2
Inspired by the French artist and architect, Enric Miralles in 1983 came about the visual representation of a croissant. This module focused deeply behind the foundations and skills of drawing, as well as the basic concepts behind scale, orthographic and axonometric representation. To begin with, it was outlined students were required to purchase a croissant which was then photographed using appropriate equipment and lighting arrangements. This included the usage of DSLR technology, as well as lighting systems which were attained through lamps and plain, white walls. After establishing the front, top and side views of the croissant, the next stage was capturing the bottom section of the croissant as well as it’s sections located on the insides of the object. This was achieved through scanning technologies where slices were made through cuts and scanned to form the sections beneath the exteriors of the croissant. After compiling the photographs and generating scans, it is then required for the students to use the program, photoshop as a device to adjust the lighting and contrast with the images captured. Once edited, the images were then printed and traced using low opacity paper and traced using various pencil grades. This was achieved through either hatching or shading to generate form and texture of the croissants illustrated. Once compiling the traces of all views and sections, it is then required to formulate the axonometric drawing. This was achieved through the usage of grids on the sectional drawings, with points plotted and then projected to formulate the new drawing. It is required the measurement is kept at a scale of 1:1 to fulfil the requirement of maintaining the same dimensions as the original object. Overall, this module gave an in-depth insight behind the technical aspects of drawing, orthogonal and axonometric representations. In addition, some technological aspects were also explored including the usage of photographic materials, photoshop edits and the basics of illustrator.
3
4
5
6
The second module expanded and focused deeply behind the foundations of axonometric representation. This was achieved through the converting process from 2-dimensional images into a 3-dimensional product. Rather than focusing on traditional methods, this module encouraged students to work backwards to open up their specturm to a greater challenge. The beginning of this module required students to draw out the projection of what the 3-dimensional object would look like. First, a traditional method of reproducing the object through two Super Mario images which were provided to you under the direction of tutors. After establishing the projections and appropriate measurements, students were then required to place an additional sheet onto the original design where new. Features were added and modified to allow the conversion of the two worlds to take place. Through this, students were able to use their design thinking to generate different outcomes and themes to the original concepts which were provided to them within the 2-dimensional images. Once compiling the drawing using strong pencil grades, students were then required to scan the drawing and to begin the tracing process through the program, Illustrator. This is where the deployment of tones, colour and additional features were added. This was essentially the refinement phase. When the two worlds are combined, it was critical for students to adapt creatively to choice of space beyond the features which were present along the foreground. This is where additional features come into play, where students were able to create the merging process between the two worlds provided to them.
7
8
9
For this module, students were introduced into the fundamentals and foundations of physical modelling as well as looking deeply into the different variations of both flat and 3D surface. The aim for this task was to set out the basic skills of model making, as well as projection of surfaces. To begin with, students were provided a surface influenced by the terrain of the Tasmanian landscape. With this terrain, students were then required to use the program Rhino where exploration of unique patterns and styes were generated into. Students explored a different range of flat surface designs using a variety of different shapes including triangles, boxes, squares and so forth. After exploring different flat variations, students were then required to explore boundaries within a 3-dimensional perspective. To achieve this, the use of paneling tools were used as an extension under Rhino where this concept was able to be achieved. The usage of contours and lines were used as key sources to direct the estimation positioning of where and how the surface would look. This was accomplished through a set of 100 arrays along the surface where the transformation phase of the terrain occurred. After exploring and breaking down the 3-dimensional surfaces into packaging nets, students were then required to adjust them on illustrator using solid lines and dotted lines so the student was able to recognise where the cuts were to be made and folded. The final outcome involved the student printing all packaging nets onto A1 ivory card where the modelling phase took place. Overall, the entire process provided students with an insight to the endless possibilities of modelling and fabrication into structural conventions. The element of pattern was explored thoroughly and ultimately provided students with greater knowledge behind the various forms and surfaces of geometrical structures.
10
11
12
13
To conclude with the subject, students were introduced into the concept of perspective through frame and field. Inspired by Durer’s intention, perspectival projection involved the insight to perpendicular lines coming together to formulate a central vanishing point. It is through this concept which alluded to the notion of perspectives. The aim for this task was to generate a quad where students were required to build two perspectives based on the passage which was provided to them. The passage itself came from a narrative that had been interpreted from the provided outtake of Marco Polos adventures as described ion the book Invisible Cities by Italo Calvino. To begin with, students were required to use the program Rhino where they generated the backdrop of the perspectives and isometric drawing. The quad itself was inspired by Melbourne University’s old quads. Paneling tools were used once again to generate the details including vaults and columns. Once finalising the quad, students were then required to formulate the quad in isometric views onto illustrator. Here, students were then required to deploy a range of different symbols to illustrate the movement of Marco Polo and his perspectives of what he observed within the city. After generating the movement and key behind the quad, students were then asked to build the perspectives based on the narrative which was provided to them. This included the process of converting snapshots of the 2-dimensional rhino line-works into illustrator, where renderings were made and placement of characters were exploited. This is where students began to play with a range of tools to adjust to their narratives. This included the adjustment of lighting, colour, tone and texture depicted within the perspectives of Marco Polo. This module was extremely helpful in highlighting the various methods of creating and adapting to perspectival projections behind the power of literature. In addition, the distinction between autographic and calligraphic practice was explored and looking deeply into how they relate to architectural representation. Ultimately, by providing the students with these stories, students were able to think more vividly behind the placement and design decisions of generating a story through design.
14
CHOSEN NARRATIVE
15
FIRST PERSPECTIVE
16
SECOND PERSPECTIVE
17
18
If the intention for this subject was to explore a range of different design fields and themes, then that goal has certainly been fulfilled for me. I rather enjoyed the subject, and was consistently impressed with the level of depth and thought that I could be seen into developing the curriculum. For this subject, I felt I had a head start after finishing two folios at secondary school in year 12, enabling for the course to add onto the knowledge of my expertise skills behind the concept of design. In terms of the lectures, I felt they were extremely interesting and gave a much greater in-depth behind the reasoning for particular modules. The lectures provided a much broader spectrum behind conventions and the reasons behind particular choices within the design world. For me personally, I found the ideas behind perspectival projection and pattern to be the most interesting throughout the entire course. Regarding the modules, I found they were well placed, thoughtfully progressive and extremely insightful behind learning new concepts. I found module 4, being the frame and field to be the most enjoyable due to its ability of adapting visual depictions behind narrative structures. Ultimately, I’m rather satisfied with my efforts for the semester, and think that as a first year potentially going into architecture is truely a very well put together, engaging and in-depth subject. The downfalls for me was time. I feel I left everything to the last minute and didn’t plan accordingly. This may be because I am a first year and still getting my head around the curriculum of the university. To conclude, I’ve found this to be a very thoughtful learning experience, taught by passionate and extremely experienced people. It is through this where I was able to learn a range of different skills and build a broader knowledge behind design. For the future, I intend to be more organised and to communicate more effectively with lecturers and tutors.
19