Foundations of Design:
Representation Representation noitatneserpeR
Representation Ziyang Yuan Student number: 1025198 Tutor: Stewart Wu Class: Studio 02-SM2-ARCH10001
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CONTENTS MODULE 1 How to draw a croissant
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MODULE 2 Flatness vs. Projection
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MODULE 3 Pattern vs. Surface
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MODULE 4 Frame vs. Field
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REFLECTION Learning & Improving
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MODULE 1 How to draw a croissant In Module 1 assignment, we aimed to complete three drawings of the croissant which include the photography, hand-drawing and axonometric works. It needs a lot of patience and carefulness to be put into the whole assignment, at the same time, give us an initial view of the design world.
discover the:
CROISSANT
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Croissant Photography
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Taking photos of the croissant was not a difficult part in the first page but needs patience. How to layout the images and scans on an A3 working paper equals the importance of how we put the annotations and dimensions beside the images. I learned how to set the photography stage to get a better background and how to angle the lighting directions to have a nice shadow.
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Croissant Drawing
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Depth on the surface of the croissant can be magically shown on tracing paper by pencils and fine line pens. The spacing between lines skillfully shows the uneven surface of plan-view croissant. I learned how to use hatching techniques to show the depth of the surface in a flat drawing. This will help me in many different aspects of architectural drawings in the future.
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Croissant Axonometric
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What these page drawings need is not only the patience of lining the sections but also the ability of space imagination. Sections are lined in ten times ten squares to show the dimension of the croissant and then reflect on the axonometric drawing on the left-hand side.
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In module 1 assignment, croissant opens the door for me to explore the world of design. From exterior appearance to the interior structure of the croissant, it shows profoundly how an object should be laid out on a working paper, how annotation and dimensions should be drawn beside the images or drawings and how to show depth and make hatches by pencils and fine line pen. The Plan view and scanned bottom view gives me an exact size of the croissant for me to draw other two elevations accurately. In page 2, I used a new hatching technique for the drawing of plan view, the space between lines show the depth of the surface clearly. Before first studio class, I made a mistake when doing the annotation of length, I put the number under the line but I corrected it after class immediately. I think the most difficult part of this assignment is page 3’s axonometric work, what it needs is not only your patient but also your ability of space imagination. I believe this assignment will give me an original view of design which includes the understanding of why we draw plans, sections and elevations, why we use axonometric drawings and how can we show the depth of a surface.
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MODULE 2 Flatness vs. Projection Two elevations with two A3 tracing papers are enough for creating a mini world. In this assignment, we tried to make a projected world by ourselves following the original elevations from the Mario World.
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Final Axonometric Drawing
WORLD 2-19 12
ELEVATION 01
ELEVATION 02
Two Elevations from Mario World
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The main theme of my world is the vertical urbanism and aimed to show what we can see and what we cannot see of the city, so I created lots of details underground which you can see from the image above. I duplicated some building blocks and put them inside themselves or put them under the surface which we cannot see from the elevations. Since there are lots of cuboids in my raw projections and also some overlaps between them, so I came up with an idea of buildings. I arranged them in groups and used disconnected landform to represent the different parts of the city, but all of the lands are finally connected underground to compose a whole world. For the colour scheme, I chose cool colours based on lake blue and grey to create an urban atmosphere. The reason why I did not use the original colour from the elevations is that I think its colour is too fresh and I do not think it can match the perception of the city which is a little bit grey and has few greens.
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MODULE 3 Pattern vs. Surface In this module, we aimed to manipulate topography as a surface using panelling tools in Rhino. We received our own terrains from our tutor to create different kinds of changes between each pyramid.
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The idea of the mountain peak is strongly shown by the changing of pyramids and the terrain itself. By changing the number of pyramids in one small block to achieve a sense of pointing to the top.
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At the top of the model, there is clearly a beautiful mountain peak. With these fullsized pyramids on top and the assist of a great arch on this terrain, the frame of the mountain is gradually shaped.
