S24_IARD_1035 | Space Cube

Course

Project #4 “Space Cube” in IARD 1035 Fundamental Design Skills in Summer 2024

Students

Adkison, Anna Louise

Bell, Ann

Brainard, Genevieve Marie Charlene Calaway, Kellah Chavez-Razo, Marilyn Cochran, Mason Dell Crain, Jocilyn Rose

Creed, Campbell Gayden

Dickman, Jacob W

Dudley, Lily Dula, Landry E

Eargle, Haley Nicole

Endom, Mary Jane Elizabeth Grafe, Kaylynn E Gunn, Bentley Noel Hampton, Adian

Hemker, Jack William

Instructors

Henry, Peyton E

Hudgins, Anna-Claire E

James, Addie S

Johnson, Maddie Ciara

Jordan, Ashley J

Kline, Alyssa Taylor

Lambeth, Jericha

Lammers, London Jade

Lopez, Young-Su Ying

McAfee, Fiona M

McCaig, Walker

Miller, Kinleigh Paige

Mutschler, Caroline Ruth

Newell, Jeremiah

Patterson, Ava Anezka

Perez, Jaylin Millie

Perez, Maribel

Peters, Zadie Brooks

Park, Jinoh (coordinator); Smith, Carl; Loftin, Lance; Park, Chung

Publisher Park, Jinoh

Reichl, Summer Rivera Estay, Lydia Catalina

Satterwhite, Kaleigh L Schandua, Sydney Claire Schnelle, Jessica J

Short, Gabrielle Layne

Siebert, Forrest

Slinkard, Kelsey Rebodos

Smith, Olivia Rose

Stinespring, Karena A

Swain, Audrey Elizabeth

Sylvester, Jordan A

Tidwell, Nicholas I

Waites, Meagan Michelle

Wheeler, Lauren Grace

Wutzke, Hannah Elizabeth Young, Ava Camille

*. There is no restriction on academic use of the contents of this book.

*. The copyright of all design results contained in this book belongs to each (student) designer.

PUBLISHER’S NOTE

Since the beginning of my teaching career in Korea, I have always wished that I had a book such as this one. This wish may have originated from my 6th grade teacher, who made a graduation workbook containing students’ writings, drawings, and photographs. After my graduation and before my undergraduate years, I was able to see my growth in ways of thinking and understanding as a result of reading the book. With my colleagues, I made a school book including all the graduate projects completed at Hanyang University in 2006. By reading the book, I had been able to cheer up and reenergize myself whenever I was exhausted and burnt out in practice. With these memories, it has been four years since I made the course books for the subjects I taught.

During the process of creating this book, I learned something that I had never known before. I am gradually improving my skills as an instructor, learning what I have missed as an instructor, what I should remember when teaching next semester, which assignments to emphasize more, and what to emphasize less. Seeing the efforts and thoughts of the students that I had not yet discovered, I smiled at them and regretted that I had not been able to encourage them more.

After receiving this book, each recipient may have a different reaction to it. In the past four years, it has been observed that it serves as a tangible teaching portfolio for instructors, a data bank for students in the event of unexpected laptop failures, and an educational experience that motivates students to create their own portfolios. What will be your reaction when you receive this book? In the future, when you are about to graduate, what will you think after reading this book? In keeping with this thought, I completed the process of making the book.

In my opinion, the curriculum in the first two years is typically more focused on visualizing ideas by converting them into visualized outputs that can be shared with others. In the second half, the focus is more on materialization aligned with the realities, such as building codes, social issues, etc. It is my hope that you will be able to improve your ability to visualize and sense scale before the second half.

As a final note, I would like to thank you for all the time I spent with you. Despite the fact that this design studio with you has ended, please feel free to contact me at any time. I will be glad to respond to your contact. It has been a pleasure having you with me this semester.

I congratulate them on their successful completion.

-

Jinoh Park, Instructor and Publisher

Brainard, Genevieve

If I could talk to me before these five weeks, what would I like to share with me?

Main Themes

1. Self-Discovery and Personal Growth

- Self-Confidence and Potential

- Students expressed surprise at their ability to push beyond their perceived limits and achieve more than expected.

- Realization of inner strength and capabilities.

- Resilience and Adaptability

- Overcoming challenges, managing stress, and coping with unexpected difficulties.

- Emphasis on the importance of perseverance and trust in the process.

2. Importance of Time Management

- Managing heavy workloads through effective time management.

- Balancing productivity with good craftsmanship and attention to detail.

- Recognizing the value of taking breaks to maintain mental health.

3. Significance of Relationships and Support

- Importance of building friendships and collaborating with peers.

- Relying on classmates for support and encouragement during challenging times.

- Instructors as valuable resources for guidance and learning.

4. Embracing Challenges and Learning Opportunities

- Understanding that difficult experiences are integral to growth and learning.

- Emphasis on the rewarding nature of overcoming obstacles.

- Appreciation for the lessons learned and the skills acquired during the course.

5. Reflection on Stress and Workload

- Acknowledgment of the initial overwhelming nature of the course.

- Learning to manage stress and not overthink or complain excessively.

- The importance of maintaining a positive mindset despite challenges.

6. Enjoyment and Fulfillment

- Despite the challenges, students found joy and fulfillment in their work.

- The sense of accomplishment and pride in completed projects.

- The positive impact of enjoying the process and the work itself.

Sentiments and

Emotions

1. Positive Emotions

- Pride and Satisfaction: Many students felt proud of their

accomplishments and the progress they made.

- Joy and Enjoyment: Despite the hard work, students found enjoyment in the creative process and the outcomes.

- Gratitude: Appreciation for the opportunity to learn and grow, as well as for the support received from peers and instructors.

2. Negative Emotions

- Stress and Overwhelm: Initial feelings of being overwhelmed by the workload and the intensity of the course.

- Doubt and Anxiety: Moments of doubt about their abilities and the feasibility of completing the tasks.

3. Mixed Emotions

- Relief and Accomplishment: Relief at having completed the course and a sense of accomplishment.

- Reflection and Insight: Mixed feelings about the difficulty of the course, balanced by the recognition of its value and impact.

Key Takeaways and Advice

1. Trust in the Process

- Emphasizing the importance of trusting the process and believing in one’s abilities.

- Encouragement to embrace challenges and learn from them.

2. Importance of Community

- Highlighting the value of building relationships and seeking support from peers.

- Advice to engage with classmates and instructors for a richer learning experience.

3. Balanced Approach

- Advocating for a balance between hard work and self-care.

- Importance of managing time effectively and taking breaks when needed.

4. Embrace Creativity and Risk

- Encouragement to think outside the box and take creative risks.

- Recognition that mistakes and messes are part of the learning process.

5. Positive Mindset

- Advice to maintain a positive mindset and avoid unnecessary stress.

- Encouragement to focus on the rewarding aspects of the work and the progress made.

Overall, the reflections indicate a transformative experience for the students, characterized by personal growth, the development of resilience, and the acquisition of valuable skills. The recurring themes of self-discovery, the importance of time management, and the value of relationships underscore the holistic nature of their learning journey.

Space Cube

Learning Objectives for Work #1. Sequence of Wall, Column, and Space

Students will study how to construct sequences (series of spatial elements) in order to intentionally evoke a certain emotional response. In other words, it is a way to make your space say something that you wish to convey.

Learning Objectives for Work #2. Space Cube (9” x 9” x 9”)

Students will learn how to construct a complete space within a limited space while keeping their original intention in mind. In addition, students will learn how to manipulate space transitions with unexpected creations between phases.

In this process, students will be able to explain the differences between explicit, implied, and undefined spatial definitions. Moreover, they will be able to a) distinguish between demarcation and enclosure, understand the qualitative difference between volume and space, b) explore principles of composition from a three-dimensional perspective, acquire and demonstrate skills in model construction, c) develop breadth and depth of the design process by iterating several different ideas, refining one idea to explore its full potential, and d) develop problem-solving skills and processes in laying out a program versus constraints.

Learning Objectives for Work #3. Floor Plans, Elevations, Sections, and Axonometric

Students will learn how to draw architectural drawings with Scale. It is necessary to learn how to draw architectural drawings in order to communicate with practitioners, especially for realization.

Learning Objectives for Work #4. Casting Models

Through the casting model making, students will understand: a) How to make casting models, b) Solid and Void in Space based on Positive and Negative space in Surface, c) Difference in Materiality, Foam-core Board vs Plaster vs Cement Models, d) Color in Space: Plaster Model vs Colored Plaster Model, and e) How to compose a sequence without a single concept.

Key Themes:

1. Iteration and Development:

- The importance of iteration in refining models and achieving successful outcomes.

- Learning through the process of making and remaking models, with each version improving upon the last.

2. Time Management and Craftsmanship:

- The significance of managing time effectively to ensure high-quality work.

- Developing skills in craftsmanship, particularly in creating well-crafted, clean, and precise models.

3. Emotion and Space:

- Designing spaces to evoke specific emotions.

- Understanding how space can influence emotions and using this knowledge to create impactful designs.

4. Scale and Functionality:

- The importance of scale in design and how to convey emotions within different scales.

- Learning to create functional spaces within limited areas.

5. Problem-Solving and Critical Thinking:

- Enhancing problem-solving and critical thinking skills through continuous model development.

- Overcoming challenges and iterating to improve design solutions.

6. Model Making and Material Use:

- Gaining hands-on experience with different materials and techniques in model making.

- Experimenting with materials such as foam board, cement, and plaster.

7. Design Principles and Representation:

- Applying design principles to create spaces that are both functional and emotionally resonant.

- Learning to represent complex spaces through drawings, such as floor plans, elevations, and axonometric drawings.

Lessons Learned:

1. Iteration Leads to Improvement:

- Repeating the process of model making leads to better outcomes.

- Each iteration provides an opportunity to refine ideas and improve craftsmanship.

2. Effective Time Management:

- Managing time efficiently is crucial for producing high-quality models.

- Doing things right the first time saves time and effort in the long run.

3. Emotion-Driven Design:

- Designing with a specific emotion in mind enhances the impact of the space.

- Creating spaces that evoke emotions requires thoughtful consideration of design elements.

4. Craftsmanship and Quality:

- High-quality craftsmanship distinguishes professional models from amateur ones.

- Precise cutting, clean assembly, and attention to detail are essential for creating professional-looking models.

5. Learning Through Practice:

- Hands-on experience with different materials and techniques enhances design skills.

- Building and iterating physical models help in understanding three-dimensional principles and spatial relationships.

6. Importance of Scale:

- Conveying emotions and functionality within different scales requires careful consideration.

- Working within a limited area challenges designers to think creatively and efficiently.

7. Problem-Solving Skills:

- Overcoming challenges and failures leads to better design solutions.

- Critical thinking and problem-solving are integral to the design process.

8. Design Representation:

- Learning to create accurate and clear drawings is crucial for communicating design ideas.

- Different types of drawings (floor plans, elevations, etc.) help in visualizing and refining designs.

Conclusion:

The “Space Cube” project emphasized the significance of iteration, craftsmanship, and emotion-driven design. Through continuous model making and refining, students developed their time management, problem-solving, and critical thinking skills. They learned to convey emotions within different scales and gained hands-on experience with various materials and techniques. The project underscored the importance of high-quality craftsmanship and effective design representation, preparing students for future design challenges.

What I learned...

Project #1 “Wall, Column, and Space”

- I learned how walls, columns, and space can affect your emotions based on the type of walls, their sequence and their placement.

Project #2 “Hand Drawing”

- I learned that it is important to practice drawing what you see versus what you think you see, learned how to draw in 2-point perspective, and learned how color can affect emotions.

Project #3 “Power of Patience”

- I learned that there is more than what meets the eye about paintings, especially abstract ones.

Project #4 “Space Cube”

- I learned that iteration plays a critical role into a successful model, and failure can lead to accomplishment.

Project #5 “First Portfolio”

- I learned how to use AI in an acceptable manner so as to not diminish the human experience and creativity.

Overall

- I learned the basics of design school and how to think more about the placement and meanings behind everyday objects. If you could talk to you before these five weeks, what would you like to share with you?

- I would tell her that no matter what you think you are getting into, you have no idea what’s coming. Everyone is creative in their own way, and comparison is normal in the process, but don’t put yourself down just because someone has a different idea to yours because someone could be thinking the exact same thing.

13 Paragraphs

The emotions I aim to evoke through this space is fear and frustration. In order to effectively convey these emotions, I tried to include as many fears and phobias as possible through the various walls and columns available while also making sure to make the layout as inconvenient of a sequence as possible. I aimed to create a confusing, uncomfortable, trapping, eerie, and aggravating environment within a 9” by 9” by 9” cube.

At the entrance of my space cube, I have mirrored 16ft curved walls that I chose from Category 38. These mirrored walls are very tightly placed together to create a narrow hallway that the human figure could barely fit through, creating a claustrophobic environment. Although not noticeably present with the model, the lighting additionally adds to the surprising and unpredictable aspect to the structure, as the bright light only has a small sliver showing through.

Directly behind the 16ft curved walls I included the -4ft void that can be found in Category 12. For the sake of space, the void is no longer -4ft and is instead roughly -8ft which creates an even larger obstacle for the human figure to avoid. Having a void with an 8ft deep drop pulls into the fear of heights or fear of falling but also the frustration of having to be mindful of your steps, creating the feelings of dangerousness and annoyance.

The next part of my space cube is a floating wall from Category 8 that is on the edge of the starting platform with the mirrored walls and void. The floating wall is roughly one foot off the ground and it blocks the human figure from seeing off the edge of the platform. I believe the floating walls accurately depict frustration in this case because it causes an inconvenience to the human figure while also remaining unpredictable as the wall is floating in nature, adding to the fear aspect.

After the floating wall, the sequence leads down the platform steps and into a 20 degree cornered wall from Category 31. The small angle, with the steps from the platform directly behind it, corners and traps the human figure and forces it to turn around. This structure again acts as an inconvenience to the human figure because it obstructs his movement directly after walking down the stairs, but it also adds an element of fear through the claustrophobic feel to the tight space.

When the figure turns around after being cornered by the wall, there is another 20-degree wall edge that directly faces the human figure from Category 2. The human figure becomes obstructed by the wall because it is right in front of him. Again, the wall acts as an annoying obstacle to avoid, but the awkward angle of the wall and how harshly it points at the human figure creates a sense of tightness and aggression that comes across as frightening.

The wall encourages the human figure to walk in a 20-degree angle, leading it to underneath the platform that houses a void from Category 46. The human figure is slightly illuminated by the little amount of light that appears through the void and is bound within the space between the passing wall and the two columns. The contrast between the illuminated space and the darkened space creates an additional boundary for the human figure to follow which creates a feeling of being trapped and confined to a small space, as well as the large wall that obstructs the human figure and any additional light that could be let in.

After experiencing the ceiling void, the human figure again encounters the 20-degree wall, but this time it more closely resembles a scene from Category 27, where the lighting is altered to create shadows using the two walls and columns. The human figure is illuminated from the light coming in front of him but is confined by the walls and columns that take up the space. The vertically aligned columns create an indirect boundary that the human figure follows, creating a tight space on top of the spooky lighting that’s made through the shadows, and also creating another annoying obstacle for the human figure to avoid.

Walking forward in the sequence, the human figure encounters a scene from Category 26, which also manipulates the lighting of the space with columns and walls. This structure includes lighting coming from behind the human figure which illuminates the space and casts shadows to the right while also including barriers with the two walls and columns. Because the light is coming from behind the human figure, it creates an eerie feeling and creates a sense of dread because of how ominous the shadows look, but the unnecessary walls and columns add to the frustration because of the maze-like obstacles.

Turning to the side, the structure then resembles Category 25 where the lighting is creates dramatic shadows through the shapes of the walls and columns. The human figure is only slightly illuminated from the lighting coming from in front of him while he is surrounded by shadows. The lighting creates an eerie and creepy feel to the space because of how dark the environment is, in addition to the sense of feeling irritation from being trapped that is made by the walls and columns that condense the space.

After escaping all of the specific lightings, the human figure is met with an inclined surface that’s 10 degrees off the ground from Category 16. The drastically low incline heavily impedes the space of the human figure. Because of how low the angle is to the ground, the surface feels forbidding and appears to be in the process of crushing something because of its closeness to the human figure.

Turning to the right, the human figure then encounters a three randomly placed columns from Category 20. In relation to the human figure, these columns are sporadically placed with no apparent rhyme or reason behind their positioning. The environment feels very confusing and frustrating because the columns create more obstacles or challenges for the human figure, all while the unpredictable nature that’s conveyed from the random placement of the columns creates a sense of unknown which I corelate with fear.

For the final image in my sequence I chose floating voids from Category 49 to give the appearance of no escape. The human figure floats on the smaller surface while the void surface is above him, along with the lighting that is off to the right illuminating him. The puny size of the surface the human figure is standing on in comparison to the giant void floating above which is terrifying because of the huge gap between the two surfaces and the immense size differences which causes a power imbalance between the massive floating void and the tiny surface beneath it.

13 Paragraphs

The emotion I aim to evoke through this space is fear as well as some frustration. In order to effectively convey these emotions, I tried to include as many fears and phobias as possible through the various walls and columns available while also making sure to make the layout as inconvenient of a sequence as possible. I aimed to create a confusing, uncomfortable, trapping, eerie, and aggravating environment within a 9” by 9” by 9” cube.

The beginning part of my space cube begins at the top of a platform with the human figure standing behind a 20 degree corned wall from Category 31. The small angle with nothing but a 16ft drop behind it corners and traps the human figure and forces it to carefully move around it. This structure again acts as an inconvenience to the human figure because it obstructs his movement directly after walking down the stairs, but it also adds an element of fear through the claustrophobic feel to the tight space. Putting this at the beginning prevents the human figure from seeing what is in store, as well as setting the tone by already inconveniencing the sequence path.

Behind the 20 degree wall is a scene from Category 25 that uses lighting is creates dramatic shadows through the shapes of the walls and columns. The human figure is only slightly illuminated from the lighting coming from in front of the walls while he is surrounded by shadows. The lighting creates an eerie and creepy feel to the space because of how dark the environment is, in addition to the sense of feeling irritation from being trapped that is made by the walls and columns that condense the space. Again, this scene prevents the human figure from looking at the spiral-shaped maze of horror he’s about to endure.

After Category 25, stairs lead to a separate platform that house mirrored 16ft curved walls that I chose from Category 38. These mirrored walls are very tightly placed together to create a narrow hallway that the human figure could barely fit through, creating a claustrophobic environment. Although not noticeably present with the model, the lighting additionally adds to the surprising and unpredictable aspect to the structure, as the bright light only has a small sliver showing through. And, like the last two scenes, the 16ft walls prevent the human figure from gazing at the rest of the space cube which keeps both literally and figuratively in the dark.

Moving onto the next platform, the human figure is greeted by a 20 degree angled wall from Category 2. The human figure becomes obstructed by the wall because it is right in front of him. Again, the wall acts as an annoying obstacle to avoid, but the awkward angle of the wall and how harshly it points at the human figure creates a sense of tightness and aggression that comes across as frightening. I additionally changed the direction in which the wall was facing so as to better utilize the space and further direct the human figure across the platform to the next scene

The next scene comes from Category 16, which depicts a backwards ramp-looking surface that is 10 degrees off the ground. The drastically low incline heavily impedes the space of the human figure. Because of how low the angle is to the ground, the surface feels forbidding and appears to be in the process of crushing something because of its closeness to the human figure. It feels like an aggressive pointing motion towards the human figure and also obstructs the human figure from going off the edge off the platform.

Going to a different platform, the human figure is faced with two vertical columns and two facing walls from Category 26. This structure includes lighting coming from behind the human figure which illuminates the space and casts shadows to the right while also including barriers with the two walls and columns. Because the light is coming from behind the human figure, it creates an eerie feeling and creates a sense of dread because of how ominous the shadows look, but the unnecessary walls and columns add to the frustration because of the maze-like obstacles. Additionally, the closeness of the objects adds to the tightness and claustrophobic feel of the environment.

Following Category 26, Category 27 appears with a similar structure with two walls and columns. The human figure is illuminated by the light coming in front of him but is confined by the walls and columns that take up the space. The vertically aligned columns create an indirect boundary that the human figure follows, creating a tight space on top of the spooky lighting that’s made through the shadows, and creating another annoying obstacle for the human figure to avoid. Putting categories 27 and 26 back-to-back acts like a prolonged maze for the human figure to solve.

At the end of the platform, the human figure then encounters a three randomly placed columns from Category 20. In relation to the human figure, these columns are sporadically placed with no apparent rhyme or reason behind their positioning. The environment feels very confusing and frustrating because the columns create more obstacles or challenges for the human figure, all while the unpredictable nature that’s conveyed from the random placement of the columns creates a sense of unknown which I corelate with fear. The three tightly knit and randomly organized columns directly after scenes from categories 26 and 27 again adds to the maze experience while also adding a chaotic element from their haphazard placement.

The next part of my space cube is a floating wall from Category 8 that is the main element of the fourth platform. The floating wall is roughly one foot off the ground and it blocks the human figure from seeing off the edge of the platform. I believe the floating walls accurately depict frustration in this case because it causes an inconvenience to the human figure while also remaining unpredictable as the wall is floating in nature, adding to the fear aspect. Additionally, its contradictory in nature as it kind of protects the human figure from the edge of the plat form but because it is floating and appears structurally unsound, it makes you question how safe you really are.

The next part of my sequence is the floating void from Category 49. The human figure stands on the platform with the floating wall while the void surface is above him, along with the lighting that is off to the right illuminating him. The puny size of the surface the human figure is standing on in comparison to the giant void floating above which is slightly terrifying because of the huge gap between the two surfaces and the immense size differences which causes a power imbalance between the massive floating void and the tiny surface beneath it. The addition of the skylight in the giant floating void adds to the eeriness of it because you could also look at it from the angle of like safety because it would finally be a chance to get away from confined spaces but it also ends up being the very thing you’re trying to escape. Going down the winding steps leads you to the underside of the platform that houses a skylight void from Category 46. The human figure is slightly illuminated by the little amount of light that appears through the void and is bound within the space between the passing wall and the two columns. The contrast between the illuminated space and the darkened space creates an additional boundary for the human figure to follow which creates a feeling of being trapped and confined to a small space, as well as the large wall that obstructs the human figure and any additional light that could be let in. What appears to be a resting space after the tight, claustrophobic, and disorganized settings ends up feeling constrained as well because of the addition of a small skylight void.

At the very end of my sequence in the middle of the spirals is a -4ft void from Category 12. This large void creates a huge obstacle for the human figure to overcome. Having a void with an 8ft deep drop pulls into the fear of heights or fear of falling, and the lack of any boundaries adds to the dangerousness of the space. Putting the void in the center of the cube as the very last part of my sequence I believe creates a feeling of hopelessness and conveys the sense that this fear is never ending and there’s no escape.

13 Paragraphs

Within my 9” by 9” by 9” space cube, I aimed to evoke the emotion of and consequentially frustration through the order in which I create my sequence. To effectively convey these emotions, I tried to include as many fears and phobias as possible through the various walls and columns available, as well as making the sequence and the scenes placements as inconvenient as possible. Through this mix of anxieties and annoyances, I hoped to create a confusing, uncomfortable, trapping, eerie, and aggravating environment that serves an unfurnished haunted house.

The starting point to my final space cube are mirrored 16ft curved walls that I chose from Category 38. These mirrored walls are very tightly placed together to create a narrow hallway that the human figure could barely fit through, creating a claustrophobic environment. Although not noticeably present with the model, the lighting additionally adds to the surprising and unpredictable aspect to the structure, as the bright light only has a small sliver showing through. The 16ft walls prevent the human figure from gazing at the rest of the space cube which keeps both literally and figuratively in the dark. For the final attempt at the space cube, I decided that these walls should come first because they feel inviting and yet anxious because the light shining through is ominous and yet the element of surprise is enticing. I also like how they prevent the human figure from seeing what is in store for him throughout the space cube, so it still conveys a sense of caution for the human figure to follow.

Immediately following the mirrored walls, the human figure then encounters three randomly placed columns from Category 20. These columns are sporadically placed that serve literally no other purpose than to act as an inconvenient obstacle to weave through. The environment feels very confusing and frustrating because the columns add complications to the sequence path that hinders the human figure movement. The columns additionally create a sense of instability because of their unpredictable nature that’s conveyed through the random placement. The three tightly knit and randomly organized columns create a maze-like experience while also adding a chaotic element from their haphazard placement. I chose for the obstacle course of columns to be placed immediately after the mirrored walls because I think the walls allude to something grand or majestic that isn’t there. A person walking through this sequence might expect a large space with fun surprises like Willy Wonka’s chocolate factory, but is instead met with annoying obstacles that are so tightly placed in relation to each other that the experience now becomes uninviting and you have the urge to turn back.

Following the columns, the human figure is greeted by a wall angled 20 degrees from the edge of the platform that I chose from Category 2. The placement of the wall causes the human figure to become obstructed by it’s awkward positioning. The wall acts like a continuation to the maze-like structure that the three columns laid out beforehand, while also creating a sense of fear because the harshness and directness to which it points at the human figure produces aggressive undertones that I personally find frightening. I additionally changed the direction in which the wall was facing to better utilize the space and further direct the human figure across the platform to the next scene. And, as I stated earlier, I believe the placement of the wall adds to the obstacle course that the human figure has to endure, but it also guides the human figure to the next part of the sequence.

To the left of the 20-degree wall comes a scene from Category 16, which depicts a backwards ramp-looking surface that is 10 degrees off the ground. The drastically low incline heavily impedes the space of the human figure. Because of how low the angle is to the ground, the surface feels crushing and becomes almost dreadful to look at. The backwards ramp isn’t like a wall that directly blocks the human figure, but it’s presence is aggressive enough to steer the human figure away from it. Although the human figure is safely out of reach from the ramp, the tension from how close the wall is to the ground creates a “if I could I would” experience, adding to the crushing nature of the wall. Additionally, this obstacle again helps guide the human figure down the path to help create a more interactive and immersive experience rather than what I did in the previous space cube where I made the human figure stop a turn to look at it.

