Folio issuu

PORTFOLIO FoDr Studio 20 Derek Hu Yuchun Wang 957700

Content

Modules 01 How to Draw a Crossiant?

02 Flatness vs. Projection 03 Pattern vs. Surface 04 Frame vs. Field Reflection

MODULE 1 HOW TO DRAW A CROSSIANT? ABSTRACT In M1, I draw several orthographic projections of a crossiant. Different techniques of hand drawing had been applied in the drawings in order to achieve dexterous presentation. Photoshop had been used to process the pictures and the layout of the final pin up work.

1

Photographs of Orthgraphic Projection View of Crossiant

ELEVATION

PLAN

ELEVATION

PLAN

Photocopied Sections

SECTION A

SECTION B

SECTION B

Drawings of Orthgraphic Projection View of Crossiant

HATCHING / CROSS HATCHING

STIPPLING

PLAN In the drawings of the plan view of the corssiant, the outline is traced by using 0.3 fineline while it is shaded by using 0.1 fineline. Different methods of hatching and shading are applied in order to make the graphic more deterous. The main methods used could be seen at the right which are hatching, cross hatching, stippling and interlocking.

INTERLOCKING

Drawings of Orthgraphic Projection View of Crossiant

ELEVATION

ELEVATION

Drawings of Section

SECTION A

SECTION B

SECTION C

6

W an Yu ch un Drawings of Section

A

B

C

SECTION A

SECTION B

AXONOMETRIC PROJECTION In order to create the axonometric projection, the outlines of section are set up where aligned with the line of section cut.Then the sections are connected that results in the formatiom of the axonometrci projection of half crossiant.

SECTION C

MODULE 2 FLATNESS VS. PROJECTION ABSTRACT In M2, an axonometrci projection of mario world is created based on two

screen shoots of mario game. The world is firstly draw

on tracing paper and then scanned into digital form. Illustrator is used for tracing a vector line work and coloring the mario world.

LINEWORK OF MARIO WORLD The line work used 0.3 fineliner to draw the section and 0.2 fineliner to draw the rest.

Mario World

MARIO WORLD This is a Hanging Garden of Mario World. Every monument is floating but connected by the roads below. The water channel is designed to integrate the two world.

The golden fragments is a new way to represent the projection of an elevation view.

MODULE 3 PATTERN VS. SURFFACE ABSTRACT M3 is about 3D modeling via software, Rihno and model making by hand. A 3D surface of the lanscape in Tasmania is provided for panelization with small modules. After the model is completed, the small modules are unrolled and printed. As a consequense, a physical model is fabricated by hand.

Modules

SMALL MODULES & UNROLLED SURFACES This are five small modules which comprised the entire panels. Those modules occupy different sophistication rates which attributes to a panel with suitable complexity and fluent transition.

Model

3-D MODEL Different types of attractor are used in this panel. Four attractive points are placed above the corners of the surface and one attractive point locates at the middle of one side. A U shape atttractve cure is projected on the surface. Modules based on the five variables are distributed on the surface that follows a pattern depends on the attractors.

Model

DETAIL OF THE PANEL

PHYSICAL MODEL

Model

DETAIL OF THE PANEL

DETAIL OF THE PANEL

MODULE 4 FRAME VS. FIELD ABSTRACT The

design

progress

of

M4

based

on

a

chapter

from

‘invis-

ible city’. The novel describes fifty cities. Beersheba is the one I have to represent. Rihno is the main tool used to create the quad which would be enriched by characters and objects in Photoshop later.

Passage

Iometric View & Line Work

PERSOECTIVE 1

STRUCTURE OF OLD QUAD

PERSPECTIVE 2

Iometric View & Notations

OLD QUAD WITH NOTATIONS

Perspective

The first perspective is the view from a corner of the ground floor.

It can be seen that it is a dirty market as there are many vendors and

stocks.

Additionally,

some

poor and hungry people can be seen sitting aside the columns.

The belief in Beersheba that a heaven-like projection is in the sky is not true. The real heaven is underground which can be access by the stairs. Jesus sitting at the stairs is a matophor that this is the way to heaven. However, as people are busy and hold too much desire, the real god cannot be identified. Hence no one ever entered the real heaven since they believe the underground world is infernal.

PERSOECTIVE 1

Perspective

Perspective 2 is the view of the second level of the old quad. It is an ornamental world with upper class people living there. Although these people hold a belief that there is a heaven in the sky. Those people are mistaken as the real heaven is in underground. However, they can’t access since the 2 level is not even connected with the 1 level. This symbolizes for the rich seldom concern about the poor.

The maid at the corner of the scene is the key character there. She is the only one who is suffering due to the selfish of the rich and serving them. She’s looking at the image of Jesus and praying for save.

PERSPECTIVE 2

REFLECTION

The Foundation of Design: Representation is an interesting course for me to get a glimpse to the world of Architecture.

Since I had never used those software like the adobe progarms and rihno, completing those module is a big challenge for me. The first module, as my tutor Derek said, it was just a start, a warm-up before the real battle. The crossiant played the lead role in M1. I took many photos and create many drawings of it. A lots of adjustments were made to show the best represetation of the croissant’s shape and texture.

All the attention was drawn to the little croissant. It gives me some consideration. Actually, in real life I never notice the croissant. This module taught me how to observe an object and how to represent it via professional methods. Many terminology were provided such as orthography projection which includes plan and elevation. This indicates that there are a variety of ways to represent an object. I had to be real patient and careful. In addtion to those technical photography and drawings, the light and software were the key of amendment of the works. The adjustment of levels and filtrs were the complement of a good representation.

Moreover, module 2 is definetely my favourite one. It gave you many opportunities to create and demostrate your own ideas. As our projections are not sophosticated I have to make more creation to enrich my mario world. The transfomation from the elevations into isometric drawings was quite confusing. There was a large space and variation of the loation in iso-view. In the flat image it might looks like the mountains aligned in the same line, but they can be far away. There are many uncertainties in my conceptual design of the mario world. Different parts are connected and they can be interpreted in a totally different ways by different observers.

Furthermore, M3 is really time-consuming. Not only my brain but also my body suffered because firstly the modeling of the surface was abstractďźŒsecondly there were 100 small modules to make. Since I did't know what kind of landscepe I want to design, i tried many different patterns by manipulating the attractors and shapes of module. In the process of this, a completed model formed. After the works finished, it felt like a baby borned. The physical model provides a different sence feeling compared with the digital model. Under the light, the shapes of shadows can be changed in order to illustrate a good representation of the landscape.

Lastly, M4 can be the most difficult project. The techniques were taught during the workshop. But the represetation of the city was based on my own comprehesion of the passage in Invisible City. This is an uneasy task to use the notations properly. Every placement of different characters and notations should based on logic and reasons. Instead of critise the city and use objects according the passage, I was more like an obeserver who commented objectively of the city. I tried to create the story combined with the description of Macro Polo.

Generally, this course can be my favorite one. Although it is time-consuming, I enjoy every affort I put in my works.

END