FLATNESS
VS.
PROJECTION
MODULE TWO.
Description.
This module involved the construction of a 3-Dimensional world, combining elements from two 2-Dimensional elevations in an axonometric projection.
An exploration into the difference between subjective and objective viewpoints, allowed the an understanding of the relationship between 2-Dimensional and 3-Dimensional space to be developed.
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I decided that the elevations would interact with the key purpose of preserving the flower. This is done in a small world or ecosystem, ultimately playing with the idea that delicate beauty and can be found everywhere, Even in an overwhelming harsh industrial environment. I implemented this conceptual motivation through creating a narrative, in the form of a lifecycle, which depicts the growth of the flowers despite the unchanging walls and pipes they are enclosed by, another contrast between nature’s prosperity and artificial construction. Imaginative seed pods fall from above, landing within the structure and evolving to become green before deteriorating to become flowers. An intricate piping and water systems transport water around the scene, further preserving the flowers, resulting in a rhythmic sense of movement, which visually stimulates the ever-changing flow of the cycle.
Particularly stark areas of void space are found surrounding the flowers, highlighting their importance and drawing attention to the water systems which support them, allowing for a central balance despite the movement.
OVERVIEW
Two elevations were analysed in the attempt to combine them into one final axonometric perspective of a space in which they represent the sides to a model.
El Lissitzky draws parallels between scientific objectives and artistic flares when viewing perception, to almost transcend reality, where the infinite and immeasurable possibilities of space become more concrete. After reading about this, I decided to completely reimagine the rather repetitive solid walls and pipes, into arrangements of hidden space, describing intervals of location and time as areas which are discontinued, resulting in the production of the visual narrative.
PROCESS
Analysis.
Elevation 01
Elevation 02
Linework.
Experimental Sketch
Final Linework
Initially, several rough sketches were made to decipher a way in which both 2-Dimensional elevations could coexist to form a coherent 3-Dimensional construction. Once, the foundational items from each elevation were present in the scene, creativity could be used to relate this construction to the chosen theme of preservation.
Each element's interaction with the scene should be with the intention of conveying this message, to result in effective design.
The final linework was used as a tracing tool to digitally replicate the axonometric perspective in Illustrator.
SEED
ELEMENTS
Six elements from the original elevations were chosen to form the foundational blocks of the axonometric projection.
This module allowed representational formats to implicate an innately creative reimagination of the provided elevations. As my elevations were rather harsh and industrial in composition, I decided to play with the poignant nature of the single flower embedded into the sterile environment, creating a scene to preserve it.
I believe that this imaginative approach allowed my design to evolve naturally and form a coherent narrative to strength the visual aesthetic of the design. However, this concept may have been translated in a stronger way through a more neatly composed scene in which the water system would be more accentuated. t
In the creation of this design, it was crucial for me to remain true to the composition of the initial composition of elevations, presenting some significant hinderances, and it was challenging to effectively convey the design despite this confinement.
The idea of allowing 2-Dimensional flatness correlate so distinctly to intangible spatiality was an interesting concept and allowed me to critique the use of contemporary art and design forms in a renewed sense.