FODR S1 2017 PORTFOLIO Kelly Jin
991449 Anastasia Sklavakis 19
M1-HOW TO DRAW A CROISSANT An introduction to architectural drawing:
OR
rthographic projection and axonometric abstraction endering technique--hatching and shading by hand drawing + simple use of computer program
Pofolio Kelly JIN
2
MEASURED PHOTO OF A CROISSANT MODULE 1 How to draw a croissant --Scanned images
Photocopied section A Photo of elevation view (long edge)
116mm
Photocopied section B
68mm Photo of elevation view (short edge)
Photo of plan view
166mm
Section A
Photocopied section C Section B
Section C
YUTONG JIN 991449
Orthographic projection: To understand the concept by practising with a croissant, photos of elevation view (long edge+short edge), plan view and section view were taken. Great attention was paid to level the object and camera, ensuring to have the right shooting angle with orthographic view. Through this process, the use of photostage and program [photoshop] was learned to help create clean images. The measurement of crossaint was done in the program [Indesign] with 1:1scale.
Pofolio Kelly JIN
3
MEASURED DRAWING OF A CROISSANT MODULE 1 How to draw a croissant --Orthographic Drawings
Photocopied section A
116mm
Photo of elevation view (long edge)
68mm Photo of elevation view (short edge)
Photocopied section B
Photo of plan view
166mm
Section A
Section B
Section C
Photocopied section C
YUTONG JIN 991449
Orthographic drawing: Then by tracing the image of crossaint, drawing technique including hatching, cross hatching and shading was introduced. Specifically learned the imporatance of building layers of drawing and increasing heaviness to present depth. Besides, the language of architectural draiwng, such as emphasising the outline of cut section was considered as well.
Pofolio Kelly JIN
4
AXONOMETRIC DRAWING OF A CROISSANT
Se
ct
io n
A
Se
ct
io n
B
Se
ct
io n
C
MODULE 1 How to draw a croissant --Axonometric Drawings
Axonometric drawing:
YUTONG JIN 991449
Lastly, with aid of grid lines, axonometric projection was learnt to be drawn tranditionally (by hand). Based on three section cuts, the croissant was projected in 45 degree and then the outline was traced accordingly.
Pofolio Kelly JIN
5
M2-FLATNESS VS PROJECTION Further exploration on axonometric projectio + Introduction to :
SP
patial constructions erception of drawing by hand + vector based program [AI]
Pofolio Kelly JIN
6
ELEVATIONS OF MARIO WORLD
This module further demostrate the concept of axonometric projection. Practising with two elevation views of mario world, projections were made to combine a new world, leading to the introduction of spatial construction (constructing on the space hidden behind elevation views). The traditional projection method was applied and the process heavily relies on the use of drawing euipments such as T-square and set square.
Pofolio Kelly JIN
7
THE MAKING OF NEW MARIO WORLD.
In the hidden area, vegetation and rivers were the main elements added in aspects of creating an urban-like space. Underground world of lake was built as well, to echo with rivers flowing in the city.
Pofolio Kelly JIN
8
FINAL MARIO WORLD
Interpretation of spatial constrction and perception Two elevations were decided to be connected as two paralleled world by using the gradient colour for ground to demonstrate that light comes from opposite direction and two types of green for buildings were used to indicate the difference between two worlds as well. The design fit well with early construction of river, lake and underground world. Those elements in hidden space create a sense of connection between two “isolated“ landscapes. Suprisingly lighten the concept of “Parallel world” with the link it made. Overall, colour of warm tone was applied for the peaceful perception of the whole new urban space.
The last session of this module introduce the vector based program [Adobe Illustrator] in terms of line working tracing and colour filling in.
Pofolio Kelly JIN
9
M3-PATTERN VS SURFACE An Introduction to digital fabrication:
PP
anelling 3D patterns onto surface atternation techniques development --changing in flow --changing in height of pattern
P
hysical model making
Pofolio Kelly JIN
by 3D modelling program [RHINO]
10
PAPER LANDSCAPER--PHYSICAL MODEL
The making of new landscape Module 3 introduces the use of technology to build 3D model, learning a seies use of command in program [Rhino]. Exploring different combinations of panelling 3D patterns on the given terrain.
Pofolio Kelly JIN
11
ANALYSIS OF THE TERRAIN
BENDING UPWARDS BENDING UPWARDS BENDING UPWARDS
Based on the geometry of assigned terrain, area that bending upwards should have heavier geometry whereas the part bending downwards should have lighter objects on it, due to the effect of gravity. BENDING DOWNWARDS BENDING DOWNWARDS
BENDING DOWNWARDS
The heaviness was generated by adjusting the height of offsetpoint for each geometry as higher geometries have larger surface area which need more paper for the actual model, hence adding weight on particular area to help drag the surface downwards.
Based on the analysis, offset points for geometries were therefore set by using curve attractor, having the “appeal” model on. The lines drawing on the surface show the basic flow of where should be dragged down. This instructed the offside point to create height. Short length of attractor is to avoid ovedone heaveniess.
