AES Visual Studies 11300
Professor Xiaoxi Chen
Fall 2021 First Year Studio
SPITZER SCHOOL OF ARCHITECTURE
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Visual Studies Visual Studies I is an introductory course that focuses on the topics of analog and digital drawing and modeling in architectural design. The course emphasizes how the computer can be engaged in architectural design and visualization methods and introduces me to operative procedures, techniques, and technologies for constructing drawings and models that support and promote formal and spatial discoveries. Principles in descriptive geometry and projection will provide the underpinnings for creating visual expressions of shapes and volumes that explore the relationship between analog/ digital and two-dimensional/three-dimensional information. The communication of design intent will be established through the understanding of linework, tone, color, and other drawing conventions rooted in historical and contemporary modes of architectural representation.
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Visual Studies Works
TECHNICAL DRAWINGS Drawing from Observation Assignment 01 | Shapes and Figures, Contours and Edges
MODELING AND DRAFTING Architectural Designs from Physical Objects Assignment 02 | Physical Models Assignment 03 | Orthrographic Projections Digital Drawings Assignment 04 | Auxiliary Views (Trimetric Projection) Assignment 05 | Perspective Projections Assignment 06 | Isometric Projections
INTRO TO GRASSHOPPER Architectural Patterns Using Parametric Modeling Assignment 07 | Parametric Patterns
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TECHNICAL DRAWINGS Drawing from Observation
Assignment 01 | Shapes and Figures, Contours and Edges
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I used freehand drawing techniques to observe and draw three different objects that are each made out of different materials by drawing each object container from three different perspectives. The primary intent of this exercise is to develop my abilities to see and depict visual phenomenons through a critical awareness of contours, edges, shapes, and forms.
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01 | Shapes and Figures, Contours and Edges Each drawing was designated in a 14”x17” sheet. The composition of each perspective on the sheet was an important element in the process. The process of drafting these drawinfs includes: 1. Starting off with a light pencil to sketch out the volumetric framework. 2. Draw darker edges where you observe and see dark areas and shapes. 3. Reposition the object and repeat this process to create other drawings from different views. Some constraints include not being allowed to use any tonal techniques, fills, hatches, shading, etc. for shade and shadow. The assignment goal is to focus on linework through contours and edges only.
ORIGINAL DRAWINGS
Basic sketch paper and pencils
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DIGITAL DRAWINGS
Photoshopped drawings to polish and re-color
Back View
Projected View
Elevated View 8
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Projected View 01
Elevated View 01
Projected View 02
Elevated View 02
Projected View 03
Back View Pop Joslaine Manos - Fall 2021
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MODELING AND DRAFTING Architectural Designs from Physical
Assignment 02 | Physical Models Assignment 03 | Orthrographic Projections Digital Drawings Assignment 04 | Auxiliary Views (Trimetric Projection) Assignment 05 | Perspective Projections Assignment 06 | Isometric Projections 10
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The following section incorporates physical and digital models of an initial construction of an architectural ‘massing’ model. The primary intent of this physical exercise is to develop my ability to fabricate and craft physical models. Then, using this model, I create a series of conventional architectural drawings that include descriptive geometry and projection techniques. I dove into other forms of media such as animated drawings and digital 3D modeling. Pop Joslaine Manos - Fall 2021
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Before designing any technical drawings, I needed to construct an architectural ‘massing’ model to develop your ability to fabricate and craft physical models. In order to do this, I demonstrated a growing understanding of measuring and cutting materials, joining materials, attention to craft and detail, composition, and precision. For this exercise, there are a few constraints that needed to be followed: 1. The massing model will include the assembly of a series of forms based on solid geometry (cubes, cuboids, cylinders, pyramids, etc.) 2. The forms should be made out of 3/16” white foam core and/or paper (museum board) 3. The forms/objects should measure within a bounding volume of approximately 4”x4”x4” 4. Its base is 8”x8” and also made out of 3/16” white foam core
02 | Physical Models 12
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An additional study that I had to perform on my massing model is developing a range of interesting spaces while considering the overall juxtaposition of the four forms, as well as how they are organized on the base/grid.
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Rectagular-shaped voids made from the void spaces in between two forms, encompasses light.
Triangular-shaped voids made from the void spaces created by overlays of forms, encompasses shade.
The figure on the left is the draft model of my final massing model. Several alterations that I have done is lowering the measurements ratios of each form. I played more with light and shadows as well.
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Variety of polygon-shaped voids made from the void spaces created between overlays and open spaces of forms, encompasses shade and light.
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03.1 | Multi-View Drawing After creating my massing model, I studied it more through creating orthographic projections that form a multi-view drawing based on the perspectives of my model. The multi-view drawing depicts the top view and four side elevations. This practice is centered around the proper use of various line weights to reflect construction lines and visible geometry in the foreground and background. The drawing is drafted in half scale (1:2).
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03.2 | Floor Plan Cut and Section Cuts Another way to study my massing model was by creating one drawing that depicts a one-floor plan and two sections. Draw a floor plan representing a horizontal datum cut through the model 1” in height from the base plane. Similar to part 1, this practice depends on understanding various line weights to depict ‘construction lines’ and visible geometry in the foreground and background. The drawing is drafted in full scale (1:1).