Directly to the left of the ramp is a floating wall from Category 8. The floating wall is roughly one foot off the ground, and it blocks the human figure from seeing off the edge of the platform. What should feel like a protective measure for the human figure not to fall off the edge of the space cube becomes a cautionary structure because of its instability. You begin to question whether you really are safe behind the walls barriers. I decided to place the floating wall intensely close to the ramp because it not only creates tightness and claustrophobia, but it also forces the human figure to stare directly at the monstrosity of a structure. With one wrong move you could either be saved by the floating wall’s protection or be thrown off the platform because of the wavering of the walls floating nature. It’s a very contradictory structure and feels unsafe, which is why I included it in my space cube.

The beginning part of my space cube begins at the top of a platform with the human figure standing behind a 20-degree cornered wall from Category 31. The small angle with nothing but a staircase and a 16ft drop behind it corners and traps the human figure and forces it to carefully move around it. Putting the wall directly in front of stairs forces the human figure to be inconvenienced by the awkward placement of the wall, and also makes the human figure look at the small corner to create a claustrophobic fear. Additionally, the human figure cannot see what is beyond the wall, keeping the rest of the platform and its obstacles a surprise. I decided to move this structure for my final interpretation of the space cube this at the beginning of my sequence in my second attempt hindered the flow. Although the idea for my space cube was fear and inconvenience, I think the 16ft walls add a false sense of hope that is immediately taken away that wasn’t present with this structure.

Behind the cornered space is a scene from Category 25 that uses lighting is creates dramatic shadows through the shapes of the walls and columns. The human figure is only slightly illuminated from the lighting coming from in front of the walls while he is surrounded by shadows. The lighting creates an eerie and creepy feel to the space because of how dark the environment is, in addition to the sense of feeling irritation from being trapped that is made by the walls and columns that condense the space. Again, this scene prevents the human figure from looking beyond the platform to see what else is in store for him. Additionally, the placement of the columns right next to the wall edge creates a narrow path that the human figure has to follow in order to move along in the sequence. Moving along I feel like you almost get this sense of dread because you again are blindsided by what is about to happen.

Following Category 25, Category 27 appears with a similar structure with two walls and columns. The human figure is illuminated by the light coming in front of him but is confined by the walls and columns that take up the space. The vertically aligned columns create an indirect boundary that the human figure follows, creating a tight space on top of the spooky lighting that’s made through the shadows, and creating another annoying obstacle for the human figure to avoid. Putting categories 25 and 27 back-to-back acts like another prolonged maze for the human figure to find its way through. The openness behind the final wall in this scene again creates a sense of hope that maybe this terrible journey is almost over, and then you see the next platform and your heart sinks.

Going down the stairs onto the next platform, the human figure is faced with two vertical columns and two facing walls from Category 26. This structure includes lighting coming from behind the human figure which illuminates the space and casts shadows to the right while also including barriers with the two walls and columns. Because the light is coming from behind the human figure, it creates an eerie feeling and creates a sense of dread because of how ominous the shadows look, but the unnecessary walls and columns add to the frustration because of the maze-like obstacles. Additionally, the closeness of the objects adds to the tightness and claustrophobic feel of the environment. Because of the scenes I chose to be in my space cube, there is a void in the platform that houses this sequence, but I think it adds to the experience. The two columns in front of the void as well as the wall behind the wall act like warning signs, but they do nothing to protect the human figure from falling through. What should be a comforting fact that the structure intends to help the human figure again becomes upsetting because of how ineffective the structures are in protecting him.

The next part of my sequence is the floating void from Category 49. The human figure stands on the platform with the floating wall while the void surface is above him, along with the lighting that is off to the right illuminating him. The puny size of the surface the human figure is standing on in comparison to the giant void floating above which is slightly terrifying because of the huge gap between the two surfaces and the immense size differences which causes a power imbalance between the massive floating void and the tiny surface beneath it. The addition of the skylight in the giant floating void adds to the eeriness of it because you could also look at it from the angle of like safety because it would finally be a chance to get away from confined spaces but it also ends up being the very thing you’re trying to escape. It again creates a sense of false hope of escaping this dreadful cube, but it’s so high up and out of reach that you become distressed. Going down the long, winding staircase, they lead you directly to the underside of the platform with a void on the ceiling that acts like a skylight from Category 46. The human figure is slightly illuminated by the little amount of light that appears through the void and is bound within the space between the passing wall and the two columns. The contrast between the illuminated space and the darkened space creates an additional boundary for the human figure to follow which creates a feeling of being trapped and confined to a small space, as well as the large wall that obstructs the human figure and any additional light that could be let in. What appears to be a resting space after the tight, claustrophobic, and disorganized settings ends up feeling constrained as well because of the addition of a small skylight void. In my opinion, it’s the only sense of comfort that the human figure is provided because of how spacious the actual area is underneath the platform, but because the poor guy has just experienced the worst room of his life, the only thing that he can pay attention to is how little light is showing through the platform that again becomes confining and trapping.

What seems as one last attempt of escaping and freedom, the last thing the human figure is met with is the -4ft void from Category 12. The void no longer acts as an obstacle, but a glimpse into the reality of the situation: the human figure cannot escape. Having a void with a 4ft deep drop pulls us into the fear of heights or fear of falling, and the lack of any boundaries adds to the dangerousness of the space. Putting the void in the center of the cube at the end of a spiraling sequence I believe creates a sense of hopelessness and kind of draws into a sense of insanity. Additionally, to uphold the platforms that hold all of the structures, I opted for wavy walls to create the sense that the walls were moving as if the human figure were in a hypnotic state. Looking into the depth of the void surrounded by what feels like moving walls conveys a sense of desperateness, dread, and impossibility as there really is no escape for the poor human figure.

Work

What I learned...

Project #1 “Wall, Column, and Space”

- Project one taught me how the mood of a room changes with the rearrangement of walls, columns, and space. This prokect helped me focus on envoking emotion through a space I made and to be more attentive on how a space feels. Especially when these elements are implemented in real life.

Project #2 “Hand Drawing”

- Hand drawing taught me patience and attention to detail due to the concentration needed when drawing or using my hands to put projects together.

Project #3 “Power of Patience”

- Observing a painting for a rigorous amount of time taught me how one’s perceptions can change over an extent of time. This excercise requires a strong time to be able to focus for a long extent of time but the result was the ability to truly understand the art piece to a deeper level.

Project #4 “Space Cube”

- A continuation of “Wall, Column, and Space”, this project continued to focus on envoking emotion in a space but aswell as proritizing teaching me to able to support my ideas throught models.

Project #5 “First Portfolio”

- I learned new software and digital techniques that will continue to help me in my career.

Overall

- Creating my portfolio allowed for reflection on the projects I made through out the semester and I am able to say I not only learned some fundemental design elements but I learned I am capable of more than I thought coming in 5 weeks ago.

If you could talk to you before these five weeks, what would you like to share with you?

- I would tell myself that this is not 5 weeks of perfectionalism and to embrace new ideas. Embrace messes and mistakes. I would add to ask for help and bounce ideas off others.

Phase #7: Category #

Phase #10: Category #

#3: Category #

Phase #5: Category #

Phase #8: Category #

Phase #11: Category #

Paragraphs

My goal was to have two, two structures while incorporating all the stages. I could not find a way to have two structures therefore I turned to almost spiraling the path into a maze-like format. This fits the emotion as man’s journey is laid before him and can be seen clearly, yet he pursues it. I wanted to keep the same narrative of the man failing to save the woman leaving both sad and heartbroken because all they want is to be together. I chose to move the 1-12 order to 10, 9, 6, 1,2, 7,8,3,4,11,12 order.

Starting with an open floating void will allow the light to travel onto the start and brind spotlight onto the man who stood under it. This helps further the emotion of sadness due to the man standing alone in the spotlight representing how he is in search of the woman who will solve the loneliness. This space makes me feel low spirited due to the arrangement of the walls and lighting.

The curve in this space creates a second path to go through but eventually leads to the same point the other does. The man having to choose the path regardless of ending up in the same place symbolizes how regardless of his attempt to find the woman he will be led back to loneliness. Choosing the path that is out of the way seems to be pointless due to it leading to the same place. Standing there I feel numb because no matter what I choose the path remains the same.

The positioning of the walls and columns acts as a guide, blocking any other options. Humans are forced to follow the path due to the absence of options. The path is set before me, and I have no choice but to follow. The room is dim and makes me feel like this obstacle is too easy.

The wall acts with the other both blocking any other option but still allowing for movement. Although not leaving the choice to move side to side of the walls it lets us through the walls. The human would be crammed in space showing the difficulty of the journey. Standing before the wall I notice another and see nothing making me feel hopeless because what if the path leads nowhere.

This wall is parallel with the first one, this creates a narrow pathway with no way of moving to an upper level. The wall leads to an open space showing the man how lonely he is. The man is forced to turn back around and continue the path that it set in stone. He can’t change the outcome. Standing at the dead end I feel tired and devastated of the walk and unable to find a different path.

The path leading to the lower level misleads you into thinking there is a way of reaching the upper level, but again, there is no way of reaching the top. The man is unable to get to the woman and forced to go back to the start or continue trying. I feel disappointed in this scene due to the gummy mood the impossible climb sets.

Having this scene here shows a dangerous fall. This with the human reminds him of the danger he has endured and makes him remanence. Walking by this scene it reminds me of the danger and death that could’ve; won. The area is dark and makes me feel relieved yet let down of my abilities.

The power of the floating wall acts almost as a guide for the human figure to follow. The way the human figure is forced to follow the path due to the wall blocking going left and he must move forward. This supports the heartbreaking emotion due to the events that took place before. He is disappointed and saddened by his failure. Being forced to walk the dark and long path reflecting makes me heart broken.

The floating wall comes to the front of the human figure, this space the wall creates shows the distance behind the man. The figure centered in the darkness with space around him shows how far he has come and that he still ended up alone at the end of this journey. This made me feel glum as I entered his perspective. The loneliness with the empty dark space ahead makes me low spirited.

the hanging void from above adds space as it creates space due to the opening. This allows for a skylight. The man standing in the center of the void shows his solitude, but the use of lighting helps further emphasize the loneliness. Standing alone at the bottom of the void makes me feel sorrow especially when a spotlight is placed upon me to only remind me of the lack of company. Almost feeling depleted. He never got to the woman and is tired of from his journey. He looks up at the sky through the void.

Similarly, the wall’s different sizes change the area on their own. They surround the human figure but alter the height and space within the curve as they change sizes. The curved walls create an opening from above with almost closing in on the women but allowing room above. When the wall is 8ft height it hugs the human but as they change to 16ft although the walls allow for more room it seems like I am trapped and alone making me feel sad. The woman also looks up at the sky.

With my second model I had reflected on what I did and didn’t like from the first model. I realized I didn’t like the order and how the story flowed. I changed the order once again to help portray sadness. I made another maze-like scene to describe the narrative I had in mind. The walls and columns act as obstacles for the man making his journey to the woman impossible. I also changed the scenes in which I incorporated the people to show the sadness with the figures as well as changed the man figure to another one.

The story begins with two horizontal walls, one front facing and the other side facing with a column on each side of a wall. Placing the walls here with the columns creates a direct path that can clearly be the narrative’s beginning. The format of these allows a human to move smoothly in the direction intended. Although the emotion is sadness, sadness is obtained along the way and the scenes allow for that build up. If I stood at the entrance of this scene the path is set out for me and makes me feel driven to walk that set path. Walking the path, I have no clue where I am going but feel calm.

Second is a side facing floating wall on the right. This wall acts as a sign no not go further. The wall blocks the area on the right but although a warning allows room for moving forward. The wall creates room in the space. Having a person stand in the center of this space creates a start of a warning to the events that will soon take place. Standing there with a floating wall makes me feel like something bad is going to happen.

The third is another floating wall but this consists of a front facing wall. The wall creates a barrier to the path and flow of the scene. The human is blocked from going on these forces the person to stop and give the decision of tuning around but still allows one to move forward. Much like the option to continue doing things that hurt us but at time we consist with the habit. The wall stands in front of me blocking me from moving forward. Standing before the wall makes me feel unsure of pursuing the path.

Fourth is another front facing wall blocking the movement on the left. This undirectly forced the person to move forward but also creates a small opening that may seem like a path but ultimitley leads back to the beggingin. This wall small yet not following it makes me feel frustrated forced the start the path again.

Fifth is another front facing wall that blocks the easy way. The wall forces the person to have to go around and make a sharp turn; this acts as an inconvenience. Like sadness sometimes it can be hard to over. The need to go around the wall irritates me. Having this irritating wall makes the person more sensitive and prone to get emotional.

Sixth is to the side facing horizontal walls with two columns on the side. This set up again sets a direct path. This leaves the person not having to make any decisions. This makes me feel exhausted of the turns I had to already endure.

Next, is two walls with a vertical curve. This creates an enclosed environment. The space closes the person in the space confining them to the corner. I feel trapped in space as I can’t really move anywhere.

The wall with a floating void and vertical curve further encloses the space. The void illudes something trapping the person in. This with the verticle curve that leads to the man’s failure sets the tone of the narritive. Standing before the vertical wall makes me feel low spirit as I could be enclosed, and the curve leads nowhere but my failure.

The ninth scene is a surface with a circular hanging void. This is the scene I chose to place my person in. This the point where he truly realizes he won’t be able to reunite with the woman. This scene allows him to reflect by the elevated placement and the void that creates a skylight window. Putting myself in his shoes I feel heartbroken in failing to accomplish my goal. This scene depicts a floating surface with a bottom void. This shows how there is no exit from the situation and leads nowhere. The man sits on the edge showing his sorrow. Seated in the position of where the man is I feel sad as there is no escape.

The second from last, is the bottom void surface with a curved wall. I decided to put the bottom surface below the void to show a small, trapped space. The space with the columns placed below, shows the danger the woman is and needs help. Falling through the void makes me feel miserable.

Lastly, the curved wall makes the space small. By feeling small it makes the human feel small as well as look small. The area hugs the woman almost to comfort her. In the curved wall I feel sad of never being rescued but long to escape. The walls create this emotion with the way they focus on her.

With this final model, the objective was to have the figure be able to transition smoothly through the sequences. After reflecting on the last two models, I found I struggled with the order and the transitioning. I found that by starting with the frame the pieces came into place and so did the transitioning. Hearing the advice around me, I focused on the emotion rather than the story. I thought of sadness and things that corresponded with the emotion. I thought of a big empty space to represent loneliness and darkness.

The start of the sequence starts with the horizontal, front facing wall and side facing wall aligned with two columns. This creates a clear concise entrance point but allows an opening for entrance to continuously loop the space. The wall blocks the light within the left side of the area. There is room for someone to walk through freely. I felt like this placement made me feel alone.

The horizontal front facing hanging wall stands above hiding an entrance to the upper floor. It gives a seamless appearance as it blends into the background. The hanging makes the room feel smaller slowly as it can be easily missed by someone. This hanging wall made me feel like the room was slowly shrinking in on me.

The two horizontal walls in the back of the space add another space but still make the room feel even smaller. Someone would be inclined to get out of the room due to the smaller room that can be uncomfortable. I felt lost and small when encountering these walls.

The two sides facing walls with two columns in front of them create a small narrow hallway. This transitions the person from one room to another allowing the flow to run smoothly. The hall created in this space gave me a melancholy feeling.

The wall with an open floating void allows the second floor to be seen. This area attempts to create light but does the contrary, the blank wall stumps the person, but the void is blocked by another wall that darkens the space. This makes me feel desolated as I see an opening but nothing amusing surrounds this space.

The vertical curve and wall create a latter for transportation between floors. The curve creates different shapes that are in contrast to all the straight-line shapes. This curve allows someone to be able to see the top floor the entire time they move up. This makes me feel confused as I can see the void but not what is above.

The curve creates a soft line contrasting the straight lines everywhere else. This shrinks the space even more enclosing an individual within the space. The curvature of this wall made me feel conformable as the curves felt soft.

The other curved wall with columns in the center contrasts with the other as a creates a small feeling to the room. The columns don’t allow a person for movement within. This represents sadness as it is hard to go through. This area made me want to avoid it much like sadness as it felt uncomfortable.

The floating wall on the top floor makes the person coming from the back entrance feel like the space is smaller. The wall adds more darkness as it blocks some light. This further helps with sad emotions. The person is not interrupted by the wall rather prevents them from turning into the void in the end. This wall made me feel sad due to the dark space.

Next is the floating void with a surface, The floating void acts as a sense of reflection and tranquility that comes after a cry or sad feeling. This with the person allowed to sit under and think act as a representation to this. This made me feel the numb feeling one gets after a sad event or crying.

The floating void serves two purposes as a sense of reflection in both bits here it also allows for an opening from above. The opening shows this reflection as it creates an opportunity to see things differently. The void reminded me of a skylight that made me feel calm and small.

The last scene is two floating surfaces, placing them above allows to further the feeling of reflection in the environment. The person being allowed to look over the building into a view helps show this feeling. Sitting in the man’s spot I feel alone and sad and the ability t reflect over a view lets the feelings sit.

Work

What I learned...

Project #1 “Wall, Column, and Space”

- Throughout the process of Project 1 I learned a lot about myself within the craftmanship area. When first beginning I was not sure of how to create specifc pieces while keeping them visually aesthetic. With practice of cutting and molding I was able to make clean work. I learnd that practice and itteration is key to creating precise art.

Project #2 “Hand Drawing”

- When entering Studio, I lacked confidence in the drawing/sketchign field. I can now confidently say that I feel much better about my skill set that I gradually created this 5 weeks. For some of us, it’s difficult to stear away from creating perfct work, and I mean slipping into a sort of abstract work. I heavily put my focus into whether or not my lines were straigt and so on and so forth. But what studio has taught me is that art is completely subjective, you have the creative freedom to illustrate your own thoughts and idea. So over the course of project 2, I began to loosen up slightly and let my mind get into a sort of flow.

Project #3 “Power of Patience”

- At first, I truly thought this project would lack in serving purpose toward my new skill set of interior deisgn knowledge, but sitting here today I know now that patience within art is one of the most key concepts towards understanding the meaning behind art. After visitng Crystak Bridges, I was astonished by the amount of details I had noticed after standing infront of a painting for 3 hours. With a group of people each giving individual feedback, it opens up so many new topics that reach greater than the eye can see. I have learned to enhance my time with work and delve deep into the significance of each stroke and decision made.

Project #4 “Space Cube”

- The space cube drawing was by far the most strenuious yet rewarding project I completed in these 5 weeks. When first gievn the task of creating a large sequence phase, I found it somehwat easy and entertaining to have free range over my model. But as we progressesed to building smaller space cube models, I learned that I am able to convey so many new emotions and messages through my work. As I recreated each scene, my narratives or stories for each phase would be become more and more detailed.

Project #5 “First Portfolio”

- AI is becoming a large part of the desgn work extremely fast. When asked to take our own work and create AI images, I was hesitant to follow through. I was scared of the fact that my work would be completely construed and alrtered based off a software. But after seeign the creations I was surpised to see that although my work had been completely changed it was not negative in any sort. It opened up my eyes to the hundreds of possibilites that are to come. AI is not a danger but more of a addition to creativity.

Overall

- Overall, I had an amazing experince over these past 5 weeks. I have never in my life learned so many new skills and yet so much about myself all at the same time. This program is mentally challenging but so rewarding which continues to push me to create bigger and better projects.

If you could talk to you before these five weeks, what would you like to share with you?

- If I could talk to myself before these 5 weeks, I would tell myself that It will all workout although you outcome may not be what you anticipated. Change is difficult for you in such a quick time frame but you will mold to the specificty of each task. I am extremely proud of how resilant you have become!

For my Sequence model Project, I chose the emotion Sadness. Throughout the course of this assignment, I have felt that most of the photos we were instructed to take illustrated strong feelings of melancholy or jealousy. I found it easier for myself to create a mindset of the human figure, putting myself in their shoes. Since we had also already created these exact scenes, I wanted to add more dimension and create a thorough flow throughout each stage.

Category 21:

2 photographs illustrate the differences in space of the columns by varying distance. As the wide image allows room for more than one figure, the narrow photograph depicts a Slim and isolated comparison with less visual space. In the wide image I feel distant and desolate as I can’t fully interact with another figure, they are out of reach. This image makes me resent the idea of interacting with another figure, I feel unwanted nor valuable enough.

Category 29:

These 7 images show the overall surroundings of an area and illustrate the passage of a human figure navigating different areas as well as altered lighting. As the human figure makes it way through an area, we discover new angles of the room and experience new sorts of shadows. I feel excluded as I watch two other human figures converse about an abject, while I’m left to observe from the outside.

Category 31:

These 17 images illustrate two walls that have been formed together to make a corner that continuously opens wider with greater degree values. As the degrees increase larger the potion of one human figure changes allowing for new optics to be recognized. I felt disconnected and claustrophobic when cornered to such a small degree. As my body is pointed toward the cornering walls, I am trapped. These feelings could also be interpreted as sadness, since I have no one to interact with.

Category 36:

These 5 images show a sequence of a human figure entering a new area while the half curve wall changes position as well. As the human figure moves, it not only is moving but so are the other walls and figures around. I am jealous that I am not on the outside facing the crowd having people cheer for myself. I have always felt like I have been left in the shadow.

Category 42:

These 4 images illustrate the changes of a column between curved and flat walls. As the pole changes from left and right of the figure, the shadows are altered, and with the curved walls versus flat there is a change in direction. I feel nervous and ashamed to think that I could ever go out into the real world and be myself. Behind those walls lie a whole word of monsters who will eat you alive if you do not meet their expectations.

Category 46:

These images depict different perspectives of lighting from a void on the upside. As the shape or size of the void changes, the shadow sizes react. I feel isolated and sheltered, being singled out in the spotlight. It’s almost as if every mistake I have ever made is being broadcasted to the whole world.

Category 47:

These images illustrate the different formations and combinations of columns and walls with varying voids and lighting. As the shapes of the voids change as well as the angle of lighting, there are different shadows created with the human figure. When looking at these photos I feel a sense of uncertainty, as I become closer to the void, I am not able to fully view what is below me. As I stare down into this ominous circular figure I question my entire life, deciding If I should jump and end it all.

Category 48:

These 10 photographs illustrate the movement of a human figure as he travels toward an upside void with configurations of walls or columns on either side. As the figure moves, we can discover different walls or figures that may not have been noticeable before. I have been shoved into a dark corner, no one around to see me because I have built walls around myself, rejecting anyone who attempts to join my life.

Category 53:

These images depict the emotions and stages of grief as our human figures watch other figures lives from different points of views, always being blocked by some configuration of a curved surface. As the stages go on, we can see a noticeable difference in the space created between the figures. I feel a sort of melancholy and resentment when looking at the other figures who seem happy and at peace. No one notices the outsiders, and it’s not to say its their fault, but It would be nice to have a friend.

Category 49:

These images show a curved floating wall with a void below, with human figures looking up towards the curved surface almost admiring the object. As angle changes of the objects and figures we can see opposing points of views. I feel jealous as I watch my silhouette live the better version of my life.

Category 59:

These images depict a spiritic opening of fringe with a figure sitting below and a circular hole of light shining down onto the figure. As the figure sees the light, they begin to walk over and climb inside the light source. I feel addicted as I notice the crisp clear circle almost calling me to come inside and step away from my tapered and messy home. Addiction is not something I take pride in; in fact I am ashamed.

Category 54:

These images show an illustration of a human figure traveling through different floors by a curved vertical surface, observing the people and things along the way. As the figure is guided through this home, we explore passing curved walls and new voids creating original shadows, leading the figure to another figure at the end. I feel curious when traveling through the home, not knowing wat may be behind each corner I turn or wall I scale.

Category 21:This image illustrates a human with columns between themselves and another human. As one figure moves closer to the other figure, the opposing figure becomes obstructed by the clear column. For my first draft on the space cube assignment, category 21 has been shrunk to a smaller scale, given the size of the cube. There is not a distinct difference between the updated scenes except for the size of the area. I have also used clear acrylic columns instead of white plastic, I did this because I believe it looks more artistic and also conveys my message of isolation more clearly. This image makes me resent the idea of interacting with another figure, I feel unwanted or valuable enough.I feel restricted and compact, same as before.

Category 29:

This image illustrates a human figure moving through a combination of columns toward a second figure. As the first figure moves closer to the columns his outline becomes obstructed. I feel excluded as I watch two other human figures converse about an abject, while I’m left to observe from the outside. In my first draft of the space cube assignment I altered the amount of poles used in the scene due to space. It appeared extremely cluttered.

Category 31:

This new scene created from category 31 we are able to see a figure standing between a set of stairs and a wall that is opened up toward the figure, if the figure were to step back they would be trapped. As the figure moves away from the cornered walls they move out of frame towards the stairs. I feel scared at first, the cornered walls make me nervous given that there is no way out if I walk directly toward them, but as I turn to walk up the stairs I am relieved.

Category 36:

This new scene illustrates a scene of two figures, one standing in front of a curved wall while the other stands behind said wall. As the first figure is standing in the light, they block the other figure from the outside light source. I feel sad in this scene, I am cut off from the rest of the world with not a chance at having any sort of spotlight.

Category 42:

This scene depicts a tunnel-like curved wall area with a human figure standing before the turn. As the human figure moves past the column he begins to come closer to the center of the curved circle. I feel anxious to walk towards what could be within those walls.

Category 46:

This scene illustrates a figure sitting on a ledge with a skylight opening hung above him. As the figure moves farther towards the edge, he becomes closer to falling and farther away from the main building. I feel depressed as the light shines down on me, I do not feel worthy of being here therefore I continue to get closer to the edge.

Category 47:

For this category, I decided to slightly alter the scene by changing the shape of the whole in which the figure stands before, which is now a rectangular shape. As the figure moves closer they endangered themselves by falling down. I am

Category 48:

This image illustrates a human figure standing in the center of 4 columns with an opening from above. As the figure moves forward, he is no longer under the sky light and will enter through a doorway. I feel nervous as I enter through a doorway that I am not able to see behind.

Category 53:

In this new scene, there is a figure with his back towards the wall and a set of two figures connected behind with curved walls to separate the two groups. As the human figure moves past the group of two other humans his shadow becomes obstructed.

Category 49:

This scene illustrates a curved floating ceiling with a human figure standing below. As the human figure moves forward they are no longer being shadowed by the above surface.

Category 59:

This scene illustrates a human figure between 4 columns. As they begin to move forward they struggle. I feel drained from walking so much and hope I am close to the end.

Category 54:

This scene illustrates two figures across from each other on two separate floating surfaces. As the figure on the left moves forward he inches toward the edge. I feel envious of the figure across from me and want to become closer.

