Portfolio liam blanc submission

LIAM BLANC 996663 Studio 23 - Liang Hu

Foundations of Design : Representation Semester 1, 2018

MODULE ONE

How to Draw a Croissant?

CONTENTS 3 | MODULE ONE

MODULE TWO | 7 Mario Worlds and Inspiration | 8 Final Hand Drawing Process | 9 Final Hand Sketch | 10 Sketching Process | 11 Illustrator Process | 12 Final Mario World | 13

4 | Plan and Front Elevation 5 | Section Cuts and Side Elevation 6 |Axonometric View and Process

14 | MODULE THREE 15 | Initial Terrain Mapping 16 | 3D Computer Design 17 | Laser Cutting and Construction 18 | Process of Construction 19 | Plan View of Model 20 | Representational Images

MODULE FOUR | 21 Text Inspiration | 22 First Perspective Design | 23 Second Perspective Design | 24 Character Models | 25 Textures | 26 Transcendence | 27 Absolution | 28 Absolution II | 29 Isometric Annotated View | 30

31 | REFLECTION

Module one explored the basic techniques required to embrace the architectural field. It took the idea of artistic representation, and transferred it the rules and formalities of architecture. The process was simple; find the perfect croissant, photograph it, lay it out in the true architectural orthographic form, and sketch. In this module i wanted to expand my drawing techniques, and explore different formats for representation. In order to complete this I embraced a stippling technique, as I felt it showed a true representation of the croissant and it’s important features. I wanted to highlight the crunchy nature of the croissant, showing its various flaky parts of crust, and buttery shine, both present in the perfect croissant. The final technical element of this module was the axonometric drawing of the section cuts, laid over the drawn croissants.

This played into my own drawing strengths, as I have completed this kind of drawing before, and as such had some experience to lean on.

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Plan and Front Elevation

Section Cuts and Side Elevations

Plan View

This is the overhead view of the croissant, showing the folds and curves. This is the most important view in my opinion as it shows the complexity of the flakes and crumbling texture of the croissant. This is the focal factor in my work, as I wanted to represent this in my drawings.

Front Elevation

This is the front elevation of the croissant in this module, and describes the frontal curvature and complexity of the height. The important parts of this image in my mind is the slight buttery glaze that shows on the top of the croissant.

I wanted to represent this in my drawing, which came with some difficulties.

This is the evolution of the inside of my croissant, and was taken by removing three section cuts of the croissant. This shows the light and airy nature of the croissant, and expands the flakiness explored in the plan view. It also shows the complexity held within, and the space that become possible with textures like this. These sketches were an important element in finding out the composition of the croissant, and give a much better idea of the overall image. It was interesting fin ding the outline of the object, and being able to see clear boundaries on beginnings and endings of the texture.

This is the side elevation of the croissant, and is important in showing the height and width, in the single image.

Which gives an important representation of scale from another dimension, and allows the height of some of the flakes to be properly represented.

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Axonometric View and Process

MODULE TWO Flatness Vs Projection The process behind the axonometric drawing is by creating a grid over the section cuts and transferring the points onto a similar grid on the croissant. The reasoning behind the axonometric layout is that it gives a new perspective to the croissant, and allows a measurable three dimensional representation of the croissant to be constructed. This accurate representation gives the croissant drawing a slightly more comprehensible view to the viewer.

Section A

Section B

Section C

This is the axonometric drawing for module one , and encompasses the technical skills element of the module. This sketch shows the outline and section cuts of the croissant, along with the sketched plan view. The purpose of the sketch is to show the position of the section cuts in reference to the three dimensional croissant. This helps locate the sections as a part of a larger whole, and give context to the previous drawings in the set. The added bonus is that it allows me to represent the croissant in its truest form, a three dimensional representation that breathes life into my images.

Module two explores the idea of flatness versus projection, capturing the ideals of creating an entire world from just its section cuts. This was an entirely creative process, taking the two sections given, and creating what lies between them. I created a living world, full of wonder and circulation. I wanted to show something as if it was simply lifted out of a world in which it had already existed, and shown in the light above. I wanted to showcase a world full of life, and to me that could be represented through the use of water throughout the levels.

