my first space cube creation. However, this space still receives the same lighting conditions because it only partially covers the area below. The people passing can still gaze up and appreciate the fractured light entering the space. For my seventh set of structures, while making my space cube, I eliminated the use of a vertical curved surface. Because there is another curved vertical surface incorporated into the final stage of my space cube, I decided not to clutter my configuration with its lack of purpose. Its purpose originally had been to increase excitement further, but the newly added staircases served the same purpose. I decided to use two tall walls varying in height for my eighth structure. This sequence also includes draping material between the two walls that meet at nearly a ninety-degree angle. However, I adjusted its purpose to be more than just a wall by creating a doorway through one of the walls in my first space cube. The design of this set of surfaces encourages feelings of contentment and comfort, enhancing the overall experience of the space. I also deemed my ninth set of surfaces unnecessary while creating my first space cube. Beforehand, I included another set of parallel curved walls I gathered from category thirty-seven, with their purpose previously being another passageway. Before removing this aspect of my sequence, they intended to encourage further excitement along the journey. I gathered the tenth set of surfaces from category twenty-three, which involved one flat-facing wall and two vertical columns. After passing through the two walls varying in height, one would walk into the space of the flat wall and two vertical columns. This adjustment now serves as the railing of another overlooking balcony on the second floor—their reason for being eliminated is their lack of purpose and importance. I chose this set of structures because it allowed viewers to experience one last moment of curiosity before nearing the end of the sequence. The eleventh surface I incorporated was an inclined wall from category seventeen. The original intended purpose of this inclined surface served as a ramp in my first sequence, but as I was creating my space cube, I decided to use it as the awning for the main entrance. This aspect provides shade on the lower level as one enters the space. Lastly, I used a curved vertical surface with an upper floor for my twelfth and final set of surfaces. After making it to the top of the second case of stairs, you land on a risen surface that overlooks all ahead and shade provided by the curved vertical surface atop that partially covers the plane. This final stage in the sequence brings forth the feeling of reward and encourages a sense of appreciation of perspective. 89 1121

Work #2. Space Cube_Second Space Cube Model

Phase #1: Category 24

Phase #2: Category 36

Phase #3: Category 33

Phase #4: Category 42

Phase #5: Category 56

Phase #6: Category 17

Phase #7: Category 54

90 1122

Inspired by category twenty-four, the first structure in my sequence features two walls and two columns. For my first space cube, I decided to innovate by altering the placement of one of the previously horizontal walls in my sequence. Instead of being horizontal, I moved it at an angle, creating an additional entryway through the front. This factor remained the same throughout the creation of my second space cube. This arrangement helps to evoke a sense of curiosity, as the viewer is left anticipating what’s inside. My second set of walls, drawn from category thirty-six, introduced the element of curved walls in combination with flat walls. During the reconfiguration process, I shortened the height and width of the straight and curved walls to serve as the platform’s boundary facing an outside view. A person entering through the front entrance immediately meets a short staircase connected to a lifted platform to their right. This design choice intends to heighten the excitement of not knowing what lies ahead, instilling a sense of anticipation and making the viewer eager to explore further. I chose two connected walls from category thirty for my third set of structures concerning my original sequence. However, I removed this category while creating my first and second space cubes due to its lack of necessity. As I refined my overall structure, I eliminated the presence of this category and replaced it with another set of stairs. This design choice was not only about removing unnecessary elements but also about enhancing the overall experience. My original intention behind incorporating was to aid in opening up the space and provide people with a sense of calmness as they proceed, inspiring a feeling of tranquility. I chose three connecting walls from category thirty-three for my fourth set of structures. Before walking through the space between the parallel curved walls, as one makes it to the top of the stairs, one immediately faces the same three connecting walls, still at a wide angle. However, for my space cube, I shortened the height of the walls to serve as the border of a balcony instead. This alteration allows people to view outside from above on the second level and provide them with a sense of peace. I gathered the fifth set of surfaces from category forty-two. This category involved different roles of a singular column between curved and flat walls. While reconfiguring my sequence into my second space cube model, the usage of two curved walls remained consistent. Differing from my first model, I removed the column previously belonging to this category. Instead, I incorporated a column supporting the second level of my model, belonging to the ground level. I gathered the sixth set of walls and columns from category fifty-one, which involved a void and a combination of walls and columns. Unlike my first sequence, I reduced the number of walls in this category to one flat wall that serves as a roof of one particular area on the second floor of my first space cube creation. However, this space still receives the same lighting conditions because it only partially covers the area below. For my seventh set of structures, while making my space cube, I eliminated the use of a vertical curved surface. Because there is another curved vertical surface incorporated into the final stage of my space cube, I decided not to clutter my configuration with its lack of purpose. Its purpose originally had been to increase excitement further, but the newly added staircases served the same purpose. I decided to use two tall walls varying in height for my eighth structure. This sequence also includes draping material between the two walls that meet at nearly a ninety-degree angle. However, I adjusted its purpose to be more than just a wall by creating a doorway through one of the walls in my first and second space cubes. The design of this set of surfaces encourages feelings of contentment and comfort, enhancing the overall experience of the space. I also deemed my ninth set of surfaces unnecessary while creating my second space cube. Beforehand, I included another set of parallel curved walls I gathered from category thirty-seven, with their purpose previously being another passageway. Before removing this aspect of my sequence, they intended to encourage further excitement along the journey. While reconfiguring my second final space cube, I also reduced the surfaces from my previous tenth category. It originally consisted of a flat-facing wall and two vertical columns. While creating my second space cube, I removed the two vertical columns that were present in my previous versions. Additionally, I removed the shortened flat-facing wall. Their reason for being eliminated is their lack of purpose and importance. I also removed my eleventh surface because another spiral staircase now replaces its role. Initially, I incorporated the inclined surface from category seventeen as a ramp in my first sequence. While creating my second space cube, I reintroduced the inclined surface as an awning over the entryway. This effect makes the entrance more appealing and gives the structure more character than before in my original sequence. Lastly, I used a curved vertical surface with an upper floor for my twelfth and final set of structures. Its usage remains the same when compared to my first space cube. In conclusion, these surfaces create the third level of my space cube and overlook the entirety of the structure. The curved surface partially covering the floor underneath gives viewers a comfortable shade and a great viewing spot from above.

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Work #2. Space Cube_Last Space Cube Model

Phase #1: Category 24

Phase #2: Category 36

Phase #3: Category 33

Phase #4: Category 42

Phase #5: Category 51

Phase #6: Category 56

Phase #7: Category 17

Phase #8: Category 54

92 1124

In designing my third space cube, I continued the journey I started with my first and second space cubes, centering the concept around the emotion of joy. Each element in the design is crafted to amplify this feeling, mainly through noticeable height differences and curved surfaces. These aesthetic choices evoke a sense of fun and freedom, making the space engaging and dynamic. By blending these elements, the space invites exploration and play, encouraging a joyful interaction with the environment. Guided by the twenty-fourth category, the initial structure in my sequence incorporates two walls and two columns. For my first space cube, I introduced innovation by repositioning one of the previously horizontal walls from my sequence. This reconfiguration remained the same throughout all three of my space cubes, resulting in a dynamic new entryway from the front. In comparing my third space cube and my original sequence, a vertical wall remained consistent across all three space cube examples. However, introducing a new angle for the horizontal wall was designed to spark curiosity and build anticipation, enticing the viewers to wonder what lies beyond and eagerly explore further into the space. Inspired by category thirty-six, my design’s second set of walls seamlessly blends curved and flat surfaces to craft a visually dynamic boundary for the platform overlooking the outside view. By reducing the height and width of these walls, I created an inviting yet intriguing passage. As one enters the front, they are greeted by a short staircase leading to an elevated platform on the right. This immediate encounter with varying levels and curvatures heightens the anticipation and curiosity, compelling the viewer to venture further into the space. The interplay of curved and straight lines defines the area and amplifies the feeling of joy by creating a fluid and engaging journey. I opted for two connected walls for my third set of structures, originally from category forty-three. However, recognizing the evolving needs of the design, I decided to omit this category in my first, second, and third space cubes. Instead, I introduced additional stairs to enhance the spatial experience. By covering the underside of the stairs facing inward during the construction of my third space cube, I eliminated unnecessary elements and enhanced the overall openness of the space. This decision made the environment more inviting and ensured a more enjoyable journey through the space, free from clutter and obstructions. I utilized three connecting walls in my fourth set of structures, sourced from category thirty-three. Before traversing the space between the parallel curved walls, they are greeted by these three connecting walls at a wide angle as one ascends the stairs. For my space cube models, I adapted these walls by shortening their height to form the border of a balcony. This alteration not only frames an outdoor view from the second level but also offers a tranquil perspective. The lover walls provide a sense of openness and peace, allowing visitors to look out over the surrounding environment from above, intensifying their connection to the outside world and adding a layer of serenity to the experience. Drawing from category forty-two, the fifth set of surfaces involved a column interacting with curved and flat walls. As I reconfigured this sequence into my first and second space cube models, I retained two curved walls with a column embedded in one. However, I refined this approach in the third space cube by removing the singular column while preserving the original two parallel curved walls. Ascending the staircase, visitors encounter these parallel curved walls, creating a narrow passage that guides them towards a doorway leading into the next distinct space. This arrangement enhances the flow of continuity, fostering a sense of discovery as one navigates through the design. The sixth set of walls and columns, derived from category fifty-one, initially involved a void and a combination of walls and columns. In my first space cube creation, I modified this category by reducing the number of walls to a singular flat wall, serving as a partial roof over a section of area on the second floor. Despite this reduction, the space still benefits from the same lighting conditions, as the roof only partially covers the area below, allowing fractured light to filter through. For my third space cube, I replaced the previous column with two small columns between the first and second levels, providing stability without sacrificing openness. This modification ensures that the space remains light-filled and inviting, with viewers able to gaze out and appreciate the intricate play of light. I eliminated using a vertical curved surface in my space cubes for my seventh set of structures. Initially included in my sequence to further elevate excitement, I found that the newly added staircases fulfilled this role effectively. I simplified the design by removing this curved surface, ensuring each element serves a clear and purposeful function. This choice allowed me to focus on the staircases as the primary drivers of movement within the space, maintaining a clean and coherent design. In the eighth structure, I employed two tall walls of varying heights, which, in my sequence and throughout all space cube models, included draping material between them. I repurposed these walls to serve as boundaries and create a doorway covered by the draping material in all three space cubes. This design element encourages feelings of contentment and comfort, inviting viewers to move through the space with ease. The variation in height adds visual interest, and the doorway provides a welcoming passage, reinforcing the theme of joy. I eliminated the ninth set of surfaces, which previously involved another set of parallel curved walls from category thirty-seven. These walls initially served as an additional passageway to foster excitement along the journey. However, I removed this aspect while creating my three space cubes to simplify the design. By focusing on fewer, more impactful elements, I ensured that each feature contributes meaningfully to the space, increasing clarity and cohesiveness of the design. During the reconfiguration process for my final space cube, I reduced the number of surfaces from my previous tenth set, which initially included a flat-facing wall and two vertical columns. In the design of my first space cube, these elements created a boundary around the second spiral staircase, guiding visits up to the third level. However, while constructing my third space cube, I removed these features altogether. This decision responded to the spatial constraints around the staircase, which became more pronounced with the reduced size of the floor beneath. By eliminating the flat wall and vertical columns, I could maintain the openness of the space around the staircase on the first level. The reduced surfaces, therefore, not only addressed practical spatial limitations but also contributed to a more harmonious and engaging architectural experience. In the eleventh set of surfaces, I replaced the included inclined surface from category seventeen with a spiral staircase on the second level. Initially used as a ramp in my first sequence, I reintroduced the inclined surface as an awning over the entryway in my second and third space cube models. This modification enhances the entrance’s appeal and adds character to the structure, creating a welcoming feature that draws visitors into the space. The spiral staircase is a dynamic and exciting focal point, reinforcing the sense of anticipation and movement integral to the overall design. The twelfth and final set of structures involved a curved vertical surface partially covering an upper floor. Consistent with its role in my sequence, first and second space cubes, this feature remains unchanged in the third. It forms the third level of the space cube and provides an overlook across the entire structure. The partially covered curved surface offers shade and a comfortable viewing spot from above, allowing visitors to enjoy the space from a unique vantage point. This elevated perspective generates a sense of joy and engagement, inviting viewers to explore and appreciate the design from multiple angles.

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Work #2. Space Cube_Series of Space Cube Models

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Work #3. Floor Plans

96 1128

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Work #3. Floor Plans

98 1130

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Work #3. Elevations

100 1132

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Work #3. Elevations

102 1134

Work #3. Sections

103 1135

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Work #3. Axonometric

105 1137

Work #4. Casting Model

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Work #4. Casting Model

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Work #4. Casting Model

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Sydney Schandua Port foli o 1144

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.

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Work #1. Sequence of Wall, Column, and Space Fear

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Work #1. Sequence of Wall, Column, and Space_Sequence Model Views

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The emotion I choose for my sequence of wall, column, and space is fear. I choose this emotion because my pictures are mostly gloomy and the human figure appears to be trapped in a lot of my photographs. There are some photographs where the figure is close to the edge as well which can also cause fear. 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. 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. 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. 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. 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. 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. 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. 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. 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. 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. 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. 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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Work #2. Space Cube_First Space Cube Model

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The emotion I choose for my sequence of wall, column, and space is fear. I choose this emotion because my pictures are mostly gloomy and the human figure appears to be trapped in a lot of my photographs. There are some photographs where the figure is close to the edge as well which can also cause fear. For my sequence order, I created a cube shaped 9 inches tall and 9 inches wide. I started from the basement level and moved my human figure up to different levels creating a sequence. Ten photographs show how the angle of the wall changes and affects the human figure. The human figure then becomes obstructed by the walls as they change. As the walls moved I felt that I was becoming trapped, so I walked through a doorway on my right to enter another room. Eight photographs show a wall on the left side with an incline and a human figure underneath. The human figure looks like it is crowded with the wall that is close and inclined, it also appears to become smaller as the wall is above him. As I entered the next room, my face was eye to eye with an angled wall blocking me so I had to walk around the wall. 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 the figure’s body, in the other photos the figure becomes smaller because more of the wall is shown. As I was walking around the angled wall, I ran into another wall that was built about halfway up the ceiling so I had to walk around that wall as well. There were also some columns so I had to make sure to stay clear of those. This room made me feel uncomfortable and small so I walked into another room to escape that feeling. Six photographs show two walls and two columns that guide a path, almost like a hallway. 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 walked into this new room there were two walls and two columns blocking me in so I had to escape up the stairs. 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. Once I was up the stairs, I was standing in front of a curved wall that was much taller than me and made me feel small. The curved wall led me into a curved hallway. 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 entering the curved hallway, there was a creepy man standing there that scared me so I hurried down the dark hallway. Four photographs show two curved walls that mirror each other as they change heights. The human figure stands in between the walls and watches how they grow higher and longer. As I kept walking down the curved hallway, the walls started to close in on me and I became claustrophobic and was concerned I would never find my way out if the walls continued to close in. 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 taller. I squeezed through the halfway and it continues to have a curved shape all the way until the end. 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 changes. The hallway led me to three steps that took me to a little bit higher of a layer. As I stand close to the edge, I get a little worried I might fall through the hole but the only way to get to the other side is to balance myself and make sure I don’t fall through. 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. I then enter the corner of the room and as I stand on the ground I see two other people looking down on me and I feel as if I am being watched. I got uncomfortable because people were staring at me so I turned around and walked to a different corner. Five photographs show one curved vertical surface and an 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. When I get to the other corner I seem to be trapped again by a column and two walls with an interesting curve connected to it. I see a little crack that I am able to squeeze through that leads me to another staircase. 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. When I get to the top of the stairs, I stand on another level that is pretty high and it has a void in the middle of the floor. There is a sphere in the middle of the void and I realize how cool and different a sphere looks from the top. Standing so close to the edge I fear that I might fall and hit my head on the sphere.

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Work #2. Space Cube_Second Space Cube Model

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The emotion I choose for my sequence of wall, column, and space is fear. I choose this emotion because my pictures are mostly gloomy and the human figure appears to be trapped in a lot of my photographs. There are some photographs where the figure is close to the edge as well which can also cause fear. For my sequence order, I created a cube shaped 9 inches tall and 9 inches wide. I started from the basement level and moved my human figure up to different levels creating a sequence. I added more walls in my second space cube to make it more fearful for my human figure. The photograph shows how the angle of the wall changes and affects the human figure. The human figure becomes obstructed by the wall as the wall blocks the figure. As the wall blocked me in, I felt that I was becoming trapped, so I walked through a doorway on my right to enter another room. A photograph shows a wall in the middle of the room with an incline and a human figure standing in front of the wall. The human figure looks like it is crowded with the wall because it is close and at an incline in the middle of the room. As I entered the next room, my face was eye to eye with an angled wall blocking me so I had to walk around the wall. The next photograph shows one wall and two columns. The human figure appears to look smaller since the wall and columns are taller than the figure. As I was walking around the angled wall, I ran into another wall that was built about halfway up the ceiling so I had to walk around that wall as well. There were also some columns so I had to make sure to stay clear of those. This room made me feel uncomfortable and small so I walked into another room to escape that feeling. A photograph shows two walls and two columns that guide a path, almost like a hallway. The figure stands in the middle of the room blocked by the walls and columns. As I walked into this new room there were two walls and two columns blocking me in, luckily there were stairs and I escaped up there hoping for a wayout. The next photograph shows a curved wall that is extremely tall. The human figure stands in the middle of the wall and appears small when the curved wall is much taller than the figure. Once I was up the stairs, I was standing in front of a curved wall that was much taller than me and ma de me feel small. The curved wall led me into a curved hallway. A photograph shows 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 entering the curved hallway, there was a creepy man standing there that scared me so I hurried down the dark hallway. The photograph shows two curved walls that mirror each other. The human figure stands in between the walls and realizes how tall the walls really are. As I kept walking down the curved hallway, the walls started to close in on me and I became claustrophobic and was concerned I would never find my way out if the walls continued to close in. Photograph shows a curved wall and an “S” shaped curved wall that is very tall. The human figure appears to be very short when the walls are that tall. I squeezed through the halfway and it continues to have a curved shape all the way until the end. The photograph shows a void on the downside and one wall sticking through the middle of the void. The human figure stands close to the void and observes an obstacle in the figure’s path. The hallway led me to one step up that took me to a little bit higher of a layer. As I stand close to the edge, I get a little worried I might fall through the hole but the only way to get to the other side is to balance myself and make sure I don’t fall through. A photograph shows two walls that are different heights and also different angles. There are two human figures standing on each level of the walls and another human figure on the ground. I then enter the corner of the room and as I stand on the ground I see two other people looking down on me and I feel as if I am being watched. I got uncomfortable because people were staring at me so I turned around and walked to a different corner. The next photograph shows one curved vertical surface and an upper floor to have a different view of the curved surface. The human figure stands on the ground looking at the curved surface. When I get to the next room I seem to be trapped again by a column and two walls with an interesting curve connected to it. I see a little doorway that I am able to squeeze through that leads me to another room. The last photograph shows a sphere in the middle of a void. The human stands in front of the sphere and observes the room. I stand on the floor not knowing what to do while I stare at the sphere. I am tired of being trapped and blocked by walls, thankfully there is another staircase. Hopefully this staircase leads me out of this terrifying maze.

