Reference no: EM133154318

Visual Communication

You have the opportunity to re-conceive your model designs as one of three scales/situations:

As a sculptural artwork located in a gallery interior

How big is the work in relation to a room or body? How is it displayed? On a plinth? Suspended from a ceiling? Mounted to a wall?
Is there a relationship between the object and a natural light source, like a skylight or a window? Is there artificial lighting? A place to sit from which to regard it? Is there an aperture in the room that shows something of the room's setting beyond?
This option will entail the development of your sculpture design into consideration of the design and communication of a larger space around it.

How big is the work in relation to a topography or body? Where is it sited? Is it on flat land or sloping? How is it sited in relation to topographic or hydrographic features?
How is it approached? How is it fixed to the ground? Is it mounted? Raised? Embedded? Excavated?

This option entails thinking about developing your form in relation to its setting, and considering how and where it stands.

Where - in what city - is the structure located? Is it in an open space, an infill project? Adjacent to another building or urban space?
How does it relate to the neighbouring structures? Is it tensile? Solid? How can it be occupied?

This option involves thinking about the components of your structure and gearing them toward specific purposes and settings, and considering how interior volumes might be formed within it.

Once you have made your selection, you are expected to develop your structure in two ways:

1 In response to your chosen environment and scale: how do your forms evolve/specialise in a reactionary or responsive way to their location: how to they become site/place specific?
2 In response to your chosen drawing Guide (see below). What is their design language? Can your object actually develop formally in response to your precedent?
You will be guided through these steps and developments as part of the workshop activities between weeks 8 and 12. But you must expect to develop your form: you initially designed it with no specific intentions, and now it is time to layer some intentionality into it. It can change completely.
Do they react in respect? In challenge or retaliation? Are they subtle and poetic? Bold? Looming? Your models are now affected by gravity, ground, aspect, prospect, bodies and inhabitation. They will develop material qualities as they cease to be abstract.

Drawing selection

There are no set drawings for this assignment. You can choose any three drawings from this list to best communicate your scheme. Many are hybrid drawing types. Carefully consider the message and mood you want to convey with your drawings and which are the right fit for communicating your scheme.

Site plan Axo: bird's eye Exterior perspective
Cut plan Axo: worm's eye Interior perspective
Section Oblique Sectional perspective
Elevation Isometric 3 point perspective

You could propose another drawing type too...

Media and format

Your drawings can be any size (though A3 is convenient for file management), any orientation, and involve any media on any surface. You must think critically about choosing the right media and the right methods for your own scheme, in relation to your guide, and to show the skills you are amassing to the best of your abilities.
They can be digital drawings, manual drawings, or mixed media.

Attachment:- Visual Communication.rar