I showed various waterfalls cascading throughout the design, flowing into one lake or another, and eventually flowing out of the world altogether, dissapearing into the distance. The spiral staircase featured so prevalently was both a showcase of my technical skill, and an integral part in giving my world the circulation I wanted, allowing it to seem like the multiple levels weren’t just floating in midair, but were actually part of a larger whole. I wanted a true sense of connectivity to overlay my entire design. This project wasn’t about creating two sides of a cube, it was about taking two sides of a coin, and making it into a whole. This is what my world attempts to show. I want to truly connect the two section cuts, taking their principles and building a true environment around them. I wanted their principles to show through in my design and I believe I have truly completed this.

Final Hand Sketch and Process |

8 | Mario Worlds and Inspiration

This world was the fourth rendition of my Mario world, developed after numerous freehand and detailed sketches. I built on top of the simple base layer, getting ever more complex, until I eventually reached this level of completion. I wanted to build a layered amount of detail, filled with steps and sections for waterfalls to ounce through.

This was the first Mario world I was given, it immediately caught my eye for the use of water on the section plane, which inspired me to explore waterfalls heavily within my work. It also showed the cavernous insides of the world, giving me the space to explore multiple layers and levels. I took these basic features and the predominant features of the large shaped wall into consideration when planning my design.

This is the second Mario world given to me, and formed the backside of my world. The first inspiration from this image came from the twisting nature of the platforms, and the way this cast a sort of transition from the upper to lower ground. It also gave the inclusion of popes into the world, I didn’t fully expand on this element because I felt that the other elements better represented what I wanted my world to be, and the themes that laid around it. This section cut also revealed more pillars in the cavernous interior, but also showed a direct introduction of light into the lower grounds. I really like the idea of this being like a hole into the lower ground, and wanted to explore it more within my world.

This is a combination of both the original images I was given, and the final culmination of my drawn work. I designed my world around the principles of an importance of water within, and a reliance of the circulation of space.

This was in an attempt to show an alive world, thriving despite the challenges it faces. The process by which this was created was the layering of the two sections of Mario’s world, set above and below the image. Connecting lines were drawn to project the two dimensional section cut onto the created three dimensional plane.

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10 | Final Hand Sketch

Sketching Process

This sketch shows the final state of my hand drawing, before it was scanned into illustrator and coloured. I wanted to reach a level of complexity that would allow me to create a world full of depth and interest, that wasn’t overcome with an abundance of information. Within this overarching theme I created elements of intense complexity, and surrounded it with simple surfaces. This was in order to achieve a healthy flow between surfaces, and allow the eyes of viewers to naturally rest on different objects, without being confused or lost. I incorporated the spiral staircase to show a smooth transition between the lower and upper ground, alongside several staircases and waterfalls. I wanted to create layers of platforms and objects to give the world a true sense of depth, and connectivity between the two sections of my Mario world.

This page shows the progression of hand drawings that supported the final body of work. It took many attempts and iterations in order to reach a level of complexity that I was happy with, and these were the drawings that led up to the final rendition. At first i struggled with tying the two section cuts together into a single image, so I simply developed each individual one into a three dimensional space. This then went through the process of adding complexity, and elements of connecting space.

This is the original iteration of my Mario world, showcasing rough edges and shapes for my design. At this stage the idea was simply about forming a framework to move forward from, with rough volumes for each section, and some development of internal space. This showed the simple exploration of shapes and lines, trying to define a livable world.

This was the second to final sketch, including the more intricate elements of my design, and a more fleshed out internal space. More volume was added to create a more connected space, with more complexity and depth within. I changed the dimensions of preexisting volumes, and gave more weight to areas that needed it. This gave the outline for my final design.

This sketch is the original axonometric helix I drew to give the framework for the spiral staircase seen in my Mario world. Using a grid method I mapped points on a three dimensional grid, then plotted a single circle vertically through the grid, stepping upwards at each horizontal line. These mapped points were then connected with a single line, to form a helix.

This axonometric spiral staircase was one of the feature points of my Mario world. In order to get this cleaned model I traced the axonometric helix onto a fresh lightly drawn grid, and projected a second helix upwards one horizontal line in order to produce the rail of the staircase.

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12 | Illustrator Process

Final Mario World

Stage One

Stage Two

Stage Three

Stage Four

This was the original rough coloured illustrator model, completed using the second final hand drawing as a base. This was done in an attempt to trial different colours and discover what effects these colours had on the environment of the world. Although I liked the colours, they felt a little too vibrant for the module, and the physical foundations lacked the complexity I desired for the final product.