Category #21

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Category 21:This scene illustrates a figure in front of two walls connected. As the figure moves forward they become closer to a set of stairs. I feel paranoid as I cannot see what is behind me.

Category 29: This scene illustrates two figures on separate decks/platforms with curved walls and a bridge separating them. As the first figure moves onto the bridge he joins the other figure on the second deck. I feel curious and nervous as I join the separate figure, for they may not enjoy my presence.

Category 31: This scene illustrates a figure sitting on a bench-like shape under a ceiling with columns surrounding. As The figure moves out from under the ceiling he enters a more open space. I feel lonely sitting alone here, so I have decided to be brave and explore the open territory.

Category 36: This scene illustrates a figure leaning against a column while in the background there are two figures connected. Between these figures are curved walls that hang from above them. As the first figure moves towards the two other figures, their outline becomes obstructed by the walls. I feel excluded and saddened by the fact that I do not have a companion like they do.

Category 42:This scene illustrates two figures standing across from each other with columns surrounding. As one figure moves out from under the column area, they join the second figure and become very close. I feel angry as I conversate with this figure, I feel as though I need to become closer so they can understand what I am saying.

Category 46: This scene illustrates a figure on the outside of a curved wall. As the figure moves around the wall they become close to the edge. I feel anxious as I am becoming nervously close to the edge of the floor with no railing.

Category 47:This scene illustrates a figure standing on an elevated surface with a circle on the floor. As the figure moves close to the circular hole they eventually fall through. I feel saddened by the fact that I have forced myself to make this treacherous jump.

Category 48:This scene illustrates a figure sitting on the ledge with two pipe-like objects hanging above. As the figure moves closer to the pipe on the right they become sucked up. I feel curios and addicted as I move closer to the pipe, I cannot resist its energy.

Category 53:This scene illustrates a human figure laying inside of a casket shaped object. As the figure had fallen from above in a past scene, they have now layed down. I feel numb and hopeless as I take my last breaths.

Category 49: This scene illustrates a human figure standing before a set of arranged columns. As the figure moves forward they weave around the set of columns. I feel confused as I walk around these columns, I am not sure why they have been placed here but there must be an explanation.

Category 59:This scene illustrates a figure standing in the middle of 4 columns. As the figure moves forward they enter a new space of openness. I feel relieved to have moved away from this intense portal.

Category 54: This scene illustrates two figures placed across from each other on separate surfaces. As one moves forward the other inches away resulting in obstruction of their figures. I am scared to get so close to the edge but I have to place myself in closer proximity to my enemy.

Overall, these scenes depict a new set of stories that I have interpreted through creativity and interpretation.

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Category

Category 21:

This scene illustrates two figures standing across from one another with 4 columns surrounding. As 1 figure steps back the other figure becomes more distant and separated. I feel excluded since my fellow figure seems to be in some sort of w=ring of columns while I am left behind.

Category 29:

This scene depicts some sort of showing while two figures are surrounding an exhibit and the 3rd is farther back in the distance observing. As the human figure walks towards the 2 fellow figures he weaves between columns. I feel curious to see what these two figures are conversing about and would like to join although I am not sure I am wanted.

Category 31:This scene shows a figure standing before two walls cornered together with a set of stairs ahead. As the human figure moves away from the set of walls conjoined together they become closer to approaching the stairs. I feel safe as I slowly become farther away from the claustrophobic sets of cornered walls, they make me feel unsafe and pressured.

Category 36:

This scene depicts a set of figures separated by a short curved wall between them as well as another wall to the left that is straight, acting as a railing away from the edge.As the human figure to the left of the curved wall walks forward they pass the curved wall as well as the other figure. I feel excluded at first as I pass the human figure who is entrapped between the wall wall and curved wall, but then soon realize I would feel too suffocated in that space anyways so I continue on.

Category 42:

This scene illustrates two human figures on a 2 part balcony with a small bridge connecting them. As the first human figure passes the column, they travel across the skinny narrow bridge like construction to the other side as they join the other figure. I feel envious of the other human figures. I am curious as to why they are in the position that they are and want to find out for myself what lies ahead.

Category 46:

This scene depicts a human figure standing in an area that holds tall ceilings and 4 columns to support said ceiling. As the human figure moves forward they remove themselves from below the rectangular cutout in the ceilings.I am scared of what might happen if I stay in place below the cutout in the ceiling given the fact that I am not able to fully see what is coming from above.

Category 47:

This scene shows a human figure standing before a circular cutout in the ground of the second floor. As the human figure moves towards the hole they eventually drop through and land on the ground. I am confused with myself and the life I have created, therefore I have decided to take the chance of allowing myself to explore the possibilities of falling through this trap.

Category 48:

This scene illustrates a human figure sitting on some sort of couch with two columns separating them from the existing area. As the human figure begins to move closer inside the seating, they become more sheltered and obscured by the light. I am ashamed of who I am and the only way I know of helping myself is to hide my body so I know I am not to be found.

Category 53:

This scene illustrates a human figure lying in a casket on the ground with a half circle sort of shape hanging above them. As the human figure lies there, they begin to become obscured by the casket door shutting. I feel hopeless and saddened by the fact that I feel I have reached my full potential. There is nothing left for me to give.

Category 49:

This category illustrates two figures sitting across from each other on separate surfaces that are floating. As the figure on the left inches closer attempting to reach the other, the become closer to the edge of the surface. I am jealous of the figure sitting across for me as they are who I desire to be. I know in my heart that I am at my full potential.

Category 59:

This scene illustrates a figure sitting on the ground with two spout looking cylinders pointing towards the figure. As the human inches closer towards the more wiry spout with light pouring out he is sucked in. I feel addicted and lost as I follow this string light, I can’t help my temptation.

Category 54:

This scene illustrates a figure leaned up against a column with two curved pieces draping behind in the back, as well as another set of two figures on one another’s shoulders. As the two figures on eachothers shoulders move closer, they become more clear and less of a blur. I feel saddened by the fact that I do not have a partner.

Work #4. Casting Model

What I learned...

Project #1 “Wall, Column, and Space”

- This project taught me how to manage not only time and material, but also ideas and decision making. Throughout this project, I learned how to properly execute detailed and consistent model building with high craftsmenship. In addition to the craftsmanship and skills that this project taught me, I now have a much better understanding of lighting conditions and the way that they affect a space.

Project #2 “Hand Drawing”

- Hand Drawing was a seven series project including everything from blind drawing, to examining the sights outside of your window. These subsects of this project taught me all about my drawing style, and the way that I can shade, outline, and depict different real-world objects. Specifically, in the color section of this project, we were able to explore how color affects the world around us, and what we can do as designers to bend the boundaries.

Project #3 “Power of Patience”

- In this Project, I learned the valuable lesson of attention and patience. After watching and interacting with the same piece of artwork for three hours straight, there were many things that I learned. Generally, I learned that there are so many different reasons for an artist or designer to add something into their piece. Moving forward this observation will be helpful to be able to decifer design styles and see what they are trying to do to a space.

Project #4 “Space Cube”

- Within this Space Cube project, there were many different phases and models that were made to get the idea across to the viewers. This project specifically taught us how to iterate with the same idea. Moving from orginal photography, to sequence modeling, to prototyping modeling, and then finally finishing our final model allowed for us as designers to learn how to come againt adversity. All in all, this project allowed me to learn a higher level of crafstmenship and also taught me the skills I needed to be able to design a space based off of an emotion or idea.

Project #5 “First Portfolio”

- In this piece of the studio course allowed us to explore the ideas and images that can be created through artificial intelligence. Through this study, we were able to see what AI can do in the design world, as well as learning how as designers we can utilize this tool to create amazing designs.

Overall

- Overall, this course taught me some amazing lessons about design education and the true hands-on approach that is needed. From the first day of studio, this course requires you to dive into your work and immediately find your personal design style. Weaving through projects day in day out aided in taking in so much information about every facet of how to start a design journey. After moving through all of these projects and having to reflect on the course, this cours taught me how to manage time, generate ideas, and materialize those ideas into something tangible.

If you could talk to you before these five weeks, what would you like to share with you?

- If I could talk to me before embarking on this journey, I would tell myself that you need to trust the process. Most days will seem that the work is impossible, but truly at the end of the day when all of your work is layed out in front of you, there is not a better feeling.

Phase #3: Category #

Phase #5: Category #

Phase #8: Category #

Phase #10: Category # Phase #2: Category #

Phase #11: Category #

Phase #6: Category #

Phase #9: Category #

Phase #12: Category #

The emotion selected for this project was fear. In its most basic form, fear evokes a significantly specific response that is individualistic changing from person to person. In this project specifically, these photographs along with the physical model are aimed to take the viewer through a structure that evokes this visceral response. From tight crawl spaces to larger-than-life walls, this structure is engineered to draw out the uncomfortability and anxiety within each individual viewer.

Category #9: 8ft high floating and aligned wall.

- These 4 photos allow the viewer to see a human figure underneath a floating wall moving through the frame from left to right. As the wall moves, the human figure loses its ability to see anything above them. I felt as if I was able to see and reach above me until the wall gradually moved into my view directly above, causing me to gain a feeling of distress and feebleness.

Category #15: Floating wall surface facing edge with an incline.

- In these 6 photos, there is a conveyance that the wall gradually moving in a clockwise motion can impede a human figure’s view. As the wall moves clockwise at an angular pace, the human figure loses viewpoints from left to right. I felt that the angled wall moving clockwise restricted my viewpoint gifting me a feeling of entrapment and fear.

Category: #17 Inclined ramp to facing wall

- These 9 photos illustrate how an inclined ramp facing a wall can impact a human figure’s view and movement. As the ramp inclines, the human figure can no longer move forward as easily. I felt as if when the ramp inclined, there was nowhere for me to move other than to each side, giving me feelings of despair and grief.

Category: #21 Four Columns:

- These 2 photographs show the movement of four columns surrounding a human figure. As the columns move closer toward the human figure, there is limited amount of space that the human figure can maneuver. I felt that when the columns were further away, there was space for imagination and wonder, whereas when the columns closed in on me, I felt suffocated and crushed even in a wide space.

Category: #29 Space composed with 5+ columns and 2 walls

- These 7 photos evoke ideas through 5 columns, 2 walls, and 3 human figures. As the human figure moves around the fixed space, there are differing viewpoints and light conditions. I felt that there was an eerie sense to the room as I traversed an unknown and untouched space. This ever-changing light demonstration filled me with anxiety yet also filled with wonder for the journey ahead.

Category: #33 Three connected walls

- These 2 photos allow the viewer to see two human figures enclosed within wide and narrow surrounding walls. As the wall closes in around the human figures, there is much less space for them to move about. I felt as if the world was closing in around me filling me with fear and looming desperation.

Category: #34 Curved wall inside

- In these 4 photos, there is an illustration of large and small curved walls as they pertain to a human figure. As the walls get bigger or smaller, constricted or widened, the human figure is either inhibited or allowed to move about. I felt as if there was an ever-changing amount of space for me to move around, gifting me feelings of high anxiety.

Category: #35 Curved wall outside

- These 6 photos depict a curved wall in different positions around a human figure. As the walls start to differ in size and openness, the human figure has a lesser visual footprint. I felt that as the walls got larger in front of me that I was insignificant and frail.

Category: #37 Entering into a space between Parallel Curved Walls

- These 8 photos illustrate how the height of the inside or outside curved walls affect a human figure. As the walls change in height, the human figure experiences new lighting conditions as well as viewpoints. I felt that as the light crept through the taller walls there was an eerie and adventurous aspect to the space.

Category: #44 Curved wall and S-curve wall

- In these 4 photographs, the s-shaped curing wall allows the viewer to see what light and curvature does to a human figure. As the walls and lights moved around the space, the human figure generally had the same space to move about without an upper viewpoint. I felt that as the walls enlarged upwards, there was more of a divine presence since the walls were catching more light.

Category: #45 1-point perspective pictures: Void on the upside

- These 4 photos allow the viewer to see what upper voids do to a human figure. As the voids changed in shape and size, there was always a differing energy in the space. I felt as if I was being abducted by aliens with this lighting condition, giving me a sense of wonder for what is to come next.

Category: #50 Void between curve-linear Surfaces (You can develop your own organic pattern)

- These 2 photos illustrate the connection between lighting conditions, human figures, and an upside organic void. As the photos progress, the human figure gains a differing viewpoint including differing lighting conditions. I felt a sense of connection and community when I was in the void with the other figures, whereas when I was below there was a sense of weakness and fragility.

Phase #1: Category #

The emotion selected for this project was fear. In its most basic form, fear evokes a significantly specific response that is individualistic changing from person to person. In this project specifically, these photographs along with the physical model are aimed to take the viewer through a structure that evokes this visceral response. From tight crawl spaces to larger-than-life walls, this structure is engineered to draw out the uncomfortability and anxiety within each individual viewer. Especially with a shortened 9”x 9”x 9” cube, the feelings of anxiety and fear are immensely overstated. From the entrapped walls and thin corners, to the steep inclines and winding path, this newer compressed model brings to light all of the expressive features of fear.

Category #9: 8ft high floating and aligned wall.

- These 4 photos allow the viewer to see a human figure underneath a floating wall moving through the frame from left to right. As the wall moves, the human figure loses its ability to see anything above them. I felt as if I was able to see and reach above me until the wall gradually moved into my view directly above, causing me to gain a feeling of distress and feebleness.

Category #15: Floating wall surface facing edge with an incline.

- In these 6 photos, there is a conveyance that the wall gradually moving in a clockwise motion can impede a human figure’s view. As the wall moves clockwise at an angular pace, the human figure loses viewpoints from left to right. I felt that the angled wall moving clockwise restricted my viewpoint gifting me a feeling of entrapment and fear.

Category: #17 Inclined ramp to facing wall

- These 9 photos illustrate how an inclined ramp facing a wall can impact a human figure’s view and movement. As the ramp inclines, the human figure can no longer move forward as easily. I felt as if when the ramp inclined, there was nowhere for me to move other than to each side, giving me feelings of despair and grief.

Category: #21 Four Columns:

- These 2 photographs show the movement of four columns surrounding a human figure. As the columns move closer toward the human figure, there is limited amount of space that the human figure can maneuver. I felt that when the columns were further away, there was space for imagination and wonder, whereas when the columns closed in on me, I felt suffocated and crushed even in a wide space.

Category: #29 Space composed with 5+ columns and 2 walls

- These 7 photos evoke ideas through 5 columns, 2 walls, and 3 human figures. As the human figure moves around the fixed space, there are differing viewpoints and light conditions. I felt that there was an eerie sense to the room as I traversed an unknown and untouched space. This ever-changing light demonstration filled me with anxiety yet also filled with wonder for the journey ahead.

Category: #33 Three connected walls

- These 2 photos allow the viewer to see two human figures enclosed within wide and narrow surrounding walls. As the wall closes in around the human figures, there is much less space for them to move about. I felt as if the world was closing in around me filling me with fear and looming desperation.

Category: #34 Curved wall inside

- In these 4 photos, there is an illustration of large and small curved walls as they pertain to a human figure. As the walls get bigger or smaller, constricted or widened, the human figure is either inhibited or allowed to move about. I felt as if there was an ever-changing amount of space for me to move around, gifting me feelings of high anxiety.

Category: #35 Curved wall outside

- These 6 photos depict a curved wall in different positions around a human figure. As the walls start to differ in size and openness, the human figure has a lesser visual footprint. I felt that as the walls got larger in front of me that I was insignificant and frail.

Category: #37 Entering into a space between Parallel Curved Walls

- These 8 photos illustrate how the height of the inside or outside curved walls affect a human figure. As the walls change in height, the human figure experiences new lighting conditions as well as viewpoints. I felt that as the light crept through the taller walls there was an eerie and adventurous aspect to the space.

Category: #44 Curved wall and S-curve wall

- In these 4 photographs, the s-shaped curing wall allows the viewer to see what light and curvature does to a human figure. As the walls and lights moved around the space, the human figure generally had the same space to move about without an upper viewpoint. I felt that as the walls enlarged upwards, there was more of a divine presence since the walls were catching more light.

Category: #45 1-point perspective pictures: Void on the upside

- These 4 photos allow the viewer to see what upper voids do to a human figure. As the voids changed in shape and size, there was always a differing energy in the space. I felt as if I was being abducted by aliens with this lighting condition, giving me a sense of wonder for what is to come next.

Category: #50 Void between curve-linear Surfaces (You can develop your own organic pattern)

- These 2 photos illustrate the connection between lighting conditions, human figures, and an upside organic void. As the photos progress, the human figure gains a differing viewpoint including differing lighting conditions. I felt a sense of connection and community when I was in the void with the other figures, whereas when I was below there was a sense of weakness and fragility.

The emotion selected for this project was fear. In its most basic form, fear evokes a significantly specific response that is individualistic changing from person to person. In this project specifically, these photographs along with the physical model are aimed to take the viewer through a structure that evokes this visceral response. From tight crawl spaces to larger-than-life walls, this structure is engineered to draw out the uncomfortability and anxiety within each individual viewer. Especially with a shortened 9”x 9”x 9” cube, the feelings of anxiety and fear are immensely overstated. From the entrapped walls and thin corners, to the steep inclines and winding path, this newer compressed model brings to light all of the expressive features of fear.

Category #9: 8ft high floating and aligned wall.

- This category allows the viewer to see a human figure underneath a floating wall moving through the frame from left to right. As the wall moves, the human figure loses its ability to see anything above them. I felt as if I was able to see and reach above me until the wall gradually moved into my view directly above, causing me to gain a feeling of distress and feebleness. With a smaller frame of view here in the smaller model, the human figure is confined to a limited area, causing more of an anxious feeling.

Category #15: Floating wall surface facing edge with an incline.

- In this category, there is a conveyance that the wall gradually moving in a clockwise motion can impede a human figure’s view. As the wall moves clockwise at an angular pace, the human figure loses viewpoints from left to right. I felt that the angled wall moving clockwise restricted my viewpoint gifting me a feeling of entrapment and fear. With a smaller viewpoint in this 9” x 9” x 9” cube, the human figure is able to experience a more intense level anxiety and fear in a more pointed manner.

Category: #17 Inclined ramp to facing wall

- This category illustrates how an inclined ramp facing a wall can impact a human figure’s view and movement. As the ramp inclines, the human figure can no longer move forward as easily. I felt as if when the ramp inclined, there was nowhere for me to move other than to each side, giving me feelings of despair and grief. The enclosed space here allows for the human figure to have more of an encapsulated feel rather than an open floorplan.

Category: #21 Four Columns:

- This category’s photograph shows the movement of four columns surrounding a human figure. As the columns move closer toward the human figure, there is limited amount of space that the human figure can maneuver. I felt that when the columns were further away, there was space for imagination and wonder, whereas when the columns closed in on me, I felt suffocated and crushed even in a wide space. Within the cubic constraints of this project, the human figure experienced more of a suffocated feeling behind the construction of the four columns.

Category: #29 Space composed with 5+ columns and 2 walls

- This category evokes ideas through 5 columns, 2 walls, and 3 human figures. As the human figure moves around the fixed space, there are differing viewpoints and light conditions. I felt that there was an eerie sense to the room as I traversed an unknown and untouched space. This ever-changing light demonstration filled me with anxiety yet also filled with wonder for the journey ahead. While being pushed into this cubic structure, the human figure is able to experience the increasing pressing constriction in a brand-new way.

Category: #33 Three connected walls

- This category allows the viewer to see two human figures enclosed within wide and narrow surrounding walls. As the wall closes in around the human figures, there is much less space for them to move about. I felt as if the world was closing in around me filling me with fear and looming desperation. Constricting walls and viewpoints in this new cube forces the human figure to see from one tight vantage point.

Category: #34 Curved wall inside

- In this category, there is an illustration of large and small curved walls as they pertain to a human figure. As the walls get bigger or smaller, constricted or widened, the human figure is either inhibited or allowed to move about. I felt as if there was an ever-changing amount of space for me to move around, gifting me feelings of high anxiety.

Category: #35 Curved wall outside

- This category depicts a curved wall in different positions around a human figure. As the walls start to differ in size and openness, the human figure has a lesser visual footprint. I felt that as the walls got larger in front of me that I was insignificant and frail.

Category: #37 Entering into a space between Parallel Curved Walls

- This category illustrates how the height of the inside or outside curved walls affect a human figure. As the walls change in height, the human figure experiences new lighting conditions as well as viewpoints. I felt that as the light crept through the taller walls there was an eerie and adventurous aspect to the space. In this smaller cube, there is a stress on the lighting and constriction that these parallel curved walls make.

Category: #44 Curved wall and S-curve wall

- In this category, the s-shaped curing wall allows the viewer to see what light and curvature does to a human figure. As the walls and lights moved around the space, the human figure generally had the same space to move about without an upper viewpoint. I felt that as the walls enlarged upwards, there was more of a divine presence since the walls were catching more light.

Category: #45 1-point perspective pictures: Void on the upside

- This category allows the viewer to see what upper voids do to a human figure. As the voids changed in shape and size, there was always a differing energy in the space. I felt as if I was being abducted by aliens with this lighting condition, giving me a sense of wonder for what is to come next. Even in the smaller cube, the void can still be seen, however, there is a hyper-fixation on the lighting conditions.

Category: #50 Void between curve-linear Surfaces (You can develop your own organic pattern)

- This category illustrates the connection between lighting conditions, human figures, and an upside organic void. As the photos progress, the human figure gains a differing viewpoint including differing lighting conditions. I felt a sense of connection and community when I was in the void with the other figures, whereas when I was below there was a sense of weakness and fragility.

The emotion selected for this project was fear. In its most basic form, fear evokes a significantly specific response that is individualistic changing from person to person. In this project specifically, these photographs along with the physical model are aimed to take the viewer through a structure that evokes this visceral response. From tight crawl spaces to larger-than-life walls, this structure is engineered to draw out the uncomfortability and anxiety within each individual viewer. Especially with a shortened 9”x 9”x 9” cube, the feelings of anxiety and fear are immensely overstated. From the entrapped walls and thin corners, to the steep inclines and winding path, this newer compressed model brings to light all of the expressive features of fear.

Category #9: 8ft high floating and aligned wall.

- This category portrays an aligned floating wall with a human figure facing directly head-on. As you move through the model, the human figure loses their viewpoint to their right side, however, the rest of their vantage point is clear. I feel that walking through this space, there is a sense of emphasis on the aligned wall, as well as the lines and shapes that are used to form this space. This leaves the human figure with a feeling of tremendous anxiety on top of uncomfort.

Category #15: Floating wall surface facing edge with an incline.

- In this category, there is an illustration of an angled facing edge floating in front of a human figure. Moving through the model, the human figure is met with this angled floating wall which seems to block their path using line, space, and contrast. All of these factors move together to allow the human figure to experience fear,

Category: #17 Inclined ramp to facing wall

- This category shows the viewer how an inclined ramp oriented to a facing wall affects a human figure. While moving to this category in the model, the human figure is met with a complete obstruction of their frontal view. I felt as though the world was curling in front of me as I was met with a massive incline. The use of emphasis and form for this category allows the human figure to be exposed to true fright.

Category: #21 Four Columns

- This category conveys four columns closing in on a singular human figure. As the human figure moves into this category, they gain a sense of claustrophobia from the pressing wall configuration. I felt that walking through this space I am completely closed in and unable to move throughout the space. The configuration of this space comes across to the viewer as scary or fearful because of the heightened values and shapes used here.

Category: #29 Space composed with 5+ columns and 2 walls

- This category portrays the crushing space of two converging walls with a column blocking the way of a human figure. When moving to this category, the human figure has no free space to move about, they are squeezed into a small crease. I felt as if the world was closing in around me as I walked through this converging hallway. The space that was used in this design lends itself to this crushing feeling as well as the frail feeling.

Category: #33 Three connected walls

- In this category, there are their walls that are connected with a human figure within them. As the human figure moves to this category, they are greeted with an enclosed space with one entrance and one exit. I felt as if I was walking into darkness without any sort of roadmap, filling me with fear and anxiety. From a design standpoint, the main points in this category are the lines and value that are built into this structure.

Category: #34 Curved wall inside

- This category illustrates the effects of a curved wall inside on a human figure. As the human figure moves to this final category in the sequence, they are met with a larger-than-life wall that curves around them. I felt as if I was completely insignificant standing next to such an astounding wall. The emphasis and line work in this category lends itself to that frail and insignificant feeling that the human figure experiences.

Category: #35 Curved wall outside

- This category shows the viewer the connection between a human figure and an outside curved wall. While the human figure approaches this category, they walk up to a massive, curved wall that blocks their path. I felt as if I was being forced to move in a different direction see as how this massive wall was blocking my way. The emphasis, space, and form of this category complete its purpose by filling the human figure with fear and despair.

Category: #37 Entering into a space between Parallel Curved Walls

- This category conveys the effects of a human figure as they enter a section between two parallel curved walls. As the human figure walks through this category, they are only able to walk in the path that is outlined for them, leaving no freedom. I felt as if I had no choice in this situation, filling me with frustration and hesitation. Art elements such as the line design in this category convey that feeling of only having one option to move.

Category: #44 Curved wall and S-curve wall

- In this category, there is an illustration of a curved wall and an s-curved wall, and their connection to a human figure. As the human figure moves to this category, they are met with another section where they have no freedom to move, there is only one walkable path. I felt fearful in this situation to know what was on the other side of this dark path knowing that I cannot go anywhere else. Again, here there is an overwhelming use of line design to convey these emotions.

Category: #45 1-point perspective pictures: Void on the upside

- This category portrays how a voided square affects a human figure. As the human figure approaches this category, they are met with a drop off with no certain floor. I felt that as I was approaching this hole in the floor there was nothing beneath filling me with fear and anxiety. Designing this space with form and space in mind, allows the human figure to experience all these emotions.

Category: #50 Void between curve-linear Surfaces (You can develop your own organic pattern)

- In this category, the viewer is able to see the connection between an organic void and a human figure. As the human figure enters this category, they get a new lighting condition that comes through the void above them. I felt that as I moved through this space, there was a sense of something looming above me. This feeling filled me with fear and uncertainty because of the use of shape and form.

What I learned...

Project #1 “Wall, Column, and Space”

- I learned the effects of lights within spaces and the effects of scaled objects interacting within a space.

Project #2 “Hand Drawing”

- I learned how to draw abstractly and apply the creative way of drawing into sketches and work more efficiently in making plans.

Project #3 “Power of Patience”

- I learned how to study art principles and elements and how to apply them to color relationships and forms of objects within an interior space.