BENDING DOWNWARDS
Pofolio Kelly JIN
12
OFFSET POINT SHOWING ON TERRAIN
Pofolio Kelly JIN
13
EXPLORING 3D PATTERNS
Second Test
First Test
Two test for the landscape character was carried out at the same time. One focus on the curve, spiral and floating effect whereas the other one emphasis the relationship among mountain, hill and the plain. Comparing the two, the second one is more ideally chosen for this module. Not only because it stands out with its great showing of height, it is also more developable for building physical model as it has clearer vartiation between areas.
Pofolio Kelly JIN
14
DETAIL OF FINAL MODEL
Digital v.s. Physical Fabrication
Pofolio Kelly JIN
15
M4-FRAME VS FIELD Further exploration of openess and creativity:：：： arrative based project: theorised in Renaissance Italy esign of moive like scenes to present the story。。
ND
Further exploration of 3D modelling+lineweight+hatching: onstruction of the city (old quald) raphic notation on isometric drawing。
CG
by 3D modelling program+ Raster graphics editor [RHINO+PS]
Pofolio Kelly JIN
16
ORIGINAL STORY & FINAL PRODUCT
Cities & the DeaD 4: argia Kelly Jin, 991449
Key Movement Light mood Heave mood 0
The last module extent the practise with program [Rhino], learning how to construct 3D model of architectural structure based on linework of orthographic projection. The project is further developed according to Calvino’s novel “invisible city”, illustrating narrative of Marco Polo and interpretating his underlying message in the form of a poster, including two perspective views and one axonometric view.
Pofolio Kelly JIN
1m
Perspective 1
2.5m
5m
Unknown Space
Perspective Threshold Stare Glance Character
Perspective 2
17
NARRATIVE [PERSPECTIVE 1]
When Marcopolo first enters the city, darkness domines his eyesight. It’s like end of the world: people are dying, constructions are destroyed. The overall feeling is gloomy and bleak. The worm tunnel and staircase seems like leading this city to somewhere, but meanwhile like to nowhere. In distance, a prayer is praying, describes from another perspective that how bad and misarble it is in the city. [This reflects on the dark age in Medieval times. Using the concept of invisible city to present the image how people and how Venice suffered from wars, plague andnatural disaster ]
Pofolio Kelly JIN
18
NARRATIVE [PERSPECTIVE 2]
When Marcopolo turns to the right side, within the darkness, he saw light in distance. Brightness exisit after all the way through inifinite landscape of desolation. There might be a peaceful land under the desolation where prospherous civilisation was happening. However, the strong sense of bleak under his foot keeps Marcopolo from walking deep into the city, he wandered only at the gate of entrance, yet for long time. [From the description, Marcopolo believes that there is a underground world which I think he believes more in a better future of the city. ]
Pofolio Kelly JIN
19
PERSPECTIVE LINE WORK
These two perspective were selected because they togher show the most view of city. From same location but looking at different direction, allows the unity of two images. Meanwhile, both pictures’ ratios between inner and outer space are reasonable, giving chance to discuss the relationship between spaces.
Pofolio Kelly JIN
20
AXONOMETRIC DRAWING WITH NOTATION
In isometric drawing, notation strongly focus on presenting the heavy mood directed by main characters from two scenes. To achieve this, different notations were composed on the same site to dominant the drawing. Two dominant sites are therefore created by a composition of grey shaded circle of characters, glance and stare sign indicated to characters and black shaded notation of heavy mood. Marco polo’s path within this story seems not too important. Therefore, the notation was marked in lighter line weight and short foot passage assumed he didn’t enter the city deeply. This is further illustrated by the question marks labelled in underground level showing that Polo didn’t actually know what’s like beneath the ground. However, the light mood notation tells his belief that there is a better and happier underground world where you can hear people knocking on the door.
Key Movement Light mood Heave mood Unknown Space
Perspective Threshold Stare Glance Character 0m
Pofolio Kelly JIN
1m
2.5m
5m
21
REFLECTION These 4 modules cover a wide range of concept related to architectural, landscape and graphic design. Lectures are useful seizing idea and inspiration, I was ispired by a game introduced in lecture called “journey� which present movement by flow of the drawing without adding actual annotation. Also, it introduced important terms and concept of different approach to architectural representation such as noli plan. At beginning of the semester, we were introduced to a variety of equipments such as tracing paper, fineline pen, T square, set sqaure, cutting mat, etc which assist us all the way through semester. Traditional drawing technique and digital fabrication skills were taught through tutorials and workshop. I particularly enjoyed the part of hand drawing crossiant, the process of looking for direction and flow of layering cross hatching to build depth was great fun. Also I enjoyed M4 about converting narrative concept into actual model and visual scenes by using the technology. However, the prosess of M3 was of both fun and pain, enjoyable with the new technique exploring and satifisfied with the final model built, but painful with its huge workload particularly due to my poor time management. Time management is also one of the most important thing Ive learned through this course. The module I am not quite satisfied with was Module2. Line weight of outline did not work as sufficient as expected because I used light colour to fit over perception. However, light colour did not allow it to stand out to identify section cut. The version put in this pofolio was adjusted, colour of line were changed to black, missed shadow was added, and scale of coins were fixed as well. In addition, I found it important to have communication with tutor and mates as sometime they see different things as I do, and some critisism could really improve my perception of design logic and representation. Overall, this course brings me valuable lessons not only in terms of design technique, but also with experience related to personal improvement. Great thx to Ana and all the mates who being supportive.
Pofolio Kelly JIN
22