144 - Weekly Task - Slow/Fast Shutter Speed Comparison Image

171 – Blog 2 – Research Statement and Annotated Bibliography

171 – Blog 2 – Research Statement and Annotated Bibliography

My research field is Modernism

1 - German cities and bourgeois modernism

“German cities and bourgeois modernism” studies a certain type of modernism that was created in the late 19^th in Germany. The elitist pioneers of this brand of modernism called themselves bourgeois and set out to bring a conscious change to the way a rapidly industrialized Germany thought about design.

Umbach, M. (2009). German cities and bourgeois modernism. Oxford University Press, UK.

2 - Henry Ford: Mass Production, Modernism and Design

Ward reviews the book “Henry Ford: Mass Production, Modernism and Design” by Ray Batchelor and investigates Batchelor’s reading into Modernism’s place in the change in design of the motor vehicle at the turn of the 20^th century.

Ward, J. (1996). Henry Ford: Mass Production, Modernism and Design Review, 101(3), 96-97.

3 – The Modernist Imagination

“The Modernist Imagination” is a book that brings together a multitude of different minds from a diverse group of artists, scholars, art historians, political theorists and critics to reflect on the modernist’s way of viewing the world in the arts, humanities and social phenomenon’s. It was also compiled as homage to a great humanities scholar Martin Jay.

Breckman, W. (Ed.). (2009) The Modernist Imagination. New York, NY: Berghahn Books

4 – Roots of Modernism  

This page explores the roots of modernism from 1860 through to the dissipation of its popularity in the 20^th century.  It them investigates Manet and his work in pioneering the modernist movement and dissections of his work. It then progresses to explore different artists through the height of Modernisms popularity and explores ways in which the artist and political ideals of modernism have lived on.

Art History Resources. (1995). The Roots of Modernisim. Retrieved from http://arthistoryresources.net/modernism/roots.html

5 – Composition A 

An example of modernist art by Piet Mondrian, 1923. This image displays the founding principles of modernist design and is relatable to any form of design that replicated these fundamental ideas of modernism. 

Mondrian, P. (Artist). (1923) Composition A [image]. Retrieved from http://witcombe.sbc.edu/modernism

Touch/Draw - DSDN101 - Project1 - Hand In

Silhouette of Knifes using Photography as my selected medium.

Individual - DSDN101 - Project1 - Hand In

Isometric – William Farish

Both my precedent image of Farish’s grinding machine and my own adaptation of a craft knife are drawn in 30° Isometric. Like Farish’s image I have embraced his ability to gain an undistorted, accurate view of the craft knife. I have also adopted Farish’s use of rendering to add a sense of texture of the object as well as staying true to Farish’s image by sketching my image freehand. Furthermore, by exploding my view of the craft knife I have developed on Farish’s precedence by giving my image a newfound sense of accuracy and depth giving the viewer a better understanding of the craft knife’s form.     

Extra: History of Isometric

Though isometric as a drawing technique had been used by designers for years before it was Fairish who developed the technique in the 19^th century. What’s interesting about isometric, and the key to its success is there is no perspective. This makes it an invaluable tool for designers and it is now one of the fundamental principals of most design programs. Farish, being a chemist at the time would use this technique to present designs of certain machines like the “Optical-grinding engine” (Pictured above as my precedent), which is said to be the first machine drawing rendered in 30° isometric.

Section - DSDN101 - Project1 - Handin

Draw - DSDN 101 - Project 1 - Hand In

Hatch - DSDN101 - Project 1 - Hand In

Identity - DSDN101 - Project 1 - Hand In

101 - Touch/Draw - Concept

Silhouette of Knives

Under The Seatoun Wharf - 144 - Hand In - Project 1

Under The Seatoun Wharf 

With this series “Under The Seatoun Wharf” I will investigate space in which the built and natural environments of Seatoun Wharf share. By using Macro, depth of field and fundamental photography composition I will seek to convey not just an interesting juxtaposition of the space in which these two environments, the ocean and the wharf, meet. But also, the relationship they share amongst this space and their effects on one another in a place few people take notice of. I also want to tie all the images together by first taking more wide open shots, then slowly move closer to my points of focus as the series progresses until finally I am taking macro shots with my point of focus on millimeters from the lens.