Between the top and the bottom, there are some large pyramids lean around the top which makes the sense of peak more clear. At the same time, become the transition between peak and hill slope.
At the lower part of the module, there are many small pyramids together in one block point to the top. They are designed to form the hill slope under the mountain peak.
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From blank terrain to the changing of shapes.
Four key custom panels Final design of the module
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In module 3 assignment, we tried to create our own surface depends on the terrain we got from our tutor. Since each of us got different terrain from each other, what we created would be various and different as well. My design of the module is aimed to achieve the theme of the mountain peak. I tried to use different numbers of pyramids in one block to show the transition from the top to the bottom. At the same time, I also adjusted the height of these pyramids which helps get a better sense of the hill slope. These can be seen clearly at the lower part of the module which used lower height pyramids together in one block. I learned how to change the topography of an area by using the fixed giving terrain and I believe it might be an application in the real world architecture construction which makes the building fit the environment around it. In addition, the shape-changing skills might also help me have a sense of the whole and know how to make a good transition between less and more.
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MODULE 4 Frame vs. Field In module 4, we aimed to rebuild an Old Quad in Rhino, and add notations for it in Illustrator for creating our own quad by following the information of the chapter in a book called ‘invisible city’.
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Laudomia - From the chapter
What did I see The city of Laudomia was a triple city which consists of three parts, city of the dead, city of the living and city of the unborn. There exists a balanced interaction between living and dead. Their sharing of similar infrastructure help shape the whole city. Living Laudomia pays a visit to the dead to ask for the explanation of itself and pay a visit to the unborn to seek what should become of them. Living people are more concerned about their own legacy but not the next generation, there was no future for them to exist. If we imagine the city as an hourglass, the dead and the unborn were like two bulbs up and down. Finally, the last born Laudomia passed the neck and waited at the top of the pile. However, the hourglass would not be reversed any more.
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I divided the Old Quad into three main parts which represented the three cities of Laudomia which describes in the chapter. In addition, I deleted some parts of the columns, pipings and vaults in order to create the theme of fading and changing from the dead to the unborn. Besides this, the changing of floor blocks can also show the process of disappearance.
For the time threshold, they clearly crossed the columns on the Old Quad to divide the whole quad into three parts which represented the three part of the Laudomia, dead, living and unborn. Weight and atmosphere lines show the centre of different groups of people or sense of feelings. In addition, transference notations present the direction of a person’s moving and their future in abstract meaning. Wherever the people in the Old Quad is, their glance or gaze is generally all faces to the city of the dead which relates to their concern about the past and themselves but not the future.
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TRIM THIS WHITE AREA AFTER PRINTING
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TRIM THIS WHITE AREA AFTER PRINTING
In the first perspective, I added many characters, objects and textures in the scene. On the right-hand side of the image, there is a group of people kneel and pray for something towards that direction which represents the living Laudomia pay a visit to the dead to ask them for the explanation of themselves. In order to create the atmosphere of the city of death on the right, I added some textures of mist and some animals which symbolize horror and death like bat and spider in the foreground. Beside this, there are also some dead trees and the gate of the graveyard in the background to present a depressed and horrible feeling. By contrast, on the left-hand side of the scene of this perspective, there is an angel sitting on the base of the column as the main character to show the vitality of this area. In the left foreground, there are many grass and flowers grow from the broken stones and lots of ivy twist around the pipes of the vaults. This part of the Old Quad represents the city of the unborn in the chapter of Laudomia. The growing buildings with greens on it in the background also obviously show the feeling of rebirth and full of energy. The composition of the whole quad reflects the transition of the three cities clearly from every detail in the foreground to background.