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Work #2. Space Cube_Last Space Cube Model

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The emotion I choose for my space cube is fear. I choose this emotion because my pictures are mostly gloomy and the human figure appears to be trapped in a lot of my photographs. There are some photographs where the figure is close to the edge as well which can also cause fear. For my sequence order, I created a cube shaped about 9 inches tall and 9 inches wide. I started from the basement level and moved my human figure up to different levels creating a sequence. I added more walls in my final space cube and more obstacles for my human figure to make it more fearful. Throughout my space cube there are many uses of art elements such as lines and shapes. There is also one example of the principles of design that stuck out to me and that was movement. The photograph shows how the height of the wall changes and affects the human figure. The human figure becomes obstructed by the wall as the wall blocks the figure. As the wall blocked me in, I felt that I was becoming trapped, so I walked through a doorway on my right to enter another room. A photograph shows a wall in the middle of the room with an incline and a human figure standing in front of the wall. The human figure looks like it is crowded with the wall because it is close and at an incline in the middle of the room. As I entered the next room, my face was eye to eye with an angled wall blocking me so I had to walk around the wall. The next photograph shows one wall and two columns. The human figure appears to look smaller since the wall and columns are taller than the figure. As I was walking around the angled wall, I ran into another wall that was built about halfway up the ceiling so I had to walk around that wall as well. There were also some columns so I had to make sure to stay clear of those. This room had many different elements and shapes and I was starting to get overwhelmed with how much was going on around me so I walked into another room to escape that feeling. A photograph shows two walls and two columns that guide a path, almost like a hallway. The figure stands in the middle of the room blocked by the walls and columns. As I walked into this new room there were two walls and two columns blocking me in, again there were so many different shapes but luckily there were stairs and I escaped up there hoping for a way out. The next photograph shows a curved wall that is extremely tall. The human figure stands in the middle of the wall and appears small when the curved wall is much taller than the figure. Once I was up the stairs, I was standing in front of a curved wall that was much taller than me and made me feel small. The curved wall led me into a curved hallway that was long and narrow and had a very unique shape. A photograph shows 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 entering the curved hallway, there was a creepy girl standing there that scared me so I hurried down the dark hallway. The hallway represents lines in my opinion because there are two lines through the whole hallway. The photograph shows two curved walls that mirror each other. The human figure stands in between the walls and realizes how tall the walls really are. As I kept walking down the curved hallway, the walls started to close in on me and I became claustrophobic and was concerned I would never find my way out if the walls continued to close in. These curved walls are almost like a shape to me because they are curved so much that they look like cylinders. Photograph shows a curved wall and an “S” shaped curved wall that is very tall. The human figure appears to be very short when the walls are that tall. I squeezed through the hallway and it continues to have a curved shape all the way until the end. The end of the hallway opens up more and I don’t feel as claustrophobic, I just feel very small and I don’t want to be seen. The photograph shows a void on the downside and two walls on the left and right. The human figure stands close to the void and observes an obstacle in the figure’s path. The hallway led me to one step up that took me to a little bit higher of a layer. As I stand close to the edge, I get a little worried I might misstep and hurt my ankles. There are many different shapes and lines in this room but I am trying to stay focused on getting past this void. A photograph shows two walls that are different heights and also different angles. There are two human figures standing on each level of the walls and another human figure on the ground. I walked through a hallway and found myself being stared at by two other ladies. I got uncomfortable because people were staring at me so I turned around and through a doorway hoping it would be my way out. The next photograph shows one curved vertical surface and a wall that sticks out right next to the curved surface. The human figure stands on the ground and is blocked by the wall sticking out. When I get to the next room I seem to be trapped because of the wall sticking out and the curved surface is confusing me. I walked to my left to get around the interesting walls. The last photograph shows a sphere and a void right above it . The human stands in front of the sphere and observes the room. I stand on the floor not knowing what to do while I stare at the sphere. I am tired of being trapped and blocked by walls, thankfully there is a ladder I can crawl down. Hopefully this ladder leads me out of this terrifying maze, but it started me back at the beginning of this nightmare.

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Work #2. Space Cube_Series of Space Cube Models

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Work #3. Floor Plans

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Work #3. Elevations

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Work #3. Sections

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Work #3. Axonometric

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Work #4. Casting Model

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Work #4. Casting Model

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J E S S IC A

S C H N E L L E P o r t fo lio

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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.

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Work #1. Sequence of Wall, Column, and Space Selected Emotion: Fear

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Work #1. Sequence of Wall, Column, and Space_Sequence Model Views

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13 Paragraphs Experimenting with how everyday room factors such as walls, columns, ceilings, floors, voids, lighting, etc. play into a space and the emotion it evokes has been eye-opening. Throughout the process, I found myself feeling the drastic emotion that the singular elements were providing, most of the time that feeling being anxiety or fear. After deciding my emotion was fear, I knew I wanted to focus on narrow, tight quarters for my sequence because that was the root of most of my fear categories. From this point, I actually chose a sequence that I didn’t follow. When I began creating my model, I didn’t like how the pieces were connecting - it wasn’t conveying fear clearly - so I rearranged the sequence as I went and reprinted the sequence to match the model. Overall, I feel that I conveyed fear well within my model. I made sure to pay special attention to how close each category was from the one before and after because I wanted both each individual category as well as the space between them to collectively work together to evoke fear. Below are the explanations for each category and why it was included in the sequence. 1. The collection of photographs showcases 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, he doesn’t have much room to move past the column. This makes the space feel narrow and uncomfortable. 2. The array of photographs demonstrates 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. 3. The six photographs show an aligned wall gradually moving. As the wall changes, the human figure loses space to walk 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 and unable to continue moving forward. 4. 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. 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. Overall, the narrowness of the space creates an uncomfortable and tight feeling. 5. 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. 6. 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. I felt trapped regardless of the height and length of the curves because all I could see around me was the curve. 7. The series of photographs demonstrate a floating and faced wall gradually gaining height. As the wall changes, the human figure’s view remains obstructed for a majority of the time. I was trapped facing the wall, slowly gaining more light from the bottom up, creating an eerie and fear of the unknown feeling. 8. 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 extra dark in the places where the void isn’t, 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. 9. 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. 10. 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. 11. 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 but also a feeling that they’re towering over you. When the curves are small, the human figure seems large, creating an average height space with the character of a curved wall. 12. 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. However, the larger width also emphasizes the towering, steep slope, making me feel anxious.

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Work #2. Space Cube_First Space Cube Model

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Phase #11: Category #35

Phase #12: Category #52

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13 Paragraphs Transitioning from the sequence model to the space cube was less difficult than I thought it would be. A 9’x 9’x 9’ cube has a lot more room in it than I initially thought there was. My main goal with the first space cube was to figure out scale and placement of the categories, not necessarily functionality. I started the entire process by sketching my initial thoughts down with the cube divided into the two layers I was hoping to house within my cube. I wasn’t super confident my plan would come to fruition, but I decided to start anyway. Again, the first thing I noticed was how much space you really have within this cube and suddenly fitting all of the elements wasn’t my biggest worry anymore, it was now how to fill out the space whilst leaving areas to view inside and “function” in the space comfortably. Eventually – after much trial and error – I designed my first simple rendition of the space cube, and below is what I noticed as differences between the sequence model and the first space cube. 1. The photograph showcases 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, he doesn’t have much room to move past the column. This makes the space feel narrow and uncomfortable. The depth between the sequence model and first space cube is pretty much the same. I kept the pieces “up to scale” by using the same measurements as within my sequence model. 2. The photograph demonstrates how a human functions in a space crowded with columns and walls that are slowly closing in. 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, especially as the walls came closer together. The difference between the sequence model and the first space cube is that the widest part of the walls were rotated 180 degrees to open directly from the side, now connected from the opposite end as before. 3. The photograph shows an aligned wall gradually moving. As the wall changes, the human figure loses space to walk 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 and unable to continue moving forward. The difference between the sequence model and first space cube is that I struggled to get a onepoint perspective photo of this category with the entire cube all put together. 4. The photograph showcases the inside view of entering a space between parallel curved walls. 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. Overall, the narrowness of the space creates an uncomfortable and tight feeling. Between the sequence model and first space cube, this category remained the same in height with about 2 inches less length in order to make the curve fit around the next category more comfortably and with more visibility. 5. The photograph illustrates the void between curve-linear surfaces. When the human figure is above the void, he is staring down into it, creating a feeling of eeriness. Comparing the sequence model and first space cube, the height remained 4 inches but I trimmed the length by about an inch to help with spacing within the cube. In addition, I inserted the void cut-out topper piece to be flush with the sides of the circular column. 6. The photograph displays the inside of a curved wall at a height of 4’. 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. I felt trapped regardless of the height and length of the curves because all I could see around me was the curve. There were no differences between the sequence model and first space cube for this category. 7. The photograph demonstrates a floating and faced wall gradually gaining height. As the wall changes, the human figure’s view remains obstructed for a majority of the time. I was trapped facing the wall, slowly gaining more light from the bottom up, creating an eerie and fear of the unknown feeling. The only difference between the sequence model and first space cube was the length of the wall being shortened to allow for walkability. 8. The photograph illustrates a square void of 4’ x 4’ sizing on the upside with above lighting. When the void is the smaller sizing, the human figure is lit up by the void light from above, making the space feel extra dark in the places where the void isn’t, as though the void is a skylight, creating a fearful feeling. Comparing the sequence model and first space cube, the design changed completely. I had the idea to use the wall as my void, instead of the ceiling, to conserve visibility within the model and play into the geometric, “space cube” look. 9. The photograph showcases the relationship between four columns, narrowly apart from each other. When the columns are now narrowly surrounding the human figure, it creates a sense of tightness in a closed space. Between the sequence model and the first space cube, the only difference is the amount of space between the front to back columns is smaller to conserve walkability. 10. The photograph 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. Again, the only difference between the sequence model and the first space cube is a shorter length of wall to conserve space for walkability. 11. The photograph 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 but also a feeling that they’re towering over you. There are no differences between the sequence model and the first space cube. 12. The photograph displays 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. However, the larger width also emphasizes the towering, steep slope, making me feel anxious. Between the sequence model and the first space cube, the main differences include the curved vertical surface being reduced to the 4’ wide option to conserve space and being attached from the second floor to the first floor, to act as a ramp or slide.

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Work #2. Space Cube_Second Space Cube Model

Phase #1: Category #22

Phase #2: Category #29

Phase #3: Category #5

Phase #4: Category #37

Phase #5: Category #50

Phase #6: Category #34

Phase #7: Category #8

Phase #8: Category #45

Phase #9: Category #21

Phase #10: Category #14

Phase #11: Category #35

Phase #12: Category #52

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13 Paragraphs Starting the second space cube, I wanted to focus on carving out a clear, concise path to follow, creating a more functional layout – including stairs – and adding a sculpture-like, abstract touch to the “box” itself. I began by sketching my ideas down and creating a plan that I was confident enough would create the result I wanted in real life. Just as a note, I found it extremely helpful today to already have the first space cube model as a visual tool to use as an imaginary playground – my mind was able to open to possibilities on a different level. I decided my goal was to encapsulate a maze within my model, more specifically a tight, narrow, uncomfortable maze that made you feel scared and frustrated. My next step was to start building, which began with creating the central cylinder and spiral staircase. From there, the process blossomed for me, and the concept of making the model “walkable” became so clear because it all centralized around the staircase. Toward the end, I decided to trim most of the harsh corners into a curved void which added a large amount of character and interest to the overall model. The changes from the first to second space cube are both drastic and simple, but work together simultaneously to achieve claustrophobia. 1. The photograph showcases 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, he doesn’t have much room to move past the column. This makes the space feel narrow and uncomfortable. Between the first and second space cube, the only difference is the entire first floor is reflected to start at the same point on the opposing wall. Due to this change, the space gained natural light from the outside and an easier viewing experience. 2. The photograph demonstrates how a human functions in a space crowded with columns and walls that are slowly closing in. 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, especially as the walls came closer together. The difference between the first and second space cube is again, the reflection of the first space cube’s first floor plan, which allowed me to flip the wide opening of the category back to it’s original state and a similar connection to the previous category (except angled now) as the sequence model. 3. The photograph shows an aligned wall gradually moving. As the wall changes, the human figure loses space to walk 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 and unable to continue moving forward. Between the first and second space cube, the main difference became a tighter opening with the previous category. This caused the human figure to look forced into a tight space and add to the overall model emotion of fear of tightness/ claustrophobia. 4. The photograph showcases the inside view of entering a space between parallel curved walls. 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. Overall, the narrowness of the space creates an uncomfortable and tight feeling. The two obvious changes between the first and second space cubes are the addition of a spiral staircase and a cleaner cylinder. Practicing my craftsmanship for the final cube, I attempted my first cylinder with the unfinished edges in and it allowed the daunting nature of the tall hallway to be the focal point of this category. 5. The photograph illustrates the void between curve-linear surfaces. When the human figure is above the void, he is staring down into it, creating anxiety for fear of falling in. Comparing the first and second space cubes, the void was carved right into the floor this time around. It creates a sharper look overall and, again, allows the focal point of the dark, deep void to be central. 6. The photograph displays the inside of a curved wall at a height of 4’. When the curves are small in length, the human figure seems to be on the inside of a curved alcove. I felt trapped because all I could see around me was the curve of the room. The only difference between the first and second space cube is a longer length of curve. This helped to solidify the trapped feeling that I originally captured in the category photos. 7. The photograph demonstrates a floating and faced wall gradually gaining height. As the wall changes, the human figure’s view remains obstructed for a majority of the time. I was trapped facing the wall, slowly gaining more light from the bottom up, creating an eerie and fear of the unknown feeling. The differenced between the first and second space cube include the length of the wall being shortened again to allow for walkability and shifting it 45 degrees to be facing to the front. 8. The photograph illustrates a square void of 4’ x 4’ sizing on the “ceiling” with above lighting. When the void is the smaller sizing, the human figure is lit up by the void light from above, making the space feel extra dark in the places where the void isn’t, as though the void is a skylight, creating a fearful feeling. Comparing the first and second space cube, the original dimension and design stayed the same, but the wall the void is in became shorter and moved to the back right corner of the model. 9. The photograph showcases the relationship between four columns, narrowly apart from each other. When the columns are now narrowly surrounding the human figure, it creates a sense of tightness in a closed space. Comparing the first and second space cubes, the only difference was a shift backwards in location. 10. The photograph 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. The only differences between the first and second space cube is a shorter length of wall to conserve space for walkability and a shift 45 degrees to, again, be facing the front. 11. The photograph 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 but also a feeling that they’re towering over you. The only difference between the first and second space cube is the shifting of the wall to the back left corner, now at an angle, and trimmed in length to fit the space more comfortably. 12. The photograph displays 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. However, the curve and height also emphasizes the towering, steep slope, making me feel anxious. Between the first and second space cube, the curved vertical surface was shifted 45 degrees to now be edge-facing from the front. This makes the exit just to the left of the entrance, creating a full-circle, repeating narrative that encapsulates the maze feeling I was striving for. 101 1183

Work #2. Space Cube_Last Space Cube Model

Phase #1: Category #22

Phase #2: Category #29

Phase #3: Category #5

Phase #4: Category #37

Phase #5: Category #50

Phase #6: Category #34

Phase #7: Category #8

Phase #8: Category #45

Phase #9: Category #21

Phase #10: Category #14

Phase #11: Category #35

Phase #12: Category #52

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13 Paragraphs Coming into the final space cube, I had quite a few ideas on how to further improve my model. I spent the night before creating floor plans and elevation views to simultaneously condense and articulate what I was really trying to portray overall. Throughout this process, I’ve found my narrative shifting a bit, becoming riddled with details that further pushed that narrative in fact. On the second space cube, I was trying to create a “clear” walkable path of where to go from category to category, but I didn’t notice until afterward that I had kind of created a maze of my fearful and uncomfortable situations. So, I dove into that story today - whilst advancing my craftsmanship – and allowed it to speak for itself. I wanted each category to be immersive as soon as you entered it, moving from one to the next. In addition, the closeness of proximity of each category to one another allows for the experience to feel never-ending. With the help of the new doorway, the intended start and end points are now connected and allow for a continuous cycle through the maze, regardless of where you enter. Another change to the model was designing walls that helped to make the maze have an opening through the middle of them, allowing the viewer to see the back of the project, even when looking head-on. Overall, I created a model that I’m proud to say advanced greatly throughout the project and turned into something I never imagined I could create at the start of this week. 1. The photograph showcases the relationship between one edge-facing wall and one column. With the addition of the doorway, the photograph now feels balanced from foreground to background. Likewise, the combination of vertical lines from the column and curves from the doorway helps to create a sense of balance too. The column now being at the edge of the perimeter creates a feeling of danger and fear. 2. The photograph demonstrates how a human functions in a space crowded with columns and walls that are slowly closing in. Lines created by the columns emphasize the space between them - or lack thereof. The walls being taller than the figure but shorter than the ceiling creates an overcast shadow that looms over the space and exaggerates the lack of space. This category is meant to evoke a sense of claustrophobia and the final product supports that idea fully. 3. The photograph shows an edge-facing wall in the middle of a walking path. The forms of solid white contrast with the dark opening between them and allow the human figure to stand out most. The photo overall is balanced with stripes of light and dark and creates a narrow, uncomfortable situation. 4. The photograph showcases the inside view of entering a space between parallel curved walls. Rhythm was the first word that came to my mind. The stairs gradually spiral upwards, the dark void in the back with the dark ambiance of the curved hallway against the white foreground, all work together to create movement and interest everywhere you look. In addition, the contrast of the height change of the center column is abrupt and creates a towering feeling. 5. The photograph illustrates the void between curve-linear surfaces. The void itself is the emphasis of this photo overall, it’s the dark against all the light. The opening, doorway, and stairs create many open spaces flooded with light and create forms and lines that drag your eye from place to place. The human figure sitting on the edge of the void evokes fear of heights, falling, or darkness. 6. The photograph displays the inside of a curved wall at a height of 4’. The composition is simple and the values are similar but the curved shape continuing outside of the photo exaggerates the never-ending feeling of a circle, as if you’re unable to escape. 7. The photograph demonstrates a floating and faced wall blocking the view of the viewer. Linear forms and shapes extend from the foreground to the background and make a pattern of geometric shapes. However, the opening of the curves perfectly reveals the human figure and draws your eye in first. This photo emphasizes the maze narrative and continuous obstacle-navigating journey ahead. 8. The photograph illustrates a square void of 4’ x 4’ sizing on the “ceiling” with overhead lighting. The viewport being square creates contrast in the depth of the scene and elongates the space surrounding the figure. Clean lines also aid in creating a geometric and modern photo overall. 9. The photograph showcases the relationship between columns narrowly apart from each other. The close-knit column spacing from front to back teases the possibility of getting out, with no room to do so, evoking a sense of anxiety. Perfectly linear columns draw your eye in and voids of material draw your eye out. 10. The photograph shows an inclined wall at (around) 120 degrees. Again, the wall gives the illusion of escaping but the incline is too steep to do so. The angled lines of the wall contrast with the rest of the vertical or horizontal forms present in the rest of the photo. 11. The photograph illustrates the outside of a 8’ curved wall. The sudden change in height, again, creates a towering effect over the human figure and makes the space feel more dramatic. The curved wall against the surrounding linear walls make it stand out and help to balance the square void “ceiling” on the opposite side. 12. The photograph displays a curved vertical surface. The light from overhead shining down in the void onto the curved surface creates a contrast with the darkness of the rest of the first floor. With this being the last category, it doesn’t seem to be the ending. The doorway invites the human figure to try again, to continue in the cycle of the maze of fearful and uncomfortable feelings.

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Work #2. Space Cube_Series of Space Cube Models

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Work #3. Floor Plans

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Work #3. Elevations

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Work #3. Elevations

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Work #3. Sections

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Work #3. Axonometric

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Work #4. Casting Model

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Work #4. Casting Model

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Front

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Left

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Front

Back

Left

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Work #4. Casting Model

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Ga b rielle Port foli o 1204

What I learned...