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Colored areas within the drawing indicated a poche, or thickness of material that is revealed in section cuts.
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03.3 | Isometric Projection Drawing The final part of this series of study drawings is drafting an axonometric drawing based on my architectural ‘massing’ model, that reflects an isometric view of the model that illustrates the juxtaposition of the various forms and spaces. The measurements in an isometric drawing are true 1:1:1 measurements in width, depth, and height.
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04.1 | Auxiliary Views (Trimetric Projection) To understand and develop my ability to generate descriptive geometry drawings through projection techniques, I created an auxiliary viewed drawing based on the ‘figural void’ space in my architectural ‘massing’ model. This drawing provides additional views of a project, and therefore, more information. I continued to use 2D drafting in Rhino and editing linework in Adobe Illustrator. The drawing is drafted in half scale (1:2).
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Trimetric Drawing Process Drawing: 1. The top view, created from the MultiView Drawing Set sits at the top center of the page. 2. A horizontal ‘fold line’ is drawn to place the front elevation of my model. 3. A second ‘fold line’ is drawn at 30° from the horizontal and projects the first auxiliary view. 4. A third fold line 30° from the horizontal in the opposite direction is drawn. 5. A second auxiliary view is projected, creating a trimetric drawing.
The Trimetric Drawing Process Drawing is used to understand and follow the drawing construction process.
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04.1 | Trimetric Projection Digital Drawing (GIF)
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05.1 | Two-Point Perspective Drawing (Drafted) Creating a two-point perspective drawing and a twopoint perspective gif animation based on my massing model helps to develop my ability to measure and represent forms and spaces using traditional perspective drawing techniques. As well as to understand topics and terminology associated with perspective projections, such as the use of picture planes, vanishing points, station points, horizon lines, and ground planes. The 2D digital drawing reflects a dynamic view of my physical massing model that simulates an optically accurate view of the various forms and spaces.
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05.2 | Two-Point Perspective View (GIF) 26
A GIF animation emphasizes qualities of two-point perspective. The materials for th renders are: Plaster, Chrome (Doted), Bron (Doted), Transparent Plastic
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06.1 | Isometric Projection Drawings After creating a digital model of your architectural massing model, I further study my model by to creating a series of isometric projection drawings that represents the “void” spaces. On Rhino, I developed 4 Isometric Views (SW, SE, NW, NE to which I exported these line works to Illustrator to continue to edit and refine the drawing with line work, line weights, and line types. The drawing is designed at half scale (1:2). (1:2).
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Isometric Southeast View
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To better understanding the information gathered from my previous series of drawings, I investigated the relationship between the 3D Model and 2D Orthographic Projections (Elevations). In Rhino, I generated a series of orthographic projections (elevations) that show the relationship between the void massing and their elevation. Projecting each elevation onto a CPlane shows the relationship between the massing model and the elevations.
06.2 | Isometric Drawing of Orthrographic Projections (Elevations) 30
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INTRO TO GRASSHOPPER
Architectural Patterns Using Parametric Modeling Assignment 07 | Parametric Patterns
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Patterns are often formed by the repetition of geometric elements. Architects and designers have utilized tiling patterns in many different ways, including the parceling of land to organize a city, the assembly of modules to form a façade, and the arrangement of elements to form interiors, as a means of achieving organization, structure, symbolic meaning, visual interest, and aesthetic beauty. Exploring the use of geometric patterns in architecture and design can strengthen my understanding of pattern relations. Pop Joslaine Manos - Fall 2021
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07.1 | Parametric Patterns - Pattern A
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One singular point attractor is located in the center of the grid with average sized hexagons, creating a circular pattern. Shaded hexagons create diamond shapes that highights the center. Y Values are significantly less than the X values. 35
07.1 | Parametric Patterns - Pattern B
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There are two point attractors located at both ends of the grid with relatively smaller sized hexagons than Pattern A, creating larger and more dense center. Shaded hexagons highights the density of the spaces. Y values are significantly less than the X values.
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07.1 | Parametric Patterns - Pattern C
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There are two point attractors located at both the top left sides on the grid with average sized hexagons like Pattern A, creating a gradiant of small interior hexagons to larger and more dense hexagons. Shaded hexagons highights the density of the spaces. Y values are significantly less than the X values. 39
07.2 | Parametric Drawings - Pattern A
Bump represents the edge of the diamond represented in Pattern A
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Bump represents the edge of the diamond represented in Pattern 1
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#1 and #2 represents the density of shades from Pattern 1
#1 and #2 represents the density of shades from Pattern 1
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07.2 | Parametric Drawings - Pattern B
Less density and shape rperesents the white areas in Pattern B
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The depth and density are directly related to the depth found in the center of Pattern B
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07.2 | Parametric Drawings - Pattern C
Less color and density directly relates to the lack of density in Pattern C
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The relative depth and the color density realtes to the gradiant effect on Pattern C
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