Project 2 part 1

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When looking at this project, I realized quickly that I would be able to incorporate more from my inverse model of Fallingwater than from my model of the pattern into this redesign of the Linear Gallery, so I took most of my specific ideas from that. For example, I wanted to focus on layers of overlapping volums that interact with each other in very specific but different ways. So in my Linear Gallery model, I expanded the gallery vertically and towards the building's interior, establishing 4 different zones, some with visual connections, open air connections, similarities in rhythm and repetition, or simply circulation connections. 

I did want to include my pattern model into this design as well. I thought it would be out of context to include the forms themselves, but I am considering ways to incorporate the simple concept of moving in towards a center with the exterior enclosing in as seen in the patterns focus in on the circular form.  So I explored doing this in a potential film room where it takes on an amphitheater style that has a focus on one point.

logos

I began with a simplistic form trying to emphasize the shape of the L and creating a piece that hierarchically resembled a linear path. In the process, I added a gridded background to represent 2 parts of the mission statement: the works that would be presented in the gallery itself and the concept that the gallery is a backdrop for ideas. I progressively altered the backdrop concept in its color and form and I also chose to represent the linear element in various ways.

Later in my process, I wanted to added a more literal and 3-dimensional aspect to the logo. I began with a simplistic graphical concept of a perspective of the gallery's flooring, then moved into a more complete perspective that displays the walls and ceiling. Throughout the entire process, I tried incorporating different variations of negative and positive spaces created by the text.

Project 9

As with project 8, I wanted to 3 dimensionally model the individual forms from the 2 dimensional pattern. I derived the 3 dimensional objects from the lines and focus of the pattern itself. For example the green star pattern forms curving lines that intersect with each other along the way. They also create a circle pattern that narrows in on itself towards the center or expands outward depending on how you see it. These observations brought me to my last project. For the physical representation, I wanted to emphasize something that I see in the two dimensional pattern that I would be able to create in a physical model: motion.

As I view that pattern, I feel pulled into the image. I also see the star form moving along its curved linear path. My intent was to recreate this feeling, and to also make a more literal representation of the motion. I chose to use the extruded difference in circular forms to create a cone that would act as the base for supporting the rest of the model in motion. I wanted to allow for the curved lines to be able to actually spin as I see them in the 2D pattern.

Advice on Changing Materiality

Hey gang, also for your knowledge, I discovered how to get rid of the annoying purple faces that appear when you use the subtraction tool. Double click on the paint tool and change the selection to clear all faces. Then when you use the paint tool to change the materiality, all of the faces will change! Hooray!

 I chose to include the plan and section of me 3D model of the pattern to better show how I interpreted hierarchy among the elements. I felt the star form and the circles should be on the same plane at each level because it is those star forms that actually create the circular image in the pattern itself. I stacked these layers to lead to a small sphere at the bottom because that's how I interpreted the way the pattern leads your eye when you view it.

 I primarily wanted to emphasize the circular form developed in the pattern by making it a solid green, secondly the object that formed the pattern itself by making it a more transparent green, and thirdly the curving form in the background by making it black, similar to how it stands in the pattern itself.

My 3D modeling of the photo of Fallingwater I took was a bit more literal.  I felt it was important to clearly model each of the primary planes, their materiality, their thickness, and their depth in the photo. Falingwater is all about overlapping volumes and I wanted to make sure that read in my model. I used the lighting to highlight the texture in the hybrid. In the artificial lighting one (image 3), I used a low cone light to place hierarchy on the stairs moving from the volume of the water to the room above.

portfolio spreads

My goal was to create a clear consistent layout from spread to spread. I hoped to give each spread a bit of originality that would be unique to the project itself. I chose to focus on color scheme. I used a series of color blocks to highlight certain colors seen in the project's palette.

I also followed a grid pattern to establish clear datum lines along the pages and throughout the portfolio.  My layout is meant to begin playing with positive/negative space using overlap of colors, black space and white space.

linear gallery bay

My intent for this project was to put a strong focus on materiality and lighting. When experiencing the space, I felt that it was especially intimate not only because of the scale but also because of the style of lighting and the surrounding enclosures. I composed the second drawing in this manner to articulate the variation in  privacy and scale from the linear gallery bay to the exterior courtyard. Both use enclosure to define boundaries, but the linear gallery is more concrete in these definitions...both literally and figuratively.