I feel my series of images has been successful in portraying an aggressive relationship between the ocean and the Seatoun wharf. By shooting under the wharf I feel I have been able to avoid any cliché images and it allowed me to investigate and portray a space in where there is a constant battle between the ocean and a decaying wharf. The composition of these photos in conjunction with the use of depth of field allowed me to create images that show the weathering of the wharf and natures intention to claim back any Structures that impose. The ability of being able to take macro shots worked effectively as I was able to give a full orientation, and the relationships of the space at different distances from the camera lens up to the point where there is only a couple of millimeters between the lens and the wharf. Having three separate shoots allowed me to compare different lighting situations. The third shoot was taken at 5pm which created long and interesting shadows as well and a warmer feel to the shots. I would like to experiment further with shooting at different times of the day with the next project. 

144 - Seatoun Wharf - Shoot 3 - Contact Sheet

101 - Research - Drawing Technique: Exploded View

An intricately detailed cross section/exploded pictorial of the London Bridge. I am looking at using exploded drawing technique for my individual work.

144 - Precedence - Freeman Patterson

Freeman Patterson is a Nature Photographer from Canada. I selected this shot as it effectively conveys the space between three rooms in a similar way i am seeking to show the space under the Seatoun Wharf.

144 - Precedence - Edward Burtynsky

Oxford Tire Pile #8
Westley, California, USA, 1999

 Shipbreaking #13
Chittagong, Bangladesh, 2000

 Edward Burtynsky's series "Oil" investigated the vast landscapes only made possible by the discovery and mass consumption of Oil. i have selected these two shots from the series as i feel he is effectively able to convey the size of a space using depth of field to integrate the foreground and background, something i have been trying to achieve in my wharf shoot.

144 - Precedence - Michael Kenna

  Symbolic Railroad, Treblinka, Poland, 1993

Railway Lines, Salaspils, Latvia, 1999 

 

Latrines, Birkenau, Poland, 1998

"Concentration Camps" was a series by Michael Kenna shot over 11 years and completed in the year 2000. He was able to achieve shots of beauty, in contradiction to the horrible reality of the subject matter. I find these three select 3 shots use depth of field to effectively convey the great scale of these "camps". Depth of field is a technique i have been trying to integrate into my own shoot, to like Kenna effectively show a scale of what i am shooting. 

101 & 111 Precedence - Le Corbusier - Balance & Rhythm in Modernism

 Secretariat Building, Chandigarh

Palace of Justice, Chandigarh

 Le Corbusier was at the forefront of modernism and stylizes his work around this design movement. Modern architecture set to remove any unnecessary detail and strip a design back to its bones to highlight the notion that form follows function. Just like modern architecture, modernism in design seeks to remove any unnecessary details or intricacies. The design principals that make modernism effective in these two pieces are balance and rhythm. The balance, i believe in both designs comes from the uses of primarily vertical and horizontal lines. Rhythm is then able to play off this principal by the repetition of the many squares and rectangles created by the initial balance of the design. The way Le Corbusier has allowed these two principals of design to work harmoniously has inspired me to integrate them into my 101 copy/transform: identity work aswell as my 111 Information   
  aesthetics 3D card construction model.                 

101 - Precedenece - Stephen Biesty

Cross section of an ocean liner taken from "Incredible Explosions" - 1996 

Stephen Biesty is a British artist who's studies focused on historical reconstruction. His specialty lies in cross sections where he takes the conventional technical drawing styles such as cross section and exploded views and turns his artwork into a variety of the two. What i find most interesting is that even with the most intricate detailing of his work he uses only ink pens and water colors, no rulers. It is for this reason i have been inspired to investigate exploded cross sections further for my 101 copy/transform project's individual work. 

Project 1 - Space - Seatoun Wharf - Shoot 2 - Contact Sheet

Contact sheet from my second shoot under the wharf. Achieved a few nice images, however for my next shoot i would like to start experimenting with a macro lens in smaller spaces.

Mini World

Unfortunately my breaker bay panorama didn't quite work out when i tried converting it into a mini world due to the fact that the ends of the image where too different. I did however give it a go with a panorama image of New York i found on the internet.

