Project 02

SURFACE AND DEPTH

Architecture is the masterly, correct and magnificent play of masses brought together in light. Our eyes are made to see forms in light; light and shade reveal these forms; cubes, cones, spheres, cylinders or pyramids are the great primary forms which light reveals to advantage; the image of these is distinct and tangible within us without ambiguity. It is for this reason that these are beautiful forms, the most beautiful forms. Everybody is agreed to that, the child, the savage and the metaphysician. Le Corbusier, Vers un Architecture

In this exercise we’ll introduce notions of volume, relief and texture as they relate to spatial relationships between objects, negative space and depth.

2.0 STILL LIFE

DUE DATE

Monday

July 22nd 9am

A still life is a work of art depicting mostly inanimate subject matter, typically commonplace objects which are either natural (food, flowers, dead animals, plants, rocks, shells, etc.) or man-made (drinking glasses, books, vases, jewelry, coins, pipes, etc.).

Through techniques of folding, unfolding, sectioning, joining, subtracting, and photographing, you will manipulate physical and digital surfaces in order to achieve formal and phenomenological effects. You should consider questions such as: When does a deviation in a surface generate volume and when does it generate texture? How is a figure-ground reading of form affected by light and shadow? What relationships develop between micro- and macro- articulations across a surface? Equally, you should consider how information moves between the multiple techniques of architectural design and representation that you are using. What is the relationship between an edge or crease in a physical model and a line in a drawing? What information is lost or gained when augmenting a surface through lighting? What are the limits of each material that

A still life is a work of art depicting mostly inanimate subject matter, typically commonplace objects which are either natural (food, flowers, dead animals, plants, rocks, shells, etc.) or man-made (drinking glasses, books, vases, jewelry, coins, pipes, etc.).

Through techniques of folding, unfolding, sectioning, joining, subtracting, and photographing, you will manipulate physical and digital surfaces in order to achieve formal and phenomenological effects. You should consider questions such as: When does a deviation in a surface generate volume and when does it generate texture? How is a figure-ground reading of form affected by light and shadow? What relationships develop between micro- and macro- articulations across a surface? Equally, you should consider how information moves between the multiple techniques of architectural design and representation that you are using. What is the relationship between an edge or crease in a physical model and a line in a drawing? What information is lost or gained when augmenting a surface through lighting? What are the limits of each material that you use, and what specific effects can they produce?

You will engage with these questions through a series of procedures that necessitate precise control and repetition while enabling the exploration of intuitive gestures and chance outcomes. Particularly important will be careful consideration of the development of serial or sequential structures of transformation within and across multiple models and images.

PROCEDURE

 

Begin in Rhino with a rectangular volume, each side proportioned greater than 1:1 (square) but less than 2:1.  Consider the ratios related to cinematic and photography standards (i.e. 16:9, 4:5, etc). The shortest edge of the volume should measure 12”.  Orient this volume horizontally relative to the front view camera. Rotate along the x-axis (Rotate3D) such that no face is flat against the xy plane in Rhino.

Next, create a set of at least three simply solids: cube, cylinder, cone.  All three types may be used or just one (ie, only cones), but there should be at least three total volumes of varying sizes that loosely fit within the rectangular volume created in step one.

Compose these solids in the rectangular volume using rotate, scale, and orient.  Consider repetition and perceived depth of the solids as the scale and intersect.  Examine the edges and lines of intersection and how these begin to form patterns and textures in the composition. (Pro-tip: copy and move to the side after each version to keep a record of studies.)

Using the Boolean Union, Intersect, Split, and Difference command, combine the composed solids.

Use the Boolean Difference command to subtract the combined solids from the rectangular volume.

Finally, do one of the following to reveal the interior composition: a. “Extract Surface” then delete the two faces of the rectangular volume facing the front view, or, b. “Split” the rectangular volume with another surface in plane with the front view, delete the excess.

Add a single spot light, position and scale to light the scene, turn on the scene sky light through the lights panel.

Render 1920 x 1080.

 

MATERIALS

Rhino Digital Model

Deliverables:  3 Volume Compositions, 3 Rendered Elevations of each composition with shadows

VIDEO TUTORIALS

you use, and what specific effects can they produce?

You will engage with these questions through a series of procedures that necessitate precise control and repetition while enabling the exploration of intuitive gestures and chance outcomes. Particularly important will be careful consideration of the development of serial or sequential structures of transformation within and across multiple models and images.

PROCEDURE

 

  1. Begin in Rhino with a rectangular volume, each side proportioned greater than 1:1 (square) but less than 2:1.  Consider the ratios related to cinematic and photography standards (i.e. 16:9, 4:5, etc). The shortest edge of the volume should measure 12”.  Orient this volume horizontally relative to the front view camera. Rotate along the x-axis (Rotate3D) such that no face is flat against the xy plane in Rhino.

  2. Next, create a set of at least three simply solids: cube, cylinder, cone.  All three types may be used or just one (ie, only cones), but there should be at least three total volumes of varying sizes that loosely fit within the rectangular volume created in step one.

  3. Compose these solids in the rectangular volume using rotate, scale, and orient.  Consider repetition and perceived depth of the solids as the scale and intersect.  Examine the edges and lines of intersection and how these begin to form patterns and textures in the composition. (Pro-tip: copy and move to the side after each version to keep a record of studies.)