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Work #1. Sequence of Wall, Column, and Space Selected Emotion

Phase #1: Category #37

Phase #2: Category #34

Phase #3: Category #44

Phase #4: Category #47

Phase #5: Category #8

Phase #6: Category #27

Phase #7: Category #54

Phase #8: Category #53

Phase #9: Category #56

Phase #10: Category #57

Phase #11: Category #59

Phase #12: Category #38

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Work #1. Sequence of Wall, Column, and Space_Sequence Model Views

Phase #1: Category #37

Phase #2: Category #34

Phase #3: Category #44

Phase #4: Category #47

Phase #5: Category #8

Phase #6: Category #27

Phase #7: Category #54

Phase #8: Category #53

Phase #9: Category #56

Phase #10: Category #57

Phase #11: Category #59

Phase #12: Category #38

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Fear is an unpleasant emotion caused by the belief that someone or something is dangerous, likely to cause pain, or a threat. I chose to use this emotion to convey the use of fear in design. There are certain elements of design that can evoke specific emotions. In this essay, I will focus on the details behind my sequence and how specific design elements can impact the life inside the walls. Curved and tight walls are used to begin the journey of the human figure. These walls are very tall in order to make the human figure feel small, and they are positioned closely together to resemble claustrophobia, which is the irrational fear of confined spaces. The chosen elements can be used to evoke fear in many ways. One possibility would be fear of the walls closing in on the human figure, while the other could be the potential of something or someone dangerous being held inside the closed room that is ahead. The second scene is composed of a large curve that encloses much space. This element may not appear to be able to evoke much emotion, but its simplicity can also stir up fear and anxiety inside the human figure. The curve is inviting and can intimidate those who have a fear of crowded public spaces. The chosen element can be used to evoke fear indirectly from those who are afraid of crowds and public spaces. The third scene is similar to the first, as it includes a large curve. This element helps to make the human figure feel small, and the extended s-curve will serve as a hallway for the human figure to walk through. This could evoke fear because the human figure may get the sensation that the hallway is never-ending and feel trapped. The fourth scene is composed of a dark void with a facing wall that is entered and exited by staircases. This element is in place to give the human figure the fear of falling into the void. As the human figure approaches the void, fear will be instilled that there is a danger of falling and injuring oneself, especially if the human figure cannot see the bottom of the void. The fifth scene illustrates a floating wall that is positioned at an odd level. This wall is positioned right at the height of the human figure’s head, resulting in the human figure having to duck to pass through. This element could evoke the fear of hitting one’s head on a hard surface and cause the human figure to be very cautious. The sixth scene illustrates two columns and two walls positioned as an entrance. These walls are positioned so that the human figure cannot see what lies behind them but can see the light shining through. This element could evoke the fear of the unknown behind the walls. The seventh scene illustrates a curved vertical surface that rises through a void on the upside. Space in the room is limited because the ceiling is slanted, and the human figure has to walk along the edge of the room to not trip over the curved vertical surface. This element could evoke fear in the human figure because the surface could be seen as a slide, one where things could fall. The eighth scene includes another set of stairs as they lead up to a tower with a lookout spot. This could be dangerous for the human figure, as there are no railings to ensure safety. This element could evoke fear directly in those who have a fear of heights. The ninth scene includes a curved vertical surface hanging from the ceiling as well as a void on the passing wall. These elements can make the human figure feel as though the ceiling is caving in on them. This element can evoke fear in a human’s sense of safety and cause them to not want to walk directly under the structure. The tenth scene is a curved vertical surface that is in place to serve as a tunnel. This surface is low and confines the human figure to only one direction. This element can evoke fear in the human figure by making them feel trapped in the middle of the tunnel, as well as the darkness that it brings. The eleventh scene is full of abstract elements, such as bridges and spheres. These elements may cause the human figure to feel uncomfortable and fearful of the unique choices of design, and the spheres on the walls may cause a human figure to feel uneasy. These elements evoke fear because they are unlike anything else, and new things can evoke fear in humans. The twelfth scene is similar to the first, as it has two mirrored, curved walls. I chose this in order to have a similar entrance to the exit, and this depicts that whatever the human figure enters, they must also exit. This element evokes fear in the human figure because of the tight spaces, but this scene also provides comfort in knowing that the sequence is at an end.

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Work #2. Space Cube_First Space Cube Model

Phase #1: Category #37

Phase #2: Category #34

Phase #3: Category #44

Phase #4: Category #47

Phase #5: Category #8

Phase #6: Category #27

Phase #7: Category #54

Phase #8: Category #53

Phase #9: Category #56

Phase #10: Category #57

Phase #11: Category #59

Phase #12: Category #38

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To translate my sequence into a space cube, the scale of the model had to be sized down. This model can be both compared and contrasted with the sequence in many ways, and it is designed to resemble the walkthrough of the sequence from start to finish. In this essay, I will describe the process of minimizing the sequence model as well as rethinking design choices in order to obtain the first rough draft of my space cube. This model was created using mostly paper to help portray that it is purely a rough draft. The entrance of the model stayed very similar to the one positioned on the sequence model. This structure was easily replicated and served as the entrance in the lower corner of my space cube. Similar to the large model, the entrance was covered, except this one was covered with functionality in mind to hold the pathways that are located above sequence one. In sequence two, a large curve is now confined by the placement of an equal-sized wall parallel to it. The height of the curved wall in the sequence model is lower than the one in the space cube draft, giving the sensation that the human figure is partially outside. Since the wall heights are equal in the space cube draft, the second sequence feels more guided and resembles a hallway. Although this updated wall height brings less dimension, the curve now feels more integrated into the structure. In the third sequence, the shape of the s-curve is similar, maybe even tighter than the one in the sequence model. The height of the curved walls had to be minimized in order to fit a roof along the same plane as the rest of the mode, but the length of the s-curve is longer in this model to serve as a pathway to the next sequence. There is a newly designed steep staircase that leads up to the fourth sequence in the space cube. The steepness of the staircase is used to evoke fear. Throughout the process of redesigning the layout of the sequence, I decided that more of the sequences were going to be raised to a new floor directly above the first. This newly placed staircase leads the human figures up to the next level for the next five sequences. The fourth sequence has a void and looks similar to the sequence model except that it is no longer enclosed and is positioned higher. In the fifth sequence, the floating wall is no longer positioned at the bottom of a staircase, but it is a structure of its own. This wall has also been made shorter to instill the fear of the human figure bumping their head if not crouched. The floating wall is positioned intentionally with the goal of blocking the human figure. In the sixth sequence, the two columns and two walls are still used to represent a new scenario. In contrast to the original sequence model, the ground floor is much more jagged, and the edge is very defined. This is a sharp turn for the human figure and can cause the human figure to be fearful to not fall while walking. In the seventh sequence, the curved vertical surface that falls through the void is very similar to the one in the original model. The only difference is that the room is slightly longer and thinner, making a tighter passageway for the human figure to walk through. The length of it can help to build up fear throughout the tunnel. After the human figure leaves the space of the seventh sequence, there is a sharp and dramatic turn that leads to a thin walkway in the eighth sequence. This sequence is much thinner than in the original model and serves as a lookout spot. There is a ladder to return to the ground floor, but climbing down may evoke fear in the human figure. The ninth sequence is placed in a more abstract space in this space cube than it was in the original model. The curved surface on the ceiling felt like part of the pathway, but in this model it is out of the way, and I am not sure that I am confident in this design choice. I will change the positioning of this sequence in my next model. The tenth sequence is concave, but I feel as though I have had a difficult time representing this in my models. I believe that the concave needs to be longer and larger in order to represent fear. This model represented the concave better than the last, but there is still much room for improvement. In the eleventh sequence, the details are not as visible as in the original model. In that model, there were half-spheres in places that could make the human figure uncomfortable because they were unfamiliar. This needs to be better represented in my models as they progress. The exit of the model is supposed to illustrate the sequence ending just as the sequence began. The cylinders in the original model do not do a good job of representing this, but they are better in my first model. I need to make them larger and sturdier, as well as position them in a better place.

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Work #2. Space Cube_Second Space Cube Model

Phase #1: Category #37

Phase #2: Category #34

Phase #3: Category #44

Phase #4: Category #47

Phase #5: Category #8

Phase #6: Category #27

Phase #7: Category #54

Phase #8: Category #53

Phase #9: Category #56

Phase #10: Category #57

Phase #11: Category #59

Phase #12: Category #38

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The most significant change between the first and second drafts of my space cube is the medium, or material, that my model was made from. In the second draft, I made the model out of foam board to begin solidifying the design. Making this change led to a sturdier build and the opportunity to fill the height aspect of the cube. To evoke more fear from the first sequence, the height of the curved walls was increased to the maximum height. The human figure now has a large building to enter, and the entrance is not very wide. This will evoke fear because the human figure will feel small compared to the space. The second sequence is now located inside a much taller space because the height of the ground-level building has been amplified. This gives the human figure a much larger space to walk in, which can be more intimidating, especially since the only paths available are the stairs that lead up to the unknown. The third sequence has been adjusted so that it is now part of the upward stairway. This sequence used to be an s-curve with tall walls, but now the s-curve transitions into a staircase up the side of the structure. This is the only way to continue for the human figure, and it has a narrow pathway. The fourth sequence is now smoothly embedded into the full sequence on the second floor of the model, rather than being a separate extrusion. This void with a facing wall has a very small border around it, which will be tight for the human figure to walk on. The one in the first draft did not have as tight of a border, and the room was not enclosed. I altered it to make the human figure seem like they are walking through a construction site. The fifth sequence was originally located above the downward staircase. This floating wall structure is now in a new setting to fit the flow of the model better. Instead of being above the human figure as they walk down the stairs, it is now located immediately after the void. This gives the human figure an obstacle before approaching the ladder to continue upwards. In the sixth sequence, there are two walls and two columns that block the human figure from having sight past the walls. This can evoke fear in the human figure since this is a new level, and whatever lies behind the walls is unknown. These walls were also made jagged to emphasize the fear. The seventh sequence is located immediately after the previous one. This is what the human figure walks through after entering the entrance between the two jagged walls. This sequence has a slanted wall with a void and a curved vertical surface coming from the void. This sequence can confuse the human figure as to where the surface is coming from and will rush the human figure to get out of the tunnel. I will make this larger in my next model. In the eighth sequence, the ledge that the human figure is sitting on is more sturdy and has a more intentional position in the space cube. The human figure has its legs hanging off of the surface with nothing below. This can evoke a fear of heights in the human figure. In the ninth sequence, there is a curved vertical surface hanging from the ceiling. This is in place to give the illusion that the ceiling is falling onto the human figure. This can evoke fear in the human figure because of the unknown surface that the human figure must walk under to continue the sequence. The tenth sequence is composed of a tunnel that I hope to make larger or longer in the next space cube model. This tunnel is supposed to evoke a feeling of urgency in the human figure, but this model does not have enough space allotted to do so. In the eleventh sequence, it was difficult to imitate the spheres coming from the walls. Without the correct materials, I was unable to recreate the same effect as my large sequence model. In the next model, I plan to improve this aspect or just change it. On the other hand, the bridge was sturdier in this model. In the last sequence, the large mirrored curves have been reduced in size in order to fit into the available space. This is something that I want to adjust in my final model, but that may involve a change in the pathway. I would also like for the walls to be closer together in order for the human figure to have to squeeze out of the sequence.

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Work #2. Space Cube_Last Space Cube Model

Phase #1: Category #37

Phase #2: Category #34

Phase #3: Category #44

Phase #4: Category #47

Phase #5: Category #27

Phase #6: Category #54

Phase #7: Category #8

Phase #8: Category #53

Phase #9: Category #56

Phase #10: Category #57

Phase #11: Category #59

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The final space cube is the product of a sequence model that has been condensed into a 9 x 9x 9” cube and undergone alterations to find the best flow while evoking fear in the human figure. This model is the result of effort, persistence, and craftsmanship. Throughout this process, there has been a noticeable improvement in the product, and I believe that being given the opportunity to ponder an idea and improve it helped to deliver a successful final model. The curved wall of the first sequence has been widened in order to use more of the space available. Details such as boarded windows in the walls and cobwebs have been added to increase the fear factor. Spikes around the base of the building represent a sharp and pointy fence, and two slabs next to the structure represent tombstones.The goal of the exterior appearance is to evoke fear in the human figure and deter them from wanting to enter this abandoned structure. The second sequence had little overall change, but the size of the space has expanded. Instead of the staircase being on the same path as the entrance, it has been moved to a different wall. This allows the human figure to walk around the space before deciding to move up to the next level. The stairs of the third sequence have been altered to better fit the emotion of the space cube. In the second draft model, the stairs were connected to the wall. The new stairs are freestanding platforms away from the wall, and they are jaggedy and do not follow a pattern. The steps also get very narrow as you reach the next level. In the fourth sequence, the human figure is walking along the edge of the model. The void in the ground with the facing wall now has spikes on the side to evoke fear. This sequence resembles a construction site, and the human figure must try to not fall into the void on either side. Based on all of my models, this sequence flows best in the placement in the final space cube model. In the fifth sequence, the entire surface that the walls and columns are resting on has been slanted. The purpose of the jagged walls and columns is still to block the human figure’s sight, but to also serve as an entrance. The main difference between this sequence and previous models is that the ground is now slanted. This new design choice makes it more difficult for the human figure to navigate the sequence. In the sixth sequence, there is a wall with a curved vertical surface that is falling through the void. The structure is the largest in this model of any of the others, which evokes fear the best. The other difference in this sequence from other models is that the floor is now slanted. In the seventh sequence, the floating wall at the human figure’s eye level has been relocated. It is already uncomfortable for the human figure to be walking on a downslope, but now they have to crouch in order to get by the floating wall that is in the way. In the eighth sequence, there is a pointed surface that hangs off of the model at the lowest point of the slanted surface. This is very similar to the second draft of the space cube model, but the slanted floor adds to the sequence by making the drop-off positioned on the lowest point. The steepness may also make the human figure cautious to not slip off. In the ninth sequence, the hanging curved surface has been moved over the downward staircase. Similarly to the other models, this surface is confusing and may appear that the ceiling is caving in.The stairs below are extremely jagged, and the human figure must be very cautious while walking down them because they are steep and are composed of different shapes. In the tenth sequence, the tunnel has been elongated to give the human figure a longer pathway underneath the surface to walk. The curved wall positioned behind the tunnel blocks the human figure from knowing what is at the end of the tunnel. The main difference between this sequence in both the draft and the final is the length of the tunnel. In the eleventh sequence, not much changed from the second draft to the final draft. More details have been added over the bridge to portray a sense of confusion, and the unknown. The original sequence model had spheres coming from the walls, but in the final space cube model, there are pointy shapes on the walls. I feel as though these ridgid features fit the overall design of my model better. v In the final sequence, the mirrored, curved walls represent the exit. This mimics the entrance of the space cube sequence, except the scale of the walls has been brought down. The goal of these walls is for the human figure to be able to see a clear ending and to feel safe. The space between the two curved walls represents a light at the end of the tunnel.

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Work #4. Casting Model

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F o rre st S i eb er t L an d s c ap e A rc h i te c t u re P o rtf o l i o 1236

What I learned...

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Work #1. Sequence of Wall, Column, and Space Selected Emotion

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Work #1. Sequence of Wall, Column, and Space_Sequence Model Views

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aragraphs

equence This photo 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. Sequence 2 Throughout this photo 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. Sequence 3 This photo shows 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. Sequence 4 This photo has 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 freer. 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. Sequence 5 Throughout these 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. Sequence 6 In this photo, 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 as if the sun is shining down on me. Sequence 7 This portrays 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. Sequence 8 This photo shows the view of the top of the void with a ceiling and in some cases a wall going down through it, the light coming up from the void makes it super bright and 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. Sequence 9 This photo portrays two perspectives from the bottom and top a uniquely shaped void, the void is 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. Sequence 10 The photo uses 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. Sequence 11 This photo portrays 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. Sequence 12 This photo uses 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. Final Paragraph Throughout these twelve sequences the environment tends to involve either an open and unique space, a unique space with multiple people, a void, or ledge, or just something that is free flowing or brings all the attention to one place. From my point of view, I feel very in control, I know my surroundings, and I am never trapped so I have a great sense of security, plus each sequence is unique and creative in its own sense. Emotionally I feel great, secure, happy, and creative throughout this experience as it is unique each sequence and has a super fun almost park feel through the journey within.

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Work #2. Space Cube_First Space Cube Model

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aragraphs equence sequence and This environment creates a space with one designated focal point being the curve, while it also runs into the ninety-degree wall creating almost an invisible boundary as in where the space starts and ends. or me, I feel the need to appreciate the women standing in the light and curved wall acting as the main attraction. motionally, this image expresses bliss, gratitude, and love as it seems the man is appreciating the woman Sequence 2 (sequence 1) This photo 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, and love with the man and women as they sit in what reminds me of a park Sequence 3 (sequence 2 and 3 combined) Throughout this photo 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 as well as having the columns in place around to make a boundary on what is the focal point. 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, experiencing appreciation, joy, and love for the woman as if she is walking down the aisle at a wedding Sequence 4 (sequence 6, 7, and 12) This photo has caused an environment and focuses on a hole in the ground, with two ledges pointing towards that hole, identifying it is the focal point. In my eyes, I sense a group appreciating something out of the ordinary. Emotionally, I feel joy, companionship, and comradery as the three men sit in a circle appreciating something Sequence 5 (sequence 8 and 9) This photo has many environmental factors creating an interesting scene, the floating space, and multiple holes of different shapes create almost an island, the focal point of this picture is not exact as it changes each time it is looked at. For me, this reminds me of a garden or almost coy fish pond with its shapes and undisciplined lines. The emotional felt is creativity and imagination, which brings joy to me, as it is a unique space that would be hard to replicate in any scenario Sequence 6 (sequence 10 and 11) This environment is a bridge over a gap with three upside tear drop shapes in order from large to small going across, the focal point is the shape created by these three shapes as it adds a flow to the environment. For me, this environment is unique and creative, like the last making an interesting shape that catches the eye, with a person behind almost appreciating the view through it. Emotionally, this shape also shows creativity, imagination, and has a unique abstract feel gravitating around it giving me joy

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Work #2. Space Cube_Second Space Cube Model

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6 p ar ag r ap h s equence sequence and This environment creates a space with one designated focal point being the curve, while it also runs into the ninety-degree wall creating almost an invisible boundary as in where the space starts and ends. or me, I feel the need to appreciate the women standing in the light and curved wall acting as the main attraction. motionally, this image expresses bliss, gratitude, and love as it seems the man is appreciating the woman. The art element portrayed is shape and the design principle is unity, as the shape provides a space that works together bringing unity to the two people. equence

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This photo 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, and love with the man and women as they sit in what reminds me of a park. The art element scene is this scene would be form, while the design principle is movement, there are multiple ways to travel amongst this piece while is proved a form almost like a park. Sequence 3 (sequence 2 and 3 combined) Throughout this photo 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 as well as having the columns in place around to make a boundary on what is the focal point. 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, experiencing appreciation, joy, and love for the woman as if she is walking down the aisle at a wedding. The art element would be line and the design principle is emphasis, there is a direct line to travel within the columns and lowered space, while it provides emphasis in where to go. Sequence 4 (sequence 6, 7, and 12) This photo has caused an environment and focuses on a hole in the ground, with three ledges pointing towards that hole in a circular pattern, identifying it is the focal point. In my eyes, I sense a group appreciating something out of the ordinary. Emotionally, I feel joy, companionship, and comradery as the three men sit in a circle appreciating something. The art element is space, and the design principle is unity. This scene is focused on a space within the floor, and unity is shown by the formation of a circle by the three people. Sequence 5 (sequence 8 and 9) This photo has many environmental factors creating an interesting scene, the floating space, and multiple holes of different shapes create almost an island while having a few of the void’s shape floating beneath it, the focal point of this picture is not exact as it changes each time it is looked at. For me, this reminds me of a garden or almost coy fishpond with its shapes and undisciplined lines. The emotional felt is creativity and imagination, which brings joy to me, as it is a unique space that would be hard to replicate in any scenario. The art elements are form and shape and the design principle is balance. The shapes form a balance as they almost mirror each other and formulate a unique area to travel. Sequence 6 (sequence 10 and 11) This environment is a bridge over a gap with three upside tear drop shapes in order from large to small going across, the focal point is the shape created by these three shapes as it adds a flow to the environment. For me, this environment is unique and creative, like the last making an interesting shape that catches the eye, with a person behind almost appreciating the view through it. Emotionally, this shape also shows creativity, imagination, and has a unique abstract feel gravitating around it giving me joy

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Work #2. Space Cube_Last Space Cube Model

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aragraphs equence

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This environment creates a space with one designated focal point being the curve, while it also runs into the ninety-degree wall creating almost an invisible boundary as in where the space starts and ends. or me, I feel the need to appreciate the women standing in the light and curved wall acting as the main attraction. motionally, this image expresses bliss, gratitude, and love as it seems the man is appreciating the woman. The art element portrayed is shape and the design principle is unity, as the shape provides a space that works together bringing unity to the two people. equence

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This photo 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, and love with the man and women as they sit in what reminds me of a park. The art element scene is this scene would be form, while the design principle is movement, there are multiple ways to travel amongst this piece while is proved a form almost like a park. Sequence 3 (sequence 2 and 3 combined) Throughout this photo 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 as well as having the columns in place around to make a boundary on what is the focal point. 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, experiencing appreciation, joy, and love for the woman as if she is walking down the aisle at a wedding. The art element would be line and the design principle is emphasis, there is a direct line to travel within the columns and lowered space, while it provides emphasis in where to go. Sequence 4 (sequence 6, 7, and 12) This photo has caused an environment and focuses on a hole in the ground, with three ledges pointing towards that hole in a circular pattern, identifying it is the focal point. In my eyes, I sense a group appreciating something out of the ordinary. Emotionally, I feel joy, companionship, and comradery as the three men sit in a circle appreciating something. The art element is space, and the design principle is unity. This scene is focused on a space within the floor, and unity is shown by the formation of a circle by the three people. Sequence 5 (sequence 8 and 9) This photo has many environmental factors creating an interesting scene, the floating space, and multiple holes of different shapes create almost an island while having a few of the void’s shape floating beneath it, the focal point of this picture is not exact as it changes each time it is looked at. For me, this reminds me of a garden or almost coy fishpond with its shapes and undisciplined lines. The emotional felt is creativity and imagination, which brings joy to me, as it is a unique space that would be hard to replicate in any scenario. The art elements are form and shape and the design principle is balance. The shapes form a balance as they almost mirror each other and formulate a unique area to travel. Sequence 6 (sequence 10 and 11) This environment is a bridge over a gap with an arch and s-shape within in order has multiple functions and a nice flow, the focal point is the shape created by these the s-shape and arch as it adds a flow to the environment. For me, this environment is unique and creative, like the last making an interesting shape that catches the eye, with a person behind in the scene appreciating the ability to sit, stand, have shade and or light within. Emotionally, this shape also shows creativity, imagina-

tion, and has a unique abstract feel gravitating around it giving me joy. The art elements within are shape and space and the design principle is rhythm. The lines coming together form a unique space providing rhythm and flow within the scene.