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TRIM THIS WHITE AREA AFTER PRINTING
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TRIM THIS WHITE AREA AFTER PRINTING
In the second perspective, the most area of the scene was used for presenting the city of unborn and only a little bit of area contains the city of the dead and living. In the foreground of this perspective, the texture of mist is the nearest one which reflects the atmosphere of death. Then there are many energetic things we can see from the unborn area. Except the angel sitting on the base of the column, there are many birds flying around which create the theme of peace and life. In addition, the ivy and greens grow from the crack of vault and pipes perfectly match the growing buildings in the background. There are also two babies holding a dog sit on the floor in the quad which help present the idea of life and hope in this area. For the whole scene, there was a transition from near to far which reflects from death to unborn by giving different characters and objects in both foreground and background.
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Cities & the DeaD 5: LauDomia Ziyang Yuan, 1025198
NOTATIONS TRANSFERENCE / DIRECTION
WEIGHT / ATMOSPHERE
TIME / TEMPORAL THRESHOLD
WEIGHT / ATMOSPHERE FILL (Note: This is set at 30% Opacity)
GLANCE / GAZE HORIZONTAL FILL C: 0 M: 0 Y: 0 K: 29
GLANCE / GAZE VERTICAL FILL C: 0 M: 0 Y: 0 K: 41
PERSPECTIVE CALLOUT TENSION C: 0 M: 100 Y: 100 K: 0 PERSPECTIVE CALLOUT FEAR C: 62 M: 100 Y: 0 K: 0 PERSPECTIVE CALLOUT EXCITEMENT C: 74 M: 0 Y: 99 K: 0 PERSPECTIVE CALLOUT DELIRIUM C: 0 M: 97 Y: 20 K: 0 PERSPECTIVE CALLOUT CYNICISM C: 70 M: 15 Y: 0 K: 0 PERSPECTIVE CALLOUT TRANQUILLITY C: 5 M: 0 Y: 93 K: 0
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0
1m
2.5m
5m
In module 4 assignment, we created our own city old quad by understanding the chapter in a book called ‘The Invisibe City’. Even if we have got the same chapter, our story behind the design will be totally different. From reading the chapter, we will get the basic information of this city like how the streets and buildings in this city look like and how people in this city moving. From the surface of the words, we only got the meaning from what we saw but the real meaning which reflects the status of the city needs a deeper thinking and imagination. In my design work of the isometric drawing, lines and arrows are not randomly lied on the paper but all have meanings behind. What I learned is that how to ‘translate’ the paragraph in a book into a design work on the working paper. how can we make the reader or the audience to have a better understanding of our aim.
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NOITCELFER
REFLECTION
REFLECTION
NOITCELFER
Architecture is the learned game, correct and magniďŹ cent, of forms assembled in the light. - Le Corbusier
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From croissant drawing to Mario World creating, from model making to Old Quad designing, I learned not only the skills in those software but also the understanding of surface, elevation, projection and space in architectural meaning. They make me understand how important these terms in the future architecture study are and help me have an overview of them by completing the assignments. What is the representation and how can I represent things into design works. Mario World taught me the way to make two-dimension to three-dimension and how to create the world from what you can see to what you cannot see. It also inspires me to represent objects from a different angle or even different media but convey the same theme or meaning. Through the study of model making, I improved my techniques in Rhino and learned how to create the transition between similar objects. What model making needs is not only the patience but also the organization of items. I learned how to rebuild a surface by changing the shape of the objects on it and the height of them. It shifts my mind from a fixed frame to a flexible space. For the last module which focuses on an Old Quad in the city from the chapter. I believe that the deeper I think the more meaningful results I will get. From the surface of the words, I can only get some basic information of the appearance but not the real reflection of the city status. It helps me to think deeper and use more imagination to create the city. Besides this, the notations on the isometric drawing also taught me how to layout the lines to make the reader have a better understanding of the story. What I think I need to improve is still the way I think, the way I convey and the way I represent. It is not easily a method between media to media but a creation of unborn. What I create and imagine were still on the surface and need lots of further learning and effort.
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Foundations of Design: Representation
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