C O NT E NT
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soul.
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Task A1: Software Tutorials
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Task A2: Collage by Hand
Armilla
Eusapia
Thekla
Colour Palette: Black and White Material Used: Black Tissue Paper, Magazine cut-outs, Architectural Plan print outs. Through these collages, I wanted to experiment with the abstracted qualities of each city, simplifying each described form into geometric shapes along with the aid of textures.
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Task A3: 3x Individual Collage
ARMILLA Thin Cities 3 “It has no walls, no ceilings, no floors: it has nothing that makes it seem a city, except the water pipes that rise vertically where the houses should be and spread out horizontally where the floors should be: a forest of pipes that end in taps, showers, spouts, overflows.�
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EUSAPIA Cities & The Dead 3 “ From one year to the next, they say, the Eusapia of the dead becomes unrecognisable. And the living, to keep up with them, also want to do everything that the hooded brothers tell them about the novelties of the dead.�
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O C TAV I A Thin Cities 5 “There is a precipice between two steep mountains: the city is over the void, bound to the two crests with ropes and chains and catwalks.�
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creativity.
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Task B1: Orthogonal Projection
Completion of Numwork: Cube Building Exercise
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Digital Collage of Orthographic Projection
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Task B2: Introduction to Model Making
Orthographic Drawings of Briefc
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case house - Bureau Spectacular
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Task B2 (Revised): Introduction to Model Making
Orthographic Drawings of Brie
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efcase house - Bureau Spectacular
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Task B2: Introduction to Model Making
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Difused IA incandescent lamp + ceiling lamp - casts soft frontal shadow.
Difused IA incandescent lamp - casts soft frontal shadow / creates uneven illumnation,
Disfused IA incandescent ceiling light - creates soft background contrast - casts short shadow/.
Disfused IA incandescent ceiling light + reflector (left) - casts minimal shadow / creates even illumination.
Back DA Light Incandescent Lamp- Casts dark frontal shadow / can be used to emphasize the model’s silhouette.
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Task B2 (Revised): Introduction to Model Making
Top Right DA light, Incandescent lamp - Creates exceptional contrast / casts long shadow.
TOP VIEW: Oblique IA Light Incandescent Lamp - Casts dark shadow / Emphasize on surface details/texture.
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Frontal DA Light, Incandescent lamp - Provides clarity to the Section contours and shapes.
ELEVATION: Back DA Light Incandescent Lamp- Casts dark frontal shadow / Emphasis on the model’s silhouette.
SECTIONAL VIEW: Indirect Sunlight (Right) + Reflectors (Front) - Emphasis on texture / Balanced and Muted tones 23
Task B3: Mo 24
Model Making Kit Packaging
Layout of Model Making Kit Components
odel Making Kit 25
Task B3: Model Making Kit
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Model Making Instructional Drawing
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Interacting with
Task B3: Mo 28
Capsule Model
odel Making Kit 29
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love.
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Task C1: Computer Aided Drawing
Neimeyer-metropolitan Church, Brazil
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Task C2: Documenting a Process
Site Plan and Section (Drawn with Rhino)
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Task C2: Documenting a Process Post Crash-landing Trace of Fragments (not to scale)
Post Crash-landing Site Trace
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Assortment of Crash-landing Fragments
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Task C2: Docum 36
menting a Process 37
Task C2: Docum 38
menting a Process 39
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Task C3: Crash-landing Collage
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Task C3 (Revised 1) : Crash-landing Collage
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Task C3 (Revised 2) : C
Crash-landing Collage
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Drawing D.
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Task D: Drawing Book
Meraki (v.) to do something with soul, creativity, or love; to put something of yourself in your work.
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With the first semester coming to an end, and after the completion of pre-
vious drawing assignments, I have come to the realization that architecture is indeed a major that requires much more than technical skills in order to produce a successful body of work - it requires passion.
The word, Meraki is the reflection of the passion and love that I have
instilled into every finest detail of every drawing tasks within the ARC1301 unit. This passion has allowed me to express myself, my upbringing, and my view, in combination with the skills I have accumulated so far throughout each tutorials.
There is a part of me to be found within each and every part of this Drawing
Book, as well as each tasks that it holds.
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Task D: Drawing Book Personally, Drawing B was a mixture of acquiring both technical skills while also having fun with the model making task. The mixture of concrete grey and vibrant colours are used to represent this mixture of play-fullness, creativity, and seriousness.
Drawing B
lov
soul.
creativity.
Drawing A Gold is used to pay homage to the Cambodian culture which is the main inspiration behind Drawing A3. As it is a colour that is highly regarded within the Cambodian society for the purity of a soul.
Draw
To me, the colo the stop of mo Through this ta temporality, thi represent abru of time, and the wo
Font Used: 48
As the last task is an accumulation of all the work we have down throughout the semester, the use of neutral grey colour in contrary to white, allows the book to have a visual separation between each task without being too light, too dark, nor too colourful.