This was the second version of my Mario world, incorporating more accurate and complex spaces, and some of the shadows I wanted in the final version. I toned the colours a lot in this model, going for a more pastel colour palette. In this model I incorporated complex shadows on most surfaces, trying to show shadows solely through the actual act of placing transparent black shapes across the space.

After I realised that the last model was too simple for the needs of my environment, I restarted my hand drawing, and used the new model for a completely restarted illustrator work up. I maintained the more pastel colour palette, and renewed the complexity of the model. I put extended effort into making the lines and weights perfect on this attempt. I came to the realisation that the previous forms of shadows would be too time consuming to map across the entire world without making too many small mistakes.

This is the final version of my Mario world, with all elements laid out and various improvements made. In order to progress from the previous model I added a slightly darker colour palette, and created texture based shadows using gradients. Through this I was also able to add a slightly red tint to the corners, in order to give the appearance of a sunrise, and a sense of place within a larger world. I retained the complex shadows for the more unique elements of my design, highlighting the feature points throughout. I also added an element of complexity to the water, using white lines in order to showcase the movement of water. Along these lines i used a slight white gradient in order to show an effect of mist at the base of a waterfall.

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Initial Terrain Mapping

MODULE THREE Pattern Vs Surface

Module three was focused around the creation of a grid based model. Tasked with using tools given in a three dimensional modeling program to create this model, I created a model that attempted to blur the lines between the grids, and show a sense of flowing and peaking parts. My aim was to create something that would flow within itself, creating multiple parts that would fit into a larger whole and create a seamless yet distinguishable final product. I wanted to show a flowing of different sections into each other, incorporating multiple modules to show a varying amount of height and complexity throughout.

Using this idea I created a space that gave the viewer a clear path to follow, through the use of the taller module, however I also incorporated elements of unique complexity, that gave the viewer something to focus on at any single point. This varying degree of complexity and height within my model gave me the ability to also produce complex shadows throughout my model. These shadows are important in the final model to showcase the merging of grid lines, and further add to the immersion the viewer had with the model.

This is the base surface of my module, forming all the undulations and height differences of my model. Although there was only small differences across the surface, this gave my model the ability to completely control its modules, without it being dependent on large inclines or declines in the physical model. This allowed me more freedom on how controlling the height of my modules, creating small pieces to build up too the whole.

Using the panellingtools in Rhinoceros 3D, specifically ptgridsurfacedomainnumber, I created a 10x10 grid of points to start my model. This divided the space up ready for the modules to be inserted, and creates the basis for the 3D grid needed to create change within the model.

This stage is where the design decisions began, and where creative differences started. I experimented originally with using attractor curves, as they give a very natural looking wave notion, however I ran into many issues with there not being enough difference between modules, and the dividing lines not being clear enough. This resulted in the amount of modules being too high, and the patterns too low. I settled on using five attractor points instead, which created five individual peaks and valleys. The points provided a steeped difference in heights and more variation in modules. The attractor points show in red.

This is the final grid layout this image, with the mapped points in blue. They show the maximum curvature of my modules, and the lowest point of my model. The point in the centre creates the most important part of the model, giving a small dish as a focal point for the larger whole. This grid allows my modules to differentiate from one another, and gives more variation without the creation of more than five modules. This was important in creating an articulate flow throughout the model, and blending the different segments together.

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16 | 3D Computer Design

Module (a)

Laser Cutting and Construction

Module (b)

Module (c)

Module (d)

Module (e)

This is the culmination of the 3D modeling within Module Three, filled with shapes that flow throughout one another. The complexity it offers comes from both the complex modules, and the combination and alternative patterns of the model. Using bounding boxes I was able to make the middle module the highest point, reaching slightly above and across the other grid sections. It also allowed my outlying points to stand out as the points of interest. Module (a) was the point of interest, as its four convex sides allowed for an interesting shape to take dominance. Modules (b) and (e) were my first conceived modules, and allowed for the most creative freedom, utilising the convex pyramid within the larger pyramid. This created difficulties with folds but produced a more stimulating model. Module (c) and (d) were simpler in order to break up the complexity, and keep the model slightly grounded. It also helped to smooth the transition across from the other modules.

Final 3D design

This was template that was used in order to laser cut my shapes, and create crisp and detailed lines within my model. I assimilated my unrolled faces in order to use the least material, and numbered every piece. In order to create cut and etched lines two layers were used, which cut the ivory card at separate depths.

