Austin Lightle is an architectural designer currently residing in Los Angeles, California. He is currently pursuing a Masters degree at the Southern California Institute of Architecture. He received a Bachelor of Science in Architecture from The Ohio State University with a Research Distinction and Honors.
Sci-Arc
2020 2022
M.Arch II
AUSTIN LIGHTLE
SELECTED WORKS
AUSTIN LIGHTLE CONTACT INFORMATION
Austin.j.lightle@gmail.com 740-708-7013
STATEMENT
Austin Lightle is an architectural designer currently residing in Los Angeles, California. Born in rural Ohio, he had little interest in design and more interest in construction. He went to college at The Ohio State University to study architecture with the goal of entering the field focused more on construction and details. During his time at Ohio State, he began to understand architecture as something other than a building. He became interested in other mediums at his time at Ohio State and wished to further explore the future of architecture through a technological scope. After graduating from The Ohio State University he spent a year working as a designer at Pelli Clarke Pelli Architects in New Haven, Connecticut. He is currently pursuing a Masters degree at the Southern California Institute of Architecture. He received a Bachelor of Science in Architecture from The Ohio State University with a Research Distinction and Honors.
TABLE OF CONTENTS
008 POLLUTED SCHOOL DS 1200 2GAX Computational Morphology
038 ACRO VS 4200 Visual Studies I
056 SPLIT TRANSPARENCY AS 3200 Advanced Tectonics & Materials
066 CASUAL PLAYBOR
148 FITTING ROOM DS 4000 Fashioning the Phygital
172 OB_CESSION
HT 2200 Theories of Contemporary Architecture
AS 2768 Phygital Materiality
076 RESOLUTE AMALGAMATION
188 CURVED NOTION
DS 1201 2GBX Generative Morphology
108 Æ A-XII VS 4201 Visual Studies II
124 MATERIAL MEDIUM HT 2201 Theories of Contemporary Architecture
AS 2765 Steam Odyssey
202 Design Development AS 3222 Design Documentation
220 HOW ARE IMAGES READ? HT 2553 Aesthetic Implications of Noise
234 GENERAL CONDITIONS DS 5000 Double Standards
256 PERCEPTUAL DETAIL AS 2509 Details, Details
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POLLUTED SCHOOL
The studio focused on the idea of changing the classroom and the school in light of the recent pandemic. We began by reimagining nature and its allure. The project was designed in incremental steps following the Ray and Charles Eames Power of Ten Method. My project began by analyzing trees and their branching systems. The idea of the branch became an organizing structure for my project, allowing things to happen sectionally in between the branching pieces. For my school, I wanted to create an open environment that allowed the students freedom. I wanted to break the traditional structure of a classroom by removing the
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2GAX DESIGN STUDIO I Fall 2019 FLORENCIA PITA
walls and bringing artificial nature into the space to create diversity. Instead of separating the spaces with walls, I separated the spaces by sectional changes by raising and lowering the floors. The raised floor spaces allowed for space to flow into one another, while also keeping the classrooms connected to the outdoors. Being situated so close to the LA river, I wanted to utilize the plastic waste and aggregates as a new building material. I used the waste to create a plastiglomerate that formed the branching structure. An algae-polythene hybrid material was used to form roof-scapes. I allowed the natural marsh to flow up the center of the site, creating a raised pathway system from the branching structure that connected all of the school components.
Polluted School
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Polluted School
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Intermediate School Middle School Junior High School Gymnasium Office Building Auditorium and Gallery Ecology Center
Playground Spaces
Circulation
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Algae-Polythene Roof
Floor Plates
Plastiglomerate Structure
Polluted School
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A branching structure moves throughout the site, forming pathways and spaces. The bars move vertically to form the space of the school building. They supported floor plates and mezzanines of varying heights, creating spaces through section and not by physical barriers.
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Polluted School
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Polluted School
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Base Image
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Alpha Image
Albedo Map
The project draws from the formal properties of nature through the use of texture. Images of nature are used to generate displacement and base color maps. The displacement maps are used to create texture on the objects. Plastic waste from the LA river was re-purposed to create a play-scape inside the classroom. The play-scape mimics the formal properties of trees.