Source: http://www.google.com/imgres?hl=en&client=firefox-a&hs=zzn&sa=X&rls=org.mozilla:en-US:official&biw=1280&bih=666&tbm=isch&prmd=imvnsa&tbnid=ZrRVToZdlPEgVM:&imgrefurl=http://www.newsilkroadtrading.net/gallery3/index.php/photos/3&docid=0ye3KY4MIlXJVM&imgurl=http://www.newsilkroadtrading.net/gallery3/var/albums/American%252520Landscape/nyc_future_2011_skyline_panorama.jpeg&w=3282&h=1440&ei=l75hT6mcC4OimQW_642gCA&zoom=1&iact=hc&vpx=147&vpy=185&dur=161&hovh=149&hovw=339&tx=192&ty=99&sig=102126465169980943602&page=5&tbnh=85&tbnw=193&start=75&ndsp=20&ved=1t:429,r:0,s:75

144 Precedence - Heinz Maier

Heinz Mair uses his interest in macro photography to show the intricacy of liquid in motion. I am looking at using a varity of different macro techniques in my series of under the Seatoun wharf to show in detail the effects of nature on man made structures.

144 Inspiration - Alec Soth

Alec Soth - From the series "Broken Manual"

Soth's series "Broken Manual" looks at the lives of hermits, hideaways and people who have forsaken society. I find this piece to be exceptionally haunting. An old school bus, which assuming would carry laughing children to and from school converted into a hermitage from society. I believe the piece is given the ability to provoke emotion by the way space enables the viewer to see the setting in which the bus is placed. A rundown trailer park, ensuing that haunting emotion.

144 Inspiration - J Bennett Fits

J Bennett Fits - From the Series "Industrial Landscaping"

I find this to be one of the most effective pieces in the series as it directly conveys the futility in attempting to integrate nature with industrialization. The form of the shot sits the shrubs in direct contrast with the railway lines by setting them in separate thirds of the frame. I hope to use this technique in my "Space" shoot by juxtaposing the Seatoun Wharf with the way nature has eroded away its bowels underneath it.

Project One: Space - Proposal

Proposal

For the local of project one i have chosen to shoot underneath the Seatoun Wharf. It is a place easily accessible to me as well as being a place that is able to convey the relationship between the built environment and the natural environment. I plan to use my shots, using the space underneath the wharf to show how nature has weathered and effected the wharf overtime.

Contact Sheet - Project 1 - Space - Under the Seatoun Wharf

Studio 3 (Identity) - Inclass Work

Rough sketch done in the third dsdn101 studio. 

12/3/12

Automated panorama using Photoshop. Setting is Breaker bay, Wellington. Taken from up on the heads.

Final manual panorama attempt in Photoshop. Setting is Breaker Bay, Wellington.

My name is Will Duncan and I am a first year design student living in Wellington, after recently vacating my home in Christchurch. As well as being an aspiring industrial designer I’m also a passionate musician. It is through music and my high school’s “Graphics” course that I found my roots in design. I loved spending hours creating gig posters and album artwork for the various bands I was in, alongside maintaining a healthy interest in Architecture and Industrial design at school. At the most fundamental level I have always wanted to create and although I am not the greatest freehand artist, design has presented me with the methods in order to not simply “draw” art but construct art.  Many different forms of design, whether it is print, architecture or industrial have always intrigued and interested me. One particular piece of design that has made a lasting impression on me was the inside of the Christchurch Cathedral. The Cathedral was built to replicate the designs of the English Gothic architect George Gilbert Scott. Scott would evoke feelings of awe and insignificance with the massive scale of the structures he designed. I had since then been intrigued by relationship between constructed places, spaces, objects and the feelings they inspire in a person. Scott and other Gothic/Renaissance cathedral architects knew of this relationship, something I aspire to replicate in my designs. I am hoping completing the Bachelor of design innovation will give me the chance to also further investigate this phenomenon and I keenly await the day when I can call myself a professional designer.      

"The designer has an enormous responsibility, they are the ones putting the wires into our heads."

- Helvetica - Documentary/Film by Gary Hustwit

Concept location first test shots.

•  Seatoun Wharf
•  “The Cutting” Breaker Bay/Seatoun
•  Cook Straight