I used PVA glue in order to stick the tabs together, and maintain the models shape. Using letter clips to hold them in place whilst the glue dried, This was a difficult process due to the complexity of the modules, and the small nature of the tabs. Each module was cut and folded separately and put together as a whole afterwards.

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18 | Construction

Plan View of Model

This is the overhead plan view of my model, showing the simple criss-crossed pattern, surrounded by intricate modules, that show a pattern of flow throughout my model. This combines to clearly show intricate and overlapping shadows, that aid in increasing the fluidity of the model. It almost perfectly represents my design, and shows my ideas and thoughts well. This view allows the model to be taken in from a slight distance, and grasp the overall elements of design. This gives a chance to appreciate the flow, and take in each individual element through the vision of the whole.

This shows the progression of the modules, As i started to figure out a process it became easier to put them together. I used roughly 50 clips to hold what was drying together.

In order to begin finalising the module I stuck the individual modules together in their rows of 10, and beginning to fine tune the curvature of the board. Fixing the undulation in place. This started to show how the final model was going to look, and show off some of the ideas behind my piece.

This is the next stage of construction, showing the connecting of each of the strips together. This showed the benefit of the laser cutting, as the pieces perfectly matched the computer generated model.

This means the base of the model perfectly aligns with the original surface I was given.

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20 | Representational Images MODULE FOUR Frame vs Field

This unit embodies the ideas of perception, and how view can change how the viewer interprets an image. Frame is one element of the design process, embodying the idea of which elements make up the composition of an image. Field refers to what parts are in focus throughout the image, which parts I wanted to keep as the most important. This module challenged my technically, but I overcame my inexperience and executed a design that I feel represents an original take on the text, Thin Cities - Zenobia. Elements of the text have been taken and understood in order to create the following images. I wanted to represent it as more than just what was written down, taking the true meaning and possibly the true identity of Zenobia. Creating a world that represented this identity was paramount to my work. I wanted to show Marco Polo and his journey through this world, and how everything around him changed over time. It was very interesting to discover the text was truly representative of Venice, and so I used that as the background of my world.I wanted to immerse the viewer in an interesting story, and take them on a journey through the world of Zenobia. It was important to me to maintain a high level of dicipline, and complete this model to as high a degree as possible. This was due to my commitment to the story, it truly interested me to develop this idea of the city, and create a world that was worth exploring.

These pictures capture the essence of the model, showing the intricacies and details held within. These images show the intricate shadows and shapes needed to execute my idea. These show the extreme difference in heights within, showing my ideals and how I executed them.

22 | Text Inspiration

First Perspective Design

This module centered around the creating of a narrative, around creating a visual story for the viewer to follow.

The text from invisible cities was a perfect starting point for developing a narrative. Thin Cities, Zenobia, was my page of description, and was where my inspiration drew from. These excerpts helped me to form the start of an idea for my module; ​ “No one remembers what need or command or desire drove Zenobia’s founders to give their city this form”

This was the first iteration of my perspective, and came with significantly fewer characters than later renditions, but did come with more light. I had longer shadows in this direction, trying to show off the ladder in full light, however in my eyes there was too much open in the air, and it removed any mystery from the scene.

​ This quote was useful in progressing my idea from a physical ideal into a more narrative based project. I wanted to explore how Zenobia was a city that sprung up from no need or desire, but rather from a possibility for opportunity, its my interpretation that the city was not a designed element, but rather a manifestation of what could have been possible. ​ “Grown through successive superimposition from the first, now undecipherable plan” ​ This was my inspiration for my original design, and immediately gave me the idea of layers of platforms and buildings, stacked all around each other, building on what they could. This originally came to me in the form of stacked platforms, with people crowding up them, and the city being consumed by its growth. This idea however didn’t truly represent the possibilities in representing the text, as the complexity of the model outweighed any apparent concept. I instead chose to understand this quote as a representation of the superimposed cultures and identities within the city, of different types of people overlapping with each other, building throughout the space.

It was this idea that led to my final model, giving weight to the idea of separate layers of culture within the society.

I chose to use the single higher level in this regard as an elevation of society, and a consideration of what the original founder thought of as the cities ideals. ​ “Pointless...to decide whether Zenobia is to be classified among happy cities, or the unhappy”

The final version of my perspective “absolution” changed completely, incorporating the majority of my characters, and changing the shadows entirely. The goal of the image was to show the people in different states of progressing towards the staircase, towards the source of their saviour and shroud them all in shadows, in the air of conflict and mystery.