Polluted School
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Algae-Polythene Lounge Chair
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Branching Play-scape
Polluted School
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Classroom Landscape As technology has been adapted to the classroom, the need for a hierarchical desk arrangement is no more. The classroom should be a space that allows the kids to decide where and what they want to sit on. Plastiglomerate bars fold into the space, giving the kids a surface to sit on. A branching play-scape also interrupts the space and allows kids to freely interact with it.
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Plastiglomerate Bar Structure
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Plastiglomerates bars intersect the space. Mezzanines are formed to give the students alternate areas to sit and learn. The algaepolythene roof allows light to be filtered into the space.
The roof structure does not uniformly cover the space below. At times, floors slip between the roof-scape and creates mezzanine spaces that bridge the interior and exterior of the classroom.
Mezzanine Play Space
Polluted School
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Classroom Space Delineation
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The classroom is not bound by walls, but rather separated by changes in section. The plastiglomerate bars outline spaces at different heights, separating the space.
Classroom Separation
The classrooms separate form one another, opening up the sides to have more of a connection to the exterior.
Polluted School
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Site Strategy The natural marsh flows up the center of the site and a new raised ground is created for the program and circulation. The natural dry landscape of LA was recreated around the exterior of the site, filled with local ecology. The buildings were more solid and regular on the urban edge and began to separate and become more connected with nature and they moved further away from the urban edge.
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Polluted School
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Ecology Center
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Gallery and Auditorium
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Classroom Formations As the classroom clusters move further away from the urban edges, they become more disjointed. Each classroom space is separated from the adjacent one, but still connected by the roof-scape.
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Polluted School
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Algae-Polythene Texture
Ecology Center Surface Texture
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Gallery Surface Texture
Gymnasium Tower Surface Texture
Polluted School
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Polluted School
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ACRO
2GAX VISUAL STUDIES Fall 2020 Eda Taracki William Virgil
Acro signifies the beginning or the end. The project is a metaphor for the end if we do not act at the beginning. The landscape is desolate on the ground, but flourishes at the top. The top appears to be unreachable, forever in control of the remnants that lie below it. Voting is the singular most important aspect of democracy. Voting is suppose to be the way to keep things in check and to maintain equality. A quote by Thomas Paine, “Voting is the right on which all other rights depend”, perfectly sums up the importance of voting
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in order to prevent disparity. Even though voting may appear accessible to all, it is not equally accessible. There are still restraints and restrictions systematically put in place to hinder some people from voting. Our billboards stand as a monument to the world in which equality once existed. A world that seems lost. The billboard is now only a artifact of a lost time. “Our lives end the day we become silent about the things that matter” - Martin Luther King Jr.
Polluted School
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Cartoon Alpha’s
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Cartoon characters were gathered and image traced to create silhouettes. Through a series of photoshopped manipulations, they were combined to create an alpha map collage.
Shadow Box Geometries
The new alpha maps were used in Zbrush as masks to create new forms. The resultant forms were combined through a series of boolean operations to create the billboards.
Acro
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Billboard One
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Billboard Two
Acro
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“Voting is the right on which all other rights depend” - Thomas Paine The design of the billboards is to signify the importance of voting and the difficulties that prevent that right from being fully exercised. The structure is a chaotic and unbalanced component working to support the billboards.
Acro
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Flourishing Top and Barren Bottom
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Acro
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Billboard Relic The billboards are a collection of objects that are being overpowered by a larger object. This became the basis for the construction of our world. The billboards were a relic to a past world that no longer exist.
Acro
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Perspective of The Monuments
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Acro
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Billboard One
Billboard Two
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Billboard Structure
Acro
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Animation Sequence The animation of the project used the aspects of the camera, along with audio, to evoke an emotion. By increasing the depth of field the camera at the same time as the camera is pulling away, we reinforced the idea of making it appear as unreachable.