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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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Work #1. Sequence of Wall, Column, and Space Selected Emotion: Fear

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Work #1. Sequence of Wall, Column, and Space_Sequence Model Views

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13 Paragraphs After working and perceiving an idea on the “Wall Column Space” project, I choose the emotion fear to indicate my sequence. As looked through the views of categorized photos, I learned that I felt a sense of fear and anxiety through the photos. With a sense of unconformity, terror, darkness, agitation and dismay, the emotion of fear best defined the photos of my liking. When choosing my photos, I took into consideration my chosen emotion and grasped photos that defined the aspects of fear. With a broad range of categories, they each tell a different scene while playing out sequentially. This allowed me to accurately represent the emotion fear through my sequential project. In Category 3, 10 photographs illustrate a blocking wall, creating a visual of conception of movement across the wall. From my chosen photo, the blocking wall takes over most of the space. The wall directs the human figure’s position to head and face toward the end of it. I feel anxious and nervous to follow this eerie path. In Category 25, 6 photographs illustrate two walls and two columns with two lighting conditions. From my chosen photo, this illustrates the evaluation of light sources, creating new shapes from the same perspective. The lighting from behind the walls create long shadows on the human figure and depicts its source. After I walked down this line of wall, I came across this light that appeared from a room. In Category 30, 19 photographs illustrate an aligned wall with a connected wall. From my chosen photo, the walls are connected at a point in the left-hand corner. The wall does not obstruct any light on the human figure but directs its attention to the corner itself. Coming across an intersection of wall, I’m confused by these empty walls I’ve come across. In Category 36, 5 photographs illustrate curved walls and flat walls. From my chosen photo, the walls create rounded out rooms and edges within the space. The element of line creates a new form of shape for the human figure to stand in. I walk down the straight wall when I come across a rounded wall. In Category 37, 8 photographs illustrate entering a space between parallel curved walls. From my chosen photo, the overall structure of the rounded walls depicts the shadows coming from the light source. These walls surround the human figure and create a darker scenery due to the position. As I stand in this dark and scary spot, more light leads ahead of me. In Category 53, 5 photographs illustrate curved vertical surface with an upper floor. From my chosen photo, the use of vertical dimension adds height to the overall perspective. The human figure is depicted by being lifted higher off the ground. I have found myself stuff at the top of a terrifying ledge. The only way is down, and my fear level is too much for me to comprehend. In Category 17, 9 photographs illustrate an inclined ramp facing the wall. From my chosen photo, the ramp is angled up, affecting the light and vertical aspect. The ramp leads from the human figure’s feet, centering the ramp off the human’s standpoint. After going down the ramp, I feel my heartbeat racing from the fear. In Category 38, 4 photographs illustrate entering a space between curved mirror walls. From my chosen photo, it creates a symmetrical view of the space with light protruding between the walls. The light depicts the human figure’s shadow because it stands in the center of where the light is coming from. I walk through this shadowed corned. In Category 43, 4 photographs illustrate curved connection. From my chosen photo, the use of angles of a connected wall adds depth and lines to the room itself. The curve of the wall makes the space look longer, and the open area is expanded for the human figure. I am fearful from everything that has occurred. In Category 6, 6 photographs illustrate the passing of an aligned wall. From my chosen photo, the aligned wall creates visual depth for how deep the space expands. The light source is depicted and blocked from the human figure because of the aligned wall. I feel calmer as I continue my track forward. In Category 48, 10 photographs illustrate a void in the upside with combinations of columns or walls. From my chosen photo, the ceiling creates shape with the light as it is depicted because of the cutout void. The walls create a illustration of an enclosed hallway that human figure is following. I’m met with light shining upon me, calming me down completely as I take my last turn. In Category 45, 4 photographs illustrated1 point perspective pictures: void on the upside. From my chosen photo, the element of shape and light create images in space that are obstructed by the objects. The light source is depicted into a shape that perfectly shines down upon where the human figure stands. I make it to the end of my journey and I’m met with comforting light from the void above me.

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Work #2. Space Cube_First Space Cube Model

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Phase #12: Category #45

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13 Paragraphs After working and perceiving an idea on the “Wall Column Space” project, I choose the emotion fear to indicate my sequence. As looked through the views of categorized photos, I learned that I felt a sense of fear and anxiety through the photos. With a sense of unconformity, terror, darkness, agitation and dismay, the emotion of fear best defined the photos of my liking. When choosing my photos, I took into consideration my chosen emotion and grasped photos that defined the aspects of fear. With a broad range of categories, they each tell a different scene while playing out sequentially. This allowed me to accurately represent the emotion fear through my sequential project. In Category 3, 10 photographs illustrate a blocking wall, creating a visual of conception of movement across the wall. From my chosen photo, the blocking wall takes over most of the space. The wall directs the human figure’s position to head and face toward the end of it. I feel anxious and nervous to follow this eerie path. Fear rises within me, and I continue to move forward. In Category 25, 6 photographs illustrate two walls and two columns with two lighting conditions. From my chosen photo, this illustrates the evaluation of light sources, creating new shapes from the same perspective. The lighting from behind the walls create long shadows on the human figure and depicts its source. After I walked down this line of wall, I came across this light that appeared from a room. I’m oddly curious as to where it leads to, but I feel anxious not knowing what’s behind this light. In Category 30, 19 photographs illustrate an aligned wall with a connected wall. From my chosen photo, the walls are connected at a point in the left-hand corner. The wall does not obstruct any light on the human figure but directs its attention to the corner itself. Coming across an intersection of wall, I’m confused by these empty walls I’ve come across. However, I have an underlying feeling that something still awaits me. In Category 36, 5 photographs illustrate curved walls and flat walls. From my chosen photo, the walls create rounded out rooms and edges within the space. The element of line creates a new form of shape for the human figure to stand in. I walk down the straight wall when I come across a rounded wall. I get nervous as I must walk around this corner I cannot see in front of me. In Category 37, 8 photographs illustrate entering a space between parallel curved walls. From my chosen photo, the overall structure of the rounded walls depicts the shadows coming from the light source. These walls surround the human figure and create a darker scenery due to the position. As I stand in this dark and scary spot, more light leads ahead of me. However, I’m cautious and uncomfortable to keep pushing forward. In Category 53, 5 photographs illustrate curved vertical surface with an upper floor. From my chosen photo, the use of vertical dimension adds height to the overall perspective. The human figure is depicted by being lifted higher off the ground. I have found myself stuff at the top of a terrifying ledge. The only way is down, and my fear level is too much for me to comprehend. In Category 17, 9 photographs illustrate an inclined ramp facing the wall. From my chosen photo, the ramp is angled up, affecting the light and vertical aspect. The ramp leads from the human figure’s feet, centering the ramp off the human’s standpoint. After going down the ramp, I feel my heartbeat racing from the fear, but the adrenaline is slowing down. In Category 38, 4 photographs illustrate entering a space between curved mirror walls. From my chosen photo, it creates a symmetrical view of the space with light protruding between the walls. The light depicts the human figure’s shadow because it stands in the center of where the light is coming from. I walk through this shadowed corned, and I am anxious for what’s to come. In Category 43, 4 photographs illustrate curved connection. From my chosen photo, the use of angles of a connected wall adds depth and lines to the room itself. The curve of the wall makes the space look longer, and the open area is expanded for the human figure. After being fearful from everything that has occurred, I am cautious of my surroundings. In Category 6, 6 photographs illustrate the passing of an aligned wall. From my chosen photo, the aligned wall creates visual depth for how deep the space expands. The light source is depicted and blocked from the human figure because of the aligned wall. I feel calmer as I continue my track forward, still nervous with every step. In Category 48, 10 photographs illustrate a void in the upside with combinations of columns or walls. From my chosen photo, the ceiling creates shape with the light as it is depicted because of the cutout void. The walls create a illustration of an enclosed hallway that human figure is following. I’m met with light shining upon me, calming me down completely as I take my last turn. In Category 45, 4 photographs illustrated1 point perspective pictures: void on the upside. From my chosen photo, the element of shape and light create images in space that are obstructed by the objects. The light source is depicted into a shape that perfectly shines down upon where the human figure stands. I make it to the end of my journey and I’m met with comforting light from the void above me.

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Work #2. Space Cube_Second Space Cube Model

Phase #1: Category #3

Phase #2: Category #25

Phase #3: Category #30

Phase #4: Category #36

Phase #5: Category #37

Phase #6: Category #53

Phase #7: Category #17

Phase #8: Category #38

Phase #9: Category #43

Phase #10: Category #6

Phase #11: Category #48

Phase #12: Category #45

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13 Paragraphs

After working and perceiving an idea on the “Wall Column Space” project, I choose the emotion fear to indicate my sequence. As looked through the views of categorized photos, I learned that I felt a sense of fear and anxiety through the photos. With a sense of unconformity, terror, darkness, agitation and dismay, the emotion of fear best defined the photos of my liking. When choosing my photos, I took into consideration my chosen emotion and grasped photos that defined the aspects of fear. With a broad range of categories, they each tell a different scene while playing out sequentially. Illustrating the overall meaning of the same emotion, this allowed me to accurately represent the emotion fear through my sequential project. In Category 3, 10 photographs illustrate a blocking wall, creating a visual of conception of movement across the wall. From my chosen photo, the blocking wall takes over most of the space. From the left, the wall protrudes from that side and angles in the same direction as the figure. The wall directs the human figure’s position to face toward the end of it. I feel anxious and nervous to follow this eerie path. Fear rises within me, and I continue to move forward. In Category 25, 6 photographs illustrate two walls and two columns with two lighting conditions. From my chosen photo, this illustrates the evaluation of light sources, creating new shapes from the same perspective. The spacing of the walls adds value to the room. The lighting from behind the walls create long shadows on the human figure and depicts its source. After I walked down this line of wall, I came across this light that appeared from a room. I’m oddly curious as to where it leads to, but I feel anxious not knowing what’s behind this light. In Category 30, 19 photographs illustrate an aligned wall with a connected wall. From my chosen photo, the walls are connected at a point in the left-hand corner. This creates as concealed type space from the perspective. The wall does not obstruct any light on the human figure but directs its attention to the corner itself. Coming across an intersection of wall, I’m confused by these empty walls I’ve come across. However, I have an underlying feeling that something still awaits me. In Category 36, 5 photographs illustrate curved walls and flat walls. From my chosen photo, the walls create rounded out rooms and edges within the space. Adding texture curve to the visual lines of the surrounding walls. The element of line creates a new form of shape for the human figure to stand in. These walls add a mysterious element that hides what goes past it. I walk down the straight wall when I come across a rounded wall. I get nervous as I must walk around this corner I cannot see in front of me. In Category 37, 8 photographs illustrate entering a space between parallel curved walls. From my chosen photo, the overall structure of the rounded walls depicts the shadows coming from the light source. The wall reflects the light to push through the opening between walls. These walls surround the human figure and create a dark scenery due to the position. As I stand in this dark and scary spot, more light leads ahead of me. However, I’m cautious and uncomfortable to keep pushing forward. In Category 53, 5 photographs illustrate curved vertical surface with an upper floor. From my chosen photo, the use of vertical dimension adds height to the overall perspective. An under-view perspective gives detail into the curved ceiling and total use of the space. The human figure is depicted by being lifted higher off the ground. I have found myself stuff at the top of a terrifying ledge. The only way is down, and my fear level is too much for me to comprehend. In Category 17, 9 photographs illustrate an inclined ramp facing the wall. From my chosen photo, the ramp is angled up, affecting the light and vertical aspect. It creates the visual effect of how the depth and long the ramp goes across. The ramp leads from the human figure’s feet, centering the ramp off the human’s standpoint. After going down the ramp, I feel my heartbeat racing from the fear, but the adrenaline is slowing down. In Category 38, 4 photographs illustrate entering a space between curved mirror walls. From my chosen photo, it creates a symmetrical view of the space with light protruding between the walls. Seeping light and shadows from the obstruction effect of the rounded walls. The light depicts the human figure’s shadow because it stands in the center of where the light is coming from. I walk through this shadowed corned, and I am anxious for what’s to come. In Category 43, 4 photographs illustrate curved connection. From my chosen photo, the use of angles of a connected wall adds depth and lines to the room itself. It describes a large open room with no jagged lines, which are sharp or defined. The curve of the wall makes the space look longer, and the open area is expanded for the human figure. After being fearful from everything that has occurred, I am cautious of my surroundings. In Category 6, 6 photographs illustrate the passing of an aligned wall. From my chosen photo, the aligned wall creates visual depth for how deep the space expands. The shadows and walls allow the viewer to visualize the length of the space the human figure stands in front of. The light source is depicted and blocked from the human figure because of the aligned wall. I feel calmer as I continue my track forward, still nervous with every step. In Category 48, 10 photographs illustrate a void in the upside with combinations of columns or walls. From my chosen photo, the ceiling creates shape with the light as it is depicted because of the cutout void. The use of corned walls also created special elements as you cannot physically see what’s down the hall. The walls create an illustration of an enclosed hallway that human figure is following. I’m met with light shining upon me, calming me down completely as I take my last turn. In Category 45, 4 photographs illustrated 1 point perspective pictures: void on the upside. From my chosen photo, the element of shape and light create images in space that are obstructed by the objects. The ceiling and void obstruct the light. The light source is depicted into a shape that perfectly shines down upon where the human figure stands. I make it to the end of my journey, and I’m met with comforting light from the void above me.

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Work #2. Space Cube_Last Space Cube Model

Phase #1: Category #3

Phase #2: Category #25

Phase #3: Category #30

Phase #4: Category #36

Phase #5: Category #37

Phase #6: Category #53

Phase #7: Category #17

Phase #8: Category #38

Phase #9: Category #43

Phase #10: Category #6

Phase #11: Category #48

Phase #12: Category #45

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13 Paragraphs After working and perceiving an idea on the “Wall Column Space” project, I choose the emotion fear to indicate my sequence. As looked through the views of categorized photos, I learned that I felt a sense of fear and anxiety through the photos. With a sense of unconformity, terror, darkness, agitation and dismay, the emotion of fear best defined the photos of my liking. When choosing my photos, I took into consideration my chosen emotion and grasped photos that defined the aspects of fear. With a broad range of categories, they each tell a different scene while playing out sequentially. This allowed me to accurately represent the emotion fear through my sequential project. In the first phase, this image illustrates a blocking wall, creating a visual of conception of movement across the wall. From my chosen photo, the blocking wall takes over most of the space. The wall directs the human figure’s position to head and face toward the end of it. I feel anxious and nervous to follow this eerie path. Fear rises within me, and I continue to move forward. In the second phase, this image illustrates two walls and two columns with two lighting conditions. From my chosen photo, this illustrates the evaluation of light sources, creating new shapes from the same perspective. The lighting from behind the walls create long shadows on the human figure and depicts its source. After I walked down this line of wall, I came across this light that appeared from a room. I’m oddly curious as to where it leads to, but I feel anxious not knowing what’s behind this light. In the third phase, this image illustrates an aligned wall with a connected wall. From my chosen photo, the walls are connected at a point in the left-hand corner. The wall does not obstruct any light on the human figure but directs its attention to the corner itself. Coming across an intersection of wall, I’m confused by these empty walls I’ve come across. However, I have an underlying feeling that something still awaits me. In the fourth phase, this image illustrates curved walls and flat walls. From my chosen photo, the walls create rounded out rooms and edges within the space. The element of line creates a new form of shape for the human figure to stand in. I walk down the straight wall when I come across a rounded wall. I get nervous as I must walk around this corner I cannot see in front of me. In the fifth phase, this image illustrates entering a space between parallel curved walls. From my chosen photo, the overall structure of the rounded walls depicts the shadows coming from the light source. These walls surround the human figure and create a darker scenery due to the position. As I stand in this dark and scary spot, more light leads ahead of me. However, I’m cautious and uncomfortable to keep pushing forward. In the sixth phase, this image illustrates curved vertical surface with an upper floor. From my chosen photo, the use of vertical dimension adds height to the overall perspective. The human figure is depicted by being lifted higher off the ground. I have found myself stuff at the top of a terrifying ledge. The only way is down, and my fear level is too much for me to comprehend. In the seventh phase, this image illustrates an inclined ramp facing the wall. From my chosen photo, the ramp is angled up, affecting the light and vertical aspect. The ramp leads from the human figure’s feet, centering the ramp off the human’s standpoint. After going down the ramp, I feel my heartbeat racing from the fear, but the adrenaline is slowing down. In the eigth phase, this image illustrates entering a space between curved mirror walls. From my chosen photo, it creates a symmetrical view of the space with light protruding between the walls. The light depicts the human figure’s shadow because it stands in the center of where the light is coming from. I walk through this shadowed corned, and I am anxious for what’s to come. In the ninth phase, this image illustrates curved connection. From my chosen photo, the use of angles of a connected wall adds depth and lines to the room itself. The curve of the wall makes the space look longer, and the open area is expanded for the human figure. After being fearful from everything that has occurred, I am cautious of my surroundings. In the tenth phase, this image illustrates the passing of an aligned wall. From my chosen photo, the aligned wall creates visual depth for how deep the space expands. The light source is depicted and blocked from the human figure because of the aligned wall. I feel calmer as I continue my track forward, still nervous with every step. In the eleventh phase, this image illustrates a void in the upside with combinations of columns or walls. From my chosen photo, the ceiling creates shape with the light as it is depicted because of the cutout void. The walls create a illustration of an enclosed hallway that human figure is following. I’m met with light shining upon me, calming me down completely as I take my last turn. In the twelfth illustrated 1 point perspective pictures: void on the upside. From my chosen photo, the element of shape and light create images in space that are obstructed by the objects. The light source is depicted into a shape that perfectly shines down upon where the human figure stands. I make it to the end of my journey and I’m met with comforting light from the void above me.

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Work #2. Space Cube_Series of Space Cube Models

a group photo of space cube models

a group of the sequence model and the final space cube mode

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pictures of the final space cube model

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Work #3. Floor Plans

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Work #3. Floor Plans

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Work #3. Elevations

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Work #3. Elevations

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Work #3. Sections

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Work #3. Axonometric

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Work #4. Casting Model

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Work #4. Casting Model

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Front

Back

Left

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Work #4. Casting Model

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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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Work #1. Sequence of Wall, Column, and Space Sadness

Phase #1: Category #13

Phase #2: Category #34

Phase #3: Category #18

Phase #4: Category #30

Phase #5: Category #33

Phase #6: Category #41

Phase #7: Category #45

Phase #8: Category #46

Phase #9: Category #31

Phase #10: Category #49

Phase #11: Category #58

Phase #12: Category #56

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Work #1. Sequence of Wall, Column, and Space_Sequence Model Views

Phase #1: Category #13

Phase #2: Category #34

Phase #3: Category #18

Phase #4: Category #30

Phase #5: Category #33

Phase #6: Category #41

Phase #7: Category #45

Phase #8: Category #46

Phase #9: Category #31

Phase #10: Category #49

Phase #11: Category #58

Phase #12: Category #56

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Sequence of Wall, Column, and Space

The emotion I chose for my sequence is sadness. I specifically chose photos where the human figure was isolated and alone or placed in the darkness. Those pictures when the figure is obstructed by different surfaces and is stuck gave me feelings of being sad and deserted. My sequence starts simple, and the structures get more complicated as it goes on. I also purposefully made my structure have a dead end after category twelve. It gives a sense of going through obstacles and hard paths all for nothing, which in turn, leads to overwhelming feelings of sadness and disappointment. 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 it’s 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. In these three pictures there are varied 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 much larger than it. 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’s strange that there is one standing column with no walls or other columns around it and makes it feel empty. The edges of the walls are together and begin at a 90-degree angle and move until it gets all the way around to 270 degrees. The walls are cornering the human figure obstructing it until 190 degrees and above. After this, the walls have moved to make a corner diagonal from where the human figure stands. It almost feels like these pictures are showing us different perspectives of the corner of a room. 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 makes it feel like the room is closing in. This picture shows a 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 is waiting for something outside the wall. 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 is 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 and when the figure is not in the spotlight it feels somewhat depressing. These photos almost look like a complete room with a ceiling (including a cutout), a wall, and two columns. Although the structure feels room-like, the human figure is still not completely obstructed. It feels a little depressing that the human figure is stuck in the dark and nit under the light of the square void. 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 remarkably 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. With the figure facing the corner of these walls it feels like he’s stuck. 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 it is on the ground it can find a path. Although there are two human figures, they’re on different floating surfaces and cannot get to each other. In these photos a sphere, half-sphere, and a floating surface with a void are shown. As the human figure makes its way on top of the floating surface it finds itself obstructed by the void and sphere. It feels as if the sphere is falling through the void and might crush the human figure. 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 them since there is a small gap. I really like the one that arches over the human figure. It feels like he’s walking through a tunnel to a dead end, which seems pointless.