Project #4 “Space Cube”

- I learned how to interate in order to promote craftsmanship in my model making, and how the process of model making works.

Project #5 “First Portfolio”

- I learned how to turn physical model spaces into AI generated images and how my intentions for the models are dispalyed in the generations.

Overall

- My section instructor Jinoh Park gave me a unique perspective in design principles and practices. Through diffreent mediums of representation like model making, image capturing, AI generation, and drawing I was alble to articulate my design intentions well and clearly.

If you could talk to you before these five weeks, what would you like to share with you?

-

The emotion selected was joy. Through the specific scenes I chose I tried to make sure if there were obstacles with the figure they were aligned in stature like a column, open like a curved wall, or in free space like a floating surface or flat wall.

In category 3, these photos show a figure next to a wall and through the phases of the pictures the wall is eventually from the side of the figure to directly in front of it. The figures’ feelings could have gone from feeling certainty and having freedom as open space is directly in front of it. Then the feeling of being restricted and hopeless when the wall eventually blocks the open space from the figure entirely.

In category 29, These images show a scene of a figure within two walls and five columns. The position of the two walls begin the scene as rigid and cold, but through the figure’s movement it ends up within an open circle of columns within an open space within the walls. The feelings from these scenes are feelings of content and triumph as the figure overcomes the obstacle of walls.

In category 34, These photos show a figure placed facing a curved inside of a wall. The setting of the wall allows for the figure to be the main focal point. The feeling from these images is individuality and being happy with being an individual as the walls aren’t rigid and cutting to the figure’s position, but instead the curved wall embraces the figure.

In category 37, These images show the figure between two parallel curved walls. The setting of these walls allows for a path for the figure to follow. The feeling from these images are content and the figure can expect what its next move will be on the path.

In category 38, These images show the figure between two mirroring curved walls. The setting of the walls allows for the focal point to be on the figure while still adding complexity to the image with the curvature of the walls and path produced for the figure. The feelings from these scenes are joyful as the individual is focused solely and can move about freely.

In category 42, These images show the relation of two walls, curved and flat, and a column to a figure. The setting of the walls and column allow for there to be a path created for the figure while still keeping a small alignment to the column. The feeling from these images are acceptance as the column and the figure both take the same position within the wall’s path.

In category 44, These images show the different placement of curved walls in relation to the figure. The setting of the walls in these images allow for the figure to follow an open path to free space, but still keeping the movement complex with the S shaped curve. The feeling from these images is empowering as the figure is in charge of their allowance of movement.

In category 47, These images show a void in front of a figure with light coming from beneath the void. The setting of the voids allow for the focal point to be entirely on the figure and it’s decision upon arriving at the void. This image feelings are those of embracement as the light is almost luring the figure down below.

In category 49, These images show two floating surfaces with two figures on each surface. The setting of these walls allow for one figure to always be above the other in reaching distance. The feeling from these images are limerence as one figure will always be reaching out to the other from their surface.

In category 53, These images show a floating surface alongside a curved wall with two figures within the images. The setting of the surface allows for one figure to always be reaching out to the other from the ground to up above. The feeling from these images are limerence again as that figure will be yearning for the figure on the surface.

In category 56, These images show a hanging curved surface above the figure. The setting of the curved surface allows for a tunnel to be made around the figure. The feeling from this image is comforting and soothing as the tunnel has one open direction for the figure and allows for all kinds of movement within the tunnel.

In category 57, These images show a hanging curved surface above the figure as well as a concavity. The setting of the curved surface allows for a tunnel to be made around the figure while the concavity allows for complexity in the movement of the figure. The feeling from this image is comforting and soothing as the tunnel has one open direction for the figure.

The emotion selected was joy. Through the specific scenes I chose I tried to make sure if there were obstacles with the figure they were aligned in stature like a column, open like a curved wall, or in free space like a floating surface or flat wall.

In category 3, these photos show a figure next to a wall and through the phases of the pictures the wall is eventually from the side of the figure to directly in front of it. The figures’ feelings could have gone from feeling certainty and having freedom as open space is directly in front of it. Then the feeling of being restricted and hopeless when the wall eventually blocks the open space from the figure entirely.

In category 29, These images show a scene of a figure within two walls and five columns. The position of the two walls begin the scene as rigid and cold, but through the figure’s movement it ends up within an open circle of columns within an open space within the walls. The feelings from these scenes are feelings of content and triumph as the figure overcomes the obstacle of walls.

In category 34, These photos show a figure placed facing a curved inside of a wall. The setting of the wall allows for the figure to be the main focal point. The feeling from these images is individuality and being happy with being an individual as the walls aren’t rigid and cutting to the figure’s position, but instead the curved wall embraces the figure.

In category 37, These images show the figure between two parallel curved walls. The setting of these walls allows for a path for the figure to follow. The feeling from these images are content and the figure can expect what its next move will be on the path.

In category 38, These images show the figure between two mirroring curved walls. The setting of the walls allows for the focal point to be on the figure while still adding complexity to the image with the curvature of the walls and path produced for the figure. The feelings from these scenes are joyful as the individual is focused solely and can move about freely.

In category 42, These images show the relation of two walls, curved and flat, and a column to a figure. The setting of the walls and column allow for there to be a path created for the figure while still keeping a small alignment to the column. The feeling from these images are acceptance as the column and the figure both take the same position within the wall’s path.

In category 44, These images show the different placement of curved walls in relation to the figure. The setting of the walls in these images allow for the figure to follow an open path to free space, but still keeping the movement complex with the S shaped curve. The feeling from these images is empowering as the figure is in charge of their allowance of movement.

In category 47, These images show a void in front of a figure with light coming from beneath the void. The setting of the voids allow for the focal point to be entirely on the figure and it’s decision upon arriving at the void. This image feelings are those of embracement as the light is almost luring the figure down below.

In category 49, These images show two floating surfaces with two figures on each surface. The setting of these walls allow for one figure to always be above the other in reaching distance. The feeling from these images are limerence as one figure will always be reaching out to the other from their surface.

In category 53, These images show a floating surface alongside a curved wall with two figures within the images. The setting of the surface allows for one figure to always be reaching out to the other from the ground to up above. The feeling from these images are limerence again as that figure will be yearning for the figure on the surface.

In category 56, These images show a hanging curved surface above the figure. The setting of the curved surface allows for a tunnel to be made around the figure. The feeling from this image is comforting and soothing as the tunnel has one open direction for the figure and allows for all kinds of movement within the tunnel.

In category 57, These images show a hanging curved surface above the figure as well as a concavity. The setting of the curved surface allows for a tunnel to be made around the figure while the concavity allows for complexity in the movement of the figure. The feeling from this image is comforting and soothing as the tunnel has one open direction for the figure.

The emotion selected was joy. Through the specific scenes I chose I tried to make sure if there were obstacles with the figure they were aligned in stature like a column, open like a curved wall, or in free space like a floating surface or flat wall.

In category 3, these photos show a figure next to a wall and through the phases of the pictures the wall is eventually from the side of the figure to directly in front of it. The figures’ feelings could have gone from feeling certainty and having freedom as open space is directly in front of it. Then the feeling of being restricted and hopeless when the wall eventually blocks the open space from the figure entirely.

In category 29, These images show a scene of a figure within two walls and five columns. The position of the two walls begin the scene as rigid and cold, but through the figure’s movement it ends up within an open circle of columns within an open space within the walls. The feelings from these scenes are feelings of content and triumph as the figure overcomes the obstacle of walls.

In category 34, These photos show a figure placed facing a curved inside of a wall. The setting of the wall allows for the figure to be the main focal point. The feeling from these images is individuality and being happy with being an individual as the walls aren’t rigid and cutting to the figure’s position, but instead the curved wall embraces the figure.

In category 37, These images show the figure between two parallel curved walls. The setting of these walls allows for a path for the figure to follow. The feeling from these images are content and the figure can expect what its next move will be on the path.

In category 38, These images show the figure between two mirroring curved walls. The setting of the walls allows for the focal point to be on the figure while still adding complexity to the image with the curvature of the walls and path produced for the figure. The feelings from these scenes are joyful as the individual is focused solely and can move about freely.

In category 42, These images show the relation of two walls, curved and flat, and a column to a figure. The setting of the walls and column allow for there to be a path created for the figure while still keeping a small alignment to the column. The feeling from these images are acceptance as the column and the figure both take the same position within the wall’s path.

In category 44, These images show the different placement of curved walls in relation to the figure. The setting of the walls in these images allow for the figure to follow an open path to free space, but still keeping the movement complex with the S shaped curve. The feeling from these images is empowering as the figure is in charge of their allowance of movement.

In category 47, These images show a void in front of a figure with light coming from beneath the void. The setting of the voids allow for the focal point to be entirely on the figure and it’s decision upon arriving at the void. This image feelings are those of embracement as the light is almost luring the figure down below.

In category 49, These images show two floating surfaces with two figures on each surface. The setting of these walls allow for one figure to always be above the other in reaching distance. The feeling from these images are limerence as one figure will always be reaching out to the other from their surface.

In category 53, These images show a floating surface alongside a curved wall with two figures within the images. The setting of the surface allows for one figure to always be reaching out to the other from the ground to up above. The feeling from these images are limerence again as that figure will be yearning for the figure on the surface.

In category 56, These images show a hanging curved surface above the figure. The setting of the curved surface allows for a tunnel to be made around the figure. The feeling from this image is comforting and soothing as the tunnel has one open direction for the figure and allows for all kinds of movement within the tunnel.

In category 57, These images show a hanging curved surface above the figure as well as a concavity. The setting of the curved surface allows for a tunnel to be made around the figure while the concavity allows for complexity in the movement of the figure. The feeling from this image is comforting and soothing as the tunnel has one open direction for the figure.

The emotion selected was joy. Through the specific scenes I chose I tried to make sure if there were obstacles with the figure they were aligned in stature like a column, open like a curved wall, or in free space like a floating surface or flat wall.

In category 3, these photos show a figure next to a wall and through the phases of the pictures the wall is eventually from the side of the figure to directly in front of it. The figures’ feelings could have gone from feeling certainty and having freedom as open space is directly in front of it. Then the feeling of being restricted and hopeless when the wall eventually blocks the open space from the figure entirely.

In category 29, These images show a scene of a figure within two walls and five columns. The position of the two walls begin the scene as rigid and cold, but through the figure’s movement it ends up within an open circle of columns within an open space within the walls. The feelings from these scenes are feelings of content and triumph as the figure overcomes the obstacle of walls.

In category 34, These photos show a figure placed facing a curved inside of a wall. The setting of the wall allows for the figure to be the main focal point. The feeling from these images is individuality and being happy with being an individual as the walls aren’t rigid and cutting to the figure’s position, but instead the curved wall embraces the figure.

In category 37, These images show the figure between two parallel curved walls. The setting of these walls allows for a path for the figure to follow. The feeling from these images are content and the figure can expect what its next move will be on the path.

In category 38, These images show the figure between two mirroring curved walls. The setting of the walls allows for the focal point to be on the figure while still adding complexity to the image with the curvature of the walls and path produced for the figure. The feelings from these scenes are joyful as the individual is focused solely and can move about freely.

In category 42, These images show the relation of two walls, curved and flat, and a column to a figure. The setting of the walls and column allow for there to be a path created for the figure while still keeping a small alignment to the column. The feeling from these images are acceptance as the column and the figure both take the same position within the wall’s path.

In category 44, These images show the different placement of curved walls in relation to the figure. The setting of the walls in these images allow for the figure to follow an open path to free space, but still keeping the movement complex with the S shaped curve. The feeling from these images is empowering as the figure is in charge of their allowance of movement.

In category 47, These images show a void in front of a figure with light coming from beneath the void. The setting of the voids allow for the focal point to be entirely on the figure and it’s decision upon arriving at the void. This image feelings are those of embracement as the light is almost luring the figure down below.

In category 49, These images show two floating surfaces with two figures on each surface. The setting of these walls allow for one figure to always be above the other in reaching distance. The feeling from these images are limerence as one figure will always be reaching out to the other from their surface.

In category 53, These images show a floating surface alongside a curved wall with two figures within the images. The setting of the surface allows for one figure to always be reaching out to the other from the ground to up above. The feeling from these images are limerence again as that figure will be yearning for the figure on the surface.

In category 56, These images show a hanging curved surface above the figure. The setting of the curved surface allows for a tunnel to be made around the figure. The feeling from this image is comforting and soothing as the tunnel has one open direction for the figure and allows for all kinds of movement within the tunnel.

In category 57, These images show a hanging curved surface above the figure as well as a concavity. The setting of the curved surface allows for a tunnel to be made around the figure while the concavity allows for complexity in the movement of the figure. The feeling from this image is comforting and soothing as the tunnel has one open direction for the figure.

What I learned...

Project #1 “Wall, Column, and Space”

- What I learned while doing the Wall, Colomn, and Space project was how to manage my time and patience. This assignment was repetitive and it felt like I was taking picture after picture and cutting constantly. I learned how to manage my time to where I wasn't staying super late to finish but I was also getting it done correctly and on time.

Project #2 “Hand Drawing”

- What I learned from the hand drawing projects was how to draw in a one-point perspective and also a two-point perspective. I also learned what a blind contour is and that I need to practice drawing those more. What I learned the most about the project was during the outdoor sketches. These taught me to think further than drawing what I see and to try and capture what I hear and see while also the feeling of the landscape.

Project #3 “Power of Patience”

- The main thing that I took from this project was patience, even though the purpose of this assignment was to learn patience. I learned how to look more in-depth at a painting and to see further than just how aesthetically pleasing it is. I now know what the design elements and principles are and how to look for them in different paintings and artworks.

Project #4 “Space Cube”

- What I learned from the space cube projects was how important iteration is. While doing this many different times even though it felt repetitive, it helped me create the best and most efficient model. Doing things over and over again may not feel like you are getting very far but in reality, it really helped me see the best view of what I wanted my outcome to look like in the final model.

Project #5 “First Portfolio”

- What I learned during this project was how to use AI. I had never used AI prior to this assignment so it was a new experience for me and overall just cool to learn. Even though it wasn't always easy or wasn't working correctly, it still allowed me to get a feel of how it works and what it can do to create different things.

Overall

- Overall, I learned time management, patience, and many different skills. First coming into this course I was nervous about the workload or how I would be able to accomplish everything during such a small time frame. While being here I figured out that while it was time-consuming and took a lot of effort it is more than doable. Focusing on my time management is what really helped me set a pace and feel like I was able to stay on track.

If you could talk to you before these five weeks, what would you like to share with you?

- If I could talk to you before these five weeks I would tell myself not to stress so much about how you're going to get all my work done and that yes, it is time-consuming but it was honestly quite fun and you meet great people.

Phase #1: Category #

Phase #4: Category #

Phase #7: Category #

Phase #10: Category #

Phase #2: Category #

Phase #3: Category #

#6: Category #

Phase #5: Category # Phase #8: Category # Phase #11: Category #

#9: Category #

Phase #12: Category #

Phase #1: Category #

Phase #4: Category #

Phase #7: Category #

Phase #10: Category #

Phase #2: Category #

Phase #5: Category #

Phase #8: Category #

Phase #11: Category #

#3: Category #

#6: Category #

#9: Category #

#12: Category #

The emotion I selected for these series of pictures was anger. I chose the pictures from the categories that would be best for making a person feel angry or uncomfortable being in that situation.

The picture from category three illustrates the wall moving from the left to be directly in the view of the figure. As the wall moves it forces the figure to change direction or turn around. I could walk forward when the wall was to the left of me but then it moved right in front of me, and I felt like I had to change direction.

These photos from category seven illustrate the wall getting bigger until it obstructs the human figure’s view. As the wall gets taller the human figure is cut off from the other side of the wall. When the wall was small, I felt like it wasn’t a problem but the bigger it got it just obstructed my view.

These photos in category fourteen illustrate the wall getting bigger until it obstructs the human figure’s view. As the wall gets taller the human figure is cut off. When the wall was small, I felt like it wasn’t a problem but the bigger it got it just obstructed my view and made me angry.

The pictures from category thirty-three show the figure standing in a narrow room with three walls. The narrower the room the closer the view of the human figure is. I feel like the narrower the room is, makes it very tight and compact compared to a more open and spacious room.

This category shows pictures of the human figure walking in between two different curved walls. The human figure is hidden when the walls are facing away but when they are opened the figure can see the whole space. I feel like I'm walking into a tunnel since the walls are so close together and narrowed together like it’s creating a pathway.

These pictures from category thirty-eight show a man walking in between curved walls that are different sizes. As the walls get closer together the view of the human figure is obstructed. When the walls get narrower it makes the space feel tight and uncomfortable to walk through.

The photos from category thirty-nine illustrate a space between two curved walls that gradually get taller and bigger. As the lighting changed the view of the human figure was obstructed. When the walls get taller the space feels smaller and harder to walk through.

The photos show the human figure walking in between and column and a curved wall. The figure is obstructed when he is standing behind the wall. The columns and the curved walls make me feel like they are leading into a dark and tight tunnel which makes me unsure.

This category shows two different sizes of S-shaped walls. With the bigger walls the human figure is smaller and harder to see. The smaller S-shaped walls feel like walking through a tunnel and a small, dark room, whereas the taller walls make the room feel much bigger.

This category’s photos show the human figure standing in front of a square on the floor. As the lighting differs in each picture so does the view of the human figure. This room feels very dark and compact because of the hole in the floor, making there less space to move around, and lack of lighting.

These photos from category forty-nine illustrate two floating surfaces above one human figure. The angle of the human figure changes and is sometimes obstructed by the floating surfaces. The set up of the floating surfaces makes me feel like the room is very big but also irritates me because there is no way to reach the floating surfaces.

This category shows different pictures of large, curved walls in different positions and angles. The view of the human figure is obstructed when the lighting is darker and harder to find. This room makes me feel because the walls are so large and overwhelming

Scace Cube Thirteen Paragraphs

For this space cube project, I chose to use the emotion of fear. I chose fear because I felt like there were many different categories that represented this emotion. I decided which pictures to use by trying to find categories that create a narrow space, have large walls, or make the person feel small.

The first room in my sequence shows a human figure standing in front of a wall. The human figure cannot move or go anywhere since the wall is in front of him. This made me feel like I was trapped in the room because I couldn’t move forward since the wall was obstructing my path.

The next category in the space cube is a picture of a human figure standing in front of a half wall. This also obstructs the human figures path causing him to stay put. I chose this picture as an example of fear because the wall is short enough to show you what is on the other side of it but tall enough to where you cannot get passed it.

For the third category I chose a picture of the human figure standing next to a slanted wall. The human figure’s path of view is not obstructed by this wall. This slanted wall engulfs fear because it isn’t a normal wall and is just awkwardly placed next to the figure which might make someone feel uncomfortable.

The fourth room in the space cube illustrates a human figure standing in front of two walls at a ninety-degree angle. The human figure cannot move forward or even see around since the walls are tall andobstruct the view. Standing in the corner of two walls make me feel like I can’t get out of the room because there is no pathway forward.

The next category shows a human figure standing before two curved walls. The human figure’s only pathway is to walk forward between the two curved walls. This develops fear because the curved walls are very large and tall and make the human figure feel smaller.

For the next room in the sequence, the picture shows a human figure walking in between two curved walls. Since the walls are so close together, the view of the human figure is obstructed. I chose this category because the walls are so narrow which makes the space feel tight and uncomfortable, which might create fear.

The seventh room in the space cube show the human figure standing in front of two very large, curved walls. Since the walls are so big it makes the human figure smaller and harder to see. This room produces fear because the walls are so big and tall that they make the room feel very large and the human figure feel small.

The next category illustrates the human figure walking in between a column and a curved wall. The human figure is walking forward into what looks like a tunnel. The human figure walking forward makes me feel nervous and scared because the space between the two walls is narrow and claustrophobic.

The eight room in the sequence shows a human figure standing in front of two sshaped walls. Thehuman figure is walking right into the narrow pathways between the walls. This created a sense of fear because the space is so small and tight while the walls are quite large.

The next room is a picture of a human figure standing in front of a large square in the floor. The human figure is stuck with no where to go since there is a hole in the floor and his pathway. The hole in the floor makes the room feel smaller and like there is less room to move around which creates a sense of uneasiness.

For the next category, it shows a man standing on a floating surface above the floor. The angle of the human can sometimes be obstructed since he is sitting on a floating surface. This creates fear because the figure is standing on the surface with no where to go and the chance he could fall off and become injured.

The last room in the sequence shows a human figure standing under a curved wall. The view of the human figure is obstructed when he is standing under the curved wall. This creates fear because it makes me feel claustrophobic and like I’m in a narrow space.

Scace Cube Thirteen Paragraphs

For this space cube project, I chose to use the emotion of fear. I chose fear because I felt like there were many different categories that represented this emotion. I decided which pictures to use by trying to find categories that create a narrow space, have large walls, or make the person feel small.

In my series, the first room features a human figure standing in front of a wall. Because the wall is in front of him, the human figure is immobile and cannot go anywhere. Because the wall was blocking my route and I was unable to move ahead, I felt as though I was stuck in the room.

An image of a human being in front of a half wall is the next category in the space cube. Additionally, this blocks the human figure’s path, making him remain still. Because the wall is large enough to prevent you from climbing past it yet low enough to reveal what is on the other side, I chose this image to represent fear.

For the third category I chose a picture of the human figure standing next to a slanted wall. The human figure’s path of view is not obstructed by this wall. This slanted wall engulfs fear because it isn’t a normal wall and is just awkwardly placed next to the figure which might make someone feel uncomfortable.

The fourth room in the space cube illustrates a human figure standing in front of two walls at a ninety-degree angle. The human figure cannot move forward or even see around since the walls are tall and obstruct the view. Standing in the corner of two walls make me feel like I can’t get out of the room because there is no pathway forward.

The next category shows a human figure standing before two curved walls. The human figure’s only pathway is to walk forward between the two curved walls. This develops fear because the curved walls are very large and tall and make the human figure feel smaller.

For the next room in the sequence, the picture shows a human figure walking in between two curved walls. Since the walls are so close together, the view of the human figure is obstructed. I chose this category because the walls are so narrow which makes the space feel tight and uncomfortable, which might create fear.

The human figure is seen standing in front of two enormous, curved walls in the seventh room of the space cube. The size of the walls makes it difficult to perceive and makes the human form appear smaller. The enormous, tall walls in this room provide the impression that the space is much larger than it is, which makes people feel afraid.

The next category illustrates the human figure walking in between a column and a curved wall. The human figure is walking forward into what looks like a tunnel. The human figure walking forward makes me feel nervous and scared because the space between the two walls is narrow and claustrophobic.

The eight room in the sequence shows a human figure standing in front of two sshaped walls. The human figure is walking right into the narrow pathways between the walls. This created a sense of fear because the space is so small and tight while the walls are quite large.

A depiction of a human being standing in front of a sizable square in the floor may be found in the following room. Due to a hole in the floor and his path, the human figure is stuck and has nowhere to move. There is an uneasy feeling in the room because of the floor hole, which makes it appear smaller and less spacious.

For the next category, it shows a man standing on a floating surface above the floor. The angle of the human can sometimes be obstructed since he is sitting on a floating surface. This creates fear because the figure is standing on the surface with no where to go and the chance he could fall off and become injured.

In the final room in the series, a human figure is standing beneath a curved wall. When the human figure is standing beneath the curving wall, his view is obscured. I become scared because I feel like I’m in a small place and am claustrophobic.

13 Paragraphs

For this space cube project, I chose to use the emotion of fear. I chose fear because I felt like there were many different categories that represented this emotion. I decided which pictures to use by trying to find categories that create a narrow space, have large walls, or make the person feel small.

The first room in the series displays a human figure standing in front of a blank wall. Since the wall is directly in front of the figure, he is unable to move forward. This room illustrates balance because it is symmetrically pleasing. Fear is also demonstrated because the figure cannot go anywhere and is stuck in his place.

The next room in the space cube is a human figure standing in front of a half wall. Much like the first room, this wall is also blocking his path and making him remain where he is, which might create fear. This room portrays that the proportion of the half wall is different compared to the remaining walls in the cube.

For the third category in thesequence, it shows a human figure standing in front of two walls at ninety-degrees. This category highlights balance as well because both walls are equal and create symmetry. This room develops fear because it does not allow the human figure to go right or left, making him feel trapped.

The fourth room is a photo of a human figure standing to the right of an angled wall. This might transform fear because the wall is not standing normally and gives the sense that it might fall over. Emphasis is used on the wall since it is the only slanted wall used in the space cube.

The next room in the series shows a human figure standing in front of two curved walls. I chose this room because the curved walls are much bigger than the human figure which might make him feel claustrophobic and uncomfortable. The form of the curved walls also created fear since they are leading the human figure in a path right in between them.

For the sixth room in the sequence, the picture shows a human figure walking in between two curved walls. Since the walls are so close together, the view of the human figure is obstructed. I chose this category because the walls are so narrow that it makes the space feel tight and uncomfortable, which might create fear. This room demonstrates balance because the two curved walls are the same size and equally distanced apart from each other.

The next room in the space cube illustrates the human figure standing in front of two large, curved walls. Since the walls are bigger than the figure it also makes the room feel large, creating a sense of fear for being small. The vertical lines on the curved walls make them feel taller which makes the room feel bigger. Continuing into the next room of this series, it shows the human figure walking in between a column and a curved wall. This room creates fear because the path between the column and wall feels like walking into a narrow tunnel, which makes me feel claustrophobic. Adding the column into the sequence created a little contrast since only walls have been used in the space cube.

The ninth room in this sequence displays a human figure standing in front of two sshaped walls. This created a sense of fear because the space is so small and tight while the walls are quite large. This room illustrates the different forms of the walls since they are shaped in an S-like way.

For the tenth category in the cube, it shows a human figure standing in front of a hole in the floor in the shape of a square. Due to a hole in the floor and his path, the human figure is stuck and has nowhere to move. This creates fear because the hole in the floor makes the room feel smaller and like the figure might fall through since there is no railing.

For the next category, it shows a human figure standing on a floating surface above the floor. The angle of the human can sometimes be obstructed since he is sitting on a floating surface. This creates fear because the figure is standing on the surface with nowhere to go and the chance he could fall off and become injured. This also puts emphasis on the human figure since he is the only figure sitting on the ledge.