Acro
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SPLIT TRANSPARENCY The Blavatnik School of Government served as a ground breaking building in facade tectonics and function. Oxford University wanted a building designed to be a parliamentary space, centered around collaboration and transparency. Constructing a fully glass and transparent enveloped in a cold climate usually comes with a great expense to the environment. Herzog and de Mueron were able to achieve a fully glass envelope while also only consuming 50% of the energy most buildings its size would consume. Herzog and de Mueron used their tectonic expertise to develop a dual skin facade. The outer glass skin of the facade consisted of two foot wide panes of glass, separated by a two inch
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2GAX ADVANCED TECTONICS & MATERIALS Fall 2019 Katherine Gessing Camille Thai Maxi Spina Randy Jefferson
air gap. This air gap allowed for air to pass through the first layer of the facade, but not the second layer, creating a micro climate. This micro climate kept the temperature between the layers of the faced uniform all year round, allowing for natural ventilation and less thermal bridging. The tectonic expressions of the building was explored through isometric drawings, allowing us to dissect the components of the facade. The tectonics of the envelop was adapted to incorporate the facade from The Uppsala Concert Hall. The envelop of The Uppsala Concert Hall is contrasting to that of Blavatnik, designed to be opaque and vertical.
Polluted School
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Blavatnik School of Government
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Designed by Herzog and de Mueron in 2016. The design of the school centered around the idea of paying homage to local Oxford design while also maintaining an open space for interaction.
300 MM REINFORCED CONCRETE SLAB
350 MM POST TENSION CONCRETE SLAB
RAISED FLOOR SYSTEM
PRECAST CONCRETE UNIT WITH STEEL SUPPORT DOUBLE GLAZING 8 MM TOUGHENED GLASS GLAZING: 2X 15 MM LAM. SAFETY GLASS
175 MM THERMAL INSULATION TWO LAYERS BITUMINOUS SEAL 350 MM REINFORCED CONCRETE
Isometric Detail
The exterior of the building consist of two glass envelopes, separated by 75 cm air gap. The interior consist of concrete plate construction with a central atrium.
Split Transparency
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METAL JOINERY SYSTEM RIGID FOAM INSULATION PRECAST CONCRETE UNIT HOLLOW STEEL TUBE INTERSECTION
ALUMINUM FRAME
Envelope Isometric Detail
RAISED FLOOR FLASHING 180 MM PEDESTALS 180 MM INSULATION STEEL MOUNT HOLLOW STEEL STRUCTURE
Roof Isometric Detail
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PRECAST CONCRETE UNIT 65 MM CONCRETE SLAB
20MM OAK PARQUET, CLEAR LACQUERED 440 MM PEDESTALS 200 MM REINFORCED CONCRETE 150 MM REINFORCED STRUCTURAL BALUSTRADE 20MM OAK PARQUET, CLEAR LACQUERED 100 MM PEDESTALS 200 MM REINFORCED CONCRETE SLAB
Converging Floor Plates
The envelopes peel away from one another at each floor. A raised concrete lip in the floor slab is used to connect the envelope to the building.
Split Transparency
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300 MM REINFORCED CONCRETE SLAB
300 MM REINFORCED CONCRETE SLAB
350 MM POST TENSION CONCRETE SLAB RAISED FLOOR SYSTEM 350 MM POST TENSION CONCRETE SLAB ALUCOBOND METAL PANEL DUAL FACADE GLAZING: 2X 15 MM LAM. SAFETY GLASS 300 MM SPLIT LEVEL CONCRETE SLAB DOUBLE GLAZING 8 MM TOUGHENED GLASS + 12 MM CAVITY + 2X 4 MM LAMINATED SAFETY Glass 175 MM THERMAL INSULATION TWO LAYERS BITUMINOUS SEAL 350 MM REINFORCED CONCRETE
Section Isometric
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The vertical aspect of Uppsala Concert hall was adapted to Blavatnik by adding skylights that connected to adjacent glazing on the envelope, creating a visual continuity. The angled metal facade module was adapted to fit the exterior glazing system. The exterior enveloping system consisted of equal parts glass, metal ,and perforated panels, allowing for air to still pass through to create a micro climate between the two envelopes.