​ This quote was also very important in how I formatted my ideas, influencing the removal of any angry or overtly happy figures. I wanted to show that this city wasn’t burdened by unhappiness, or overcome with joy, but rather the ebb and flow of emotions was present throughout the city. It was difficult to fully realise this with the overarching theme or competing religions and cultures, so i settled for the inclusion of fighting figures, to signify not necessarily unhappiness, but just a state of combativeness. ​ “those that through the years and the changes continue to give form to desires, and those in which desires either erase the city, or are erased by it.” ​ This was again a key source of inspiration, specifically the mention of desires. I thought the idea of showing how these differing desires effected the composition of the real world was a good way to represent the text. Through the use of different cultures and religions, trying to impose their own desires onto the city, I wanted to create a city that struggled with its own identity, and how the form that the original creators gave it was either erased by these cultures, or highlighted by them. This truly shows the conflicting nature within the city, a tumultuous relationship between each coexisting person, but also between desire, and the nature of the city itself.

This is the Make2d of the perspective, showing the intricate details of the perspective, and providing a hard outline for the building and characters. These lines helped to create texture masks that would help fill the space with different textures and colours.

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24 | Second Perspective Design

Character Models

During the design process I moved the characters to make the appearance of a crowded and cluttered existence. I wanted to keep the model simple, and build the story up around the characters of the world. They were placed ideally around the space in varying state of shadow and light, mixing the culture and status between the characters. I wanted to represent a world full of differences, but full of similarities.

This is the make2d of the space, created to aid in the texture mapping and design of the final images. The character outlines helped to accurately place the cleaned textures, and the brickwork was used to define the texture applied to it. The lines helped to create harder edges, and give the building a realistic feel, over the very cold render.

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26 | Textures

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“Transcendence�

This scene shows the physical representation of transcending. The spiral staircase shows the upward climb of Zenobia, whilst simultaneously showing the possibility for decline. This represents the straying from its original ideals, the changing in how that ideal is perceived, and the way this new path clouds the vision of all those who live within. This greater shows the friction within, you see characters cornering someone who has tried to climb above the crowd. You also see those one their way to climb the staircase, on the way through transcendence.

I Chose these textures in order to represent the solidity of my world, it is a world with foundations that exist without compromise, so I wanted strong materials that reflected this. Materials that could shine in the environment I wanted to create=

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“Absolution�

This image explores a concept of struggling to rise above the difficulties in the everyday. The city of Zenobia has no single identity, because all who inhabit it are trying to impose their own desires within it. Those who aren’t have had their desires changed by the city itself.

I am trying to represent how cities that are in constant competition within itself, is in a state of friction, always wearing each other down in the attempt to reach this state of absolution, or to this higher plane.

Absolution II I chose to include this colourised version to show the possibilities of colour as a tool for representation within this unit, and I feel the background in colour provides an important grounding element in the overall theme.

30 | Isometric View with Notations This is my isometric layout of my design of the “Old Quad”, including my notations of the movement around my space; how the flow of my narrative effected the real world around it. I wanted to showcase Marco Polo’s route through the space and how he was able to wade through the societies that were present in the space. His path flows from a spot that is far away from the spiral staircase - the way to transcendence - and precedes to the base of that staircase. He saw the people struggling through Zenobia, not being able to find this staircase through the cloud that is being kicked up by the friction that is present in their world, the friction caused by each citizen trying to achieve their desires. He sits near the base of the staircase and saw people in the process of climbing the staircase. He also saw many other people looking from a distance, able to see this higher plane; but not able to get close to it, never able to achieve it.

They are always tied up in their own thoughts and desires, this reflects in both my narrative and my notations. The two labels that indicate directional looks are important in these notations, they are the glance and the glare. These two symbols show the resentment present in the city, people don’t just see their desires failing before them and see where their desires could be, they also see how others have been able to achieve their own desires. This creates even more tension within the world, leaving those below glaring at those who are above. However, those that sit above don’t pay much mind to those below. They don’t need too now that their own desires have been shaped and met, with nothing but a glance. I placed a transition of time within the world, through the line drawn from right to the left side of the diagram, this was important to show how people were drifting through the space, through time, but not getting any closer to their goal. I also wanted to show the heavy feeling that this creates in the city, directly related to the unsettled dust that encases the lower scene. Marco Polo is an outsider who can see past the troubles of the city. His mindset of knowing of so many other kinds of cities and values, allows him to pass through this plane of friction and see these peoples struggles.