For the final room in the sequence, it illustrates a human figure standing beneath a curved wall. The curved wall being directly above the human figure creates the feeling of being claustrophobic and in a narrow space. This form of a curved wall created fear because it is so close to the ground causing the human figure to be cautious.

JESSICA SCHNELLE

Portfolio

What I learned...

Project #1 “Wall, Column, and Space”

- With this being the introductory project of the semester - and also my first architectural project ever - it laid the foundation perfectly for what I would need to know moving forward. With limited supplies, I was able to create scenes in which you could visibly see and feel how elements impacted the overall mood of the scene/space. Stripping the elements to their barest state allowed me to fundamentally understand the characteristics and offerings of each of them.

Project #2 “Hand Drawing”

- Drawing in general has never come very intuitive to me, so I was unsure how I would perform in the more artistic aspects of this semester. However, the projects were structured in a way that allowed me to build off the basic skills I did know to create a dynamic and interesting outcome. Likewise, perfection was not the end goal - clarity and concept was - so the pressure of creating the best, most pristine piece of art faded away overtime. I really enjoyed this project because it took me out of my comfort zone and pushed me to continue striving to improve techniques, try new materials, and have fun with it.

Project #3 “Power of Patience”

- It was exactly what it sounds like, the power of patience. Looking back, this was one of my favorite days overall because I have never sat and admired a painting for such an extended amount of time before. After three hours, I had discovered two and half pages worth of new details within one 36” x 22” painting, which I had thought would be impossible beforehand. Since this project, I have found myself viewing every single piece of art or design I encounter with a new mindset of “why?“.

Project #4 “Space Cube”

- This project will forever have a special place in my heart - my first architectural models. Overall, it taught me the power of iteration. Every model I produced - from the original sequence model, to space cubes 1, 2, and 3 - I truly believed couldn’t get any better than the last one, but they did. Yes, in smaller and more subliminal ways each time, but in ways that impact the overall space much more than you even realize. In addition, drawing our first architectural plans of the space cube was so impactful in my process of bringing 3D to 2D because I had a physical object to model and look at from every angle to guide me along the way.

Project #5 “First Portfolio”

- For four weeks prior, everything I had created was done manually. So, switching to technology one, and then technology that essentially handles the design process for me, was quite a shift. I found it difficult to hand the reins over and let the machine do all the design decisions for me because I had been so particular up to this point. However, everything that I had been desiging for four weeks prior had the opportunity to come to life and become a real interior space. It was extremely eye opening in the fact that it created spaces that I would have never imagined and opened my mind to endless possibilities.

Overall

- Honestly, I doubted every single assignment that was given to us and the intention behind it, but they always proved important and critical to my design journey. Design school is unlike any other institution in the fact that they aren’t teaching you right versus wrong, they’re teaching you how to form your own mindset. To flip everything you know upside down and view it from a position of curiosity, not blind assumption. That’s what I gained overall this semester, literally a new view on life itself.

If you could talk to you before these five weeks, what would you like to share with you?

- You definitely didn’t know what you signed up for. This is going to be the most physically, mentally, emotionally, and spirtually draining five weeks of your life. You are going to question everything you know about both yourself and the world around you. You are going to question whether this is even right for you. BUT, you will walk away a completely different person. A more mature and intelligent adult, an intrigued student, and a respected designer. You will prove to yourself that you can do anything you set your mind to. You will be truly proud of what you accomplished and what is to come. And by the end, you’ll know it was all worth it.

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Experimenting with how everyday room factors such as walls, columns, ceilings, floors, voids, lighting, etc. play into a space and the emotion it evokes has been eye-opening. Throughout the process, I found myself feeling the drastic emotion that the singular elements were providing, most of the time that feeling being anxiety or fear. After deciding my emotion was fear, I knew I wanted to focus on narrow, tight quarters for my sequence because that was the root of most of my fear categories. From this point, I actually chose a sequence that I didn’t follow. When I began creating my model, I didn’t like how the pieces were connecting - it wasn’t conveying fear clearly - so I rearranged the sequence as I went and reprinted the sequence to match the model. Overall, I feel that I conveyed fear well within my model. I made sure to pay special attention to how close each category was from the one before and after because I wanted both each individual category as well as the space between them to collectively work together to evoke fear. Below are the explanations for each category and why it was included in the sequence.

1. The collection of photographs showcases the relationship between one edge-facing wall and one column. When the column is to the right of the human figure but closer to the wall, he doesn’t have much room to move past the column. This makes the space feel narrow and uncomfortable.

2. The array of photographs demonstrates how a human functions in a space crowded with columns. As the human figure moves through the walls, he is met with many columns to avoid. I felt annoyed to have to navigate through a maze of columns and struggled to fit throughout and within the parameters of the space.

3. The six photographs show an aligned wall gradually moving. As the wall changes, the human figure loses space to walk and his view becomes obstructed. At the beginning, I had a comfortable amount of distance between me and the wall, but by the fifth level, I was uncomfortable and unable to continue moving forward.

4. The series of photographs showcase the inside and outside views of entering a space between parallel curved walls. When the human figure is on the outside of the curves, it feels as though he’s outside of the space itself, entering it. However, when the human figure is on the inside of the curves, it feels as though he’s on the inside of the space itself but exiting it now. Overall, the narrowness of the space creates an uncomfortable and tight feeling.

5. The two photographs illustrate the void between curve-linear surfaces. When the human figure is below the void, he is staring up at two people and remains out of the void light, giving an eerie feeling. When the human figure is above the void, he is staring across to the two people and is now part of the light, creating a feeling of continuity.

6. The series of photographs displays the inside of a curved wall at different heights and lengths. When the curves are small in length, the human figure seems to be on the inside of a curved alcove. When the curves are large in length, the human figure seems to be in an entirely curved room. I felt trapped regardless of the height and length of the curves because all I could see around me was the curve.

7. The series of photographs demonstrate a floating and faced wall gradually gaining height. As the wall changes, the human figure’s view remains obstructed for a majority of the time. I was trapped facing the wall, slowly gaining more light from the bottom up, creating an eerie and fear of the unknown feeling.

8. The four photographs illustrate a square or circle void of 4’ or 8’ sizing on the upside with above lighting. When the void is 4’ diameter or 4’x4’ - the smaller sizing – the human figure is lit up by the void light from above, making the space feel extra dark in the places where the void isn’t, as though the void is a skylight. When the void is 8’ diameter or 8’x8’ - the larger sizing – the human figure no longer receives direct and full lighting, making the space feel larger and more dramatic.

9. The two photographs showcase the relationship between four columns, both widely and narrowly apart from each other. In the first photo, the human figure is in the center of the wide columns, creating a feeling that the space is important and distinguished. In the second photo, the columns are now narrowly surrounding the human figure, creating a sense of tightness in a closed space.

10. The series of photographs shows how an inclined wall gradually gains incline. As the wall changes, the human figure becomes more parallel to the wall. The slow rise in incline is almost frightening as it rises from the ground.

11. The series of photographs illustrates the progression of height on the outside of a curved wall. When the curves are large, the human figure seems small, creating a grand space but also a feeling that they’re towering over you. When the curves are small, the human figure seems large, creating an average height space with the character of a curved wall.

12. The two photographs display a curved vertical surface. When the surface is 4’ wide, the human figure is unable to continue moving forward. In addition, the width is not much larger than the figure itself so it creates a small curved area overall. When the surface is 8’ wide, the human figure is still unable to move forward, but the larger width makes the curve feel grand, similar to an amphitheater. However, the larger width also emphasizes the towering, steep slope, making me feel anxious.

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Category #37

Category #8

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Category #50

Category #45

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Transitioning from the sequence model to the space cube was less difficult than I thought it would be. A 9’x 9’x 9’ cube has a lot more room in it than I initially thought there was. My main goal with the first space cube was to figure out scale and placement of the categories, not necessarily functionality. I started the entire process by sketching my initial thoughts down with the cube divided into the two layers I was hoping to house within my cube. I wasn’t super confident my plan would come to fruition, but I decided to start anyway. Again, the first thing I noticed was how much space you really have within this cube and suddenly fitting all of the elements wasn’t my biggest worry anymore, it was now how to fill out the space whilst leaving areas to view inside and “function” in the space comfortably. Eventually –after much trial and error – I designed my first simple rendition of the space cube, and below is what I noticed as differences between the sequence model and the first space cube.

1. The photograph showcases the relationship between one edge-facing wall and one column. When the column is to the right of the human figure but closer to the wall, he doesn’t have much room to move past the column. This makes the space feel narrow and uncomfortable. The depth between the sequence model and first space cube is pretty much the same. I kept the pieces “up to scale” by using the same measurements as within my sequence model.

2. The photograph demonstrates how a human functions in a space crowded with columns and walls that are slowly closing in. As the human figure moves through the walls, he is met with many columns to avoid. I felt annoyed to have to navigate through a maze of columns and struggled to fit throughout and within the parameters of the space, especially as the walls came closer together. The difference between the sequence model and the first space cube is that the widest part of the walls were rotated 180 degrees to open directly from the side, now connected from the opposite end as before.

3. The photograph shows an aligned wall gradually moving. As the wall changes, the human figure loses space to walk and his view becomes obstructed. At the beginning, I had a comfortable amount of distance between me and the wall, but by the fifth level, I was uncomfortable and unable to continue moving forward. The difference between the sequence model and first space cube is that I struggled to get a onepoint perspective photo of this category with the entire cube all put together.

4. The photograph showcases the inside view of entering a space between parallel curved walls. When the human figure is on the inside of the curves, it feels as though he’s on the inside of the space itself but exiting it now. Overall, the narrowness of the space creates an uncomfortable and tight feeling. Between the sequence model and first space cube, this category remained the same in height with about 2 inches less length in order to make the curve fit around the next category more comfortably and with more visibility.

5. The photograph illustrates the void between curve-linear surfaces. When the human figure is above the void, he is staring down into it, creating a feeling of eeriness. Comparing the sequence model and first space cube, the height remained 4 inches but I trimmed the length by about an inch to help with spacing within the cube. In addition, I inserted the void cut-out topper piece to be flush with the sides of the circular column.

6. The photograph displays the inside of a curved wall at a height of 4’. When the curves are small in length, the human figure seems to be on the inside of a curved alcove. When the curves are large in length, the human figure seems to be in an entirely curved room. I felt trapped regardless of the height and length of the curves because all I could see around me was the curve. There were no differences between the sequence model and first space cube for this category.

7. The photograph demonstrates a floating and faced wall gradually gaining height. As the wall changes, the human figure’s view remains obstructed for a majority of the time. I was trapped facing the wall, slowly gaining more light from the bottom up, creating an eerie and fear of the unknown feeling. The only difference between the sequence model and first space cube was the length of the wall being shortened to allow for walkability.

8. The photograph illustrates a square void of 4’ x 4’ sizing on the upside with above lighting. When the void is the smaller sizing, the human figure is lit up by the void light from above, making the space feel extra dark in the places where the void isn’t, as though the void is a skylight, creating a fearful feeling. Comparing the sequence model and first space cube, the design changed completely. I had the idea to use the wall as my void, instead of the ceiling, to conserve visibility within the model and play into the geometric, “space cube” look.

9. The photograph showcases the relationship between four columns, narrowly apart from each other. When the columns are now narrowly surrounding the human figure, it creates a sense of tightness in a closed space. Between the sequence model and the first space cube, the only difference is the amount of space between the front to back columns is smaller to conserve walkability.

10. The photograph shows how an inclined wall gradually gains incline. As the wall changes, the human figure becomes more parallel to the wall. The slow rise in incline is almost frightening as it rises from the ground. Again, the only difference between the sequence model and the first space cube is a shorter length of wall to conserve space for walkability.

11. The photograph illustrates the progression of height on the outside of a curved wall. When the curves are large, the human figure seems small, creating a grand space but also a feeling that they’re towering over you. There are no differences between the sequence model and the first space cube.

12. The photograph displays a curved vertical surface. When the surface is 4’ wide, the human figure is unable to continue moving forward. In addition, the width is not much larger than the figure itself so it creates a small curved area overall. When the surface is 8’ wide, the human figure is still unable to move forward, but the larger width makes the curve feel grand, similar to an amphitheater. However, the larger width also emphasizes the towering, steep slope, making me feel anxious. Between the sequence model and the first space cube, the main differences include the curved vertical surface being reduced to the 4’ wide option to conserve space and being attached from the second floor to the first floor, to act as a ramp or slide.

Starting the second space cube, I wanted to focus on carving out a clear, concise path to follow, creating a more functional layout – including stairs – and adding a sculpture-like, abstract touch to the “box” itself. I began by sketching my ideas down and creating a plan that I was confident enough would create the result I wanted in real life. Just as a note, I found it extremely helpful today to already have the first space cube model as a visual tool to use as an imaginary playground – my mind was able to open to possibilities on a different level. I decided my goal was to encapsulate a maze within my model, more specifically a tight, narrow, uncomfortable maze that made you feel scared and frustrated. My next step was to start building, which began with creating the central cylinder and spiral staircase. From there, the process blossomed for me, and the concept of making the model “walkable” became so clear because it all centralized around the staircase. Toward the end, I decided to trim most of the harsh corners into a curved void which added a large amount of character and interest to the overall model. The changes from the first to second space cube are both drastic and simple, but work together simultaneously to achieve claustrophobia.

1. The photograph showcases the relationship between one edge-facing wall and one column. When the column is to the right of the human figure but closer to the wall, he doesn’t have much room to move past the column. This makes the space feel narrow and uncomfortable. Between the first and second space cube, the only difference is the entire first floor is reflected to start at the same point on the opposing wall. Due to this change, the space gained natural light from the outside and an easier viewing experience.

2. The photograph demonstrates how a human functions in a space crowded with columns and walls that are slowly closing in. As the human figure moves through the walls, he is met with many columns to avoid. I felt annoyed to have to navigate through a maze of columns and struggled to fit throughout and within the parameters of the space, especially as the walls came closer together. The difference between the first and second space cube is again, the reflection of the first space cube’s first floor plan, which allowed me to flip the wide opening of the category back to it’s original state and a similar connection to the previous category (except angled now) as the sequence model.

3. The photograph shows an aligned wall gradually moving. As the wall changes, the human figure loses space to walk and his view becomes obstructed. At the beginning, I had a comfortable amount of distance between me and the wall, but by the fifth level, I was uncomfortable and unable to continue moving forward. Between the first and second space cube, the main difference became a tighter opening with the previous category. This caused the human figure to look forced into a tight space and add to the overall model emotion of fear of tightness/ claustrophobia.

4. The photograph showcases the inside view of entering a space between parallel curved walls. When the human figure is on the inside of the curves, it feels as though he’s on the inside of the space itself but exiting it now. Overall, the narrowness of the space creates an uncomfortable and tight feeling. The two obvious changes between the first and second space cubes are the addition of a spiral staircase and a cleaner cylinder. Practicing my craftsmanship for the final cube, I attempted my first cylinder with the unfinished edges in and it allowed the daunting nature of the tall hallway to be the focal point of this category.

5. The photograph illustrates the void between curve-linear surfaces. When the human figure is above the void, he is staring down into it, creating anxiety for fear of falling in. Comparing the first and second space cubes, the void was carved right into the floor this time around. It creates a sharper look overall and, again, allows the focal point of the dark, deep void to be central.

6. The photograph displays the inside of a curved wall at a height of 4’. When the curves are small in length, the human figure seems to be on the inside of a curved alcove. I felt trapped because all I could see around me was the curve of the room. The only difference between the first and second space cube is a longer length of curve. This helped to solidify the trapped feeling that I originally captured in the category photos.

7. The photograph demonstrates a floating and faced wall gradually gaining height. As the wall changes, the human figure’s view remains obstructed for a majority of the time. I was trapped facing the wall, slowly gaining more light from the bottom up, creating an eerie and fear of the unknown feeling. The differenced between the first and second space cube include the length of the wall being shortened again to allow for walkability and shifting it 45 degrees to be facing to the front.

8. The photograph illustrates a square void of 4’ x 4’ sizing on the “ceiling” with above lighting. When the void is the smaller sizing, the human figure is lit up by the void light from above, making the space feel extra dark in the places where the void isn’t, as though the void is a skylight, creating a fearful feeling. Comparing the first and second space cube, the original dimension and design stayed the same, but the wall the void is in became shorter and moved to the back right corner of the model.

9. The photograph showcases the relationship between four columns, narrowly apart from each other. When the columns are now narrowly surrounding the human figure, it creates a sense of tightness in a closed space. Comparing the first and second space cubes, the only difference was a shift backwards in location.

10. The photograph shows how an inclined wall gradually gains incline. As the wall changes, the human figure becomes more parallel to the wall. The slow rise in incline is almost frightening as it rises from the ground. The only differences between the first and second space cube is a shorter length of wall to conserve space for walkability and a shift 45 degrees to, again, be facing the front.

11. The photograph illustrates the progression of height on the outside of a curved wall. When the curves are large, the human figure seems small, creating a grand space but also a feeling that they’re towering over you. The only difference between the first and second space cube is the shifting of the wall to the back left corner, now at an angle, and trimmed in length to fit the space more comfortably.

12. The photograph displays a curved vertical surface. When the surface is 4’ wide, the human figure is unable to continue moving forward. In addition, the width is not much larger than the figure itself so it creates a small curved area overall. However, the curve and height also emphasizes the towering, steep slope, making me feel anxious. Between the first and second space cube, the curved vertical surface was shifted 45 degrees to now be edge-facing from the front. This makes the exit just to the left of the entrance, creating a full-circle, repeating narrative that encapsulates the maze feeling I was striving for.

Coming into the final space cube, I had quite a few ideas on how to further improve my model. I spent the night before creating floor plans and elevation views to simultaneously condense and articulate what I was really trying to portray overall. Throughout this process, I’ve found my narrative shifting a bit, becoming riddled with details that further pushed that narrative in fact. On the second space cube, I was trying to create a “clear” walkable path of where to go from category to category, but I didn’t notice until afterward that I had kind of created a maze of my fearful and uncomfortable situations. So, I dove into that story today - whilst advancing my craftsmanship – and allowed it to speak for itself. I wanted each category to be immersive as soon as you entered it, moving from one to the next. In addition, the closeness of proximity of each category to one another allows for the experience to feel never-ending. With the help of the new doorway, the intended start and end points are now connected and allow for a continuous cycle through the maze, regardless of where you enter. Another change to the model was designing walls that helped to make the maze have an opening through the middle of them, allowing the viewer to see the back of the project, even when looking head-on. Overall, I created a model that I’m proud to say advanced greatly throughout the project and turned into something I never imagined I could create at the start of this week.

1. The photograph showcases the relationship between one edge-facing wall and one column. With the addition of the doorway, the photograph now feels balanced from foreground to background. Likewise, the combination of vertical lines from the column and curves from the doorway helps to create a sense of balance too. The column now being at the edge of the perimeter creates a feeling of danger and fear.

2. The photograph demonstrates how a human functions in a space crowded with columns and walls that are slowly closing in. Lines created by the columns emphasize the space between them - or lack thereof. The walls being taller than the figure but shorter than the ceiling creates an overcast shadow that looms over the space and exaggerates the lack of space. This category is meant to evoke a sense of claustrophobia and the final product supports that idea fully.

3. The photograph shows an edge-facing wall in the middle of a walking path. The forms of solid white contrast with the dark opening between them and allow the human figure to stand out most. The photo overall is balanced with stripes of light and dark and creates a narrow, uncomfortable situation.

4. The photograph showcases the inside view of entering a space between parallel curved walls. Rhythm was the first word that came to my mind. The stairs gradually spiral upwards, the dark void in the back with the dark ambiance of the curved hallway against the white foreground, all work together to create movement and interest everywhere you look. In addition, the contrast of the height change of the center column is abrupt and creates a towering feeling.

5. The photograph illustrates the void between curve-linear surfaces. The void itself is the emphasis of this photo overall, it’s the dark against all the light. The opening, doorway, and stairs create many open spaces flooded with light and create forms and lines that drag your eye from place to place. The human figure sitting on the edge of the void evokes fear of heights, falling, or darkness.

6. The photograph displays the inside of a curved wall at a height of 4’. The composition is simple and the values are similar but the curved shape continuing outside of the photo exaggerates the never-ending feeling of a circle, as if you’re unable to escape.

7. The photograph demonstrates a floating and faced wall blocking the view of the viewer. Linear forms and shapes extend from the foreground to the background and make a pattern of geometric shapes. However, the opening of the curves perfectly reveals the human figure and draws your eye in first. This photo emphasizes the maze narrative and continuous obstacle-navigating journey ahead.

8. The photograph illustrates a square void of 4’ x 4’ sizing on the “ceiling” with overhead lighting. The viewport being square creates contrast in the depth of the scene and elongates the space surrounding the figure. Clean lines also aid in creating a geometric and modern photo overall.

9. The photograph showcases the relationship between columns narrowly apart from each other. The close-knit column spacing from front to back teases the possibility of getting out, with no room to do so, evoking a sense of anxiety. Perfectly linear columns draw your eye in and voids of material draw your eye out.

10. The photograph shows an inclined wall at (around) 120 degrees. Again, the wall gives the illusion of escaping but the incline is too steep to do so. The angled lines of the wall contrast with the rest of the vertical or horizontal forms present in the rest of the photo.

11. The photograph illustrates the outside of a 8’ curved wall. The sudden change in height, again, creates a towering effect over the human figure and makes the space feel more dramatic. The curved wall against the surrounding linear walls make it stand out and help to balance the square void “ceiling” on the opposite side.

12. The photograph displays a curved vertical surface. The light from overhead shining down in the void onto the curved surface creates a contrast with the darkness of the rest of the first floor. With this being the last category, it doesn’t seem to be the ending. The doorway invites the human figure to try again, to continue in the cycle of the maze of fearful and uncomfortable feelings.

Work

What I learned...

Project #1 “Wall, Column, and Space”

I learned how to recreate and assemble mulitple interior scenes that portrayed unique architectural elements. With the use of light depiction, curved angles, and structural height, these created movement through the use of images. This project created the basis for our future space cube.

Project #2 “Hand Drawing”

I learned the importance of line thickness, stroke and attention to line detail. With the illustration of drawing, I understood how important of an element line can portray in my pieces. Hand drawing is an expressive portrayel without the use of physical objects.

Project #3 “Power of Patience”

I learned through the power of patience that it takes time and dedication to understand a work of art. Art has underlying meaning and emotion through the artist’s impression. The long process of visualization connections underlying cues that are hidden at first glance surface.

Project #4 “Space Cube”

I learned how to estblish my ideas through the use of volume and space. By working with physical models, I had to overcome the struggles of construction assembly and explore the three-dimensional principles that illustrate the model. By working through a process of recreating models, I understood the precision it takes to develop a final outcome.

Project #5 “First Portfolio”

I learned that technological advancments and programs can bring my artwork to life and a new scenery. Working with AI allowed me to embellish a new emotion and story from the base creation I made. It opened my eyes to a new world and design presentation.

Overall

I truly have enjoyed my first Interior Architecture and Design semester. It came with lots of succesion and struggles. However, I learned throughout the way that desing works in flexible ways. My instructors helped guide my way and pushed my boundaries in a positive way. Learning through mulitple projects with hands on assignments or technology infused, overall I embraced many old and new talents.

If you could talk to you before these five weeks, what would you like to share with you?

I would tell myself that it’s not as stressful as it may seem. It may be overwhelming in the beginning few weeks, but friends are what made it better. I couldn’t have continued this process if it weren’t for the connections I made. The students around me are doing the same projects that I’m doing. Having that support and resource helped me in many ways. I could rely on them if I had questions, or they’d for my opinion for their work and so forth. I would also tell myself that the dedication is worth it. The amount of time spent on so many projects turned out well in the long run. I’m proud of the work I developed and rushing to get it done was not the path I took. I truly enjoyed this semester and I’m going to remember my first design semeseter to be a good one.

13 Paragraphs

After working and perceiving an idea on the “Wall Column Space” project, I choose the emotion fear to indicate my sequence. As looked through the views of categorized photos, I learned that I felt a sense of fear and anxiety through the photos. With a sense of unconformity, terror, darkness, agitation and dismay, the emotion of fear best defined the photos of my liking. When choosing my photos, I took into consideration my chosen emotion and grasped photos that defined the aspects of fear. With a broad range of categories, they each tell a different scene while playing out sequentially. This allowed me to accurately represent the emotion fear through my sequential project.

In Category 3, 10 photographs illustrate a blocking wall, creating a visual of conception of movement across the wall. From my chosen photo, the blocking wall takes over most of the space. The wall directs the human figure’s position to head and face toward the end of it. I feel anxious and nervous to follow this eerie path.

In Category 25, 6 photographs illustrate two walls and two columns with two lighting conditions. From my chosen photo, this illustrates the evaluation of light sources, creating new shapes from the same perspective. The lighting from behind the walls create long shadows on the human figure and depicts its source. After I walked down this line of wall, I came across this light that appeared from a room.

In Category 30, 19 photographs illustrate an aligned wall with a connected wall. From my chosen photo, the walls are connected at a point in the left-hand corner. The wall does not obstruct any light on the human figure but directs its attention to the corner itself. Coming across an intersection of wall, I’m confused by these empty walls I’ve come across.

In Category 36, 5 photographs illustrate curved walls and flat walls. From my chosen photo, the walls create rounded out rooms and edges within the space. The element of line creates a new form of shape for the human figure to stand in. I walk down the straight wall when I come across a rounded wall.

In Category 37, 8 photographs illustrate entering a space between parallel curved walls. From my chosen photo, the overall structure of the rounded walls depicts the shadows coming from the light source. These walls surround the human figure and create a darker scenery due to the position. As I stand in this dark and scary spot, more light leads ahead of me.

In Category 53, 5 photographs illustrate curved vertical surface with an upper floor. From my chosen photo, the use of vertical dimension adds height to the overall perspective. The human figure is depicted by being lifted higher off the ground. I have found myself stuff at the top of a terrifying ledge. The only way is down, and my fear level is too much for me to comprehend.

In Category 17, 9 photographs illustrate an inclined ramp facing the wall. From my chosen photo, the ramp is angled up, affecting the light and vertical aspect. The ramp leads from the human figure’s feet, centering the ramp off the human’s standpoint. After going down the ramp, I feel my heartbeat racing from the fear.

In Category 38, 4 photographs illustrate entering a space between curved mirror walls. From my chosen photo, it creates a symmetrical view of the space with light protruding between the walls. The light depicts the human figure’s shadow because it stands in the center of where the light is coming from. I walk through this shadowed corned.