Drawing D
ve.
progress.
drawing book.
wing C
our red, represents otion but also love. ask of documenting is colour is used to uptness, disruption e love I have for the ork I do.
Process Work
Personally, I often associate process work with gridded paper, as it allows me to have a feeling of a dairy , work in progress, or something that is not in its final form.
Spartan MB 49
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Precedents / Bibliography.
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Ta s k A 3 : Precedents
Kandinsky, Hard in Soft, 1927, Oil on canvas, 39cm x 19cm
Kandinsky’s use of lines and abstract forms to evoke a sense of transcendental expression and abruptness is the main inspiration behind the composition of my collages. Through the use of vertical lines , and diagonal shapes, I am able to convey a sense of dynamism and implied movement within the collage.
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Phanuphan Wirawaphusit, A Day Magazine, 2016, Digital Collage
Inspired by this work by Wirawaphusit, my collages are a combination of aspects from traditional Cambodian art with the European, and the contemporary. Through this fusion, I am able to express myself and my view of art, as I come from a Cambodian background who grew up in a very diverse international school.
Ta s k A 3 :
Imagery Used / Annotations
O C T AV I A
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ARMILLA:
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EUSAPIA:
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Ta s k B 2 : Correction After Feedback
Before Feedback
After Feedback
Within the final sectional drawing, I decided to make the ground line darker and more distinct, in response to the comment from Hanah regarding the line being too thin and unhelpful in informing where the ground is cut at. In addition, through the use of Rhino, I was able to draw a more accurate and clean sectional and plan drawing, along with refinement of small details such as the dashed lines and tilted side-walls.
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In response to the feedback regarding how the source of lighting should not be visible within the photograph, I made sure than within the revised collection of photos, no source of light is shown. In addition, the photographs were taken much closer to the model, allowing the model to look less like an object, but rather, more like an architectural space.
Before Feedback
After Feedback
In response to the feedback, instead of photographing the models from one angle, the revised photographs consists of pictures of the model from multiple angles, allowing for the better understanding of the structure.
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Ta s k B 3 :
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Ta s k B 3 : Product Outline: Product:
Name: Welcome to You - Titan Edition Concept: - Personality Test Kit that helps you to understand more able what type of space capsule you will be design. - Will be rewarded with an Interactive Model Making Kit according to your personality - Each personality receives a distinctive capsule design.
Customer Persona: Gender: All Age: 11yrs + Interests: Science / Space Travelling/ Personality Test
Basic Instructions: - Take Personality Test - Receive a code of instructions for you to create a capsule - Create the capsule accordingly to the code you recieve - You are now certified to be a researcher of Titan.
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Ta s k B 3 : Inspirations
1. Medicinal Packaging
2. Instructional Drawings for Kids
Akkshit Khattar, Medicine Tablets, 2018
3. DIY Kit
Image Source: How to Draw a Peacock Instructions Sheet, Sparkle Box www.sparklebox.co.uk
The capsule making kit is inspired by these three distinctive types of designs and packaging. I am inspired by the use of bold colours in Akkshit Medicinal Tablets packaging, I utilized the simplicity of drawing instruction, making it easy-to-understand for my targeted customer. The DIY Kit inspired the way the packaging is laid out, as it is intuitive and provides a clear understanding of each components of the kit. Cyantype Kit, Etsy
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Ta s k C 1 : IL01 Illustrator Activity
Color and Stroke
Richard Paul Lohse, Movement of Eight Equal Quantities around an Axis of Color, 1952-69
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Ta s k C 2 : Pre-Crash-landing Model Pictures / Lighting Tests
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Inner light only - Creates exceptional illumination from the inside/ showcases how the material allows in or filters light.
Oblique DA Light Incandescent Lamp Casts dark shadow / can be used to emphasize surface details/texture.
Top Right DA light, Incandescent lamp - Creates exceptional contrast / casts long shadow.
Disfused IA incandescent ceiling light + reflector (left) - casts minimal shadow / creates even illumination.
Ta s k C 3 : Additional Imagery / Numerical Data Used
Post Crash-landing Documentation
Plans and Sections
Photoshop Brushes
Image Source: Huesu Aliaksandr, Wind Rose
https://www.dreamstime.com/bluewind-rose-vector-illustration-nautical -compass-icon-isolated-white-back ground-design-element-marine-the me-heraldry-image117289614
Fragment Layout
Watercolor Brush 16
Plan + Section @ 1:10000 Source: TJ Olney, Windram Reading, RASP http://wxtofly.net/win dgramexplain.html
Kyle’s Screentone 38 Brush
SG Grain Shader Brush 10
Fragment Density Diagram
Source: Continental Morse Code, Encyclopædia Britannica, May 25, 2020, https://www.britannica
Color Palette
Crash-landing Close up Plan + Section @ 1:20
Source: Luke Maduas, On the On the Origin of the Thunderstorm
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Ta s k C : - Precedents/Annotations
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Ta s k C 3
(Revised
In contrast to the straight dashed line in the previous iteration, these motion lines are used to create the appearance of speed and blurred movements.