Split Transparency
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400 MM RAISED FLOOR STRUCTURE 300 MM SPLIT LEVEL CONCRETE SLAB RIGID FOAM INSULATION HSS FACADE STRUCTURE STEEL BRACKET RIGID FOAM INSULATION 200 MM CONCRETE SLAB METAL PAN FOR PLANTING FLASHING
300 MM SPLIT LEVEL CONCRETE SLAB RAISED CONCRETE LIP RIGID FOAM INSULATION 65 MM CONCRETE TILE ROOFING 200 MM REINFORCED CONCRETE SLAB HSS FACADE STRUCTURE ALUCOBOND METAL PANEL GLAZING: 2X 15 MM LAM. SAFETY GLASS DOUBLE GLAZING 8 MM TOUGHENED GLASS
Envelope and Slab Connections
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DOUBLE GLAZING 8 MM TOUGHENED GLASS + BOLTED PLATE CONNECTION STEEL FACADE MOUNT RAISED CONCRETE SLAB HOLLOW STEEL STRUCTURE 300 MM REINFORCED CONCRETE SLAB
65 MM CONCRETE TILE ROOF RAISED ROOF STRUCTURE ALUMINUM SKYLIGHT MULLION RIGID FOAM INSULATION 300 MM REINFORCED CONCRETE
Envelope Skylight
DOUBLE GLAZING 8 MM TOUGHENED GLASS ALUCOBOND METAL PANEL DUAL FACADE GLAZING: 2X 15 MM LAM. SAFETY GLASS
FLASHING BOLTED PLATE CONNECTION METAL BRACKET ACM JOIST HSS FACADE STRUCTURE RIGID FOAM INSULATION RIGID FOAM INSULATION
DOUBLE GLAZING 8 MM TOUGHENED GLASS
Slab Edge Detail
Split Transparency
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CASUAL PLAYBOR
Twitch and similar platforms offer the ability to convey information in a more personal and unique way. Live streams allow for the speaker to have an intimate connection to his viewers and receive live feedback and reactions via a chat stream. What separates live streams from other presenter-based software is the fact that live streams have a visual component as the main focus. While other video streaming software is meant for scripted presentations, live streams are content-based with ad-libbed descriptions and annotations. The streamer builds off of the audience,
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2GAX THEORIES OF CONTEMPORARY ARCHITETURE Fall 2020 John Cooper Erik Ghenoiu
he adapts the way he performs based on the feedback the audience gives. This can bring an interesting aspect to a field such as architecture that primarily exists in a digital model platform. I used Twitch and live gameplay from Minecraft to explain the ideas behind the Homo Ludens by Huizinga. Video games are often viewed as merely a waste of time and form of juvenile play. While the main goal of video games is to play, they almost always contribute to capitalism and become a hybrid of labor and play or playbor.
Polluted School
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Minecraft Intro Screen “Minecraft is a generative open-world game that was released in 2011 and has seen over 200 million copies sold. The game is primarily played as a survival game, meaning you have to gather resources, produce goods, and build a shelter to survive.” “Video games are inherently architectural because they deal with the depictions of constructed space and the actions that take place within it. In Minecraft, architecture serves as both the backdrop and the protagonist. The game is a constructed world, strictly bound to an isotropic grid. All elements of the game are made of square modules of an identical size that fits within the grid system. The idea of the grid is something that has long been attached to architecture and digital software.”
projects as virtual zones of unprecedented visual and protological complexity that are held together through underlying organizational systems. Archizoom and Superstudio taught us that the discipline of architecture could be challenged through new mediums in a way that is both playful and subversive.”