In Category 43, 4 photographs illustrate curved connection. From my chosen photo, the use of angles of a connected wall adds depth and lines to the room itself. The curve of the wall makes the space look longer, and the open area is expanded for the human figure. I am fearful from everything that has occurred.

In Category 6, 6 photographs illustrate the passing of an aligned wall. From my chosen photo, the aligned wall creates visual depth for how deep the space expands. The light source is depicted and blocked from the human figure because of the aligned wall. I feel calmer as I continue my track forward.

In Category 48, 10 photographs illustrate a void in the upside with combinations of columns or walls. From my chosen photo, the ceiling creates shape with the light as it is depicted because of the cutout void. The walls create a illustration of an enclosed hallway that human figure is following. I’m met with light shining upon me, calming me down completely as I take my last turn.

In Category 45, 4 photographs illustrated1 point perspective pictures: void on the upside. From my chosen photo, the element of shape and light create images in space that are obstructed by the objects. The light source is depicted into a shape that perfectly shines down upon where the human figure stands. I make it to the end of my journey and I’m met with comforting light from the void above me.

Category #33

Category #36

Category #17

Category

Category #37

Category #38

Category

13 Paragraphs

After working and perceiving an idea on the “Wall Column Space” project, I choose the emotion fear to indicate my sequence. As looked through the views of categorized photos, I learned that I felt a sense of fear and anxiety through the photos. With a sense of unconformity, terror, darkness, agitation and dismay, the emotion of fear best defined the photos of my liking. When choosing my photos, I took into consideration my chosen emotion and grasped photos that defined the aspects of fear. With a broad range of categories, they each tell a different scene while playing out sequentially. This allowed me to accurately represent the emotion fear through my sequential project.

In Category 3, 10 photographs illustrate a blocking wall, creating a visual of conception of movement across the wall. From my chosen photo, the blocking wall takes over most of the space. The wall directs the human figure’s position to head and face toward the end of it. I feel anxious and nervous to follow this eerie path. Fear rises within me, and I continue to move forward.

In Category 25, 6 photographs illustrate two walls and two columns with two lighting conditions. From my chosen photo, this illustrates the evaluation of light sources, creating new shapes from the same perspective. The lighting from behind the walls create long shadows on the human figure and depicts its source. After I walked down this line of wall, I came across this light that appeared from a room. I’m oddly curious as to where it leads to, but I feel anxious not knowing what’s behind this light.

In Category 30, 19 photographs illustrate an aligned wall with a connected wall. From my chosen photo, the walls are connected at a point in the left-hand corner. The wall does not obstruct any light on the human figure but directs its attention to the corner itself. Coming across an intersection of wall, I’m confused by these empty walls I’ve come across. However, I have an underlying feeling that something still awaits me.

In Category 36, 5 photographs illustrate curved walls and flat walls. From my chosen photo, the walls create rounded out rooms and edges within the space. The element of line creates a new form of shape for the human figure to stand in. I walk down the straight wall when I come across a rounded wall. I get nervous as I must walk around this corner I cannot see in front of me.

In Category 37, 8 photographs illustrate entering a space between parallel curved walls. From my chosen photo, the overall structure of the rounded walls depicts the shadows coming from the light source. These walls surround the human figure and create a darker scenery due to the position. As I stand in this dark and scary spot, more light leads ahead of me. However, I’m cautious and uncomfortable to keep pushing forward.

In Category 53, 5 photographs illustrate curved vertical surface with an upper floor. From my chosen photo, the use of vertical dimension adds height to the overall perspective. The human figure is depicted by being lifted higher off the ground. I have found myself stuff at the top of a terrifying ledge. The only way is down, and my fear level is too much for me to comprehend.

In Category 17, 9 photographs illustrate an inclined ramp facing the wall. From my chosen photo, the ramp is angled up, affecting the light and vertical aspect. The ramp leads from the human figure’s feet, centering the ramp off the human’s standpoint. After going down the ramp, I feel my heartbeat racing from the fear, but the adrenaline is slowing down.

In Category 38, 4 photographs illustrate entering a space between curved mirror walls. From my chosen photo, it creates a symmetrical view of the space with light protruding between the walls. The light depicts the human figure’s shadow because it stands in the center of where the light is coming from. I walk through this shadowed corned, and I am anxious for what’s to come.

In Category 43, 4 photographs illustrate curved connection. From my chosen photo, the use of angles of a connected wall adds depth and lines to the room itself. The curve of the wall makes the space look longer, and the open area is expanded for the human figure. After being fearful from everything that has occurred, I am cautious of my surroundings.

In Category 6, 6 photographs illustrate the passing of an aligned wall. From my chosen photo, the aligned wall creates visual depth for how deep the space expands. The light source is depicted and blocked from the human figure because of the aligned wall. I feel calmer as I continue my track forward, still nervous with every step.

In Category 48, 10 photographs illustrate a void in the upside with combinations of columns or walls. From my chosen photo, the ceiling creates shape with the light as it is depicted because of the cutout void. The walls create a illustration of an enclosed hallway that human figure is following. I’m met with light shining upon me, calming me down completely as I take my last turn.

In Category 45, 4 photographs illustrated1 point perspective pictures: void on the upside. From my chosen photo, the element of shape and light create images in space that are obstructed by the objects. The light source is depicted into a shape that perfectly shines down upon where the human figure stands. I make it to the end of my journey and I’m met with comforting light from the void above me.

13 Paragraphs After working and perceiving an idea on the “Wall Column Space” project, I choose the emotion fear to indicate my sequence. As looked through the views of categorized photos, I learned that I felt a sense of fear and anxiety through the photos. With a sense of unconformity, terror, darkness, agitation and dismay, the emotion of fear best defined the photos of my liking. When choosing my photos, I took into consideration my chosen emotion and grasped photos that defined the aspects of fear. With a broad range of categories, they each tell a different scene while playing out sequentially. Illustrating the overall meaning of the same emotion, this allowed me to accurately represent the emotion fear through my sequential project.

In Category 3, 10 photographs illustrate a blocking wall, creating a visual of conception of movement across the wall. From my chosen photo, the blocking wall takes over most of the space. From the left, the wall protrudes from that side and angles in the same direction as the figure. The wall directs the human figure’s position to face toward the end of it. I feel anxious and nervous to follow this eerie path. Fear rises within me, and I continue to move forward.

In Category 25, 6 photographs illustrate two walls and two columns with two lighting conditions. From my chosen photo, this illustrates the evaluation of light sources, creating new shapes from the same perspective. The spacing of the walls adds value to the room. The lighting from behind the walls create long shadows on the human figure and depicts its source. After I walked down this line of wall, I came across this light that appeared from a room. I’m oddly curious as to where it leads to, but I feel anxious not knowing what’s behind this light.

In Category 30, 19 photographs illustrate an aligned wall with a connected wall. From my chosen photo, the walls are connected at a point in the left-hand corner. This creates as concealed type space from the perspective. The wall does not obstruct any light on the human figure but directs its attention to the corner itself. Coming across an intersection of wall, I’m confused by these empty walls I’ve come across. However, I have an underlying feeling that something still awaits me.

In Category 36, 5 photographs illustrate curved walls and flat walls. From my chosen photo, the walls create rounded out rooms and edges within the space. Adding texture curve to the visual lines of the surrounding walls. The element of line creates a new form of shape for the human figure to stand in. These walls add a mysterious element that hides what goes past it. I walk down the straight wall when I come across a rounded wall. I get nervous as I must walk around this corner I cannot see in front of me.

In Category 37, 8 photographs illustrate entering a space between parallel curved walls. From my chosen photo, the overall structure of the rounded walls depicts the shadows coming from the light source. The wall reflects the light to push through the opening between walls. These walls surround the human figure and create a dark scenery due to the position. As I stand in this dark and scary spot, more light leads ahead of me. However, I’m cautious and uncomfortable to keep pushing forward.

In Category 53, 5 photographs illustrate curved vertical surface with an upper floor. From my chosen photo, the use of vertical dimension adds height to the overall perspective. An under-view perspective gives detail into the curved ceiling and total use of the space. The human figure is depicted by being lifted higher off the ground. I have found myself stuff at the top of a terrifying ledge. The only way is down, and my fear level is too much for me to comprehend.

In Category 17, 9 photographs illustrate an inclined ramp facing the wall. From my chosen photo, the ramp is angled up, affecting the light and vertical aspect. It creates the visual effect of how the depth and long the ramp goes across. The ramp leads from the human figure’s feet, centering the ramp off the human’s standpoint. After going down the ramp, I feel my heartbeat racing from the fear, but the adrenaline is slowing down.

In Category 38, 4 photographs illustrate entering a space between curved mirror walls. From my chosen photo, it creates a symmetrical view of the space with light protruding between the walls. Seeping light and shadows from the obstruction effect of the rounded walls. The light depicts the human figure’s shadow because it stands in the center of where the light is coming from. I walk through this shadowed corned, and I am anxious for what’s to come.

In Category 43, 4 photographs illustrate curved connection. From my chosen photo, the use of angles of a connected wall adds depth and lines to the room itself. It describes a large open room with no jagged lines, which are sharp or defined. The curve of the wall makes the space look longer, and the open area is expanded for the human figure. After being fearful from everything that has occurred, I am cautious of my surroundings.

In Category 6, 6 photographs illustrate the passing of an aligned wall. From my chosen photo, the aligned wall creates visual depth for how deep the space expands. The shadows and walls allow the viewer to visualize the length of the space the human figure stands in front of. The light source is depicted and blocked from the human figure because of the aligned wall. I feel calmer as I continue my track forward, still nervous with every step.

In Category 48, 10 photographs illustrate a void in the upside with combinations of columns or walls. From my chosen photo, the ceiling creates shape with the light as it is depicted because of the cutout void. The use of corned walls also created special elements as you cannot physically see what’s down the hall. The walls create an illustration of an enclosed hallway that human figure is following. I’m met with light shining upon me, calming me down completely as I take my last turn.

In Category 45, 4 photographs illustrated 1 point perspective pictures: void on the upside. From my chosen photo, the element of shape and light create images in space that are obstructed by the objects. The ceiling and void obstruct the light. The light source is depicted into a shape that perfectly shines down upon where the human figure stands. I make it to the end of my journey, and I’m met with comforting light from the void above me.

13 Paragraphs

After working and perceiving an idea on the “Wall Column Space” project, I choose the emotion fear to indicate my sequence. As looked through the views of categorized photos, I learned that I felt a sense of fear and anxiety through the photos. With a sense of unconformity, terror, darkness, agitation and dismay, the emotion of fear best defined the photos of my liking. When choosing my photos, I took into consideration my chosen emotion and grasped photos that defined the aspects of fear. With a broad range of categories, they each tell a different scene while playing out sequentially. This allowed me to accurately represent the emotion fear through my sequential project.

In the first phase, this image illustrates a blocking wall, creating a visual of conception of movement across the wall. From my chosen photo, the blocking wall takes over most of the space. The wall directs the human figure’s position to head and face toward the end of it. I feel anxious and nervous to follow this eerie path. Fear rises within me, and I continue to move forward.

In the second phase, this image illustrates two walls and two columns with two lighting conditions. From my chosen photo, this illustrates the evaluation of light sources, creating new shapes from the same perspective. The lighting from behind the walls create long shadows on the human figure and depicts its source. After I walked down this line of wall, I came across this light that appeared from a room. I’m oddly curious as to where it leads to, but I feel anxious not knowing what’s behind this light.

In the third phase, this image illustrates an aligned wall with a connected wall. From my chosen photo, the walls are connected at a point in the left-hand corner. The wall does not obstruct any light on the human figure but directs its attention to the corner itself. Coming across an intersection of wall, I’m confused by these empty walls I’ve come across. However, I have an underlying feeling that something still awaits me.

In the fourth phase, this image illustrates curved walls and flat walls. From my chosen photo, the walls create rounded out rooms and edges within the space. The element of line creates a new form of shape for the human figure to stand in. I walk down the straight wall when I come across a rounded wall. I get nervous as I must walk around this corner I cannot see in front of me.

In the fifth phase, this image illustrates entering a space between parallel curved walls. From my chosen photo, the overall structure of the rounded walls depicts the shadows coming from the light source. These walls surround the human figure and create a darker scenery due to the position. As I stand in this dark and scary spot, more light leads ahead of me. However, I’m cautious and uncomfortable to keep pushing forward.

In the sixth phase, this image illustrates curved vertical surface with an upper floor. From my chosen photo, the use of vertical dimension adds height to the overall perspective. The human figure is depicted by being lifted higher off the ground. I have found myself stuff at the top of a terrifying ledge. The only way is down, and my fear level is too much for me to comprehend.

In the seventh phase, this image illustrates an inclined ramp facing the wall. From my chosen photo, the ramp is angled up, affecting the light and vertical aspect. The ramp leads from the human figure’s feet, centering the ramp off the human’s standpoint. After going down the ramp, I feel my heartbeat racing from the fear, but the adrenaline is slowing down.

In the eigth phase, this image illustrates entering a space between curved mirror walls. From my chosen photo, it creates a symmetrical view of the space with light protruding between the walls. The light depicts the human figure’s shadow because it stands in the center of where the light is coming from. I walk through this shadowed corned, and I am anxious for what’s to come.

In the ninth phase, this image illustrates curved connection. From my chosen photo, the use of angles of a connected wall adds depth and lines to the room itself. The curve of the wall makes the space look longer, and the open area is expanded for the human figure. After being fearful from everything that has occurred, I am cautious of my surroundings.

In the tenth phase, this image illustrates the passing of an aligned wall. From my chosen photo, the aligned wall creates visual depth for how deep the space expands. The light source is depicted and blocked from the human figure because of the aligned wall. I feel calmer as I continue my track forward, still nervous with every step.

In the eleventh phase, this image illustrates a void in the upside with combinations of columns or walls. From my chosen photo, the ceiling creates shape with the light as it is depicted because of the cutout void. The walls create a illustration of an enclosed hallway that human figure is following. I’m met with light shining upon me, calming me down completely as I take my last turn.

In the twelfth illustrated 1 point perspective pictures: void on the upside. From my chosen photo, the element of shape and light create images in space that are obstructed by the objects. The light source is depicted into a shape that perfectly shines down upon where the human figure stands. I make it to the end of my journey and I’m met with comforting light from the void above me.

a group photo of space cube models

a group of the sequence model and the final space cube mode

Work #4. Casting Model

Olivia Smith Portfolio

What I learned...

Project #1 “Wall, Column, and Space”

- I learned to do everything, even the small details, with intention. Taking over 300 pictures of foam board structures felt super repetitive at the time, but looking back, it set me up for success to create my space cube.

Project #2 “Hand Drawing”

- I learned how to draw different types of floor plans, draw from different perspectives, and how to use different mediums such as charcoal. I haven’t always been the best at drawing, but these small project taught me that not every drawing I make has to be perfect.

Project #3 “Power of Patience”

- This project taught me (ironically enough) patience. I never thought I would go to a museum and stare at one painting for three hours. However, I noticed so many things I never would’ve had I not done this exercise.

Project #4 “Space Cube”

- The space cube taught me how to perfect my craft, how to feel a specifc emotion by looking at a simple picture, and how to make a space flow. I learned the importance of iteration in the modeling process. Had we not been required to make three versions of our space cube I would not have gotten as good of a result as I did.

Project #5 “First Portfolio”

- Making this portfolio has been a full circle moment. Seeing everything I was able to accomplish in these short 5 weeks is amazing. I learned that hard work pays off and I’m so proud of myself!

Overall

- I’ve learned to more than I could have imagined in these short five weeks. I now know that sometime to you have to sacrafice perfection in order to acheive completion. With this, I have grown excellent time management skills. Most importantly I have learned more about myself and who I am as a person. I have learned how to deal with pressure, hard deadlines, and taking critiques and I tried my best to do it with grace.

If you could talk to you before these five weeks, what would you like to share with you?

- If I could talk to myself before these five week I would tell myself these things:

- Put yourself out there and make friends!

- Everything is cumulitive, so always give 100% effort

- It’s okay to take a break every once and a while.

- Don’t be afraid to get to know your instructors. They are there to help you succeed!

Work #1. Sequence of Wall, Column, and Space

Phase #1: Category #13

Phase #4: Category #30

Category #45

Category #49

Phase #2: Category #34

Phase #5: Category #33

#8: Category #46

Phase #11: Category #58

Category #18

Category #41

Category #31

Category #56

Sequence of Wall, Column, and Space

The emotion I chose for my sequence is sadness. I specifically chose photos where the human figure was isolated and alone or placed in the darkness. Those pictures when the figure is obstructed by different surfaces and is stuck gave me feelings of being sad and deserted. My sequence starts simple, and the structures get more complicated as it goes on. I also purposefully made my structure have a dead end after category twelve. It gives a sense of going through obstacles and hard paths all for nothing, which in turn, leads to overwhelming feelings of sadness and disappointment.

The wall is shown starting to the left of the figure at 80 degrees and then moves above the figure gradually until it hits 10 degrees. The wall looks as if it’s towering over the human figure at the beginning and then as it rotates it strays further from the human figure. The wall is simply moving around my path and does not feel like an obstruction.

In these three pictures there are varied sizes of curved walls placed behind the human figure and curving around the figure. The sizes of the walls dramatically affect how large or small the figure appears. It almost feels like the figure is looking up at an art gallery wall much larger than it.

There’s is one singular column placed to the right of the human figure. The column is too small to obstruct the human figure. It’s strange that there is one standing column with no walls or other columns around it and makes it feel empty.

The edges of the walls are together and begin at a 90-degree angle and move until it gets all the way around to 270 degrees. The walls are cornering the human figure obstructing it until 190 degrees and above. After this, the walls have moved to make a corner diagonal from where the human figure stands. It almost feels like these pictures are showing us different perspectives of the corner of a room.

These two photos show three walls making a room with one of the rooms being narrow and the other being wide. There are three walls obstructing the human figures path in every direction except one. When the walls go from wide to narrow it makes it feel like the room is closing in.

This picture shows a curved wall with columns on each edge. In all the photos the column and wall look as if they are blocking the human figures into a space. It feels like the human figure standing outside of the curved wall is waiting for something outside the wall.

These photos show a floating surface with either a square or circle cut out of it with different lighting on each photo. When the cutout is larger it makes the figure seem smaller and when the cutout is smaller it makes the cutout look larger in relation. The light is shining directly on the figure from above making it feel like a spotlight and when the figure is not in the spotlight it feels somewhat depressing.

These photos almost look like a complete room with a ceiling (including a cutout), a wall, and two columns. Although the structure feels room-like, the human figure is still not completely obstructed. It feels a little depressing that the human figure is stuck in the dark and nit under the light of the square void.

The walls begin with their edges touch and the other edge fanned out in a 10-degree angle and open up until it hits 170 degrees. The perspective begins remarkably close to the human figure and gains distance as the degree of the walls goes up. It is obstructing the path until 170 degrees where the human figure would be able to walk straight forward. With the figure facing the corner of these walls it feels like he’s stuck.

These several pictures show different perspectives of a vertical surface paired with an upper floor. When the figure is on the floating surface it becomes stuck, but when it is on the ground it can find a path. Although there are two human figures, they’re on different floating surfaces and cannot get to each other.

In these photos a sphere, half-sphere, and a floating surface with a void are shown. As the human figure makes its way on top of the floating surface it finds itself obstructed by the void and sphere. It feels as if the sphere is falling through the void and might crush the human figure.

A variety of different curved surfaces are shown. In the photo with two curved going into each other it looks as if the human figure could still walk in between them since there is a small gap. I really like the one that arches over the human figure. It feels like he’s walking through a tunnel to a dead end, which seems pointless.

Category #13

Category

The emotion I chose for my sequence is sadness. I specifically chose photos where the human figure was isolated and alone or placed in the darkness. Those pictures when the figure is obstructed by different surfaces and is stuck gave me feelings of being sad and deserted. My sequence starts simple, and the structures get more complicated as it goes on. I also purposefully made my structure have a dead end after category nine. It gives a sense of going through obstacles and hard paths all for nothing, which in turn, leads to overwhelming feelings of sadness and disappointment.

Both walls are curved in to make a triangular opening. The wall looks as if it’s towering over the human figure. The figure is able to move between the walls easily.

There is a wall curving inward with a human figure standing in front of it. The size of the wall dramatically affects how large or small the figure appears. It almost feels like the figure is looking up at an art gallery wall much larger than it.

This picture shows a curved wall with columns on each edge. In all the photos the column and wall look as if they are blocking the human figures into a space. It feels like the human figure standing outside of the curved wall is waiting for something outside the wall.

There is a large curve going over and stretches across the entire diagonal of the project. Once the human figure enters it is sort of trapped and can only move forward or backwards. It feels like he’s walking through a tunnel to a dead end, but there ends up being another structure that’s hidden.

This structure starts on the second floor and has a circular hole cutout in it with a ladder leading up through it. The figure must climb the ladder to proceed on the path. The light comes through the circle and when light is shining directly on the figure from above it’s like a spotlight and when the figure is not in the spotlight it feels somewhat depressing.

There are two surfaces (not touching) that are connected to the back wall like a shelf. The second one sits higher than the first and the figure must use the stairs to continue the path. However, if the stairs did not exist, the figure would be isolated on the first surface which feels lonely.

These photos almost look like a complete room with a ceiling (including a cutout), a wall, and two columns. Although the structure feels room-like, the human figure is still not completely obstructed. With light shining through, the figure is stuck in the dark which feels depressing.

This is almost a complete room with a floor, ceiling, and 4 walls with one having a cutout to enter the room. Once the figure reaches this part of the path it becomes completely obstructed. After going through this long continuous path, the figure is left with a dead end. This makes it feel like the whole journey was pointless and the figure becomes upset.

Phase #1: Category #30

Phase

Category #13

Category #49

Category #34

Category #56

Category #46

Category #41

Category #45

Category #33

The emotion I chose for my sequence is sadness. I specifically chose photos where the human figure was isolated and alone or placed in the darkness. Those pictures when the figure is obstructed by different surfaces and is stuck gave me feelings of being sad and deserted. My sequence is simple and purposely separated into each section to make the figure feel alone. The first space is large enough for plenty of people, but after that the spaces get small to only fit one figure at a time – isolation. I also purposefully made my structure have a dead end after category nine. It gives a sense of going through obstacles and hard paths all for nothing, which in turn, leads to overwhelming feelings of sadness and disappointment.

In the first space you enter to immediately see a right angle. This room is large and could fit multiple people in it. It’s almost like a lobby before you begin the path alone.

There is a curved wall curving inward with the human figure standing in front of it. The sizes of the walls dramatically affect how large or small the figure appears. It almost feels like the wall is going to close in on the figure because of the limited space.

This picture shows a curved wall with columns on each edge. The column and wall looks as if they are blocking the human figures into a space. It feels like the human figure almost can’t fit past the wall and the columns.

The next part has a wall at an acute angle. This angled space keeps the figure isolated from others. It almost feels like the wall is going to fall over onto the figure, but it cannot because the back wall is holding it up and obstructing the figure from going backwards.

There is a large curve going over (like a tunnel) and stretches across much of the project. Once the human figure enters it is sort of trapped and can only move forward or backwards. This tunnel space is at an upward angle and is meant to exhaust the person traveling up it, so they feel tired at the end.

Once at the top of the long tunnel, there is a large open space with a circular cutout in the floor. The figure must walk around the circular cutout to avoid falling through. The large space makes the person feel even more alone now.

There is a ladder up to another open space on a platform. There are no walls so the figure must turn left to continue down the path. The excitement of the journey is dwindling, and the figure is feeling even more isolated.

The figure is then met with a square hole in the ground with columns coming up it. The figures must jump down the void to continue moving forward on the path. When the figure jumps down it is met with darkness in the space of to the side of the void. This adds to the loneliness and depression the figure is feeling.

The last room is a complete room with a floor, ceiling, and 4. Once the figure reaches this part of the path it becomes completely obstructed and stuck indefinitely. After going through this long continuous path, the figure is left with a dead end. This makes it feel like the whole journey was pointless and the figure feels hopeless.

Category #30

Category #13

Category #45

Category #34

Category #56

Category #46

Category

Category

Category

The emotion I chose for my sequence is sadness. I specifically chose photos where the human figure was isolated and alone or placed in the darkness. Those pictures when the figure is obstructed by different surfaces and cannot move gave me feelings of being sad and deserted. My sequence is simple and purposely separated into each section to make the figure feel alone. The first space is large enough for plenty of people, but after that the spaces get small to only fit one figure at a time- leading to isolation. I also purposefully made my structure have a dead end after category nine. It gives a sense of going through obstacles and hard paths all for nothing, which in turn, leads to overwhelming feelings of sadness and disappointment.

In the first space you enter to immediately see a right angle. This room is large and could fit multiple people in it. It is like a lobby before you begin the path alone.

There is a curved wall curving inward with the human figure standing in front of it. The sizes of the walls dramatically affect how large or small the figure appears. It almost feels like the wall is going to close in on the figure because of the limited space.

This picture shows a curved wall with columns on each edge. The column and wall look as if they are blocking the human figures into a space. It feels like the human figure can hardly fit past the wall and the columns.

The next part has a wall at an acute angle. This angled space keeps the figure isolated from others. It almost feels like the wall is going to fall over onto the figure, but it cannot because the back wall is holding it up and obstructing the figure from going backwards.

There is a large curve going over (like a tunnel) and stretches across a sizable portion of the project. Once the human figure enters it is sort of trapped and can only move forward or backwards. This tunnel space is at an upward angle and is meant to exhaust the person traveling up it, so they feel tired at the end.

At the top of the tunnel there are two “floating” structures that are joined by a set of stairs. The space is completely open on the two surfaces and the human figure must walk up the stairs to continue the path. The stairs were added to keep movement, but the two separate structures are meant to symbolize being near someone, but still feeling alone.

There is then an open space with a circular cutout on the floor. The figure must walk around the circular cutout to avoid falling through. Through the hole the figure can see where they started their journey and feel a sense of peace with how far they have come.

Next, a set of stairs leads to another platform with a square void and two columns coming down from it. The only way for the figure to go is down into the void. Doing this makes the figure feel uneasy and worried for what is to come in the next part of the path.

After dropping down, the figure finds itself within a complete room. They are completely obstructed by the four walls and stuck indefinitely inside the space. After going through this long continuous path, the figure is left with a dead end. This makes it feel like the whole journey was pointless and the figure feels hopeless.

