This would ultimately become one of my favourite outcomes from my time at Cornell, but the brief shocked me. To make the bas-relief, we would have to destroy our line drawings. These, like the axonometric projection, would be cut up to create something new. 

Left, since both chipboard and paper were available to us for use, I largely used my maquettes to figure out an appealing balance between the materials. After some frustration, I realised that the key to 

success, indeed, as had been the case from the beginning, was the development of a system. I used chipboard to create walls and planes, the former being built on the foundations of the elevations incorporated into in the line drawing. This created a pleasing contrast between volume and line, and ultimately functioned as a stage for the paper embellishments.

Since doing things for decorative purposes alone tended to fail, I used the paper to recall the ruled lines I felt had gotten lost in the drawing process. This was achieved by cutting fans out of the paper.

Pulled down by gravity, increasingly small triangles, hinged along a common side, would fall out of their frames and create an intricate network of spaces and passageways.

A central aspect of my piece became the central crack, which I used to denote the progression of fragmentation. I considered the verb as representing a process rather than a final result, and so wanted to convey movement. The colour and material contrasts were integral to this.