“1960’s speculative architecture firms, such as Archizoom, foreshadowed video games by depicting Pearson, Luke Caspar. “From Superstudio to Super Mario”. E-Flux. February 13, 2019. https://www.e-flux.com/architecture/ becoming-digital/248078/from-superstudio-to-super- mario/
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Pearson, Luke Caspar. “From Superstudio to Super Mario”. E-Flux. February 13, 2019. https://www.e-flux.com/architecture/ becoming-digital/248078/from-superstudio-to-super- mario/
Work, Leisure and Play “According to Johan Huizinga, life is split into two parts, leisure, and work. He defines work as building up capital or making a contribution to an economical system, in other words, you are bound to something or someone. Leisure is a type of freedom in which what you are doing is for your own personal enjoyment and you are not bound to an exterior system.” “Play is a form of leisure that can be either highly structured or whimsical. Video games are a common type of play that tend to be more structured and involve things that can be measured.”
“Play is divided into two parts, qualitative and quantitative. Qualitative games are rare, they have no end goal or measured aspect of success. Quantitative games measure you success or progress.” “Minecraft is a unique game that offers a qualitative mode called “Creative”, and a quantitative mode called “Survival”.
Huizinga argues that in order for play to happen, you need to be in a second reality, somehow separated from real life. Alexander R. Galloway describes it as “A game is like a magic circle, one must step inside the circle before play can happen” Huizinga, Johan. Homo Ludens: A Study of The Play-Element in Culture. First. London: Routledge & Kegan Pual Ltd, 1949. 10.2307/2087716.
Casual Playbor
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Stepping Into a New Reality
Architect Quantitatively Playing Minecraft
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“When Minecraft first came out, everyone played as the same character. Interestingly, this character had no name and always wore navy blue pants and a turquoise shirt. Little importance was given to the character” “The player is given no backstory to the character, no heroism, frankly nothing to even fall in love with. The game is not about the character, but rather about you forming an identity of a new self in the game.”
“The game is made up of the identical sized modules, however not all modules exist equally. Each type of module has a different texture map along with different physical properties” “In Survival mode, the player starts with nothing other than his bare hands. You are reduced to your primal self and forced to collect resources in order to progress.”
goods with the ultimate result of progress.” “The relationship of Minecraft survival mode to the real world makes it harder to separate labor from play, leaving you stuck in a form of playbor”
“Survival mode has an end goal, making it quantitative. You must find a hidden portal and travel to a new world to slay a dragon. There are also zombies and other enemies in the world that will attack you, forcing you to build shelter and smelt armor. Your character must also maintain a consistent source of food by either hunting or farming.” “The game is very similar to a capitalistic driven world, with a goal of amassing resources and Galloway, Alexander R.. “The Rupture of Play.” Volume: Play-Bor, no. 56 (December 2019): 6-9
Casual Playbor
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Architect Leisurely Playing Minecraft “In Creative mode, the character is suddenly free of all mortal aspects. There is no longer gravity, all blocks are stripped of physical properties, you begin the game with all the resources of the game already in your inventory.”
“Creative mode draws parallels to Constant’s New Babylon by enmeshing the logics of architecture and play together. Similar to New Babylon, Minecraft is an endless world that allows you to playfully drift through spaces”
“Creative mode allows to adjust how the world will be built before you spawn into it. This gives the player the ultimate freedom to interact in this world however they please. There is no goal to this mode, making it fully qualitative”
“Just as Archigram and Superstudio built worlds on paper that inhabited new dimensions, you can build new worlds through Minecraft.”
