Poster: Model It.

For all three workshops there has been a clear process from the conceptual to the design. "Montage It" best illustrated  the link of a building to it's setting. Through montaging I found which setting best fit my design and therefore I could have amended my design had it not fit a preassigned setting. I have learnt that when designing I can use any one of these representation techniques to communicate my ideas and develop them. 

Montage It. Week 11: Day-Night Montages

Below are the Final Montages. They are both set in the Bonneville Salt Flats. They are day and night and exterior and interior. I used a multitude of image overlays, effects, photos and hand shading. The final model exhibited in these montages was changed to accommodate an idea of spaces. The bent Aluminium sheets replaced the hanging features and continued on playing with depth, angles and shape.

Montage It. Week 10: Flip Book

For the flip book I originally did 33 roughly drawn images approaching the building, panning up and walking along the centre platform to the other end. This path was chosen as it allowed for the focus to be as much on the exterior as the interior. I imagined the Structure as functioning for tourists where the focus is on the outside. I have not specified any setting in the flip book to give a little ambiguity and contrast with the white space.
The final flip book had 88 frames. Frames where added between each layer to improve the transitions. The middle section was then set as a transition from drawing to reality and back again. The real images gave a better perception of the shape and depth of the structure.



http://s1119.photobucket.com/albums/k628/natcarleton/?action=view&current=flipbook-final-version.gif

Montage It. Week 9: Conceptual Model

When I started this exercise I tried many different settings. I found out quickly that the simplicity of the models shape made it less effective in a busy setting. Therefore natural settings were used for each. The most effective being the image on the top right of the Bonneville Salt Flats. 

Montage It. Week 9: In-class exercise

This exercise was inspired by the painting "The Guitar" by Jaun Gris. I looked at the way depth and colour were used to disguise and also to create a more dynamic composition. I started with the idea of partitions hanging parallel to one another with cutt-outs enabling views to other levels (see final two images).  Moving on I made a box and set up a grid system of small holes along each wall. I then attached features from one point to another. I used different materials, playing with both transparency and reflection. 

Poster: Draw It.

The idea for this poster came from someone commenting that a drawing is just a 2D representation of the three dimensional object. Such a simple concept, but it gave me the idea of creating a model out of my rendered pieces to represent the house. I also believe that this concept sums up the Drawing workshop and clearly links it to the previous "Model It" workshop. The only difference I can find is that drawing allowed more freedom of interpretation and representation. 

Draw It. Week 7: Stutchbury and Pape, Bangalay: Final

The Final submission required a complete set of drawings of the Bangalay house and a rendered set. For the rendered set I choose watercolour paints on watercolour paper. This seemed appropriate for rendering the house, giving it a more subtle, natural look. The plan was then rendered as a circulation study to point out the importance placed by the architects on the central corridor. 

The axonometric view was taken from the "Section" of the house. This allowed for a pleasing progression of images for the final layout. 

Draw It. Week 7: In-class exercise

I found the exercise easier than the previous 2-pt perspective. This form of representation for me was very true to reality and easy to grasp considering my engineering knowledge. In this way I much preferred this task as I could easily show as much detail as I wanted with little difficulty in attaining the 3 dimensional look. 

Draw It. Week 6: Stutchbury and Pape, Bangalay: Rendering test

For the Rendering test I choose to draw from the works of Zaha Hadid, Neutra, Steven Holl, and Aldo Rossi. I choose relatively modern architects who used techniques that I could replicate. I also choose to do coloured renderings to firstly show the integration of the Bangalay house in the landscape, and in addition I found that colours enhanced the beauty of the rendering. 

From first to last rendering: watercolour pencils on tracing paper (with hairspray as adhesive that interestingly intensified the colours), watercolour pencils on specialised paper, watercolour paints on watercolour paper, and pen and marker on specialised paper.

Draw It. Week 6: In-class exercise

This task was difficult for me as I had trouble grasping the concept. This can be seen at the bottom of the image as the building should have a 3D representation of an overhang and extended hand rail but instead it appears relatively 2D. The drawing was done in pencil and did not come out fully when scanned.

Draw It. Week 5: Stutchbury and Pape, Bangalay Plan

I used pencil and pen to depict the relative depth or features. The plan was done entirely with a parallel ruler and all measurements were made from the central corridor. 

Draw It. Week 5: In-class exercise

Below is the introductory exercise for the drawing workshop. We worked from the first "Model It" task to create one-point perspectives of the model. I found drawing the full image difficult due to the complexity of the model (see centre, bottom) .