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Work #2. Space Cube_First Space Cube Model

Phase #1: Category #13

Phase #2: Category #34

Phase #3: Category #41

Phase #4: Category #30

Phase #5: Category #56

Phase #6: Category #45

Phase #7: Category #49

Phase #8: Category #46

Phase #9: Category #33

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Space Cube Model 1

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Work #2. Space Cube_Second Space Cube Model

Phase #1: Category #30

Phase #2: Category #34

Phase #3: Category #41

Phase #4: Category #13

Phase #5: Category #56

Phase #6: Category #45

Phase #7: Category #49

Phase #8: Category #46

Phase #9: Category #33

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Space Cube Model 2

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Work #2. Space Cube_Last Space Cube Model

Phase #1: Category #30

Phase #2: Category #34

Phase #3: Category #41

Phase #4: Category #13

Phase #5: Category #56

Phase #6: Category #49

Phase #7: Category #45

Phase #8: Category #46

Phase #9: Category #33

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Space Cube Final Model

The emotion I chose for my sequence is sadness. I specifically chose photos where the human figure was isolated and alone or placed in the darkness. Those pictures when the figure is obstructed by different surfaces and cannot move gave me feelings of being sad and deserted. My sequence is simple and purposely separated into each section to make the figure feel alone. The first space is large enough for plenty of people, but after that the spaces get small to only fit one figure at a time- leading to isolation. I also purposefully made my structure have a dead end after category nine. It gives a sense of going through obstacles and hard paths all for nothing, which in turn, leads to overwhelming feelings of sadness and disappointment. In the first space you enter to immediately see a right angle. This room is large and could fit multiple people in it. It is like a lobby before you begin the path alone. There is a curved wall curving inward with the human figure standing in front of it. The sizes of the walls dramatically affect how large or small the figure appears. It almost feels like the wall is going to close in on the figure because of the limited space. This picture shows a curved wall with columns on each edge. The column and wall look as if they are blocking the human figures into a space. It feels like the human figure can hardly fit past the wall and the columns. The next part has a wall at an acute angle. This angled space keeps the figure isolated from others. It almost feels like the wall is going to fall over onto the figure, but it cannot because the back wall is holding it up and obstructing the figure from going backwards. There is a large curve going over (like a tunnel) and stretches across a sizable portion of the project. Once the human figure enters it is sort of trapped and can only move forward or backwards. This tunnel space is at an upward angle and is meant to exhaust the person traveling up it, so they feel tired at the end. At the top of the tunnel there are two “floating” structures that are joined by a set of stairs. The space is completely open on the two surfaces and the human figure must walk up the stairs to continue the path. The stairs were added to keep movement, but the two separate structures are meant to symbolize being near someone, but still feeling alone. There is then an open space with a circular cutout on the floor. The figure must walk around the circular cutout to avoid falling through. Through the hole the figure can see where they started their journey and feel a sense of peace with how far they have come. Next, a set of stairs leads to another platform with a square void and two columns coming down from it. The only way for the figure to go is down into the void. Doing this makes the figure feel uneasy and worried for what is to come in the next part of the path. After dropping down, the figure finds itself within a complete room. They are completely obstructed by the four walls and stuck indefinitely inside the space. After going through this long continuous path, the figure is left with a dead end. This makes it feel like the whole journey was pointless and the figure feels hopeless.

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Work #2. Space Cube_Series of Space Cube Models

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Work #3. Floor Plans

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Work #3. Floor Plans

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Work #3. Elevations

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Work #3. Elevations

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Work #3. Sections

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Work #3. Axonometric

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Work #4. Casting Model

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Work #4. Casting Model

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Front

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Work #4. Casting Model

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Ka r e na S t i n e s p r ing Port fol i o 1330

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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Work #1. Sequence of Wall, Column, and Space_Sequence Model Views

Phase #1: Category #57

Phase #2: Category #7

Phase #3: Category #17

Phase #4: Category #19

Phase #5: Category #8

Phase #6: Category #55

Phase #7: Category #15

Phase #8: Category #5

Phase #9: Category #20

Phase #10: Category #9

Phase #11: Category #24

Phase #12: Category #59

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13 Paragraphs Joy is seen in many ways. To me, joy is represented best through the idea of childhood play. Such a pure form of joy is created in a child’s brain. The categories I chose and their order in the sequence are meant to resemble a playground. Certain walls act as obstacles and some curves are functional. My project is intended to be fun, interactive, and joyful. The first sequence shows a fun and functional curve through a circular entrance that highlights the curve. The figure stands on the curve to show the functional side of the curve. Joy is seen as the figure moves across the curve, like an obstacle course. The second sequence shows two small walls obstructing the path to the exit. The figure sits upon one of the walls, embracing the obstruction. The position of the walls shows how they can be run around, or jumped over, further embracing the childlike joy in this project. The third sequence uses a ramp to give people access to the upper levels. The figure stands in the middle of the ramp, showing how interactive the space is. The ramp adds interest to the project, creating a fun and joyful experience. The fourth sequence shows two columns, symmetrically placed, resulting in a grand entrance. The figure stands in the middle of the columns, emphasizing their journey and what lies ahead. Almost always there is joy in grand entrances, so this sequence embraces joy. The fifth sequence shows the entrance to a room, revealing the floating wall. The figure stands before the floating wall, giving the image depth. The floating wall adds to the theme of joy by being a fun obstacle one might have to duck to pass. The sixth sequence depicts a curve acting as a ramp back down to the lower floors. The figure standing on the ramp emphasizes the size of the ramp. The ramp almost looks like a slide, embracing the theme of childhood play, and creating joy. The seventh sequence uses two angled walls to emphasize the figure standing before them. The figure is framed by the angled, floating walls, putting even more attention on the figure. The angled, floating walls are visually interesting, and different, making them fun and joyful to observe. The eighth picture depicts the face of a wall, distorting the depth perception of the image. The figure stands in front of the wall, further distorting the depth. Joy is felt in this image through the distortion created by the wall face, resembling the distortion that occurs in fun houses. The ninth image uses three columns to heighten the room. The Figure is blurred in the image to put the focus on the height of the columns. Joy is portrayed in this image through the playful position of the columns. The tenth sequence shows a floating wall obstructing the entryway. The figure stands before the wall, emphasizing the obstacle the wall is. The wall acts like an obstacle, like obstacles on a playground, which further develops the feeling of joy in this project. The eleventh photograph uses two walls and a column to create a visually interesting space. The figure is framed by a wall and a column, emphasizing the asymmetry of the piece. The shadows and unseen angles leave room for exploration, therefore creating a sense of joy. The twelfth sequence uses unique curves to create a focal point in the room. The figure stands in the middle, highlighting the functionality of the space. The fun shape and use of the curve create an area to play, making you feel joy.

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Work #2. Space Cube_First Space Cube Model

Phase #1: Category #57

Phase #2: Category #7

Phase #3: Category #17

Phase #4: Category #19

Phase #5: Category #8

Phase #6: Category #55

Phase #7: Category #15

Phase #8: Category #5

Phase #9: Category #20

Phase #10: Category #9

Phase #11: Category #24

Phase #12: Category #59

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13 Paragraphs The feeling of joy is enhanced by the cubic form, adding to the ideas of childhood and play. The order of the sequence wraps around the cube beginning at the top and ending in the center. The flow of the sequence makes the overall piece flow smoothly while creating a fun, interactive, and joyful environment. The curved shape adds interest to the room while the circular cutout in the ceiling creates a focal point of the figure. The figure sits on the wall, showing the functionality and versatility of the space. The feeling of joy is portrayed through the obstacle standing before you, making you make your way across the room. A ramp creates a pathway from the top floor to the middle, making the space versatile as a slide down or a ramp up or down. The figure sits atop the ramp showing a slide down or the achievement of reaching the top. The ramp can be used in multiple ways to find your way around the cube, creating mystery and adventure, and adding to the feeling of joy. Two columns create a gateway to the rest of the cube like a grand entrance into a fun house. The figure is framed by the walls showing their decision to continue their journey or turn around. This creates an interactive space, highlighting fun and joy. A horizontal floating wall creates a dynamic and visually interesting space. The figure stands before the wall showing the distortion of depth perception in the space. This creates a joyful unreal feeling in the space. A curved wall leads to nowhere, making the cube feel like a maze. The figure is in line with the curved wall, distorting the curvature of the wall. The distortion creates an otherworldly space, feeding into the theme of joy. A floating, angled wall creates an obstacle to be passed underneath or around it. The figure stands to the side, distorting the size of the floating wall. The confusion of the wall creates curiosity, leading to the overall feeling of joy. The face of a vertical wall blends in as the figure standing in front gains focus in the image. The figure seems to merge into the wall creating a cohesive space, in a hide and seek kind of way. This adds to the idea of childhood play, therefore adding to the feeling of joy. The columns frame the lower corner of the cube, creating a checkpoint for the figure to move through. The figure is framed between the columns showing the tight spaces created by some objects. The columns create movement in the space as the figure must move around to pass. This movement is that of a game of tag, adding to the feeling of joy. A floating vertical wall is distorted by the face view of the image. The figure stands to the right of the wall, giving some reference to the size of the wall. As the wall creates an obstacle for the figure, a feeling of joy continues to develop. Two walls and a column create more obstacles, therefore creating movement in the piece. The figure is framed between them, emphasizing a way out. The use of walls and columns as obstacles creates a playful space, adding to the feeling of joy. The spiral curve creates visual interest. The figure stands in the center of the spiral and the center of the cube, emphasizing this sequence. The placement of the sequence embraces the full loop of life, from childhood to adulthood, we all have a feeling of joy created from play that can be embraced at any age.

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Work #2. Space Cube_Second Space Cube Model

Phase #1: Category #57

Phase #2: Category #7

Phase #3: Category #17

Phase #4: Category #19

Phase #5: Category #8

Phase #6: Category #55

Phase #7: Category #15

Phase #8: Category #5

Phase #9: Category #20

Phase #10: Category #9

Phase #11: Category #24

Phase #12: Category #59

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13 Paragraphs The feeling of joy is seen in this model because of the categories used, however, the first space cube added more joy to the model than this one. The darker rooms underneath the rising floors create an unpredictable environment, creating a sense of adventure and joy. My craftsmanship on this model is the strongest so far, however the actual design is lacking. Overall, the feeling of joy is still felt throughout the space cube. Using an angled wall as a void instead of the ceiling creates more interest and another passable obstacle. The figure leans against the curve, continuing to show the functionality of the space. Joy is expressed through the lighting and use of the curve and void as functional pieces. In this image, a figure stands before a low wall, that blocks the pathway, making the space interactive. The figure appears to have just passed the wall to continue through the model, most likely jumping or stepping over it. This image’s lighting is darker, making the space feel less joyful than the other models. A ramp leading nowhere acts as a climbable surface for the viewers to have fun on. The figure stands in front of the ramp as if preparing to run up it. The movement portrayed by the figure shows how the ramp is fun, functional, and interactive. The playfulness of the ramp creates a feeling of joy. Two columns emphasize the entrance/exit into the lower floor. The figure is framed by the columns as if they are the gateway to the space. There is a feeling of achievement and success around the columns, creating a joyous beginning to the space cube. The horizontal floating wall obstructs the way underneath the pillars. The figure shows how low the wall is. The wall blocks the path, forcing people to interact with the space. With the interaction between the space and people, joy is created. The curved wall is the least functional piece because of the steepness of the curve. The figure sits on the lower part of the curve, showing how one could walk or sit on the lower part of the curve. This piece acts more like a piece of art than an interactive room, however, joy is felt through the narrative of the curve leading to nowhere. The angled wall creates a leading line toward the figure, emphasizing his journey. The figure stands to the side of the wall, distorting the size of the wall. The lowness and position of the wall create a barrier in the room, adding to the feeling of joy. Here it is emphasized by the idea of childhood and play. A vertical facing wall is distorted by the appearance of the figure. The figure stands in front of the wall, blocking the view of the wall. The wall creates a fun block in the room, encouraging creativity and therefore joy. Three columns indirectly point to the end of the sequence. The figure stands between them looking towards the end goal. This room acts as a checkpoint in the cube, emphasizing adventure and joy. A floating vertical wall obstructs the pathway through the rooms, requiring problem-solving to get around. The figure stands beside the wall, encouraging the viewer to keep going through the cube. To pass through the cube, one must put forth effort. The effort gives the finale a sense of achievement, success, and joy. Two walls and a column create an environment resembling a maze. The figure stands in front of them, preparing to go through the maze-like room. The interactive space feels joyful as the end comes near. At last, a looped curve waits at the focal point of the cube. The figure stands underneath the curve as if reflecting on the trek to this moment. The free-flowing shape of the curve gives the room a fun and joyful undertone.

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Work #2. Space Cube_Last Space Cube Model

Phase #1: Category #57

Phase #2: Category #7

Phase #3: Category #17

Phase #4: Category #19

Phase #5: Category #8

Phase #6: Category #55

Phase #7: Category #15

Phase #8: Category #5

Phase #9: Category #20

Phase #10: Category #9

Phase #11: Category #24

Phase #12: Category #59

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13 Paragraphs My final space cube embodies joy while having good craftsmanship and plan. The sequences wind up the middle pillar, creating a fun and interactive space. Different lighting, angles, and stairs give the images visual interest and embrace childhood, play, and joy. The curve makes leading lines to the figure. The contrast of lighting also pulls the focus to the figure. The free-flowing shape created through the curved lines gives the image a sense of joy. The symmetrical shape of the lower wall makes the image feel balanced. The shadows in the background contrast the lightness of the category. With the wall being interactive, as in the figure must go over it to pass, there is a feeling of joy. The lines from the sides of the ramp create leading lines to the figure, focusing on him. The photograph is balanced with the figure and the ramp being in the center of the image. As the ramp points to the next sequence, there is excitement and joy to see what’s next. Two columns stand parallel to the figure, and the ramp in the foreground makes leading lines to the figure. This creates an interest in the figure. This curiosity and grand entrance give the image a fun-loving, joyful feel. Lines create the shape of a floating wall. The contrast in the shadows and highlights gives the photograph depth and form. The floating wall is a unique obstacle, adding to the sense of joy seen throughout. The lighting creates a beautiful contrast in the image. The curve uses leading lines and contrasts to highlight the figure, even though the figure is in the shadows. The image reminds me of a game of hide and seek, therefore reminding me of joy. The angled floating wall points towards the figure. The angle of the image obscures the depth perception, however, the contrast in the shadows adds depth to the image. Joy is portrays through the highlights creates by the lighting, giving the image a playful look. The figure faces a wall put to the side of the image. The image is asymmetrical, but the unbalance creates an interest in the figure and wall. Joy is portrayed through the journey ahead and the excitement that comes with that. Three columns use line and form to create obstacles that obstruct the figure’s path. The figure stands between them, contrasting the light color of the columns. Joy is felt in this image by the playful obstacles from the columns. A floating vertical wall obstructs the height of the figure. The shadows in the image contrast the environment surrounding them, bringing the focus of the image to the wall and the figure. The environment is interactive like a playground, embracing joy. Two walls and a column create visual depth in the image. The wall blends in with the background, emphasizing the figure. Joy is felt through the lines in the image that make closures and gaps. The spiraled curve makes your eye dance around the lines created. The shadows and highlights create contrast. The free-flowing, organic shape of the curve gives the image a feeling of joy.

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Work #2. Space Cube_Series of Space Cube Models

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Work #3. Floor Plans

S 9

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24°

12°

t 12'

12'

1 ,21

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Work #3. Floor Plans

she

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Work #3. Elevations

Karena S

Laune

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Work #3. Elevations

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12'

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Work #3. Sections

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11.

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Work #3. Axonometric

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Work #4. Casting Model

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Work #4. Casting Model

Top

Bottom

Front

Back

Left

Right

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Front

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Work #4. Casting Model

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AUDREY SWAIN 1360

Ses s ion O n e Por t fo l i o

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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Work #1. Sequence of Wall, Column, and Space I chose to portray the emotion of fear.

Phase #1: Category #

Phase #2: Category #

Phase #3: Category #

Phase #4: Category #

Phase #5: Category #

Phase #6: Category #

Phase #7: Category #

Phase #8: Category #

Phase #9: Category #

Phase #10: Category #

Phase #11: Category #

Phase #12: Category #

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Work #1. Sequence of Wall, Column, and Space_Sequence Model Views

Phase #1: Category #28

Phase #2: Category #12

Phase #3: Category #53

Phase #4: Category #34

Phase #5: Category #16

Phase #6: Category #44

Phase #7: Category #29

Phase #8: Category #59

Phase #9: Category #58

Phase #10: Category #46

Phase #11: Category #44

Phase #12: Category #5

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After revisiting the “Wall Column Space” project, I found myself drawn to the emotion of fear when picking a chosen emotion. While searching through the many different categories and photographs, I noticed a large number of images that felt dark, uncomfortable, and intimidating at times. This observation helped me decide to utilize these different images as an example of the emotion fear. My approach was to select images that capture various aspects of fear while using many different spaces as well. This strategy aimed to create a good representation the emotion fear with different spaces. The two photographs in category twenty-eight demonstrate how the gradual movement of the human figure alters its view of the space. As the human figure moves through the space, it passes obstructions and gains a more open view of the room. I feel intimidated moving forward, as I might run into the column directly in front of me. This compels me to shift to the left to avoid a collision, eventually allowing me to pass the obstruction and discover a new view beyond the walls and columns. In the twelve photographs of category twelve, the height of the horizontal surface gradually decreases. As the surface lowers, the obstruction of the human figure increases. I felt that the movement of the floating wall made me feel anxious, as the constantly changing environment created a sense of uncertainty. The horizontal surface and a hole in the floor made me feel unable to pass through the space, further contributing to my discomfort. The five photographs in category fifty-three show the change of the space as the human figure moves into different areas of the room. As the curved vertical surface is arranged in the room in many different ways, the human figure’s perspective of the room shifts. In some placements, the curve makes the space feel small, dark, and intimidating. At other times, the curve adds dimension and interesting features to the area. The four photographs in category thirty-four highlight how the curved walls increasing in height and width change perspectives of the space. As the wall grows, the human figure’s view of the room changes. When the wall forms a small curve at 8 or 16 feet, it feels tight and claustrophobic. However, when the wall has a larger curve, it can be more effective and useful for the space. Whenever the wall has a large curve, that curve may be more effective and useful for the space. The curves bring mixed feelings, making me feel unsure of the space but also as if they are guiding me down a path. Over the span of nine photographs in category sixteen, the inclined surface gradually rises until it reaches 90 degrees. As the wall shifts, the open space around the human figure expands. Initially, I couldn’t move freely in the room and had to navigate around the obstruction. At first, the wall’s incline was placed directly above my head, causing a sense of concern. However, as the wall continued to incline, my space increased, which made me feel relieved as the obstruction moved away. Over the span of five photographs in category fifty-four, it showcases 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 creates a sense of discomfort, whether I am above or below the void. The curvature extending upward and downward feels particularly intimidating, especially when position above the void. Over the span of seven photographs in category twenty-nine, the pictures show a human figure navigating through many columns and passing between two walls. As the human figure moves, it must swerve the obstructions to make its way forward. I feel that as I move through the space, there are many objects to take note of. This makes me feel alarmed, as I need to stay aware of my surroundings whenever I move through the space. I make myself aware of the various structures around me, almost as if I were in a museum. because 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. The three photographs in category fifty-nine demonstrate how using twisted and free surfaces impact the space in comparison to the human figure. As the curve shifts in many ways, the human figure’s space and perspective changes depending on the curvature. I feel that these twisted and freeform curvatures create interesting environments but can also be intimidating. When the curvature is on the ground or comes close, I feel restricted in my movement, indicating a change in my path to navigate around it. The four photographs in category fifty-eight illustrate how the use of a sphere and centripetal force affects the space in relation to the human figure. When circular shapes and spheres are introduced, the human’s obstruction and view changes. I feel that when the full sphere is in the space, my view is blocked, requiring me to navigate around it, which causes some anxiety as I need to alter my path. When a half of the circle is utilized, I have a better view above it, but I still feel the need to move around it to avoid the obstruction. The six photographs in category forty-six show how the space changes when a wall or column is placed underneath a void. As the size of the column, wall, or void changes, the human figure’s space shifts as well. I feel that when the large square void is supported by four columns, it creates a sense of openness and confidence moving through the space. However, replacing the columns with a wall reduces the amount of light, creating sharper shadows and making the space feel smaller. As the size of the void decreases, my sense of space also decreases, leading to a feeling of discomfort. Over the span of the four photographs in category forty-four, it illustrates how the space changed with an 8-foot versus a 16-foot curved wall and with different lighting conditions. As the wall and lighting change, the space around the human figure alters. I feel that the 8-foot wall created a more open environment compared to the 16-foot wall. The lower height of the 8-foot wall allows for views above it and lets more light in. When the light is projected from outside the wall, it darkens the space, creating an almost eerie atmosphere. This light seems to guide you toward the light, almost leading you down a path. The five photographs in category five show the wall’s gradual movement from left to right, splitting the human figure. Once the wall passes in front of the human figure, it obstructs the room view, giving the figures two distinct perspectives of the space. I would enjoy this space by having a view of the large space, but the wall aligns directly in front of me, creating a sense of discomfort because it lines up with my body. This division of the space forces me to choose a side of the room to be in, often making me feel confused when choosing between the two rooms.

