Montage it! Poster

The focus of this exhibition is on the composition of photo-montages. I believe this is a key aspect of the process. Composition involves the integration of people, activities, context and building to give a space more meaning.

This flipbook communicates movement through my model, shown here as an exhibition space. I have used photoshop to integrate textures, silhouettes and details like paintings into my original sketches. These focus the eye and allow a smoother transition through the spaces. Gradient shading gives depth to each individual image so that the movement through the gallery spaces is more smooth due to the 3D perspective images. 

Workshop 3 - Montage it!

This daytime photomontage details how the model could interact in a particular context. This image shows the model as a waterfront exhibition space. The layering of people into this photomontage communicates how they use use the spaces in and around the building. The images of people used are slightly faded so that the emphasis remains on the model and its immediate context. I have layered concrete, brick and wood over a photograph of my model to add texture and definition to the image. The tree and pot plant are used, along with the images of the people, to give scale to the image. 

This dusk photomontage displays multiple photos of my model integrated into the desert context. I have varied the scale of the model to give depth and add drama. The larger of the models at the centre focuses the viewers attention, before exploring the remaining elements and context of the photomontage. I have used textures, light and people  with images of desert cities at night to create a highly atmospheric photomontage. Although the model is shown at a small scale, images of people have been layered on to give purpose and function to the  spaces.  

Draw it poster

Workshop 2 - Draw it!

In this course, drawing is used as a method of communication to convey the architect's ideas and intentions. For the Bangalay House, Peter Stutchbury focuses on the interaction between the environment and the house, with an emphasis on light and horizontal lines. 

In the following drawings, I have communicated this using watercolour and pencil. The context is included for many of the drawings to situate the house in its immediate, natural environment. Darker, pencil shading is used for all horizontal lines, primarily on the roof for emphasis. 

Although the colour pallet is quite muted, the materials used in the house are still communicated. 

Black and white watercolour has been used for the sections to give depth to each of the rooms.

It is a good idea to "ground" drawings to help situate the building. This avoids having structures looking like they are floating in space. 

Model Making Poster

This is a poster summarising my view of the model making process. Models can show the concept, construction, context and details of a particular building and are therefore key elements to an architect's design process. A design conversation is consequently created through this iterative process.

Fisher House by Louis Kahn 1:50

The Fisher House at 1:50 scale shows the aesthetic details of the house. Not every minuscule detail can be modelled so a focus on the scale and space size was chosen. 

This meant modelling key features like the room divisions, stairs and inbuilt features like the seat, but omitting details like furniture and window frames. 

For the sleeping-quarter square house, the floor plan was more complex, so the levels are stacked to form the model. This allows each level to be taken off and viewed as a floor plan (which is the most effective way to gain an image of the inside of this house).

The second house consists of a basement and double height space ground floor. I thought this idea of space and engagement to the landscape through the larger windows was better communicated by dividing the model up differently. This part of the house is divided into three vertical sections.

Although not every detail was included in this model, particular attention was paid to the inbuilt seat at one of the windows.