  4. Using the Boolean Union, Intersect, Split, and Difference command, combine the composed solids.

  5. Use the Boolean Difference command to subtract the combined solids from the rectangular volume.

  6. Finally, do one of the following to reveal the interior composition: a. “Extract Surface” then delete the two faces of the rectangular volume facing the front view, or, b. “Split” the rectangular volume with another surface in plane with the front view, delete the excess.

  7. Add a single spot light, position and scale to light the scene, turn on the scene sky light through the lights panel.

  8. Render 1920 x 1080.

 

MATERIALS

Rhino Digital Model

Deliverables:  3 Volume Compositions, 3 Rendered Elevations of each composition with shadows

VIDEO TUTORIALS

IMAGE REFERENCES

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2.1 RELIEF

DUE DATE

Tuesday

July 23nd 9am

1. Scale model perpendicular to picture plane so the overall depth equals 3 inches.

2. Unroll Surfaces to create flat patterns. Note: before Unrolling, make sure surface normals are uniformly oriented toward picture plane.

3. Organize the resulting unrolled surfaces  and nest your patterns so the fit within a maximun of 4 19”x24 artboards. 

4. Print your patterns as a pdf.

5. Open pdf file and print each artboard as a multi page document using 11x17 page setup.

4. Print Pattern and transfer onto Bristol Board subtrate. 

5. Cut and assemble model.

6. Photograph your model using a single light setup matching the design intent in your renderings. 

7. Create 3 distinct elevations with by manipulating lighting angles, shadows and highlights.

MATERIALS

Rhino Digital Model, DSLR Digital Camera or Phone Camera. Recommended Apps: Lightroom,

Pro Camera, Halide.

DELIVERABLES

3  Photographic elevations

Useful Rhino Commands:

BoundingBox

Scale1D

Flip / Normals

Explode/ExtractSurface

               New Layer / Change Layer Color

               Change Object Layer

Unroll Surface

Rectangle 19x24 or 11x17 

Line -> Split / Join

Extract IsoCurve

Viewport Properties -> Show Isocurves

Rotate / Orient / Mirror

DupBorder

DupEdge

               Change Object Layer

Hide / Show

Print

               ->window and snap to box

               scale 100% / 1:1

               (size: 19” x 24”)

Print -> Save as PDF

2.2 SOFT FORM

DUE DATE

Thrusday

July 25th Noon

In this assignments we’ll introduce form-finding and texturing as an active agent in your composition. We’ll construct a model that is twice as big and twice as soft as your previous relief model with the intent of introducing material resistance, or lack off,  to produce nuanced surface effects. 

PROCEDURE

-Enlarge the Relief model patterns by 200% and transfer onto a soft paper substrate. Assemble 

-Join the edges of the paper by carefully taping the seam in a stitch pattern. 

-Once your model is folded-up and taped, collapse the three-dimensional artwork into a flat plane by exerting a downward force and allowing for the material to accommodate itself and re-distribute the stresses into a series of creases and folds r rendering material behavior. 

- Photograph your model using a multi color light setup. 

- Develop a color scheme and mix by projecting colored light onto your model by changing incidence angles. 

 

PHOTO ROOM LIGHTING SET-UP

 

Download Phillips HUE App [iOS, Android] on your phone or tablet. Log in to the dedicated wireless network in the Photo Room. 

 

Wireless Network: MM2018

Password: MaMe2018

 

Start Phillips HUE App and you’ll be prompted to discover new “Bridge”, after a few seconds it will find the MnM Hue bridge. Tap add and click on the bridge hub for your phone to access the domain. You’ll have access to the Photo Room light set up.

 

Photo Room consists of 2 Spot Lights and 2 Down lights. You have control over color, intensity, and direction of each of the light. 

 

Create a lighting composition by overlaying colored light layers over your textured model paying special attention to color mixing patterns, shadows and highlights. Photograph a few compositions and then select one for printing. Digitally trim the figure to a silhouette of your choosing. 

 

Print full scale to match your model size, mount on 2 ply board and trim to the figure outline.

 

DELIVERABLES 

1 36x48 Soft Paper Model

1 Full scale color photograph of your composition.

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2.3 EXPANDED FORM

DUE DATE

Monday

July 29th 9am

The third topic of the this assignment introduces students to relationships of volume, ground, gravity, interiority and color. The assignment will conclude with a discussion of the relationship of three-dimensional form, scale, texture and color. Skills will continue to work with digital modeling in Rhino, color applications in Adobe Photoshop, hand-built paper models, model photography and augmented visualization.

 

PROCEDURE

-Situate a primitive solid in a position that is antithetical to the ground, this can be achieved by leaning in any angle, resting on one edge, point or suspended above the ground.

 

-Develop a geometrical scaffold to fix the position and orientation of your volume in relationship to the ground by inter-penetrating volumes in such a way that you establish relationships of entanglement and tectonic co-dependency.

 

-You may use up to 9 primary shapes in your compositions and elements can be presented as either solid or voids.

 

-Using scalar relationships, develop a Spatial Sequence that ranges from fully volumetric to relief representation as you move around your model.

 

DELIVERABLES

3 Digital Models presented as a turntable animation.

1 Physical model at a scale of 1 ½”=1’

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