“The player can choose to simply fly around and observe the terrain, take walks through the forest, swim in the ocean, or watch the sunset. The player can also choose to express their creative liberties and begin to build and shape the world as they see fit”
Pearson, Luke Caspar. “From Superstudio to Super Mario”. E-Flux. February 13, 2019. https://www.e-flux.com/architecture/ becoming-digital/248078/from-superstudio-to-super- mario/
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Qualitative and Quantitative ‘Play’ “Minecraft and Twitch became vital tools to display the aspects of playbor, qualitative and quantitative games.” “ As video games have become a dominant industry, cynical aspects of capitalism have entrenched themselves. Video games are not free, and often the games require in-game purchases as you them.” “Gamification, or the process of using game mechanics to extract free labor from an individual, is prevalent in video games today. “Block By Block” is a program created by UN-Habitat that allows locals to design public spaces in their cities using Minecraft. UN-Habitat then takes their favorite design and constructs an affordable version of the space. While the program has positive aspects, it is also exploiting free labor from primarily impoverished regions” Galloway, Alexander R.. “The Rupture of Play.” Volume: Play-Bor, no. 56 (December 2019): 6-9
“Decision-making in Survival mode is based on resources. You are not free to do as you wish because you must go mining, farming, hunting, and gathering in order to survive. In creative mode, however, your decision are no longer based on resources. Since physical properties no longer exist, you begin to make decisions on your aesthetic judgment of your inventory. This allows you to truly personalize your world.”
Scavnicky, Ryan. “How did DOOM Change the way you see the world?” YouTube, April 22, 2020. Video. https://www. youtube.com/watch?v=jNtmh-pFVMA
Casual Playbor
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Qualitative Exquisite Corpse “Creative mode can also be played as a community, allowing friends or strangers to inhabit the same world as you. You can choose to communicate with them through a voice chat function, an instant message bar or you can choose to have no communication.” “This is an example of a qualitative world in which over 200 participants from around the world joined and did as they pleased. It ultimately became a game of exquisite corpses, blending fantasy and vernacular styles from the diverse participants. It became their form of a utopic world that separated them from reality”
Pearson, Luke Caspar. “From Superstudio to Super Mario”. E-Flux. February 13, 2019. https://www.e-flux.com/architecture/ becoming-digital/248078/from-superstudio-to-super- mario/
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Empowered Play “Video games allow players to hold a mirror up to society, just like Archizoom and Superstudio’s utopic projects of the 1960’s.” “This is a world that was created by BlockWorks in partnership with Reporters Without Borders. It was a virtual library built on a Minecraft server that contained censored media from around the world. Citizens of countries with suppressed media could access the world and read news stories that otherwise would not be possible to read. This world used architecture as a way to empower people.
Bibliography: Galloway, Alexander R.. “The Rupture of Play.” Volume: Play-Bor, no. 56 (December 2019): 6-9 Huizinga, Johan. Homo Ludens: A Study of The Play-Element in Culture. First. London: Routledge & Kegan Paul Ltd, 1949. 10.2307/2087716. Pearson, Luke Caspar. “From Superstudio to Super Mario”. E-Flux. February 13, 2019. https://www.e-flux.com/architecture/ becoming-digital/248078/from-superstudio-to-super- mario/ Scavnicky, Ryan. “How did DOOM Change the way you see the world?” YouTube, April 22, 2020. Video. https://www. youtube.com/watch?v=jNtmh-pFVMA
Pearson, Luke Caspar. “From Superstudio to Super Mario”. E-Flux. February 13, 2019. https://www.e-flux.com/architecture/ becoming-digital/248078/from-superstudio-to-super- mario/
Casual Playbor
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RESOLUTE AMALGAMATION Mountains are hoarders, they are constantly collecting vegetation, precipitation, animals, fungus, aggregates, waste, etc. They are objects of multiple scales, resolutions, and layers. A singular mountain appears to be of a low resolution, like that of a primitive triangle with low fidelity. As you zoom out or in, the resolution and layers change. A mountain range appears at a high resolution of peaks and valleys with objects layering on and round them, such as clouds and vegetation. If you zoom into the surface of a mountain, the surface resolution becomes clearer and less indexical with numerous characteristics. What appeared as a low fidelity now appears as high fidelity, an amalgamation
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2GBX DESIGN STUDIO I
Spring 2021
DAMJAN JOVANOVIC
of resolutions, layers, and scales. While the mountain shape barely changes over time, its surface definition and articulation are constantly changing. Nature in my project serves as both the subject and the object. Nature, specifically mountains, became something to analyze and decipher. Using precise software, the imprecision of nature becomes recreated formally. In this case, nature is converted into a physical form as an object. Nature becomes part of the project as a literal element and a diagrammatic element. If real nature serves as a subject for the form, then the form becomes the created object of artificial nature.