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Work #2. Space Cube_First Space Cube Model

Phase #1: Category #28

Phase #2: Category #12

Phase #3: Category #53

Phase #4: Category #34

Phase #5: Category #16

Phase #6: Category #54

Phase #7: Category #29

Phase #8: Category #59

Phase #9: Category #58

Phase #10: Category #46

Phase #11: Category #44

Phase #12: Category #5

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After revisiting the sequence of the “Wall Column Space” project, I felt inspired to create new layouts as I began the new layer of the project. When beginning the “Space Cube” project, I reminded myself to keep the chosen emotion in my mind. My approach was to maintain a similar sequence but to condense it to a 9x9x9 and add more layers. I often referred back to the original project and its photographs. This draft was a great starting point for me while also leading me to more ideas and leaving room for improvement. My overall strategy was to design a space with varying levels, visual depths, and interesting details. By incorporating these things, I aimed to create an interesting environment. The two photographs in category twenty-eight demonstrate how the gradual movement of the human figure alters its view of the space. As the human figure moves through the space, it passes obstructions and gains a more open view of the room. I feel intimidated moving forward, as I might run into the column directly in front of me. This compels me to shift to the left to avoid a collision, eventually allowing me to pass the obstruction and discover a new view beyond the walls and columns. The sequence moves back down in this category. In the twelve photographs of category twelve, the height of the horizontal surface gradually decreases. As the surface lowers, the obstruction of the human figure increases. I felt that the movement of the floating wall made me feel anxious, as the constantly changing environment created a sense of uncertainty. The horizontal surface and a hole in the floor made me feel unable to pass through the space, further contributing to my discomfort. The project begins to move upward and to the right in the cube. The five photographs in category fifty-three show the change of the space as the human figure moves into different areas of the room. As the curved vertical surface is arranged in the room in many different ways, the human figure’s perspective of the room shifts. In some placements, the curve makes the space feel small, dark, and intimidating. At other times, the curve adds dimension and interesting features to the area. This sequence moves further to the left. The four photographs in category thirty-four highlight how the curved walls increasing in height and width change perspectives of the space. As the wall grows, the human figure’s view of the room changes. When the wall forms a small curve at 8 or 16 feet, it feels tight and claustrophobic. However, when the wall has a larger curve, it can be more effective and useful for the space. Whenever the wall has a large curve, that curve may be more effective and useful for the space. The curves bring mixed feelings, making me feel unsure of the space but also as if they are guiding me down a path. The sequence moves upward in this category. Over the span of nine photographs in category sixteen, the inclined surface gradually rises until it reaches 90 degrees. As the wall shifts, the open space around the human figure expands. Initially, I couldn’t move freely in the room and had to navigate around the obstruction. At first, the wall’s incline was placed directly above my head, causing a sense of concern. However, as the wall continued to incline, my space increased, which made me feel relieved as the obstruction moved away. The sequence continues moving to the right throughout this sequence. Over the span of five photographs in category fifty-four, it showcases different views of the space with a curved vertical surface and a void. As the vertical curve is placed through the void, the human figure’s obstruction changes. I feel that this scene creates a sense of discomfort, whether I am above or below the void. The curvature extending upward and downward feels particularly intimidating, especially when positioned above the void. This sequence moves upward into the cube. Over the span of seven photographs in category twenty-nine, the pictures show a human figure navigating through many columns and passing between two walls. As the human figure moves, it must swerve the obstructions to make its way forward. I feel that as I move through the space, there are many objects to take note of. This makes me feel alarmed, as I need to stay aware of my surroundings whenever I move through the space. I make myself aware of the various structures around me, almost as if I were in a museum. because 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. The sequence moves forward in the cube in this category. The three photographs in category fifty-nine demonstrate how using twisted and free surfaces impact the space in comparison to the human figure. As the curve shifts in many ways, the human figure’s space and perspective change depending on the curvature. feel that these twisted and freeform curvatures create interesting environments but can also be intimidating. When the curvature is on the ground or comes close, I feel restricted in my movement, indicating a change in my path to navigate around it.This sequence moves further to the right. The four photographs in category fifty-eight illustrate how the use of a sphere and centripetal force affects the space in relation to the human figure. When circular shapes and spheres are introduced, the human’s obstruction and view changes. I feel that when the full sphere is in the space, my view is blocked, requiring me to navigate around it, which causes some anxiety as I need to alter my path. When a half of the circle is utilized, I have a better view above it, but I still feel the need to move around it to avoid the obstruction. This sequence moves to the right in the cube. The six photographs in category forty-six show how the space changes when a wall or column is placed underneath a void. As the size of the column, wall, or void changes, the human figure’s space shifts as well. I feel that when the large square void is supported by four columns, it creates a sense of openness and confidence moving through the space. However, replacing the columns with a wall reduces the amount of light, creating sharper shadows and making the space feel smaller. As the size of the void decreases, my sense of space also decreases, leading to a feeling of discomfort. This sequence move to the left. Over the span of the four photographs in category forty-four, it illustrates how the space changed with an 8-foot versus a 16-foot curved wall and with different lighting conditions. As the wall and lighting change, the space around the human figure alters. I feel that the 8foot wall created a more open environment compared to the 16-foot wall. The lower height of the 8-foot wall allows for views above it and lets more light in. When the light is projected from outside the wall, it darkens the space, creating an almost eerie atmosphere. This light seems to guide you toward the light, almost leading you down a path. This sequence moves further backward into the cube. The five photographs in category five show the wall’s gradual movement from left to right, splitting the human figure. Once the wall passes in front of the human figure, it obstructs the room view, giving the figures two distinct perspectives of the space. I would enjoy this space by having a view of the large space, but the wall aligns directly in front of me, creating a sense of discomfort because it lines up with my body. This division of the space forces me to choose a side of the room to be in, often making me feel confused when choosing between the two rooms. In the project, this category begins the sequence on the lower ground.

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Work #2. Space Cube_Second Space Cube Model

Phase #1: Category #28

Phase #2: Category #12

Phase #3: Category #53

Phase #4: Category #34

Phase #5: Category #16

Phase #6: Category #54

Phase #7: Category #29

Phase #8: Category #59

Phase #9: Category #58

Phase #10: Category #46

Phase #11: Category #44

Phase #12: Category #5

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After revisiting the sequence of the “Wall Column Space” project, I felt inspired to create new layouts as I began the next step of this project. When beginning the “Space Cube” project, I wanted to create a space with varying levels, visual depths, and interesting details. When starting draft one, I created a space with the 9” walls and the sequence moved almost in a zigzag across the walls. As I moved into day two, I was excited about my starting point and having more ideas and room for improvement. So, I decided to slightly switch my layout so that the room looks more visually appealing. Although this new layout is better than the last, it still leaves me room for improvement. My goal is to create a visually appealing and interesting environment. The two photographs in category twenty-eight demonstrate how the gradual movement of the human figure alters its view of the space. As the human figure moves through the space, it passes obstructions and gains a more open view of the room. I feel intimidated moving forward, as I might run into the column directly in front of me. This compels me to shift to the left to avoid a collision, eventually allowing me to pass the obstruction and discover a new view beyond the walls and columns. This category moves back down onto the first surface at the very edge of the cube. I decided to move this category back down so that I could increase the height of the curve. In the twelve photographs of category twelve, the height of the horizontal surface gradually decreases. As the surface lowers, the obstruction of the human figure increases. I felt that the movement of the floating wall made me feel anxious, as the constantly changing environment created a sense of uncertainty. The horizontal surface and a hole in the floor made me feel unable to pass through the space, further contributing to my discomfort. This category was led upward from category one through some stairs so that the figure could make it up to the next level. The five photographs in category fifty-three show the change of the space as the human figure moves into different areas of the room. As the curved vertical surface is arranged in the room in many different ways, the human figure’s perspective of the room shifts. In some placements, the curve makes the space feel small, dark, and intimidating. At other times, the curve adds dimension and interesting features to the area. This category is placed on the very left side of the upper level to continue moving around the cube. The four photographs in category thirty-four highlight how the curved walls increasing in height and width change perspectives of the space. As the wall grows, the human figure’s view of the room changes. When the wall forms a small curve at 8 or 16 feet, it feels tight and claustrophobic. However, when the wall has a larger curve, it can be more effective and useful for the space. Whenever the wall has a large curve, that curve may be more effective and useful for the space. The curves bring mixed feelings, making me feel unsure of the space but also as if they are guiding me down a path. In this category, I used a ladder to move upward into space, because I wanted to utilize more and more levels in the space. Over the span of nine photographs in category sixteen, the inclined surface gradually rises until it reaches 90 degrees. As the wall shifts, the open space around the human figure expands. Initially, I couldn’t move freely in the room and had to navigate around the obstruction. At first, the wall’s incline was placed directly above my head, causing a sense of concern. However, as the wall continued to incline, my space increased, which made me feel relieved as the obstruction moved away. This category moves to the right of the elevated surface of category two. These two categories were connected with a bridge. Over the span of five photographs in category fifty-four, it showcases different views of the space with a curved vertical surface and a void. As the vertical curve is placed through the void, the human figure’s obstruction changes. I feel that this scene creates a sense of discomfort, whether I am above or below the void. The curvature extending upward and downward feels particularly intimidating, especially when positioned above the void. This sequence moves upward into the cube. This category is placed directly in front of the previous category to continue the movement around the cube so that it visually flows together. Over the span of seven photographs in category twenty-nine, the pictures show a human figure navigating through many columns and passing between two walls. As the human figure moves, it must swerve the obstructions to make its way forward. I feel that as I move through the space, there are many objects to take note of. This makes me feel alarmed, as I need to stay aware of my surroundings whenever I move through the space. I make myself aware of the various structures around me, almost as if I were in a museum. because I need to make sure I am aware of my surroundings as I make my way through the space. In this category, it is placed toward the middle of the cube because I figured that is the place where the structure could be most effective. The three photographs in category fifty-nine demonstrate how using twisted and free surfaces impact the space in comparison to the human figure. As the curve shifts in many ways, the human figure’s space and perspective change depending on the curvature. feel that these twisted and freeform curvatures create interesting environments but can also be intimidating. When the curvature is on the ground or comes close, I feel restricted in my movement, indicating a change in my path to navigate around it. Finally, I chose for this category to be underneath the raised portion of the last category, so that we end the sequence directly in next to the beginning. The four photographs in category fifty-eight illustrate how the use of a sphere and centripetal force affects the space in relation to the human figure. When circular shapes and spheres are introduced, the human’s obstruction and view changes. I feel that when the full sphere is in the space, my view is blocked, requiring me to navigate around it, which causes some anxiety as I need to alter my path. When a half of the circle is utilized, I have a better view above it, but I still feel the need to move around it to avoid the obstruction. This category moves all the way down to the first floor to meet where we begin. It is a two-level category, so it is raised to meet the second floor. The six photographs in category forty-six show how the space changes when a wall or column is placed underneath a void. As the size of the column, wall, or void changes, the human figure’s space shifts as well. I feel that when the large square void is supported by four columns, it creates a sense of openness and confidence moving through the space. However, replacing the columns with a wall reduces the amount of light, creating sharper shadows and making the space feel smaller. As the size of the void decreases, my sense of space also decreases, leading to a feeling of discomfort. This category now moves to the left of the previous category continuing movement around the cube on another level. Over the span of the four photographs in category forty-four, it illustrates how the space changed with an 8-foot versus a 16-foot curved wall and with different lighting conditions. As the wall and lighting change, the space around the human figure alters. I feel that the 8- foot wall created a more open environment compared to the 16-foot wall. The lower height of the 8-foot wall allows for views above it and lets lighter in. When the light is projected from outside the wall, it darkens the space, creating an almost eerie atmosphere. Continuing the upward movement in the cube, this category is place directly behind the previous category. The five photographs in category five show the wall’s gradual movement from left to right, splitting the human figure. Once the wall passes in front of the human figure, it obstructs the room view, giving the figures two distinct perspectives of the space. I would enjoy this space by having a view of the large space, but the wall aligns directly in front of me, creating a sense of discomfort because it lines up with my body. I chose for this category to begin at the very left front of the cube which is the same as the initial draft. I decided to place this on the right side of the cube because it made the 101 1369 most sense for a beginning placement

Work #2. Space Cube_Last Space Cube Model

Phase #1: Category #

Phase #2: Category #

Phase #3: Category #

Phase #4: Category #

Phase #5: Category #

Phase #6: Category #

Phase #7: Category #

Phase #8: Category #

Phase #9: Category #

Phase #10: Category #

Phase #11: Category #

Phase #12: Category #

102 1370

Over the past few days, we have been able to take our “Wall Column Space” project and transform it day by day into our final space cube. As I began my “Space Cube” project, I created a very rough draft of my model. Two days later, I have completely transformed my model into a completely different look. Although it looks different, my goals for this project were still the same. I wanted to create a space with varying levels, visual depths, and interesting details. As I moved into the final day, I was unhappy with my previous model, so I wanted to make it flow more. I was proud of my improvement in these past few days and achieved my goal of having a visually appealing and interesting environment. Category twenty-eights overall concept was the gradual movement of the human figure alters its view of space. There were many columns that obstructed the figures path that made it difficult to navigate through. I feel intimidated moving through space, because of this. This category begins my sequence through the space cube model. I chose to be placed on the very left. This category reminds me of the principle, repetition, as the columns repeat themselves through the space. This is a great starting point for the space cube because it is mildly fearful and begins the design greatly. Category twelve displays the decrease in height of a floating horizontal surface that finishes through the floor. As the surface lowers, the obstruction becomes closer to the human figure, becoming more fearful. I felt that the movement of the floating wall made me feel anxious, as space is constantly changing environment creating a sense of uncertainty. I believe that this structure is emphasized as it is placed. It is in a cube shape up a ladder where your eye is directly drawn to. Category fifty-three shows the change of space as the human figure moves into different areas of the space cube. As the curve arch is placed over the human figure, the figures perspective of the room shifts. This makes the space feel small, dark, and intimidating. I placed this directly to the right of the cube connected by a bridge the figure must walk over to reach. The shape incorporated in this category really makes the space for this area. Category thirty-four shows the human figures perspective as the curved wall surrounding it increases in height and width. As the wall grows, the human figure’s view of the room changes. The curves bring mixed feelings, making me feel unsure of the space, sometimes making me feel tight and claustrophobic. In this category, I used stairs to lead the figure down to space directly in front of the large arch. The scale of this arch is large making the space continue feeling intimidating as the figure moves through the sequence. Category sixteen shows gradual incline of the inclined surface until the surface reaches 90 degrees. The wall feels scary when the wall is placed directly in front of my head. This causes a concern, I placed this directly to the right of the previous category, creating a dead end so that the figure is required to move up the ladder next to it. This space creates another perspective on emphasis as the human figure reaches the dead end and they aren’t sure where to go. Category forty-four illustrates how the space changes with an 8-foot wall versus a 16-foot curved wall. As the wall size and lighting changes, the space around the figure changes. The space already feels tight and enclosed, but when lighting is projected from outside the wall, it darkens the space, creating an eerie atmosphere. I place this space at the very top of the ladder on the second floor. I did this because I wanted there to be emphasis on this space on the top floor where its curves and tall walls are different from the other categories. Category twenty-nine illustrates the human figure navigating through many columns that are placed between two walls. As the human figure proceeds forward, it must swerve the obstructions to make its way through. This makes me feel alarmed, as I need to stay aware of my surroundings whenever I move through space. This space is placed directly to the left of the previous category to continue the movement through the sequence. This gives another representation of repetition as the columns are repeated multiple times throughout the category. Category fifty-nine demonstrates how using twisted and free surfaces may impact space in comparison to the human figure. As the curve shifts in many ways, the human figure’s space and perspective changes depending on the curvature. I feel that these interesting environments can be intimidating at times because of the weird ways these curves are placed. This category is placed directly after the previous category, being in sight of the figures vision as it moves through the space. The shape of this space is very interesting and creates the entire category. Category fifty-eight illustrates the use of the sphere and centripetal force and how it affects space in relation to the human figure. When the circular void is introduced, the human figures obstruction and view changes. I feel that this creates some anxiety in space. This category is placed directly after the previous one creating a sense of unity in our space. Category forty-six illustrates the use of a square shaped void and two columns placed to the left of the human figure. As the human figure moves through space, its perspective changes. I feel that as I move through this area, the dark lighting creates an eerie feeling. The columns create more repetition as it is repeated multiple times throughout the sequence. This category moves to the left of the next one, creating the last stretch of categories in the sequence. Category fifty-four showcases different views of a space with a curved vertical surface and a void. As the vertical curve is placed through the void, the human figure’s obstruction changes. This creates a sense of discomfort, whether I am above or below the void. The curvature extending upward and downward feels intimidating, especially when positioned directly in front of it. This category is placed directly after the previous one right in the corner of the left side of the space. This category helps create more unity as it flows right into the last category. Category five shows the gradual movement of the wall as it moves from left to right, splitting the human figure. Once the wall stops directly in front of the human figure, it obstructs the room view, giving the space two distinct perspectives. I would enjoy space better if I had a view of the large space, but the wall aligns directly in front of me, creating a sense of discomfort. This is to the left of the last category because I feel that it is a good ending point to the sequence. This creates a sense of balance of the entire sequence.