REFLECTION

Foundation of Design representation has been an important learning experience in my Bachelor of Design. Learning the foundations of architecture in new and interesting ways gave me an insight into the future of my work, allowing me to realise where my strengths lie. I was able to explore detailed ideas and powerful concepts, whilst also enjoying the creation process and physical demands of the course. The highlights for me was the creation of the Mario world, and the ability to create an entire physical manifestation. The thought process behind it was very enticing and allowed me to experiment creatively. I took the time to create a world that I felt represented my thoughts and ideas, displaying my technical talent at the same time. I did however struggle with this unit due to my relative inexperience with the programs being utilised. Illustrator was definitely not my strongest tool, and it took some getting used to produce the final result. Regardless of this difficulty, I was really happy with the final result, as I felt the complexity and detail it represented was accurate to my original vision, and was something I was proud of.

The croissant was a difficult module to start my semester off with, having little experience with sketching, I struggled to adapt to the new techniques needed. My poor time management, and lack of understanding, meant that I struggled to remain on top of the assignment. However, the stippling technique was something that resonated well with me, giving me a foothold and allowing me to represent the croissant in an accurate way, whilst remaining within my comfort zone. I was able to quickly grasp the technique, and although it was time consuming, I felt it was a perfect way to represent the crois-

sant. If I had better been able to manage my time I would have exceeded in this module, as the more effort put into the stippling technique, the greater the intricacy, and the greater the overall result.

The most physically demanding module was without doubt Module Three. The intricacies and techniques required in model making created a difficult learning curve. I was definitely out of my depth when it came to model making, and it was a bit of a shock when I had to pick it up. The benefit of this module however was the advantage it gave me with becoming comfortable with Rhinoceros 3D. It allowed me to become almost fluent with the panellingtools within the program, formulating over thirty different possible final models. I was able to experiment with all the available factors, and designed a substantial amount of individual modules, which allowed me to perfect my model. I wanted to display a flowing, complex idea and create a space that gave the viewer both a sense of mystery, and clarity. I feel like I was able to produce just that. I wanted to show an extreme sense of depth to the model, both physically and emotionally. Although I may have fell just below the emotional impact, my physical depth was a great success. I created some very complex modules, with one housing an entire truncated pyramid within another larger pyramid. This complexity greatly added to my model, however it also made the construction process much more difficult. I decided to laser cut my project, as it would give me some hands on experience with the technology, and also give me access to greater complexity within my model. My mistake with this was not

32 | Reflection

realising the limits of this complexity, exceeding it with my design. I created areas with tabs that were nonfunctional small, or non-existent, without realising their importance, or scale within the larger piece. This meant that my model was filled with areas that needed extra work in order to create a presentable model. This was difficult for me as I have relatively little experience with model making, and it was difficult for me to pick up over the course of the module.

Regardless, I was happy with the final piece, as I was able to patch almost all of the problematic areas and present a model that was representative of my ideas and values.

Module Four was one of the most creatively demanding bodies of work, this was both exciting and daunting for me personally. It allowed me the opportunity to creatively interpret a text, which was a very enjoyable process, and gave me the opportunity to show off my creative talents. I was very stimulated by this part of the module, as it gave me the ability to just read through the text and try to extrapolate its true meaning, which I felt I was able to do very well.

The other part of the module provided a bit more of a challenge. Being relatively inept with Photoshop, I struggled with the texturing process, having to do some significant research in order to learn the techniques needed. Once I discovered these, it was still quite difficult for me to utilise them, it took many attempts to arrive at my final model. I was unable to clean up the model adequately, and there are a few areas that stood out as needing extra work, which I have tried to remedy within this portfolio. I did however enjoy the process within Rhinoceros 3D and the creation

of the physical model was quite interesting to discover and play around with. In the future I would like to re-evaluate this module once I have a greater understanding of the techniques required to perfect my work and showcase what I believe is a great concept.

This subject has given me the ability to grasp the basic tools and techniques required to excel within the field of architecture. I was able to become comfortable with the technology that will follow me throughout my degree and explore the kinds of work that I thoroughly enjoy. This unit has helped me to expand my design vocabulary and discover the ways in which ideas become reality.