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Small Auditorium
Lobby
Classrooms
Program Plans
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Large Auditorium
Cafe
Roof Top
Library
Classrooms
Ourdoor Performance
Orchestra Rooms
Office Space
Office Space
Program Axons
Resolute Amalgamation
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Roof Top
Orchestra
Library Classrooms Small Auditorium
Large Auditorium
Lobby Classrooms Cafe Office Space Office Space
Public Circulation
Program Diagram
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Each program has its own form and is stacked on top of one another. A circulation path wraps the exterior of the building and serves as a progression connecting each program.
Ground Level Plan
The site can be accessed from the two southern corners, with the main entrance on the eastern side. The pathways on the side lead you underneath the building, where you can access the main circulation path.
Resolute Amalgamation
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North South Section
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Resolute Amalgamation
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West Elevation
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Resolute Amalgamation
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Outer Shell Surface
Building Surface
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Using algorithmic based software, the amalgamate formal qualities and resolutions of the mountain were used to develop the form of the building and create an articulated surface. The blend of different forms and textures appears to be imprecise and random, even though they were created with precise software. The indexicality of the digital tool becomes less apparent.
Resolute Amalgamation
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Outer Shell
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Massing Axonometric
Resolute Amalgamation
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Outer Shell
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Resolute Amalgamation
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A shell covers the site and music school to create a biosphere on the interior, allowing nature to flourish in a clean environment. The lightness of clouds and the solidity of mountains were blended to create the formal properties. The shell becomes a synthesis of textures and transparencies created by an interlaced structure with compressing and expanding nodes. An additional layer of particles moves across the surface to serve as a filter to gather pollutants.
Resolute Amalgamation
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Interior Biosphere
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Resolute Amalgamation
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Rooftop Amphitheater
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The circulation acts as a progression, eventually ending at an amphitheater on the top of the school.
Exterior Amphitheater
The site features multiple exterior performance spaces. A large amphitheater is situated within the landscape, allowing for formal and informal performances.
Resolute Amalgamation
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Site Entrance
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The interior of the shell is a new environment, creating a new world within the site. The inside of the biosphere is full of plants and vegetation, with a backdrop of the music school as a form of synthetic nature.
Resolute Amalgamation
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Vermont Ave Elevation
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Resolute Amalgamation
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Exterior Surface Layers The building massing is blend of different physical textures, acting at different scales and resolutions. An additional layer of image maps is placed on top of the physical texture to create an imposition of patterns.
Resolute Amalgamation
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Main Entrance Lobby
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Resolute Amalgamation
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Auditorium Interior Like the exterior, the interior of the school is a composition of physical and digital textures. The physical texture on the interior becomes more defined with harder edges. A smooth metallic surface blends with the hard edges to create contrast.
Resolute Amalgamation
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Æ A-XII
2GBX VISUAL STUDIES Spring 2021 Damjam Jovanovic
Humanity has long had a desire for nature. It is something that we have romanticized and held to a new idealized standard. The relationship of nature and humanity has had a long complex history, a history that has often seen humans attempt to take a superior role and create a false construct. This project specifically focuses on the relationship between nature and urbanism. There has been a large push in recent history to bring more greenery to cities. The nature that we see in an urban context is not nature in its true form, but rather a curation. Nature in its true essence is wild and chaotic, controlled only by itself. Cities, on the other
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hand, are rigorous systematic machines. The city is an ordering system, forcing nature to be a constructed participant within its bounds. What happens if the roles are reversed and nature is not the ordering system and the cities become the constructed participant? In order to understand this new relationship, one must be unfamiliarized with urbanity and nature as we know it. Æ A-XII is an active simulation created in Unreal Engine that allows players to inhabit unfamiliar territory.