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Work #2. Space Cube_Series of Space Cube Models

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105 1373

Work #3. Floor Plans

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Work #3. Floor Plans

108 1376

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Work #3. Elevations

110 1378

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Work #3. Elevations

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113 1381

Work #3. Sections

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Work #3. Axonometric

116 1384

117 1385

Work #4. Casting Model

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Work #4. Casting Model

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Work #4. Casting Model

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J o rd a n S y lv ester P o r t fo lio 1392

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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Work #1. Sequence of Wall, Column, and Space_Sequence Model Views

Phase #1: Category #27

Phase #2: Category #37

Phase #3: Category #14

Phase #4: Category #13

Phase #5: Category #16

Phase #6: Category #46

Phase #7: Category #12

Phase #8: Category #49

Phase #9: Category #59

Phase #10: Category #45

Phase #11: Category #17

Phase #12: Category #44

94 1394

For this project chose the emotion fear. hen oin thro h the cate ories to nd the scenes e o in my emotion foc sed on the feelin of an iety that is often felt with fear to choose the scenes that wo ld create my model. he rst cate ory ill strates the sli ht loc in of the re thro h the col mn and the walls. al in thro h the area yo r iew is sli htly loc ed y one of the col mns mo in forward ma in yo mo e etween the col mn and the wall to mo e forward. his cate ory e o es fear as yo r path feels forced to o one direction and the area feels offset. he second cate ory ill strates a set path thro h a c r ed wall which loc s the re s iew of what is down the path. he c r ed walls loc my iew oin forward while idin me down a set path forward. his scene e o es fear thro h the n nown path that lies ahead. he third cate ory ill strates a wall set at an an le oin away from the re. s wal p to the wall the path feels nsteady and offset as the wall seems to fall away from my path. his scene shows the emotion fear thro h the an led wall as when yo are e periencin fear e erythin aro nd yo may seem offset and nsteady. he fo rth cate ory ill strates a oatin wall set a o e the res head at an an le. ith the oatin wall set a o e me at an an le feel forced to an le my head to mo e forward in order to not hit the wall. his ill strates fear thro h the feelin of ein pressed toward yo rself. s yo feel fear yo may feel the need to ma e yo rself smaller in order to feel safe. he fth cate ory shows a wall an led ery close to the h man re. he wall almost seems to cr sh the path ahead not allowin me to mo e forward. his scene shows fear thro h the cr shin feelin the wall leanin towards yo rin s. he si th cate ory ill strates a hallway with two col mns and a s are hole in the ceilin castin li ht on the oor. he path is dar with the only li ht comin in the area comin from a small s are in the ceilin . he path shows fear thro h dar ness with only a small amo nt of li ht comin thro h. he re is forced to lea e the li ht and mo e thro h the dar ness to et to the e it. he se enth cate ory ill strates a s are hole in the oor with a oatin s are ho erin o er the hole. he oatin s are o er the hole i es the idea of a way to et o t of the emotion of fear. hile there seems to e an e it the openin is still small ma in yo feel s ished in order to et thro h. he ei hth cate ory shows two oatin platforms with a ramp connectin the two. he oatin platforms and the ramp ma e yo feel fear d e to there ein no s pport and railin s to eep yo from fallin down. hat feelin only enhances the feelin of ein nsta le that is present thro ho t the scenes. he ninth cate ory shows a wall co ered in archin walls mer in into each other. he scene shows fear thro h the nsta le wall seemin to come towards yo . he scene shows fear thro h the feelin of somethin reachin o t to yo from the wall. he tenth cate ory shows an open area li hted y a lar e hole in the ceil in . he open space and lar e hole in the ceilin i e a feelin of ein alone. hile the area is open it i es a feelin of ein alone with only the so nds of yo wal in forward to accompany yo . he ele enth cate ory shows an an led wall facin away from the h man re. he an led wall forces yo to clim p it to escape fear t yo also may not e a le to ma e it p the wall to escape i in a sense of hopelessness. he twelfth cate ory shows two c r ed walls leadin yo down a corridor. ne wall c r es in a wa in form i in a windin feelin to yo r path. he path feels lon and ncertain t if yo follow it to the end it will lead yo o t of fear and ac to the e innin .

95 1395

Work #2. Space Cube_First Space Cube Model

Phase #1: Category #27

Phase #2: Category #37

Phase #3: Category #14

Phase #4: Category #13

Phase #5: Category #16

Phase #6: Category #46

Phase #7: Category #12

Phase #8: Category #49

Phase #9: Category #59

Phase #10: Category #45

Phase #11: Category #17

Phase #12: Category #44

96 1396

For this project I chose the emotion fear. When going through the categories to find the scenes evoking my emotion, I focused on the feeling of anxiety that is often felt with fear to choose the scenes that would create my model. Going into the model, there us a slight blocking of the figure through the column and the walls. Walking through the area, your view is slightly blocked by one of the columns moving forward making you move between the column and the wall to move forward. This category evokes fear as your path feels cramped and forced. After the figure enters the model a set path is made through a curved wall which blocks the figure’s view of what is down the path. The curved walls block my view going forward while guiding me down a set path forward. This scene evokes fear through the unknown path that lies ahead. After exiting the path with the curved wall, a wall set at an angle going away from the figure is present. As I walk up to the wall the path feels unsteady and offset as the wall seems to fall away from my path. This scene shows the emotion fear through the angled wall as when you are experiencing fear, everything around you may seem offset and unsteady. Passing the angled wall, a floating wall set above the figures head at an angle. With the floating wall set above me at an angle, I feel forced to angle my head to move forward in order to not hit the wall. This illustrates fear through the feeling of being pressed toward yourself. As you feel fear you may feel the need to make yourself smaller in order to feel safe. After the floating wall, a wall angled very close to the human figure blocks their path forward. The wall almost seems to crush the path ahead, not allowing me to move forward. This scene shows fear through the crushing feeling the wall leaning towards you brings. Forced to turn from the crushing wall, a hallway with two columns and a square hole in the ceiling casting light on the floor is next with a hole to take the figure to the next floor of the model. The path is dark with the only light coming in the area coming from a small square in the ceiling. The path shows fear through darkness with only a small amount of light coming through. The figure is forced to leave the light and move through the darkness to get to the exit. After going to the next floor, a square hole in the floor on a platform is there with a floating square hovering over the hole. The floating square over the hole gives the idea of a way to get out of the emotion of fear. While there seems to be an exit, the opening is still small making you feel squished in order to get through. Falling from the square hole, the figure lands on two floating platforms with a ramp connecting the two on the final floor. The floating platforms and the ramp make you feel fear due to there being no support and railings to keep you from falling down. That feeling only enhances the feeling of being unstable that is present throughout the scenes. After climbing down from the floating platforms, a wall covered in arching walls merging into each other is ahead of the figure. The scene shows fear through the unstable wall seeming to come towards you. The scene shows fear through the feeling of something reaching out to you from the wall. Next to the arching wall is an open area lighted by a large hole in the ceiling. The open space and large hole in the ceiling give a feeling of being alone. While the area is open, it gives a feeling of being alone with only the sounds of you walking forward to accompany you. Going forward an angled wall facing away from the human figure makes a ramp up to the next part of the model. The angled wall forces you to climb up it to escape fear, but you also may not be able to make it up the wall to escape giving a sense of hopelessness. Finally, after climbing up the angled wall, two curved walls are present leading you down a corridor to the exit. One wall curves in a waving form giving a winding feeling to your path. The path feels long and uncertain, but if you follow it to the end, it will lead you out of fear and back to the beginning.

97 1397

Work #2. Space Cube_Second Space Cube Model

Phase #1: Category #24

Phase #2: Category #37

Phase #3: Category #14

Phase #4: Category #13

Phase #5: Category #16

Phase #6: Category #46

Phase #7: Category #12

Phase #8: Category #49

Phase #9: Category #59

Phase #10: Category #45

Phase #11: Category #17

Phase #12: Category #44

98 1398

For this project I chose the emotion fear. When going through the categories to find the scenes evoking my emotion, I focused on the feeling of anxiety that is often felt with fear to choose the scenes that would create my model. Going into the model, there is a slight blocking of the figure through the column and the walls. Walking through the area, your view is slightly blocked by one of the columns moving forward making you move between the column and the wall to move forward. This category evokes fear as your path feels cramped and forced. After the figure enters the model a set path is made through a curved wall which blocks the figure’s view of what is down the path. The curved walls block my view going forward while guiding me down a set path forward. This scene evokes fear through the unknown path that lies ahead. After exiting the path with the curved wall, a wall set at an angle going away from the figure is present. As I walk up to the wall the path feels unsteady and offset as the wall seems to fall away from my path. This scene shows the emotion fear through the angled wall as when you are experiencing fear, everything around you may seem offset and unsteady. Passing the angled wall, a floating wall set above the figures head at an angle. With the floating wall set above me at an angle, I feel forced to angle my head to move forward in order to not hit the wall. This illustrates fear through the feeling of being pressed toward yourself. As you feel fear you may feel the need to make yourself smaller in order to feel safe. After the floating wall, a wall angled very close to the human figure blocks their path forward. The wall almost seems to crush the path ahead, not allowing me to move forward. This scene shows fear through the crushing feeling the wall leaning towards you brings. Forced to turn from the crushing wall, a hallway with two columns and a square hole in the ceiling casting light on the floor. The path is dark with the only light coming in the area coming from a small square in the ceiling. The path shows fear through darkness with only a small amount of light coming through. The figure is forced to leave the light and move through the darkness to get to the exit. A square hole in the floor with a floating square hovering over the hole is next to the columns leading to the next floor. The floating square over the hole gives the idea of a way to get out of the emotion of fear. While there seems to be an exit, the opening is still small making you feel squished in order to get through. Falling from the square hole, the figure lands on two floating platforms with a ramp connecting the two on the final floor. The floating platforms and the ramp make you feel fear due to there being no support and railings to keep you from falling down. That feeling only enhances the feeling of being unstable that is present throughout the scenes. After climbing down from the floating platforms, a wall covered in arching walls merging into each other is ahead of the figure. The scene shows fear through the unstable wall seeming to come towards you. The scene shows fear through the feeling of something reaching out to you from the wall. Next to the arching wall is an open area lighted by a large hole in the ceiling. The open space and large hole in the ceiling give a feeling of being alone. While the area is open, it gives a feeling of being alone with only the sounds of you walking forward to accompany you. Going forward an angled wall facing away from the human figure makes a ramp up to the next part of the model. The angled wall forces you to climb up it to escape fear, but you also may not be able to make it up the wall to escape giving a sense of hopelessness. Finally, after climbing up the angled wall, two curved walls are present leading you down a corridor to the exit. One wall curves in a waving form giving a winding feeling to your path. The path feels long and uncertain, but if you follow it to the end, it will lead you out of fear and back to the beginning.

99 1399

Work #2. Space Cube_Last Space Cube Model

Phase #1: Category #27

Phase #2: Category #37

Phase #3: Category #14

Phase #4: Category #13

Phase #5: Category #16

Phase #6: Category #46

Phase #7: Category #12

Phase #8: Category #49

Phase #9: Category #59

Phase #10: Category #45

Phase #11: Category #17

Phase #12: Category #44

100 1400

For this project I chose the emotion fear and focused on the feeling of anxiety that it causes. When building my model, made my path winding as fear and anxiety has no set path that it takes you. The path from the entrance and the exit is long and takes you throughout the floors of the model as the path out of fear is long and tiring. Going into the model, there is a slight blocking of the figure through the column and the walls. Walking through the area, your view is slightly blocked by one of the columns moving forward making you move between the column and the wall to move forward. This category evokes fear as your path feels cramped and forced. After the figure enters the model a set path is made through a curved wall which blocks the figure’s view of what is down the path. The curved walls block my view going forward while guiding me down a set path forward. This scene evokes fear through the unknown path that lies ahead. After exiting the path with the curved wall, a wall set at an angle going away from the figure is present. As I walk up to the wall the path feels unsteady and offset as the wall seems to fall away from my path. This scene shows the emotion fear through the angled wall as when you are experiencing fear, everything around you may seem offset and unsteady. Passing the angled wall, a floating wall set above the figures head at an angle. With the floating wall set above me at an angle, I feel forced to angle my head to move forward in order to not hit the wall. This illustrates fear through the feeling of being pressed toward yourself. As you feel fear you may feel the need to make yourself smaller in order to feel safe. After the floating wall, a wall angled very close to the human figure blocks their path forward. The wall almost seems to crush the path ahead, not allowing me to move forward. This scene shows fear through the crushing feeling the wall leaning towards you brings. Forced to turn from the crushing wall, a hallway with two columns and a square hole in the ceiling casting light on the floor. The path is dark with the only light coming in the area coming from a small square in the ceiling. The path shows fear through darkness with only a small amount of light coming through. The figure is forced to leave the light and move through the darkness to get to the exit. A square hole in the floor with a floating square hovering over the hole is next to the columns leading to the next floor. The floating square over the hole gives the idea of a way to get out of the emotion of fear. While there seems to be an exit, the opening is still small making you feel squished in order to get through. Falling from the square hole, the figure lands on two floating platforms with a ramp connecting the two on the final floor. The floating platforms and the ramp make you feel fear due to there being no support and railings to keep you from falling down. That feeling only enhances the feeling of being unstable that is present throughout the scenes. After climbing down from the floating platforms, a wall covered in arching walls merging into each other is ahead of the figure. The scene shows fear through the unstable wall seeming to come towards you. The scene shows fear through the feeling of something reaching out to you from the wall. Next to the arching wall is an open area lighted by a large hole in the ceiling. The open space and large hole in the ceiling give a feeling of being alone. While the area is open, it gives a feeling of being alone with only the sounds of you walking forward to accompany you. Going forward an angled wall facing away from the human figure makes a ramp up to the next part of the model. The angled wall forces you to climb up it to escape fear, but you also may not be able to make it up the wall to escape giving a sense of hopelessness. Finally, after climbing up the angled wall, two curved walls are present leading you down a corridor to the exit. One wall curves in a waving form giving a winding feeling to your path. The path feels long and uncertain, but if you follow it to the end, it will lead you out of fear and back to the beginning.

101 1401

Work #2. Space Cube_Series of Space Cube Models

102 1402

103 1403

Work #3. Floor Plans

104 1404

105 1405

Work #3. Floor Plans

106 1406

Work #3. Elevations

107 1407

Work #3. Elevations

108 1408

109 1409

110 1410

Work #3. Sections

111 1411

112 1412

Work #3. Axonometric

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Work #4. Casting Model

114 1414

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Work #4. Casting Model

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Work #1. Sequence of Wall, Column, and Space For this project my selected emotion was fear.

Phase #1: Category #27

Phase #2: Category #37

Phase #3: Category #14

Phase #4: Category #13

Phase #5: Category #16

Phase #6: Category #46

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Phase #9: Category #59

Phase #10: Category #45

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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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Work #1. Sequence of Wall, Column, and Space My emotion was FEAR

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Work #1. Sequence of Wall, Column, and Space_Sequence Model Views

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The space cube represents my model from before but is going upward. The space cube is not actually a cube but in a cube like form. The human figure experiences the trauma of going in tight spaces, just to realize, there is nowhere to go when it reaches the top. This is very scary for anyone and knowing that the only way down is death, is quite terrifying. The space cube combines some of the categories in one to make the cube flow better and confuse the human figure as it goes through the pathway. 1,26,27- 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. The human figure makes its own shadow when it starts to walk towards the light. The walls are the same and the human figure is confused because it all looks the same. The columns are placed in positions near the wall to direct the direction the figure should be going. The columns fill the space of the human figure and make shadows of its own. The shadows of the columns are making the human figure terrified as it goes through the pathway. 25(2x)- The columns are adding more of a contract from itself and the wall. The lighting is making a difference with these pictures. The last column gives the cube a sense of wonder as the human figure walks around the corner to the next hallway. 36- the space of 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. The curved walls in the hallway of the cube are different from any other wall, so the human figure does not know what it is walking into during this time. 44-these walls make the space open and in the air. The human figures are walking in between the curves. This can give you a sense of weirdness because of the different types of walls. 46- 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. This is the only time where the human figure will fill this way as it goes to its last point in the cube. 47- The space has levels that are open from the ceiling for natural lighting that is coming down from it. The human figure is standing in the dark spot and those spots are not hit by the lighting. This is very huge for the human figure and the figure only have a couple of more good times like this but the figure do not know this at this moment. 48- 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. And this is the last of the lighting that is open for the human figure. The human figure and see down but is limited to where it can go even though the space is very open. 45- 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. 56 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. This is the last of the maze and the human figure can’t go anywhere because of its death and this is very scary of the feeling of death. This is the end of the life of the human figure.

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Work #2. Space Cube_First Space Cube Model

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Work #2. Space Cube_Second Space Cube Model

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Work #2. Space Cube_Series of Space Cube Models

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Work #4. Casting Model

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Work #4. Casting Model

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Work #4. Casting Model

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Ã ¦ Ä ó ®ã Ý Por t fol i o 1454

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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Work #1. Sequence of Wall, Column, and Space Selected EmoƟon

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Work #2. Space Cube_First Space Cube Model

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1458

For my Space Cube project, I chose the emoƟon of fear. I chose this emoƟon because I noted that, when analyzing, many of my images throughout the week made me fearful and I knew I could best replicate this emoƟon. I used wall and light to accurately portray this emoƟon. By using dark shadows created by walls, this allows viewers to feel fearful. By condensing my twelve scenes into a small 9”x9” cube, I needed to make some changes to best use my available scene. In category 25, the image I chose shows light peering from behind the wall. human gure’s silhoueƩe is shown. The image that shows the light from behind the wall is ominous to me and feels as if I am in a horror movie. The gure turns around to face category 21. The image I chose shows four columns widely set. A human gure stands in the middle of the four columns. The image makes me feel scared and claustrophobic due to the columns being placed close together. Then the human gure moves through category 21 to enter category 27. The image I chose uses wall and columns to modify light in a seƫng. The human gure walks between the walls and column. Since the light is shown from the front of the human gure, I get an uneasy and dark feeling. Flipping the cube, the human gure now stands at category 38. Although in the previous assignment I modied this to look more like category 37, I changed it back to look like category 38 again. The image I chose shows two curved walls moving in the same direcƟon. The human gure walks between the two walls. This image has a spooky feeling to it because it is unknown what is on the other side of the curve, and like anybody, I am fearful to nd out. Flipping the cube again to be in category 31. The image I chose shows two walls forming a sharp corner. The human gure stands between the walls and peers into the corner. This image makes me feel trapped and scared as if I can’t escape. Flipping view, you end up in category 16. The photo I chose demonstrates a wall at an angle. The human gure is posiƟoned under the wall. I feel fearful and like the wall is about to collapse on me. Flipping view again you’ll be in category 15. The image I chose shows a oaƟng wall, angled down. The human gure stands closely below the wall. I feel fear when looking at these images due to the angle of the wall, it appears as if the human gure is in danger. Flipping the cube, you end up at the boƩom of a tower in category 17. The image chosen displays a tall at wall. The human gure stands below the wall, peering up. This image gives me megalophobia (fear of large objects), for the wall extends past the frame of the picture and seems like it could Ɵp over at any moment. Moving back category 58 can be seen. The image I chose shows a sphere placed in the center of a circular void on the upside. The human gure stands under the void looking up at the sphere. These images have an unseƩling tone to them due to the terrestrial shape in a once simplisƟc room. Moving up to the next level in an elevator moƟon to be in category 45. The image I chose shows a single source of light, coming from a square void above. The human gure stands in the light. These images are very ominous and frighten me due to the simplicity and eeriness of the scene. Moving levels up one more Ɵme to be in category 47. The image I chose shows a side view of a verƟcal wall intersecƟng a void on the downside. The human gure stands next to the wall peering down into the void. These images have an eerie tone to them, I feel as though someone could be pushed down one of these voids, not knowing the end to an innite boƩom. Finally, you will be in category 56, peering down to the iniƟal surface. The image I chose shows a tunnel. The human gure walks through the tunnel. Due to the lighƟng and tone of this scene, I feel uneasy and fearful for what is at the end of the tunnel.