In Response to feedback given, the revised crash-landi
more heavily emphasized on the crashing of fragmen Bulbous trees are the main vegetation of Xanadu, the crash-landing site, and is included to provide more information about the landing context.
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matic. The crash-landing motion of the capsule is accen
expansion of the capsule as i
d 2 - Additional Imagery) :
Enlarged drawing of the crashed capsule is used to make the event more apparent and is also added to reinforce the fragility of the crash-landing experience.
ing collage is designed to be more dynamic and is
nts, instead of appearing streamlined and anti-cli-
ntuated with the curved line of motion as well as the
Developed Crash-landing Sequence
it moves closer to the site.
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Ta s k D :
Precedents/Research
Page 2
Page 77 (Last Page)
Story of Work What makes Hazel Zhang’s Portfolio special is the story that flows consistently throughout her body of work. I believe that this story not only allowed her to express herself and her work but also ties in all the disparate projects she had done throughout the portfolio into one cohesive structure. I am inspired by the use a story to create a cohesive and rich portfolio, and I attempt to do this with the concept of using the Greek word, “Meraki” as I find that it represents my the approach of my work well.
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Precedents/Research
Muted Theme Colour w/ Vibrant Accent Colour I am inspired by Alessandro’s technique of using muted grey colour to complement the reoccurring pop of vibrant colour that sprinkles throughout the portfolio. I am convicted that this technique provides hierarchy and focus towards the information that she wants to convey.
Colour Coding The use of different colours for distinctive sections within the portfolio allows the viewers to have an understanding of the overarching structure both, before and while reading. I have adapted this technique of colour coding and used coloured textures instead, as I believe that it adds more richness and correlates better with my body of work. Maura Keller, Design Matters - An Essential Primer , 2013
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BIBLIOGRAPHY:
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Anandajoti, Bhikkhu, Sovann Maccha Mural - Grand Palace of Bangkok,
2012. https://www.flickr.com/people/64337707@N07
Continental Morse Code, Encyclopædia Britannica, 2020.https:/www. britannica.com/science/science
Head of Shiva, Sandstone, 33cmx20cmx16.5cm, Angkor. The myth around Louis Delaporte and Cambodia, Musée des Arts Asiatiques Guimet,
Paris, France. https://www.guimet.fr/anglais/collections-anglais/
southeast-asia/head-of-shiva/?lang=en Isabel Muñoz, 2018. https://isabelmunoz.es/ Jamie, Friedland, Bangkok Grand Palace, Grand Palace in Bangkok, Thai
land. https://www.gettyimages.com.au/detail/photo/bang
kok-grand-palace-royalty-free-image/931087118?adppopup=true Kadalys, Sustainable Banan Science - Banana Tree, 2014. https://kadalys. com/en/banana-tree
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Kandinsky, Wassily 1927, Hard in Soft, Oil on Canvas, Dimension, Sezon
Museum of Modern Art, 39cm x 19cm
Karl Gerstner, A Compound Grid, 1962, Capital Magazine. https://m-studio.net/notes/karl-gerstners-layout-grid/ Khattar, Akkshit, Sim-Pill | Intuitive Medicine Packaging, 2018 https://worldbranddesign.com/sim-pill-intuitive-medicine-packaging/ Maura Keller, Design Matters - An Essential Primer, Rockport Publishers, 2013.
Old Restored Thai Teak Spirit House, 72 x 51 x 106 cm, Paul’s Antiques, https://paulsantiques.com/shop/decorative-accessories/rdstored-thai- spirit-house/#.Xt8PZp4zbfY Olney, TJ, Windram Reading, RASP, 2011. http://wxtofly.net/windgramexplain.html Phanuphan Wirawaphusit, 2016, A Day Magazine, Digital Collage. https://adaymagazine.com/port-4/
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Porcelain Decorative Bowl in Blue, Oriental Furniture, 14 in x 14in. https://www.homedepot.com/p/Oriental-Furniture-Oriental-Furni
ture-14-in-Porcelain-Decorative-Bowl-in-Blue-BW-BOWL-BW
FL/300683289 Preap Chan Mara, Khmer Headdress, 2017. Stephen Nunney, Golden Stupa, 2013. https://www.trekearth.com/gallery/Asia/Thailand/Central/Bangkok/ Bangkok/photo1410786.htm William F. Warren, Paradise Found - THE EARTH OF THE HINDUS. Side View
of Upper Hemisphere, 1885.
https://www.sacred-texts.com/earth/pf/pf20.htm
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