Work #4. Casting Model

What I learned...

Project #1 “Wall, Column, and Space”

- This project taught me how important it is to realize how spaces are affected by the walls and objects that are in it. Making the scenes, keeping in mind human scale, allowed me to truly visualize how a space can feel.

Project #2 “Hand Drawing”

- In this project, I learned how to let the scenes in front of me dictate how my pen would draw my image. Not being able to look at what I was drawing gave me a feeling of freedom to mess up.

Project #3 “Power of Patience”

- This project taught me to sit and truly visualize and absorb the scenes in front of me. While you may think a few minutes is enough time to grasp the view or object in front of you, there is always more things to take notice of. Taking my time viewing the painting in this project allowed me to see connection that I previously would have never found. It taught me to truly look at the world around me.

Project #4 “Space Cube”

- In this project, we focused on one emotion to set the tone for how we would craft our space cube. Finding my emotion in from the results of the “Wall, Column, and Space” project pushed me to see how spaces can influence emotion. It taught me how to craft an experience in my cube that made those who viewed it feel my emotion.

Project #5 “First Portfolio”

- The final project showed me how to craft a portfolio for my work and the importance of sharing my work with my peers and those interested in my work. Crafting my portfolio allowed me to be proud of my work and promote me to share with others my acomplishments.

Overall

- These projects taught me skills that I will use throughout my time in school and in my career. These building blocks that have begun to form will lay a stable foundation for me to grow and flurish.

If you could talk to you before these five weeks, what would you like to share with you?

- While the beginning is rough, everything has a purpose. The things you make now will allow you see things in a new light.

For this project I chose the emotion fear. When going through the categories to find the scenes evoking my emotion, I focused on the feeling of anxiety that is often felt with fear to choose the scenes that would create my model.

The first category illustrates the slight blocking of the figure through the column and the walls. Walking through the area, your view is slightly blocked by one of the columns moving forward making you move between the column and the wall to move forward. This category evokes fear as your path feels forced to go one direction and the area feels offset.

The second category illustrates a set path through a curved wall which blocks the figure’s view of what is down the path. The curved walls block my view going forward while guiding me down a set path forward. This scene evokes fear through the unknown path that lies ahead.

The third category illustrates a wall set at an angle going away from the figure. As I walk up to the wall the path feels unsteady and offset as the wall seems to fall away from my path. This scene shows the emotion fear through the angled wall as when you are experiencing fear, everything around you may seem offset and unsteady.

The fourth category illustrates a floating wall set above the figures head at an angle. With the floating wall set above me at an angle, I feel forced to angle my head to move forward in order to not hit the wall. This illustrates fear through the feeling of being pressed toward yourself. As you feel fear you may feel the need to make yourself smaller in order to feel safe.

The fifth category shows a wall angled very close to the human figure. The wall almost seems to crush the path ahead, not allowing me to move forward. This scene shows fear through the crushing feeling the wall leaning towards you brings.

The sixth category illustrates a hallway with two columns and a square hole in the ceiling casting light on the floor. The path is dark with the only light coming in the area coming from a small square in the ceiling. The path shows fear through darkness with only a small amount of light coming through. The figure is forced to leave the light and move through the darkness to get to the exit.

The seventh category illustrates a square hole in the floor with a floating square hovering over the hole. The floating square over the hole gives the idea of a way to get out of the emotion of fear. While there seems to be an exit, the opening is still small making you feel squished in order to get through.

The eighth category shows two floating platforms with a ramp connecting the two. The floating platforms and the ramp make you feel fear due to there being no support and railings to keep you from falling down. That feeling only enhances the feeling of being unstable that is present throughout the scenes.

The ninth category shows a wall covered in arching walls merging into each other. The scene shows fear through the unstable wall seeming to come towards you. The scene shows fear through the feeling of something reaching out to you from the wall.

The tenth category shows an open area lighted by a large hole in the ceiling. The open space and large hole in the ceiling give a feeling of being alone. While the area is open, it gives a feeling of being alone with only the sounds of you walking forward to accompany you.

The eleventh category shows an angled wall facing away from the human figure. The angled wall forces you to climb up it to escape fear, but you also may not be able to make it up the wall to escape giving a sense of hopelessness.

The twelfth category shows two curved walls leading you down a corridor. One wall curves in a waving form giving a winding feeling to your path. The path feels long and uncertain, but if you follow it to the end, it will lead you out of fear and back to the beginning.

For this project I chose the emotion fear. When going through the categories to find the scenes evoking my emotion, I focused on the feeling of anxiety that is often felt with fear to choose the scenes that would create my model.

Going into the model, there us a slight blocking of the figure through the column and the walls. Walking through the area, your view is slightly blocked by one of the columns moving forward making you move between the column and the wall to move forward. This category evokes fear as your path feels cramped and forced.

After the figure enters the model a set path is made through a curved wall which blocks the figure’s view of what is down the path. The curved walls block my view going forward while guiding me down a set path forward. This scene evokes fear through the unknown path that lies ahead.

After exiting the path with the curved wall, a wall set at an angle going away from the figure is present. As I walk up to the wall the path feels unsteady and offset as the wall seems to fall away from my path. This scene shows the emotion fear through the angled wall as when you are experiencing fear, everything around you may seem offset and unsteady.

Passing the angled wall, a floating wall set above the figures head at an angle. With the floating wall set above me at an angle, I feel forced to angle my head to move forward in order to not hit the wall. This illustrates fear through the feeling of being pressed toward yourself. As you feel fear you may feel the need to make yourself smaller in order to feel safe.

After the floating wall, a wall angled very close to the human figure blocks their path forward. The wall almost seems to crush the path ahead, not allowing me to move forward. This scene shows fear through the crushing feeling the wall leaning towards you brings.

Forced to turn from the crushing wall, a hallway with two columns and a square hole in the ceiling casting light on the floor is next with a hole to take the figure to the next floor of the model. The path is dark with the only light coming in the area coming from a small square in the ceiling. The path shows fear through darkness with only a small amount of light coming through. The figure is forced to leave the light and move through the darkness to get to the exit.

After going to the next floor, a square hole in the floor on a platform is there with a floating square hovering over the hole. The floating square over the hole gives the idea of a way to get out of the emotion of fear. While there seems to be an exit, the opening is still small making you feel squished in order to get through.

Falling from the square hole, the figure lands on two floating platforms with a ramp connecting the two on the final floor. The floating platforms and the ramp make you feel fear due to there being no support and railings to keep you from falling down. That feeling only enhances the feeling of being unstable that is present throughout the scenes.

After climbing down from the floating platforms, a wall covered in arching walls merging into each other is ahead of the figure. The scene shows fear through the unstable wall seeming to come towards you. The scene shows fear through the feeling of something reaching out to you from the wall.

Next to the arching wall is an open area lighted by a large hole in the ceiling. The open space and large hole in the ceiling give a feeling of being alone. While the area is open, it gives a feeling of being alone with only the sounds of you walking forward to accompany you.

Going forward an angled wall facing away from the human figure makes a ramp up to the next part of the model. The angled wall forces you to climb up it to escape fear, but you also may not be able to make it up the wall to escape giving a sense of hopelessness.

Finally, after climbing up the angled wall, two curved walls are present leading you down a corridor to the exit. One wall curves in a waving form giving a winding feeling to your path. The path feels long and uncertain, but if you follow it to the end, it will lead you out of fear and back to the beginning.

For this project I chose the emotion fear. When going through the categories to find the scenes evoking my emotion, I focused on the feeling of anxiety that is often felt with fear to choose the scenes that would create my model.

Going into the model, there is a slight blocking of the figure through the column and the walls. Walking through the area, your view is slightly blocked by one of the columns moving forward making you move between the column and the wall to move forward. This category evokes fear as your path feels cramped and forced.

After the figure enters the model a set path is made through a curved wall which blocks the figure’s view of what is down the path. The curved walls block my view going forward while guiding me down a set path forward. This scene evokes fear through the unknown path that lies ahead.

After exiting the path with the curved wall, a wall set at an angle going away from the figure is present. As I walk up to the wall the path feels unsteady and offset as the wall seems to fall away from my path. This scene shows the emotion fear through the angled wall as when you are experiencing fear, everything around you may seem offset and unsteady.

Passing the angled wall, a floating wall set above the figures head at an angle. With the floating wall set above me at an angle, I feel forced to angle my head to move forward in order to not hit the wall. This illustrates fear through the feeling of being pressed toward yourself. As you feel fear you may feel the need to make yourself smaller in order to feel safe.

After the floating wall, a wall angled very close to the human figure blocks their path forward. The wall almost seems to crush the path ahead, not allowing me to move forward. This scene shows fear through the crushing feeling the wall leaning towards you brings.

Forced to turn from the crushing wall, a hallway with two columns and a square hole in the ceiling casting light on the floor. The path is dark with the only light coming in the area coming from a small square in the ceiling. The path shows fear through darkness with only a small amount of light coming through. The figure is forced to leave the light and move through the darkness to get to the exit.

A square hole in the floor with a floating square hovering over the hole is next to the columns leading to the next floor. The floating square over the hole gives the idea of a way to get out of the emotion of fear. While there seems to be an exit, the opening is still small making you feel squished in order to get through.

Falling from the square hole, the figure lands on two floating platforms with a ramp connecting the two on the final floor. The floating platforms and the ramp make you feel fear due to there being no support and railings to keep you from falling down. That feeling only enhances the feeling of being unstable that is present throughout the scenes.

After climbing down from the floating platforms, a wall covered in arching walls merging into each other is ahead of the figure. The scene shows fear through the unstable wall seeming to come towards you. The scene shows fear through the feeling of something reaching out to you from the wall.

Next to the arching wall is an open area lighted by a large hole in the ceiling. The open space and large hole in the ceiling give a feeling of being alone. While the area is open, it gives a feeling of being alone with only the sounds of you walking forward to accompany you.

Going forward an angled wall facing away from the human figure makes a ramp up to the next part of the model. The angled wall forces you to climb up it to escape fear, but you also may not be able to make it up the wall to escape giving a sense of hopelessness.

Finally, after climbing up the angled wall, two curved walls are present leading you down a corridor to the exit. One wall curves in a waving form giving a winding feeling to your path. The path feels long and uncertain, but if you follow it to the end, it will lead you out of fear and back to the beginning.

For this project I chose the emotion fear and focused on the feeling of anxiety that it causes. When building my model, made my path winding as fear and anxiety has no set path that it takes you. The path from the entrance and the exit is long and takes you throughout the floors of the model as the path out of fear is long and tiring.

Going into the model, there is a slight blocking of the figure through the column and the walls. Walking through the area, your view is slightly blocked by one of the columns moving forward making you move between the column and the wall to move forward. This category evokes fear as your path feels cramped and forced.

After the figure enters the model a set path is made through a curved wall which blocks the figure’s view of what is down the path. The curved walls block my view going forward while guiding me down a set path forward. This scene evokes fear through the unknown path that lies ahead.

After exiting the path with the curved wall, a wall set at an angle going away from the figure is present. As I walk up to the wall the path feels unsteady and offset as the wall seems to fall away from my path. This scene shows the emotion fear through the angled wall as when you are experiencing fear, everything around you may seem offset and unsteady.

Passing the angled wall, a floating wall set above the figures head at an angle. With the floating wall set above me at an angle, I feel forced to angle my head to move forward in order to not hit the wall. This illustrates fear through the feeling of being pressed toward yourself. As you feel fear you may feel the need to make yourself smaller in order to feel safe.

After the floating wall, a wall angled very close to the human figure blocks their path forward. The wall almost seems to crush the path ahead, not allowing me to move forward. This scene shows fear through the crushing feeling the wall leaning towards you brings.

Forced to turn from the crushing wall, a hallway with two columns and a square hole in the ceiling casting light on the floor. The path is dark with the only light coming in the area coming from a small square in the ceiling. The path shows fear through darkness with only a small amount of light coming through. The figure is forced to leave the light and move through the darkness to get to the exit.

A square hole in the floor with a floating square hovering over the hole is next to the columns leading to the next floor. The floating square over the hole gives the idea of a way to get out of the emotion of fear. While there seems to be an exit, the opening is still small making you feel squished in order to get through.

Falling from the square hole, the figure lands on two floating platforms with a ramp connecting the two on the final floor. The floating platforms and the ramp make you feel fear due to there being no support and railings to keep you from falling down. That feeling only enhances the feeling of being unstable that is present throughout the scenes.

After climbing down from the floating platforms, a wall covered in arching walls merging into each other is ahead of the figure. The scene shows fear through the unstable wall seeming to come towards you. The scene shows fear through the feeling of something reaching out to you from the wall.

Next to the arching wall is an open area lighted by a large hole in the ceiling. The open space and large hole in the ceiling give a feeling of being alone. While the area is open, it gives a feeling of being alone with only the sounds of you walking forward to accompany you.

Going forward an angled wall facing away from the human figure makes a ramp up to the next part of the model. The angled wall forces you to climb up it to escape fear, but you also may not be able to make it up the wall to escape giving a sense of hopelessness.

Finally, after climbing up the angled wall, two curved walls are present leading you down a corridor to the exit. One wall curves in a waving form giving a winding feeling to your path. The path feels long and uncertain, but if you follow it to the end, it will lead you out of fear and back to the beginning.

Work #4. Casting Model

For this project my selected emotion was fear.

Nicholas Tidwell

What I learned...

Project #1 “Wall, Column, and Space”

-The Wall, Column, and Space project taught about space and how to use space. The deeper I got in the categories, the more extreme they got and the more space had to be used.

Project #2 “Hand Drawing”

- The hand Drawing project tested my abilities a lot. Drawing is not my strong suit, but I loved the challenge. It shows me that I can do things that I thought I couldn’t do.

Project #3 “Power of Patience”

The Power of Patience project taught me how to be patient. Having to stare at a painting for 3 hours can be boring, but you notice a lot when you slow down, take your time and be patient.

Project #4 “Space Cube”

- The Space Cube project taught me a lot that I can use forever. I learned so much like making floor plans, elevations, and space. These things are very crucial for my career and will be used a lot and now I know how to do all of those things.

Project #5 “First Portfolio”

- The First Portfolio project was really fun. It was very chill and was setting me up for the future. Making portfolios in the future will set me up for life and getting a job and it all starts with this first portfolio.

Overall

- learned these first five weeks more than I learned a whole year in college lol. I learned a lot about myself that I didn’t know such as my work ethic and the depth of my creativity. I didn’t know my work ethic was this strong until now. I have learned so far that the studio is going to push you to do things you have never done before. You have to have discipline and take criticism well and accept feedback from others. I have completed projects that take you more than 5 hours to complete daily (not exaggerating) and even more just to turn in the next day. I have spent 16 hours in the architecture building multiple days a week and even though I was extremely tired, the outcome was worth it. The group of people I’m experiencing all of this with are amazing and talented people. I’m so lucky to have such a supportive team for the next 3 years. I am looking forward to the next 5 weeks of summer studio!

If you could talk to you before these 5 weeks, what whould you like to share with you?

If I was to talk to myself before these 5 weeks, I would tell myself to take a deep breath. Its going to be stressful, but at the end you will be very proud of yourself and all of your accomplishments. Manage your sleep and make sure you eat because that is very important. Once you get your balance, you will be great!

The space cube represents my model from before but is going upward. The space cube is not actually a cube but in a cube like form. The human figure experiences the trauma of going in tight spaces, just to realize, there is nowhere to go when it reaches the top. This is very scary for anyone and knowing that the only way down is death, is quite terrifying. The space cube combines some of the categories in one to make the cube flow better and confuse the human figure as it goes through the pathway.

1,26,27- The wall gradually changes from behind the human figure. As the wall changed, the human figure became more of the wall and was bolder in front of the wall. The human figure makes its own shadow when it starts to walk towards the light. The walls are the same and the human figure is confused because it all looks the same. The columns are placed in positions near the wall to direct the direction the figure should be going. The columns fill the space of the human figure and make shadows of its own. The shadows of the columns are making the human figure terrified as it goes through the pathway.

25(2x)- The columns are adding more of a contract from itself and the wall. The lighting is making a difference with these pictures. The last column gives the cube a sense of wonder as the human figure walks around the corner to the next hallway.

36- the space of a different type of shadow in the photo. The human figure is walking through a new space with curved walls. This makes you feel different and weird inside because of the curved walls. The curved walls in the hallway of the cube are different from any other wall, so the human figure does not know what it is walking into during this time.

44-these walls make the space open and in the air. The human figures are walking in between the curves. This can give you a sense of weirdness because of the different types of walls.

46- The space is filled with columns and has a spotlight in the ceiling to give it that nature light feels. The human figure is in this space and is blocked by the columns. Space gives you a sense of eminence as you walk through. This is the only time where the human figure will fill this way as it goes to its last point in the cube.

47- The space has levels that are open from the ceiling for natural lighting that is coming down from it. The human figure is standing in the dark spot and those spots are not hit by the lighting. This is very huge for the human figure and the figure only have a couple of more good times like this but the figure do not know this at this moment.

48- The lighting is hitting the same spots from the ceiling. The human figure is filling that space and is surrounded by columns. The space is very open and dark, which can feel very scary. And this is the last of the lighting that is open for the human figure. The human figure and see down but is limited to where it can go even though the space is very open.

45- The space is very open, and the lighting is filled with shapes. The shapes make the lighting different. The human figure takes the space of the lighting that creates different shapes. This makes you feel very cool and me.

56 The curved surfaces make the surroundings open and viewable. The human figure is in the center of everything and can see around him but also be surrounded by curved surfaces. This makes you feel safe as you are surrounded by walls. This is the last of the maze and the human figure can’t go anywhere because of its death and this is very scary of the feeling of death. This is the end of the life of the human figure.

The space cube represents my model from before but is going upward. The space cube is not actually a cube but in a cube like form. The human figure experiences the trauma of going in tight spaces, just to realize, there is nowhere to go when it reaches the top. This is very scary for anyone and knowing that the only way down is death, is quite terrifying. The space cube combines some of the categories in one to make the cube flow better and confuse the human figure as it goes through the pathway.

1,26,27- The wall gradually changes from behind the human figure. As the wall changed, the human figure became more of the wall and was bolder in front of the wall. The human figure makes its own shadow when it starts to walk towards the light. The walls are the same and the human figure is confused because it all looks the same. The columns are placed in positions near the wall to direct the direction the figure should be going. The columns fill the space of the human figure and make shadows of its own. The shadows of the columns are making the human figure terrified as it goes through the pathway.

25(2x)- The columns are adding more of a contract from itself and the wall. The lighting is making a difference with these pictures. The last column gives the cube a sense of wonder as the human figure walks around the corner to the next hallway.

36- the space of a different type of shadow in the photo. The human figure is walking through a new space with curved walls. This makes you feel different and weird inside because of the curved walls. The curved walls in the hallway of the cube are different from any other wall, so the human figure does not know what it is walking into during this time.

44-these walls make the space open and in the air. The human figures are walking in between the curves. This can give you a sense of weirdness because of the different types of walls.

46- The space is filled with columns and has a spotlight in the ceiling to give it that nature light feels. The human figure is in this space and is blocked by the columns. Space gives you a sense of eminence as you walk through. This is the only time where the human figure will fill this way as it goes to its last point in the cube.

47- The space has levels that are open from the ceiling for natural lighting that is coming down from it. The human figure is standing in the dark spot and those spots are not hit by the lighting. This is very huge for the human figure and the figure only have a couple of more good times like this but the figure do not know this at this moment.

48- The lighting is hitting the same spots from the ceiling. The human figure is filling that space and is surrounded by columns. The space is very open and dark, which can feel very scary. And this is the last of the lighting that is open for the human figure. The human figure and see down but is limited to where it can go even though the space is very open.

45- The space is very open, and the lighting is filled with shapes. The shapes make the lighting different. The human figure takes the space of the lighting that creates different shapes. This makes you feel very cool and me.

56 The curved surfaces make the surroundings open and viewable. The human figure is in the center of everything and can see around him but also be surrounded by curved surfaces. This makes you feel safe as you are surrounded by walls. This is the last of the maze and the human figure can’t go anywhere because of its death and this is very scary of the feeling of death. This is the end of the life of the human figure.

The space cube represents my model from before but is going upward. The space cube is not actually a cube but in a cube like form. The human figure experiences the trauma of going in tight spaces, just to realize, there is nowhere to go when it reaches the top. This is very scary for anyone and knowing that the only way down is death, is quite terrifying. The space cube combines some of the categories in one to make the cube flow better and confuse the human figure as it goes through the pathway.

1,26,27- The wall gradually changes from behind the human figure. As the wall changed, the human figure became more of the wall and was bolder in front of the wall. The human figure makes its own shadow when it starts to walk towards the light. The walls are the same and the human figure is confused because it all looks the same. The columns are placed in positions near the wall to direct the direction the figure should be going. The columns fill the space of the human figure and make shadows of its own. The shadows of the columns are making the human figure terrified as it goes through the pathway.

25(2x)- The columns are adding more of a contract from itself and the wall. The lighting is making a difference with these pictures. The last column gives the cube a sense of wonder as the human figure walks around the corner to the next hallway.

36- the space of a different type of shadow in the photo. The human figure is walking through a new space with curved walls. This makes you feel different and weird inside because of the curved walls. The curved walls in the hallway of the cube are different from any other wall, so the human figure does not know what it is walking into during this time.

44-these walls make the space open and in the air. The human figures are walking in between the curves. This can give you a sense of weirdness because of the different types of walls.

46- The space is filled with columns and has a spotlight in the ceiling to give it that nature light feels. The human figure is in this space and is blocked by the columns. Space gives you a sense of eminence as you walk through. This is the only time where the human figure will fill this way as it goes to its last point in the cube.

47- The space has levels that are open from the ceiling for natural lighting that is coming down from it. The human figure is standing in the dark spot and those spots are not hit by the lighting. This is very huge for the human figure and the figure only have a couple of more good times like this but the figure do not know this at this moment.

48- The lighting is hitting the same spots from the ceiling. The human figure is filling that space and is surrounded by columns. The space is very open and dark, which can feel very scary. And this is the last of the lighting that is open for the human figure. The human figure and see down but is limited to where it can go even though the space is very open.

45- The space is very open, and the lighting is filled with shapes. The shapes make the lighting different. The human figure takes the space of the lighting that creates different shapes. This makes you feel very cool and me.

56 The curved surfaces make the surroundings open and viewable. The human figure is in the center of everything and can see around him but also be surrounded by curved surfaces. This makes you feel safe as you are surrounded by walls. This is the last of the maze and the human figure can’t go anywhere because of its death and this is very scary of the feeling of death. This is the end of the life of the human figure.

The space cube represents my model from before but is going upward. The space cube is not actually a cube but in a cube like form. The human figure experiences the trauma of going in tight spaces, just to realize, there is nowhere to go when it reaches the top. This is very scary for anyone and knowing that the only way down is death, is quite terrifying. The space cube combines some of the categories in one to make the cube flow better and confuse the human figure as it goes through the pathway.

1,26,27- The wall gradually changes from behind the human figure. As the wall changed, the human figure became more of the wall and was bolder in front of the wall. The human figure makes its own shadow when it starts to walk towards the light. The walls are the same and the human figure is confused because it all looks the same. The columns are placed in positions near the wall to direct the direction the figure should be going. The columns fill the space of the human figure and make shadows of its own. The shadows of the columns are making the human figure terrified as it goes through the pathway.

25(2x)- The columns are adding more of a contract from itself and the wall. The lighting is making a difference with these pictures. The last column gives the cube a sense of wonder as the human figure walks around the corner to the next hallway.

36- the space of a different type of shadow in the photo. The human figure is walking through a new space with curved walls. This makes you feel different and weird inside because of the curved walls. The curved walls in the hallway of the cube are different from any other wall, so the human figure does not know what it is walking into during this time.

44-these walls make the space open and in the air. The human figures are walking in between the curves. This can give you a sense of weirdness because of the different types of walls.

46- The space is filled with columns and has a spotlight in the ceiling to give it that nature light feels. The human figure is in this space and is blocked by the columns. Space gives you a sense of eminence as you walk through. This is the only time where the human figure will fill this way as it goes to its last point in the cube.

47- The space has levels that are open from the ceiling for natural lighting that is coming down from it. The human figure is standing in the dark spot and those spots are not hit by the lighting. This is very huge for the human figure and the figure only have a couple of more good times like this but the figure do not know this at this moment.

48- The lighting is hitting the same spots from the ceiling. The human figure is filling that space and is surrounded by columns. The space is very open and dark, which can feel very scary. And this is the last of the lighting that is open for the human figure. The human figure and see down but is limited to where it can go even though the space is very open.

45- The space is very open, and the lighting is filled with shapes. The shapes make the lighting different. The human figure takes the space of the lighting that creates different shapes. This makes you feel very cool and me.

56 The curved surfaces make the surroundings open and viewable. The human figure is in the center of everything and can see around him but also be surrounded by curved surfaces. This makes you feel safe as you are surrounded by walls. This is the last of the maze and the human figure can’t go anywhere because of its death and this is very scary of the feeling of death. This is the end of the life of the human figure.

Work #4. Casting Model

Project #1 “Wall, Column, and Space”

Project #2 “Hand Drawing”

Project #3 “Power of Pa ence”

Project #4 “Space Cube”

Project #5 “First Por olio”

OverallIf you could talk to you before these ve weeks, what would you like to share with you? -

Work #1. Sequence of Wall, Column, and Space

For my Space Cube project, I chose the emo on of fear. I chose this emo on because I noted that, when analyzing, many of my images throughout the week made me fearful and I knew I could best replicate this emo on. I used wall and light to accurately portray this emo on. By using dark shadows created by walls, this allows viewers to feel fearful. By condensing my twelve scenes into a small 9”x9” cube, I needed to make some changes to best use my available scene.

In category 25, the image I chose shows light peering from behind the wall. human gure’s silhoue e is shown. The image that shows the light from behind the wall is ominous to me and feels as if I am in a horror movie.

The gure turns around to face category 21. The image I chose shows four columns widely set. A human gure stands in the middle of the four columns. The image makes me feel scared and claustrophobic due to the columns being placed close together.

Then the human gure moves through category 21 to enter category 27. The image I chose uses wall and columns to modify light in a se ng. The human gure walks between the walls and column. Since the light is shown from the front of the human gure, I get an uneasy and dark feeling.