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Æ A-XII Æ A-XII is a planet in which nature is true to its wild self and the city only exist where nature allows it too. The new ordering system of nature is not defined by grids and humans, but rather by the interstitial space of nature.
Æ A-XII
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First Person View
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Æ A-XII
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Walking Simulation
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Interactive Nature Simulation
Æ A-XII
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Focal Length Animation
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Æ A-XII
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In the world X Æ A-XII, Nature still has its dominance and urbanism still has its chaos. Instead of replacing nature, the city exists where nature allows it too. Nature is present in the foreground and the background, the city exists somewhere in between. This new planet is an active simulation that allows the player to explore and discover these new unfamiliar relationships.
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Relationship of Nature and Urbanism
Æ A-XII
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Estranged Natural Object
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Æ A-XII Vegetation
Æ A-XII
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Walking Simulation
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Æ A-XII
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Æ A-XII
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MATERIAL MEDIUM
On Kamilo Beach in 2006, an oceanographer discovered a piece of plastic that had washed up on the beach. Upon further inspection, the oddities of the plastic began to emerge, there were bits of rock, sand, and other elements fused with the plastic. This new type of rock, a hybrid of plastic and natural elements, became known as the plastiglomerate. They have marked, perhaps, a new geological epoch on earth signifying an impact made to the earth’s ecosystem. This new stone has emerged because of the mass production of plastics that are left astray in nature. Many of these plastics will not decay for over five hundred years, long outliving a human life. Plastiglomerates
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2GAX THEORIES OF CONTEMPORARY ARCHITECTURE Spring 2021 Marcelyn Gow John Cooper
are a unique material that is tied directly to the environment and humanity, they are a blend of subject, object, and environment. Platiglomerates have not only impacted the ecosystem of the earth, but it has impacted the way we think about architecture as well. The ideology of plastiglomerates provides a critical aspect to examine our approach to design as architects. Architecture has long been a field dominated by a formal approach, leaving materials to be a cladding on an idealized form. If we examine architecture as a middle ground between designers and the environment like we do plastiglomerates, we can see architecture’s relationship to the environment differently.
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Material Medium Gallery Material Medium is a digital gallery curated in Unreal Engine. As a player, you are free to roam around the space and explore. The gallery is a collection of exhibits by architects that have allowed the material to take authorship in the design process.
Material Medium
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Human Production
Plastic (Subject made waste)
Plastiglomerate Aggregates (Enviroment)
A unique material that is tied directly to the environment and humanity. Its a blend of the subject (humans), object (plastic), and the environment.
Roman Concrete Designing with material
Conglomerate
A sedimentary rock composed of rounded clasts that are over two millimeters in size and bound together by cement composed of calcite.
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Romans began using concr early as 200 B.C. It was mad of natural materials, using la aggregates held together b smaller aggregates and cem
Architects often work with material as an idea of perfection. It is just a cladding over their ideal form, the material is not embraces for its physical properties but its aesthetic value. Material is often completely left out of the design process and only used to realized the form in the built environment.
Post Rock
Formal Complexity
Materiality
rete as de up arge by ment.
Digital Materiallurgy
Embodies the trajectory of materials and forces, rather than diagram form. It is not a representational tool for a medium, but rather a medium themselves.
Limiting design control to the material, capitalizing on matters ability to produce unexpected formal and material complexity. Digital Materiallurgy is a call to use material as a design medium and to relinquish control from the software to the material itself.
Indexical Results
Concrete fills the form work and its interior is no different from the exterior
Formal complexity in architecture is driven through metadata and software. The built results of the 3d model is produces by working with the material from the atomic level at an extreme precision.
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Environmental Photographs Author Unknown Royalty Free Content
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In 1907, the Belgian-American chemist Leo Baekland created Bakelite, the first synthetic, mass-produced plastic. Plastics adaptability, durability, and flexibility forever changed production as well as the environment. More than 380 million tons of plastic are produced each year worldwide. With a lifespan nearly seven times greater than a human, plastics long outlive humans.
Plastiglomerates Kelly Wood - Photographer Patricia Corcoran - