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L O O FOUNDATIONS OF DESIGN: REPRESENTATION SEMESTER 1, 2017 SARAN KIM 904662 STUDIO 1 - MR. EMMANUEL COHEN
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Orthogonal + axonometric drawings of a croissant
M O D U L E
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ELEVATION
ELEVATION
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The focus of this module was to accurately depict a unique croissant through orthographic conventions, and to convert orthographic drawings into axonometric drawings. I paid a close attention to maintaining dimensions of the croissant throughout the process, as it was crucial for representing a consistency of work. I utilised hatching and rendering techniques for portraying physicality of the croissant realistically. Through this module, I could deepen my understanding of technical drawing conventions and communication of threedimensional objects in twodimensional formats.
HOW TO DRAW A CROISSANT?
SECTIONS
PLAN
PLAINVIEW
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ELEVATIONAA ELEVATION
B
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ELEVATIONB B ELEVATION
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SECTION C
SECTION C
SECTION B
SECTION B
SECTION A
SECTION A Plan PLAN
Scale 1:11:1 SCALE
MEASUREMENTS IN MM Measurements in mm SARAN KIM // 904662
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SECTIONAA SECTION SECTIONBB SECTION SECTIONCC SECTION
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INTERSECTION POINTS ON SECTIONS
Intersection points on sections
INTERSECTION POINTS Intersection points TRANSFERRED ONTO THE PLAN transferred onto the plan Scale 1:1
SCALE 1:1 SARAN KIM // 904662
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Rendered axonometric drawing Scale 1:1
Axonometric drawing
of the croissant AXONOMETRIC
DRAWING OF THE CROISSANT
RENDERED AXONOMETRIC DRAWING SCALE 1:1 SARAN KIM // 904662
The making of new Mario world
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M O D U L E FLATNESS V.S. PROJECTION
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From two illustrations of underwater Mario world, I developed a world featuring the monumental rock mountain consisting of numerous layers with organic outlines. Through these layers, I explored both visible and invisible sections, and the potential complexity to its structure in the flat illustrations. The hidden areas are revealed as the dynamic landscape with solid and void space. The threshold between two homogeneous illustrations is represented by a tunnel at the centre of the drawing, that becomes a focal point.
Two original illustrations of underwater Mario world
Drafting: From two initial illustrations, I measured and marked the important dimensions and locations of objects on tracing paper and drafted the axonometric drawing.
Tracing: I overlapped a layer of tracing paper on the draft and traced lines with a fineliner, in order to get a clean and detailed outlines of the drawing.
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Digital tracing and rendering: Using Adobe Photoshop and Illustrator, I converted the scanned drawing into a digital vector format and began rendering individual elements of the drawing with gradients and subtle textures.
The outline of the new Mario world
Refinement: I adjusted the brightness and hue of the drawing for better clarity, and I emphasised its water quality by adding texture of wavelet on the surface of water.
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Layers and refinement of the Mario World
The making of new landscape The creation of my paper model involved the exploration of concepts such as randomness in repetition, organic elements in geometry and symmetry and asymmetry. I decided to challenge the boundary between geometric and organic structures through the use of Curve attractors on Rhino.
M O D U L E PATTERN V.S. SURFACE
Furthermore, I developed the geometric form intertwined in the air. This was experimented with not having square as the fixed base, and extruding forms in a way that allows two components to interact each other in shared space.
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The detail of the paper model Two geometric components juxtaposed diagonally within a square base to form an intertwined, cohesive relationship.
11 The detail of the paper model The distinctive shadows produced by a spotlight
Four structural elements for 3D Panelling: From the concept of symmetry, each element consists of two identical objects rotated 180 degrees. The geometric forms emphasise this symmetrical composition.
3D Panelling covering the entire terrain surface: The 3D panel was created using the 3D Panelling Tool with the curve attractor. The straight edges were converted into organic, curved lines.
3D and 2D Panelling: The original 3D panel was modified to integrate the 2D panel in accordance of the centralised pattern shown right. This represents the organised, methodical approach to arranging the 2D and 3D panels.
Patterned arrangement of 2D and 3D panels: This colour-coded plan of the 2D and 3D panels is annotated with numbering system to make sure that the right panel was connected with the appropriate panels.
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M O D U L E
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FRAME V.S. FIELD
Cities & The Sky 5: Andrea Outcomes of this module were the visual representations of Marco Polo’s journey in the city of Andrea. The key concept is the relationship between sky and city. The story consists of the dynamic change in Polo’s perception on Andrea; from “an unchanging heaven” to the city that “never remain the same”, that the city and sky can mutually influence each other.
Notations on the isometric drawing portray the movement of Marco Polo. In order to highlight two contrasting viewpoints from the story, I positioned perspectives diagonally across the quad.
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Development of perspective 1
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The plan of the quadrangle Thresholds of the space distinguish the quadrangle into two key sections: light and dark - daytime and night. Perspective two depicts night time of the city, illuminating citizens’ active engagement with the city and sky.
I designed symbols for openness and closeness that imply the state of atmosphere and Marco Polo’s psychological situation. Development of perspective 2
Perspective One This perspective drawing represents Marco Polo’s first impression of the city of Andrea, that it is “painstakingly regimented”, and people being “cogs in a meticulous clockwork”. By layering the images of cogs on the column structure of the quad, the systematized nature of the city is implied. The ideology of remaining “motionless in time” is depicted as a number of street clocks. The use of wooden blocks symbolises the citizens’ prudence. Their basic, plain forms represent Polo’s view that people “take care not to make the slightest change”.
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Layers and refinement of perspective one
The first page of Cities & the Sky 5: Andrea
Perspective Two This perspective drawing represents Marco Polo’s later impression of the city of Andrea, after citizens explained that “city and the sky correspond so perfectly”. The key object in this passage is a telescope, which symbolises the direct connection between the sky and the city. The vaults are decorated with the images of constellations with deep, dark tone, revealing the true shape of the city and articulating the relationship between the city and the sky. The unique, creative compositions of wooden blocks suggest their energetic involvement in influencing the city and sky.
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The secod page of Cities & the Sky 5: Andrea
Layers and refinement of perspective two
I learnt key concepts of design such as orthographic and axonometric projections, geometry of patterns and objects, two-dimensional and three-dimensional relationship, the idea of surface, perspectives and the concept of field. Concepts such as plan, elevation and section, the use of cavalier projection, meaning of panelling and the idea of perspective in the cinematography, expanded my understanding of design and encouraged me to apply them to my design process.
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REF L E C T I O N
Through four modules, I could explore the communication between digital objects on the screen and their physical, material forms. For example, making sure that two different forms of work – physical and digital – had the consistent representations was crucial for conveying a cohesive message. This was achieved by test printing, creating prototypes and trial-and-error experimentations, which provided me a greater knowledge of how my work can be developed and improved. I also acquired a solid understanding of Rhino interface and the advanced technical skills for Adobe software, including Photoshop and Illustrator. Reflecting on my works, I believe that my works could have been further developed. My tutor’s feedback for each module, such as emphasising the concept of thresholds for module 2 and the incorporation of human scale in module 4, allowed me to identify parts of work that should be improved. Module 3 was the most challenging module as I encountered technical difficulties needed to be resolved in the limited amount of time. It was very disappointing to have a little time allowance to refine and polish its appearance, however, I believe that prioritising to complete the paper model in the full dimensions was a right decision. If I could improve my work, I would actively consult issues with tech tutors early in the design process, and I would spend more time on exploring how the work is represented through my presentation.