Flipping the cube, the human gure now stands at category 38. Although in the previous assignment I modied this to look more like category 37, I changed it back to look like category 38 again. The image I chose shows two curved walls moving in the same direc on. The human gure walks between the two walls. This image has a spooky feeling to it because it is unknown what is on the other side of the curve, and like anybody, I am fearful to nd out.

Flipping the cube again to be in category 31. The image I chose shows two walls forming a sharp corner. The human gure stands between the walls and peers into the corner. This image makes me feel trapped and scared as if I can’t escape.

Flipping view, you end up in category 16. The photo I chose demonstrates a wall at an angle. The human gure is posioned under the wall. I feel fearful and like the wall is about to collapse on me.

Flipping view again you’ll be in category 15. The image I chose shows a oa ng wall, angled down. The human gure stands closely below the wall. I feel fear when looking at these images due to the angle of the wall, it appears as if the human gure is in danger.

Flipping the cube, you end up at the bo om of a tower in category 17. The image chosen displays a tall at wall. The human gure stands below the wall, peering up. This image gives me megalophobia (fear of large objects), for the wall extends past the frame of the picture and seems like it could p over at any moment.

Moving back category 58 can be seen. The image I chose shows a sphere placed in the center of a circular void on the upside. The human gure stands under the void looking up at the sphere. These images have an unse ling tone to them due to the terrestrial shape in a once simplis c room.

Moving up to the next level in an elevator mo on to be in category 45. The image I chose shows a single source of light, coming from a square void above. The human gure stands in the light. These images are very ominous and frighten me due to the simplicity and eeriness of the scene.

Moving levels up one more me to be in category 47. The image I chose shows a side view of a ver cal wall intersec ng a void on the downside. The human gure stands next to the wall peering down into the void. These images have an eerie tone to them, I feel as though someone could be pushed down one of these voids, not knowing the end to an innite bo om.

Finally, you will be in category 56, peering down to the ini al surface. The image I chose shows a tunnel. The human gure walks through the tunnel. Due to the ligh ng and tone of this scene, I feel uneasy and fearful for what is at the end of the tunnel.

For my Space Cube project, I chose the emo�on of fear. I chose this emo�on because I noted that, when analyzing, many of my images throughout the week made me fearful and I knew I could best replicate this emo�on. I used wall and light to accurately portray this emo�on. By using dark shadows created by walls, this allows viewers to feel fearful. By condensing my twelve scenes into a small 9”x9” cube, I needed to make some changes to best use my available scene.

I started this dra� with category 58. The image shows a circular void with a sphere placed in it. The human gure stands below the shape. I made this the rst category due to the ominous feeling of the scene, and the tone it sets for the rest of the display.

Next is category 28. The image I chose shows two curved walls moving in the same direc�on. The human gure walks between the two walls. This image has a spooky feeling to it because it is unknown what is on the other side of the curve, and like anybody, I am fearful to nd out. I chose this scene to be next because of the transi�on it provides. Going from spherical/circular shapes to two at walls can be underwhelming, however the curvature of the two walls leads a spooky transi�on to the next scene.

The next three categories give the feeling of being in a haunted house mansion. I start with category 25. The image I chose shows light peering from behind the wall. human gure’s silhoue�e is shown. The image that shows the light from behind the wall is ominous to me and feels as if I am in a horror movie.

Next is category 21. Although I altered the shape and number of columns to best t the space, it s�ll has the same effect. The image I chose shows four columns widely set. A human gure stands in the middle of the four columns. The image makes me feel scared and claustrophobic due to the columns being placed close together.

Finally, category 21 nished up the maze. The image I chose uses wall and columns to modify light in a se�ng. The human gure walks between the walls and columns. Since the light is shown from the front of the human gure, I get an uneasy and dark feeling.

Star�ng the second level is category 56. The image displays a long tunnel. The human gure stands before it. The tunnel (although I can see the end) makes me wonder what is on the other side, while at the same �me giving me a claustrophobic feeling.

The tunnel leads right into category 31. The scene is of a sharp corner with nowhere to turn. The human gure stands at the corner, peering directly into the center. The walls block the peripheral vision of the viewers giving an eerie feeling. This scene makes me feel trapped and scared, and even gives me a sense of loneliness.

Category 16 follows, an angles wall is seen. The human gure stands below the wall. This image makes me feel as though the wall will fall down and crush me. I feel weary to stand below it.

The path moves on to category 15. The image I chose shows a oa�ng wall, angled down. The human gure stands closely below the wall. I feel fear when looking at these images due to the angle of the wall, it appears as if the human gure is in danger.

The viewer then turns to category 45. A square void is placed above the scene, and a human gure stands below peering up. This scene is very frightening to me due to the simplicity and eeriness of the environment.

The viewer then turns around to see category 17. A tall wall (also a ladder) moves up into the void. A human gure stands below, gazing at the wall. This display almost gives me Megalophobia due to the innite height of the wall.

Finally, we arrive at category 47. The image I chose shows a side view of a ver�cal wall intersec�ng a void on the downside. The human gure stands next to the wall peering down into the void. These images have an eerie tone to them, I feel as though someone could be pushed down one of these voids, not knowing the end to an innite bo�om. I chose this as the last category because it symbolizes being in heaven. Life is full of frightening challenges that we must endure un�l the end.

For my Space Cube project, I chose the emo�on of fear. I chose this emo�on because I noted that, when analyzing, many of my images throughout the week made me fearful and I knew I could best replicate this emo�on. I used wall and light to accurately portray this emo�on. By using dark shadows created by walls, this allows viewers to feel fearful. By condensing my twelve scenes into a small 9”x9” cube, I needed to make some changes to best use my available scene.

I started my nal project with category 58. The image shows a circular void with a sphere placed in it. The human gure stands below the shape. I made this the rst category due to the ominous feeling of the scene, and the tone it sets for the rest of the display.

Next is category 28. The image I chose shows two curved walls moving in the same direc�on. The human gure walks between the two walls. This image has a spooky feeling to it because it is unknown what is on the other side of the curve, and like anybody, I am fearful to nd out. I chose this scene to be next because of the transi�on it provides. Going from spherical/circular shapes to two at walls can be underwhelming, however the curvature of the two walls leads a spooky transi�on to the next scene.

The next three categories give the feeling of being in a haunted house mansion. I start with category 25. The image I chose shows light peering from behind the wall. human gure’s silhoue�e is shown. The image that shows the light from behind the wall is ominous to me and feels as if I am in a horror movie.

Next is category 21. Although I altered the shape and number of columns to best t the space, it s�ll has the same effect. I decided to make this scene more open by li�ing the ceiling above it. I did this in order to allow viewers to see this part of the display be�er. The image I chose shows four columns widely set. A human gure stands in the middle of the four columns. The image makes me feel scared and claustrophobic due to the columns being placed close together.

Finally, category 21 nished up the maze. The image I chose uses wall and columns to modify light in a se�ng. This scene also has a higher ceiling, this is in order to allow more visual. The human gure walks between the walls and columns. Since the light is shown from the front of the human gure, I get an uneasy and dark feeling.

Star�ng with the second level is category 56. The image displays a long tunnel. The human gure stands before it. The tunnel (although I can see the end) makes me wonder what is on the other side, while at the same �me giving me a claustrophobic feeling.

The tunnel leads right into category 31. The scene is of a sharp corner with nowhere to turn. The human gure stands at the corner, peering directly into the center. The walls block the peripheral vision of the viewers giving an eerie feeling. This scene makes me feel trapped and scared, and even gives me a sense of loneliness.

Category 16 follows as you move down the stairs, an angles wall is seen. The human gure stands below the wall. This image makes me feel as though the wall will fall down and crush me. I feel weary to stand below it.

The path moves down one more set of stairs on to category 15. The image I chose shows a oa�ng wall, angled down. The human gure stands closely below the wall. I feel fear when looking at these images due to the angle of the wall, it appears as if the human gure is in danger.

The viewer then turns to category 45. A square void is placed above the scene, and a human gure stands below peering up. This scene is very frightening to me due to the simplicity and eeriness of the environment.

The viewer then turns around to see category 17. A tall wall (also a ladder) moves up into the void. A human gure stands below, gazing at the wall. This display almost gives me Megalophobia due to the innite height of the wall.

Finally, we arrive at category 47. The image I chose shows a side view of a ver�cal wall intersec�ng a void on the downside. The human gure stands next to the wall peering down into the void. These images have an eerie tone to them, I feel as though someone could be pushed down one of these voids, not knowing the end to an innite bo�om. I chose this as the last category because it symbolizes being in heaven. Life is full of frightening challenges that we must endure un�l the end.

This nal product was very similar to the last dra�. However, I did add more levels in order to break up the categories and add more dimension .I am proud of the way this SpaceCube turned out.

Lauren Wheeler

What I learned...

Project #1 “Wall, Column, and Space”

- I learned about sequences and how they are an important part of design. Walls, colums, and space is what makes up the foundation of a room.

Project #2 “Hand Drawing”

- Blind countour and the outdoor scketches taught me that my drawings do not need to be perfect all of the time. The floorplans were difficult at first but I learned a lot about line weights and how to apply them to my drawings. The shaving cream project was fun and different from the other things that we had been working on. I learned how to draw a two-point perspective and got to draw my window view.

Project #3 “Power of Patience”

- Throught going to the Crystal Bridges art museam and looking at a painting for three hours taught me that the longer I look at a painting the more things I notice and understand about it. I learned how to point out lots of design principles and art elements.

Project #4 “Space Cube”

- The space cube taught me that it is better to repeat a process in order to make it better each time. The first one is not always going to turn out how you want and it takes time to improve it.

Project #5 “First Portfolio”

- Taking my portrait showed me all of my work in one place. It also made me realize how much I have improved. This is my first portfolio and it has helped me learn how to make more in the future.

Overall

- I definitely think I have improved from the beginning of this semester. I have become more confident with my work and have learned how to manage lots of assingments at once.

If you could talk to you before these five weeks, what would you like to share with you?

- I Would tell myself to slow down and not rush my work. Even though it seems like there is not enough time, rushing through causes you to make mistakes.

Work #1. Sequence of Wall, Column, and Space

To show the sequence of wall, column, and space, I chose to use the emotion of sadness. The reason I chose this was because the figure always looked lonely. In the photos I have selected, the figure is the only one there. My idea was to show the sequences that look like obstacles.

To show the sequence of wall, column, and space, I chose to use the emotion of sadness. The reason I chose this was because the figure always looked lonely. In the photos I have selected, the figure is the only one there. My idea was to show the sequences that look like obstacles. This brings out the emotion of having to overcome a bunch and not having others to support you.

The first photo shows the column with the figure. The figure is slightly left to the column facing it. As I am facing the column, it seems to stay still. It is only me and the column which feels lonely. The column brings out the feeling of being alone.

The second photo shows the wall blocking the figure’s view. The wall is an obstruction and could be hard to get around. As I looked at the wall, I realized that I was blocked.. I was forced to go to the right to get around it. This took a toll on me and was not convenient or easy.

In the third photo, the wall is slanted toward the figure. The fire stands and looks at the blocking wall. It makes me more frustrated to see that the wall is in my way again. I am only trying to continue forward and cannot get over it, so I must go around. This makes me feel even more upset.

In the fourth photo, the columns are parallel. The figure is standing, looking through the columns. I looked through them and saw more obstacles on the other side of the columns. The walls then became narrower, getting closer to me. I started to feel more claustrophobic and wanted someone there with me, but no one was there.

In the fifth photo, there are multiple twisted surfaces without a pattern. The figure stands in front, looking at the surfaces. As I look at the twisted surfaces, it reminds me of a sculpture. It looks abstract and makes me want to keep looking at it. It also makes me feel interested in why they chose to make these twisted and free surfaces. It makes me sad that I am forced to keep moving and can’t stay here.

In the sixth photo, the degree increases in the opposite direction from the figure. The figure has a view of the connected edge as the walls get wider. At the start, I felt a sense of openness and the freedom to go either left or right. The pointed wall gave me a feeling of coldness. The space was too open for my liking, but as the walls got wider, it created more of a closed-off area.

In the seventh photo, the columns, walls, and lighting closes the space off. The figure stays in the same place, looking ahead. The space feels more closed off with the columns on the left and the walls on the other sides. I know I need to keep going because of the light shining through. The columns to the right seem to block off some of the walkway towards the light. The room that I am in feels dark, and I want to escape.

In the eighth photo, there are two curves and a figure in between. The figure stands in the middle and looks as if it is walking through the walls. As I stood in between the walls, I felt very enclosed. I felt as if I had limited space. The way that was the most intriguing was to walk forward but it was hard to do so.

In the ninth photo, the wall is facing the figure, and a square void shines light through. As I look at the walls and voids, I see the differences in the light. As it changes, the room gets lighter or darker. This leads to different emotions as the light changes. I feel sad being in the darkness. I just want to be in the light again.

In the tenth photo, a curved vertical surface with a void is shown. The figure stands below the void. The light changes coming from below and above. As I stand near the void and, the curved vertical surface leads my eyes above me. I feel as if I can’t get to the light. It is over my head, and the wall is too hard to climb up.

In the eleventh photo, a circular void is in the ceiling, and light is shining through it. The figure stands underneath the light. As I stood there, I felt scared by all the darkness surrounding me. There was only one light, and it felt lonely. The openings projected different shapes onto the floor. This made me want to leave and go where the light is.

In the twelfth photo, the wall is curved. The figure stands on the interior of the curve. I feel like I finally made it to the end, but whatever is ahead feels closed off. This still makes me sad and lonely. Even after all of the obstacles, I still feel alone and stuck.

To illustrate the sequence of wall, column, and space, I chose to use the emotion of sadness. The reason I chose this was because the figure always looked lonely. In the photos I have selected, the figure is always alone. My idea was to have the walls and columns guide the figures’ path. This space is tight and enclosed to represent the feeling of sadness. The first photo shows the column to the right of the figure. The figure is slightly left to the column facing straight ahead. As I am standing next to the column, it seems to stay still. This makes an opening to the space. The use of only one column evokes the feeling of entering an empty space.

The second photo shows a wall forcing the figure to walk to the right and then straight. The wall is an obstruction that is difficult to navigate. As I looked at the wall, I realized that I was blocked. I was forced to go to the right to get around it. This is inconvenient and frustrating.

In the third photo, the wall is slants toward the figure. The figure walks toward the wall. The need to duck my head to get around it frustrates me. I must move more to the right to continue forward. This makes me feel even more upset.

The fourth photo features parallel columns. The figure is standing, looking through the columns. I peer through the tall columns, I see more obstacles. The space felt too open, and I wish I was not alone. The only way through was to continue walking straight.

In the fifth photo, there are multiple twisted surfaces without a pattern. The figure stands beneath, looking at it. The twisted surfaces intrigue me. It looks abstract and makes me want to keep looking at it. It also makes me feel interested in why they chose to make these twisted and free surfaces. I feel sad that I must keep moving and cannot stay longer.

The sixth photo shows a pointed wall in the opposite direction from the figure. The figure views the connected edge of the two walls. The pointed wall gave me a feeling of coldness. The walls created more of a closed-off area. The point of the two lines guided me straight ahead.

In the seventh photo, the columns, walls, and lighting closes off the space. The figure walks forward, looking ahead. The space feels more closed off with the columns on the right and the perpendicular walls. I know I need to keep going because of the light shining through an opening in between the walls. The columns to the right seem to block off some of the walkway towards the light. The room that I am in feels dark, and I want to escape up the stairs.

The eighth photo shows two curved walls with a figure in between. The figure stands in the middle and looks as if it is walking through the walls. As I stood in between the walls, I felt very enclosed. I felt as if I had limited space. The only way to go was the ladder that was in front of me.

In the ninth photo, the wall faces the figure, and a square void shines light through. As I look at the walls and voids, I see the differences in the light. As it changes, the room gets lighter or darker. This leads to different emotions as the light changes. I feel sad being in the darkness. I want to be in the light again.

The tenth photo shows a curved vertical surface with a void. The figure stands below the void. The light changes coming from above. As I stand near the void, the curved vertical surface draws my eyes upward. I feel as if I can’t get to the light. It is over my head, and the wall is too hard to climb up so I must continue straight.

In the eleventh photo, a circular void is in the ceiling, and light is shining through it. The figure stands underneath it. Standing there, I feel scared by the surrounding darkness. The single light makes the space feel lonely. The opening projects a circular shape onto the floor. This made me want to leave and go where the light is.

In the twelfth photo, the wall is curved. The figure stands on the interior of the curve. I feel like I finally made it to the end, but everything is once again closed off. This still makes me sad and lonely. Even after walking through everything, I still feel alone and stuck.

Phase #11: Category #

To illustrate the sequence of wall, column, and space, I chose to use the emotion of sadness. The reason I chose this was because the figure constantly appears lonely. In the photos I have selected, the figure is alone in the space. My idea was to have the walls and columns guide the figures’ path through the space cube and up to different levels. This space is tight and enclosed to represent the feeling of sadness.

The first photo shows a column to the right of the figure, who faces straight ahead, slightly to the left of the column. As I am standing next to the column, it is still and looks sturdy and tall. This makes an opening to the space. The use of only one column evokes a sense of entering an empty space. It feels cheerless being here alone.

The second photo shows a wall forcing the figure to walk to the right and then straight. The wall is an obstruction that is difficult to navigate. As I looked at the wall, I realized that I was blocked. I was forced to go to the right to get around it. This is inconvenient and makes me feel down.

In the third photo, the wall is slants toward the figure, who walks towards it. The need to duck my head to get around it frustrates me. I must move more to the right to continue forward.

This makes me feel increasingly more upset.

The fourth photo features parallel columns. The figure is standing, looking through the columns. Peering through the tall columns, I see more obstacles. The space felt too open, and I wish I was not alone. The only way through was to continue walking straight even though I am now in misery.

In the fifth photo, there are multiple twisted surfaces without a pattern. The figure stands beneath, looking at it. The twisted surfaces intrigue me. It looks abstract and makes me want to keep looking at it. It also makes me feel interested in why they chose to make these twisted and free surfaces. I feel sad that I must keep moving and cannot stay longer.

The sixth photo shows a pointed wall in the opposite direction from the figure. The figure views the connected edge of the two walls. The pointed wall gave me a feeling of coldness. The walls created more of a closed-off area which is a bummer. The point of the two lines guided me straight ahead.

In the seventh photo, the columns, walls, and lighting closes off the space. The figure walks forward, looking ahead. The space feels more closed off with the columns on the right and the perpendicular walls. I know I need to keep going because of the light shining through an opening in between the walls. The columns to the right seem to block off some of the walkway towards the light. The room that I am in feels dark and gloomy, and I want to escape up the stairs.

The eighth photo shows two curved walls with a figure in between. The figure stands in the middle and looks as if it is walking through the walls. As I stood in between the walls, I felt very enclosed. I felt as if I had limited space. At this point I felt melancholy but there was an interesting looking ladder in front of me so I decided to climb it.

In the ninth photo, the wall faces the figure, and a square void shines light through. As I look at the walls and voids, I see the differences in the light. As it changes, the room gets lighter or darker. This leads to different emotions as the light changes. I feel sad being in the gloominess.

The tenth photo shows a curved vertical surface with a void. The figure falls down the hole and stands below the void. The light changes coming from above. As I stand near the void, the curved vertical surface draws my eyes upward. I feel as if I can’t get back to the light and this brought my spirits down. It is over my head, and the wall is too hard to climb up so I must continue straight.

In the eleventh photo, a circular void is in the ceiling, and light is shining through it. The figure stands underneath it. Standing there, I feel scared by the surrounding darkness. The single light makes the space feel lonely. I feel unhappy being here but can finally see the final destination.

In the twelfth photo, the wall is curved. The figure stands on the interior of the curve. I feel like I finally made it to the end, but everything is once again closed off. This still makes me sad and lonely. I regret walking all this way to still feel alone and stuck.

To illustrate the sequence of wall, column, and space, I chose to use the emotion of sadness. The reason I chose this was because the figure constantly appears lonely. Throughout the photos, the figure is alone. My idea was to have the walls and columns guide the figures’ path through the space cube and up to different levels, while also making it tight and enclosed to represent the feeling of sadness. I used different elements to invoke a sense of isolation.

The first photo shows a column to the right of the figure, who faces straight ahead, slightly to the left of the column. The column supports the entryway, and use of only one evokes a sense of entering an empty space. This enhances the feeling of cheerlessness.

The second photo shows a wall forcing the figure to walk to the right and then straight. The wall is an obstruction that is difficult to navigate around. As I look at the wall, I realize that I am blocked. I was forced to go to the right to get around it. This is inconvenient and makes me feel frustrated.

In the third photo, the wall slants toward the figure, who must duck to get around it. I must move more to the right to continue forward. This makes me feel increasingly more trapped and upset.

The fourth photo features parallel columns. The figure is standing, looking through the columns. Peering through the tall columns, there is a visual barrier and looks closed off. The only way through was to continue walking straight but I did not want to.

In the fifth photo, there are multiple twisted surfaces without a pattern. The figure stands beneath, looking at it. The twisted surfaces were intriguing but also chaotic. This made me feel overstimulated looking at it. There is too much going on in such a tight walkway.

The sixth photo shows a pointed wall in the opposite direction from the figure. The figure views the connected edge of the two walls. The pointed wall gave me a feeling of coldness. The walls created more of a closed-off area which is a bummer. The point of the two lines guided me straight ahead.

In the seventh photo, the columns, walls, and lighting closes off the space. The figure walks forward, looking ahead. The space feels more closed off with the columns on the right and the perpendicular walls. I know I need to keep going because of the light shining through an opening in between the walls. The columns to the right seem to block off some of the walkway towards the light. The room that I am in feels dark and gloomy, and I want to escape up the spiral stairs.

The eighth photo shows two curved walls with a figure in between. The figure stands in the middle and looks as if it is walking through the walls. As I stood in between the walls, I felt very enclosed. I felt as if I had limited space. At this point I felt melancholy but there was an interesting looking ladder in front of me so I decided to climb it.

In the ninth photo, the wall faces the figure, and a square void shines light through. As I look at the wall and void, I see the differences in the light. As it changes, the room gets lighter or darker. This leads to different emotions as the light changes. I feel sad being in the gloominess.

The tenth photo shows a curved vertical surface with a void. The figure falls down the hole and stands below the void. The light changes coming from above. As I stand near the void, the curved vertical surface draws my eyes upward. I feel as if I can’t get back to the light and this brought my spirits down. It is over my head, and the wall is too hard to climb up so I must continue straight.

In the eleventh photo, a circular void is in the ceiling, and light is shining through it. The figure stands underneath it. Standing there, I feel scared by the surrounding darkness. The single light makes the space feel lonely, making me feel unhappy yet aware of the destination in front of me.

In the twelfth photo, the wall is curved. The figure stands on the interior of the curve. I feel like I finally made it to the end, but everything remains closed off. This still makes me sad and lonely. I regret walking all this way to still feel alone and stuck.

a picture of the Space Cube model and the mold model

a picture of the first mold model and three molds

Work #4. Casting Model

pictures of your colored casting model with surrounding

Overall, what I have learned...

Main Themes

1. Self-Discovery and Personal Growth

- Self-Confidence and Potential

- Students expressed surprise at their ability to push beyond their perceived limits and achieve more than expected.

- Realization of inner strength and capabilities.

- Resilience and Adaptability

- Overcoming challenges, managing stress, and coping with unexpected difficulties.

- Emphasis on the importance of perseverance and trust in the process.

2. Importance of Time Management

- Managing heavy workloads through effective time management.

- Balancing productivity with good craftsmanship and attention to detail.

- Recognizing the value of taking breaks to maintain mental health.

3. Significance of Relationships and Support

- Importance of building friendships and collaborating with peers.

- Relying on classmates for support and encouragement during challenging times.

- Instructors as valuable resources for guidance and learning.

4. Embracing Challenges and Learning Opportunities

- Understanding that difficult experiences are integral to growth and learning.

- Emphasis on the rewarding nature of overcoming obstacles.

- Appreciation for the lessons learned and the skills acquired during the course.

5. Reflection on Stress and Workload

- Acknowledgment of the initial overwhelming nature of the course.

- Learning to manage stress and not overthink or complain excessively.

- The importance of maintaining a positive mindset despite challenges.

6. Enjoyment and Fulfillment

- Despite the challenges, students found joy and fulfillment in their work.

- The sense of accomplishment and pride in completed projects.

- The positive impact of enjoying the process and the work itself.

Sentiments and Emotions

1. Positive Emotions

- Pride and Satisfaction: Many students felt proud of their accomplishments and the progress they made.

- Joy and Enjoyment: Despite the hard work, students found enjoyment in the creative process and the outcomes.

- Gratitude: Appreciation for the opportunity to learn and grow, as well as for the support received from peers and instructors.

2. Negative Emotions

- Stress and Overwhelm: Initial feelings of being overwhelmed by the workload and the intensity of the course.

- Doubt and Anxiety: Moments of doubt about their abilities and the feasibility of completing the tasks.

3. Mixed Emotions

- Relief and Accomplishment: Relief at having completed the course and a sense of accomplishment.

- Reflection and Insight: Mixed feelings about the difficulty of the course, balanced by the recognition of its value and impact.

Key Takeaways and Advice

1. Trust in the Process

- Emphasizing the importance of trusting the process and believing in one’s abilities.

- Encouragement to embrace challenges and learn from them.

2. Importance of Community

- Highlighting the value of building relationships and seeking support from peers.

- Advice to engage with classmates and instructors for a richer learning experience.

3. Balanced Approach

- Advocating for a balance between hard work and self-care.

- Importance of managing time effectively and taking breaks when needed.

4. Embrace Creativity and Risk

- Encouragement to think outside the box and take creative risks.

- Recognition that mistakes and messes are part of the learning process.

5. Positive Mindset

- Advice to maintain a positive mindset and avoid unnecessary stress.

- Encouragement to focus on the rewarding aspects of the work and the progress made.

Overall, the reflections indicate a transformative experience for the students, characterized by personal growth, the development of resilience, and the acquisition of valuable skills. The recurring themes of self-discovery, the importance of time management, and the value of relationships underscore the holistic nature of their learning journey.

Bachelor of Interior Architecture and Design | Fay Jones School of Architecture and Design, University of Arkansas

My students in IARD1035 Fundamental Design Skills developed visual and verbal communication skills including observation skills, design technologies, analysis and representation in both 2-dimensions and 3-dimensions through analog and digital tools; creative and critical thinking skills.