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Work #2. Space Cube_Second Space Cube Model

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1460

For my Space Cube project, I chose the emo�on of fear. I chose this emo�on because I noted that, when analyzing, many of my images throughout the week made me fearful and I knew I could best replicate this emo�on. I used wall and light to accurately portray this emo�on. By using dark shadows created by walls, this allows viewers to feel fearful. By condensing my twelve scenes into a small 9”x9” cube, I needed to make some changes to best use my available scene. I started this dra� with category 58. The image shows a circular void with a sphere placed in it. The human gure stands below the shape. I made this the rst category due to the ominous feeling of the scene, and the tone it sets for the rest of the display. Next is category 28. The image I chose shows two curved walls moving in the same direc�on. The human gure walks between the two walls. This image has a spooky feeling to it because it is unknown what is on the other side of the curve, and like anybody, I am fearful to nd out. I chose this scene to be next because of the transi�on it provides. Going from spherical/circular shapes to two at walls can be underwhelming, however the curvature of the two walls leads a spooky transi�on to the next scene. The next three categories give the feeling of being in a haunted house mansion. I start with category 25. The image I chose shows light peering from behind the wall. human gure’s silhoue�e is shown. The image that shows the light from behind the wall is ominous to me and feels as if I am in a horror movie. Next is category 21. Although I altered the shape and number of columns to best t the space, it s�ll has the same eﬀect. The image I chose shows four columns widely set. A human gure stands in the middle of the four columns. The image makes me feel scared and claustrophobic due to the columns being placed close together. Finally, category 21 nished up the maze. The image I chose uses wall and columns to modify light in a se�ng. The human gure walks between the walls and columns. Since the light is shown from the front of the human gure, I get an uneasy and dark feeling. Star�ng the second level is category 56. The image displays a long tunnel. The human gure stands before it. The tunnel (although I can see the end) makes me wonder what is on the other side, while at the same �me giving me a claustrophobic feeling. The tunnel leads right into category 31. The scene is of a sharp corner with nowhere to turn. The human gure stands at the corner, peering directly into the center. The walls block the peripheral vision of the viewers giving an eerie feeling. This scene makes me feel trapped and scared, and even gives me a sense of loneliness. Category 16 follows, an angles wall is seen. The human gure stands below the wall. This image makes me feel as though the wall will fall down and crush me. I feel weary to stand below it. The path moves on to category 15. The image I chose shows a oa�ng wall, angled down. The human gure stands closely below the wall. I feel fear when looking at these images due to the angle of the wall, it appears as if the human gure is in danger. The viewer then turns to category 45. A square void is placed above the scene, and a human gure stands below peering up. This scene is very frightening to me due to the simplicity and eeriness of the environment. The viewer then turns around to see category 17. A tall wall (also a ladder) moves up into the void. A human gure stands below, gazing at the wall. This display almost gives me Megalophobia due to the innite height of the wall. Finally, we arrive at category 47. The image I chose shows a side view of a ver�cal wall intersec�ng a void on the downside. The human gure stands next to the wall peering down into the void. These images have an eerie tone to them, I feel as though someone could be pushed down one of these voids, not knowing the end to an innite bo�om. I chose this as the last category because it symbolizes being in heaven. Life is full of frightening challenges that we must endure un�l the end.

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Work #2. Space Cube_Last Space Cube Model

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1462

For my Space Cube project, I chose the emo�on of fear. I chose this emo�on because I noted that, when analyzing, many of my images throughout the week made me fearful and I knew I could best replicate this emo�on. I used wall and light to accurately portray this emo�on. By using dark shadows created by walls, this allows viewers to feel fearful. By condensing my twelve scenes into a small 9”x9” cube, I needed to make some changes to best use my available scene. I started my nal project with category 58. The image shows a circular void with a sphere placed in it. The human gure stands below the shape. I made this the rst category due to the ominous feeling of the scene, and the tone it sets for the rest of the display. Next is category 28. The image I chose shows two curved walls moving in the same direc�on. The human gure walks between the two walls. This image has a spooky feeling to it because it is unknown what is on the other side of the curve, and like anybody, I am fearful to nd out. I chose this scene to be next because of the transi�on it provides. Going from spherical/circular shapes to two at walls can be underwhelming, however the curvature of the two walls leads a spooky transi�on to the next scene. The next three categories give the feeling of being in a haunted house mansion. I start with category 25. The image I chose shows light peering from behind the wall. human gure’s silhoue�e is shown. The image that shows the light from behind the wall is ominous to me and feels as if I am in a horror movie. Next is category 21. Although I altered the shape and number of columns to best t the space, it s�ll has the same eﬀect. I decided to make this scene more open by li�ing the ceiling above it. I did this in order to allow viewers to see this part of the display be�er. The image I chose shows four columns widely set. A human gure stands in the middle of the four columns. The image makes me feel scared and claustrophobic due to the columns being placed close together. Finally, category 21 nished up the maze. The image I chose uses wall and columns to modify light in a se�ng. This scene also has a higher ceiling, this is in order to allow more visual. The human gure walks between the walls and columns. Since the light is shown from the front of the human gure, I get an uneasy and dark feeling. Star�ng with the second level is category 56. The image displays a long tunnel. The human gure stands before it. The tunnel (although I can see the end) makes me wonder what is on the other side, while at the same �me giving me a claustrophobic feeling. The tunnel leads right into category 31. The scene is of a sharp corner with nowhere to turn. The human gure stands at the corner, peering directly into the center. The walls block the peripheral vision of the viewers giving an eerie feeling. This scene makes me feel trapped and scared, and even gives me a sense of loneliness. Category 16 follows as you move down the stairs, an angles wall is seen. The human gure stands below the wall. This image makes me feel as though the wall will fall down and crush me. I feel weary to stand below it. The path moves down one more set of stairs on to category 15. The image I chose shows a oa�ng wall, angled down. The human gure stands closely below the wall. I feel fear when looking at these images due to the angle of the wall, it appears as if the human gure is in danger. The viewer then turns to category 45. A square void is placed above the scene, and a human gure stands below peering up. This scene is very frightening to me due to the simplicity and eeriness of the environment. The viewer then turns around to see category 17. A tall wall (also a ladder) moves up into the void. A human gure stands below, gazing at the wall. This display almost gives me Megalophobia due to the innite height of the wall. Finally, we arrive at category 47. The image I chose shows a side view of a ver�cal wall intersec�ng a void on the downside. The human gure stands next to the wall peering down into the void. These images have an eerie tone to them, I feel as though someone could be pushed down one of these voids, not knowing the end to an innite bo�om. I chose this as the last category because it symbolizes being in heaven. Life is full of frightening challenges that we must endure un�l the end. This nal product was very similar to the last dra�. However, I did add more levels in order to break up the categories and add more dimension .I am proud of the way this SpaceCube turned out.

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Work #2. Space Cube_Series of Space Cube Models

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Lauren Wheeler 1482

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.

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Work #1. Sequence of Wall, Column, and Space To show the sequence of wall, column, and space, I chose to use the emotion of sadness. The reason I chose this was because the figure always looked lonely. In the photos I have selected, the figure is the only one there. My idea was to show the sequences that look like obstacles.

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Work #1. Sequence of Wall, Column, and Space_Sequence Model Views

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To show the sequence of wall, column, and space, I chose to use the emotion of sadness. The reason I chose this was because the figure always looked lonely. In the photos I have selected, the figure is the only one there. My idea was to show the sequences that look like obstacles. This brings out the emotion of having to overcome a bunch and not having others to support you. The first photo shows 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. It is only me and the column which feels lonely. The column brings out the feeling of being alone. The second photo shows the wall blocking the figure’s view. The wall is an obstruction and could be hard to get around. As I looked at the wall, I realized that I was blocked.. I was forced to go to the right to get around it. This took a toll on me and was not convenient or easy. In the third photo, the wall is slanted toward the figure. The fire stands and looks at the blocking wall. It makes me more frustrated to see that the wall is in my way again. I am only trying to continue forward and cannot get over it, so I must go around. This makes me feel even more upset. In the fourth photo, the columns are parallel. The figure is standing, looking through the columns. I looked through them and saw more obstacles on the other side of the columns. The walls then became narrower, getting closer to me. I started to feel more claustrophobic and wanted someone there with me, but no one was there. In the fifth photo, 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 in why they chose to make these twisted and free surfaces. It makes me sad that I am forced to keep moving and can’t stay here. In the sixth photo, the degree increases in the opposite direction from the figure. The figure has a view of the connected edge as the walls get wider. At the start, I felt a sense of openness and the freedom to go either left or right. The pointed wall gave me a 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. In the seventh photo, the columns, walls, and lighting closes the space off. The figure stays in the same place, looking ahead. The space feels more closed off with the columns on the left and the walls on the other sides. I know I need to keep going because of the light shining through. The columns to the right seem to block off some of the walkway towards the light. The room that I am in feels dark, and I want to escape. In the eighth photo, 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 to walk forward but it was hard to do so. In the ninth photo, the wall is facing the figure, and a square void shines light through. 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. I feel sad being in the darkness. I just want to be in the light again. In the tenth photo, a curved vertical surface with a void is shown. The figure stands below the void. The light changes coming from below and above. As I stand near the void and, the curved vertical surface leads my eyes above me. I feel as if I can’t get to the light. It is over my head, and the wall is too hard to climb up. In the eleventh photo, a circular void is in the ceiling, and light is shining through it. 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. This made me want to leave and go where the light is. In the twelfth photo, the wall is curved. The figure stands on the interior of the curve. I feel like I finally made it to the end, but whatever is ahead feels closed off. This still makes me sad and lonely. Even after all of the obstacles, I still feel alone and stuck.

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Work #2. Space Cube_First Space Cube Model

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To illustrate the sequence of wall, column, and space, I chose to use the emotion of sadness. The reason I chose this was because the figure always looked lonely. In the photos I have selected, the figure is always alone. My idea was to have the walls and columns guide the figures’ path. This space is tight and enclosed to represent the feeling of sadness. The first photo shows the column to the right of the figure. The figure is slightly left to the column facing straight ahead. As I am standing next to the column, it seems to stay still. This makes an opening to the space. The use of only one column evokes the feeling of entering an empty space. The second photo shows a wall forcing the figure to walk to the right and then straight. The wall is an obstruction that is difficult to navigate. As I looked at the wall, I realized that I was blocked. I was forced to go to the right to get around it. This is inconvenient and frustrating. In the third photo, the wall is slants toward the figure. The figure walks toward the wall. The need to duck my head to get around it frustrates me. I must move more to the right to continue forward. This makes me feel even more upset. The fourth photo features parallel columns. The figure is standing, looking through the columns. I peer through the tall columns, I see more obstacles. The space felt too open, and I wish I was not alone. The only way through was to continue walking straight. In the fifth photo, there are multiple twisted surfaces without a pattern. The figure stands beneath, looking at it. The twisted surfaces intrigue me. It looks abstract and makes me want to keep looking at it. It also makes me feel interested in why they chose to make these twisted and free surfaces. I feel sad that I must keep moving and cannot stay longer. The sixth photo shows a pointed wall in the opposite direction from the figure. The figure views the connected edge of the two walls. The pointed wall gave me a feeling of coldness. The walls created more of a closed-off area. The point of the two lines guided me straight ahead. In the seventh photo, the columns, walls, and lighting closes off the space. The figure walks forward, looking ahead. The space feels more closed off with the columns on the right and the perpendicular walls. I know I need to keep going because of the light shining through an opening in between the walls. The columns to the right seem to block off some of the walkway towards the light. The room that I am in feels dark, and I want to escape up the stairs. The eighth photo shows two curved walls with 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 only way to go was the ladder that was in front of me. In the ninth photo, the wall faces the figure, and a square void shines light through. 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. I feel sad being in the darkness. I want to be in the light again. The tenth photo shows a curved vertical surface with a void. The figure stands below the void. The light changes coming from above. As I stand near the void, the curved vertical surface draws my eyes upward. I feel as if I can’t get to the light. It is over my head, and the wall is too hard to climb up so I must continue straight. In the eleventh photo, a circular void is in the ceiling, and light is shining through it. The figure stands underneath it. Standing there, I feel scared by the surrounding darkness. The single light makes the space feel lonely. The opening projects a circular shape onto the floor. This made me want to leave and go where the light is. In the twelfth photo, the wall is curved. The figure stands on the interior of the curve. I feel like I finally made it to the end, but everything is once again closed off. This still makes me sad and lonely. Even after walking through everything, I still feel alone and stuck.

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Work #2. Space Cube_Second Space Cube Model

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To illustrate the sequence of wall, column, and space, I chose to use the emotion of sadness. The reason I chose this was because the figure constantly appears lonely. In the photos I have selected, the figure is alone in the space. My idea was to have the walls and columns guide the figures’ path through the space cube and up to different levels. This space is tight and enclosed to represent the feeling of sadness. The first photo shows a column to the right of the figure, who faces straight ahead, slightly to the left of the column. As I am standing next to the column, it is still and looks sturdy and tall. This makes an opening to the space. The use of only one column evokes a sense of entering an empty space. It feels cheerless being here alone. The second photo shows a wall forcing the figure to walk to the right and then straight. The wall is an obstruction that is difficult to navigate. As I looked at the wall, I realized that I was blocked. I was forced to go to the right to get around it. This is inconvenient and makes me feel down. In the third photo, the wall is slants toward the figure, who walks towards it. The need to duck my head to get around it frustrates me. I must move more to the right to continue forward. This makes me feel increasingly more upset. The fourth photo features parallel columns. The figure is standing, looking through the columns. Peering through the tall columns, I see more obstacles. The space felt too open, and I wish I was not alone. The only way through was to continue walking straight even though I am now in misery. In the fifth photo, there are multiple twisted surfaces without a pattern. The figure stands beneath, looking at it. The twisted surfaces intrigue me. It looks abstract and makes me want to keep looking at it. It also makes me feel interested in why they chose to make these twisted and free surfaces. I feel sad that I must keep moving and cannot stay longer. The sixth photo shows a pointed wall in the opposite direction from the figure. The figure views the connected edge of the two walls. The pointed wall gave me a feeling of coldness. The walls created more of a closed-off area which is a bummer. The point of the two lines guided me straight ahead. In the seventh photo, the columns, walls, and lighting closes off the space. The figure walks forward, looking ahead. The space feels more closed off with the columns on the right and the perpendicular walls. I know I need to keep going because of the light shining through an opening in between the walls. The columns to the right seem to block off some of the walkway towards the light. The room that I am in feels dark and gloomy, and I want to escape up the stairs. The eighth photo shows two curved walls with 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. At this point I felt melancholy but there was an interesting looking ladder in front of me so I decided to climb it. In the ninth photo, the wall faces the figure, and a square void shines light through. 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. I feel sad being in the gloominess. The tenth photo shows a curved vertical surface with a void. The figure falls down the hole and stands below the void. The light changes coming from above. As I stand near the void, the curved vertical surface draws my eyes upward. I feel as if I can’t get back to the light and this brought my spirits down. It is over my head, and the wall is too hard to climb up so I must continue straight. In the eleventh photo, a circular void is in the ceiling, and light is shining through it. The figure stands underneath it. Standing there, I feel scared by the surrounding darkness. The single light makes the space feel lonely. I feel unhappy being here but can finally see the final destination. In the twelfth photo, the wall is curved. The figure stands on the interior of the curve. I feel like I finally made it to the end, but everything is once again closed off. This still makes me sad and lonely. I regret walking all this way to still feel alone and stuck.

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Work #2. Space Cube_Last Space Cube Model

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To illustrate the sequence of wall, column, and space, I chose to use the emotion of sadness. The reason I chose this was because the figure constantly appears lonely. Throughout the photos, the figure is alone. My idea was to have the walls and columns guide the figures’ path through the space cube and up to different levels, while also making it tight and enclosed to represent the feeling of sadness. I used different elements to invoke a sense of isolation. The first photo shows a column to the right of the figure, who faces straight ahead, slightly to the left of the column. The column supports the entryway, and use of only one evokes a sense of entering an empty space. This enhances the feeling of cheerlessness. The second photo shows a wall forcing the figure to walk to the right and then straight. The wall is an obstruction that is difficult to navigate around. As I look at the wall, I realize that I am blocked. I was forced to go to the right to get around it. This is inconvenient and makes me feel frustrated. In the third photo, the wall slants toward the figure, who must duck to get around it. I must move more to the right to continue forward. This makes me feel increasingly more trapped and upset. The fourth photo features parallel columns. The figure is standing, looking through the columns. Peering through the tall columns, there is a visual barrier and looks closed off. The only way through was to continue walking straight but I did not want to. In the fifth photo, there are multiple twisted surfaces without a pattern. The figure stands beneath, looking at it. The twisted surfaces were intriguing but also chaotic. This made me feel overstimulated looking at it. There is too much going on in such a tight walkway. The sixth photo shows a pointed wall in the opposite direction from the figure. The figure views the connected edge of the two walls. The pointed wall gave me a feeling of coldness. The walls created more of a closed-off area which is a bummer. The point of the two lines guided me straight ahead. In the seventh photo, the columns, walls, and lighting closes off the space. The figure walks forward, looking ahead. The space feels more closed off with the columns on the right and the perpendicular walls. I know I need to keep going because of the light shining through an opening in between the walls. The columns to the right seem to block off some of the walkway towards the light. The room that I am in feels dark and gloomy, and I want to escape up the spiral stairs. The eighth photo shows two curved walls with 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. At this point I felt melancholy but there was an interesting looking ladder in front of me so I decided to climb it. In the ninth photo, the wall faces the figure, and a square void shines light through. As I look at the wall and void, 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. I feel sad being in the gloominess. The tenth photo shows a curved vertical surface with a void. The figure falls down the hole and stands below the void. The light changes coming from above. As I stand near the void, the curved vertical surface draws my eyes upward. I feel as if I can’t get back to the light and this brought my spirits down. It is over my head, and the wall is too hard to climb up so I must continue straight. In the eleventh photo, a circular void is in the ceiling, and light is shining through it. The figure stands underneath it. Standing there, I feel scared by the surrounding darkness. The single light makes the space feel lonely, making me feel unhappy yet aware of the destination in front of me. In the twelfth photo, the wall is curved. The figure stands on the interior of the curve. I feel like I finally made it to the end, but everything remains closed off. This still makes me sad and lonely. I regret walking all this way to still feel alone and stuck.

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Work #2. Space Cube_Series of Space Cube Models

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pictures of the final space cube model

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Work #3. Floor Plans

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Work #3. Elevations

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Work #3. Elevations

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Work #3. Sections

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Work #3. Axonometric

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Work #4. Casting Model

a picture of the Space Cube model and the mold model

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a picture of the first mold model and three molds

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Work #4. Casting Model

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Work #4. Casting Model

pictures of foam-core board, plaster, and cement models

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pictures of your colored casting model with surrounding

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H annah Wutzke Port foli o 1514

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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Work #1. Sequence of Wall, Column, and Space

Sadness - The 5 Stages of Grief

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Phase #2: Category 54

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Work #2. Space Cube_First Space Cube Model

Phase #1: Category 31, 54

Phase #2: Category 45, 17, 49

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Phase #5: Category 58

Phase #3: Category 17

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Overall View

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Work #2. Space Cube_Last Space Cube Model

Phase #1: Category 31, 54

Phase #2: Category 45

Phase #3: Category 12, 49

Phase #4: Category 17, 49

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Phase #6: Category 58

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Overall View

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This series of photos shows my final space cube model, exploring the 5 stages of grief and how we may carry that grief with us after we process it. There’s also an underlying love story within the figures. It’s meant to mostly convey an overall feeling of sadness in a cyclical sequence, as we cycle through these stages many times over in our lives. The first section is the initial descent into grief. A set of steep stairs boxed in by two leading walls and a curved facing wall leads down to the space below. The entrance to the stairs feels small, and almost like you’re walking into the jaws of a monster. Going down, to a wall that you “hit” almost immediately after coming off the stairs. This is meant to represent the stage of denial. The space at the bottom of the stairs also feels very small and is very directional, pointing you right to the next part of the pathway. Next is another set of stairs, the first half representing anger. Charging up from the steep descent, you burn out quick from the turnaround, literally and figuratively. The tight spiral gives a sense of unknown/uncertainty, as you can’t see around the bend of the stairs. The second half of these stairs represent bargaining. The spiral of the stairs is meant to symbolize circular reasoning; you keep searching for any way around the situation that caused this hurt. The same feeling of the unknown continues, stopping when you hit the top floor. On the top floor, there are two very tall, curved wall sections creating a hallway. This section represents depression. The push and pull of the walls are meant to show the ebb and flow of depression; some days are harder than others. The walls squeeze in very tightly at the end like when you feel like you might have to stop, just before you emerge on the other side. The small staircase down to the platform is the first part of the acceptance stage. The small, open stairs are an easy descent onto the platform where a circular cutout frames a sphere installation, representing what’s lost and found through grieving. The gap in the floor offers an unorthodox place to sit and observe, and the whole floor has a very open and light feeling. Moving down the set of stairs at the back of the platform, we have a continuation of the acceptance stage. The pillars are placed with alternating facings to create a dramatic effect with the shadows as light moves through the room. This is representative of how the same grief you carry can look different at different times; some days you feel sad again, while others you’re just happy that you got to experience whatever you lost. It’s a very beautiful, elegant space. The last section is tucked away under the spiral stairs, depicting a sort of afterlife environment, where your memories of what was grieved are held tight, safe from prying eyes. The space is very intimate and has a very secure feel to it as it’s under all the floors and staircase; a quiet place to finally lay to rest. 91 1521

Work #2. Space Cube_Series of Space Cube Models

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Work #3. Floor Plans

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Work #3. Elevations

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Work #3. Elevations

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Work #3. Sections

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Work #3. Axonometric

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Work #4. Casting Model

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Work #4. Casting Model

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Work #4. Casting Model

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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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