The topic “How to lay out a Croissant” is well expounded by an architect known as Enric Miralles”. The architect successfully explores the nature of an object in a rather simple manner that is easily understood. He goes further to expound on the object in a way that depicts a new meaning to the public at large. He does this by integrating classical representation to architectural reality which in turn led’s to an animated and dynamic object. Classical representation referring to the old and traditional way of modeling objects as the Architectural reality reflects upon the modern era for which objects are constructed in a sophisticated manner.
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The architect studies the croissant by its layout whose components are outlined as both the front and base layout. He uses the front layout in tracing the outline of the Croissant; he goes on to partition its interior into triangles. Within these triangles, the architect drop tangent lines that develop into geometric triangular spaces and he does this while making sure a maximum distance is created in between the tangent line and the outline. The distance created between each tangent is different and there no border intersections involved.
Within the base layout, the architect develops three triangles whose coordinates emerge from the centers to form a basic outline of the object taking into consideration that every vertex corresponds to the vertices of the front layout. Sections that cut through the Croissant, from top to bottom, are basically related to the triangles created since they pass inside the same triangles.
Moving forward, the architect comes up with precisely, twelve cross-sections cuts that drop from the horizontal to the vertical base plan while doing so the architect takes into consideration to allow for different distance in between the cross-sections. The precise cuts made on the object forms a common system out of the tangent lines which expands systematically as the equidistance created in between the cuts is still checked and maintained properly. This system plan created is depicted in a way that makes it very difficult to interpret the correlation involved while in the construction stage. As time goes on, cuts made from points A to L extents horizontally and vertically meeting at a centralized planned point.
The cuts made on both the front and base layouts are done in a systematic way in the sense that cut C cannot be made before cut B and cut B cannot be made before cut A and so on and so forth. The difference, in distance in between the laid out layouts that arises out of these cuts is meant to represent the new changes that the objects undergo in their respective life time. This systematic arrangement creates a solid base which evokes movement of objects through space thus depicting the passage of time. The passage of time that is being looked on represents the time taken while still creating the design of the object.
The unconnected details used in illustrating the components of the objects are independent of each other but in essence appear equally placed.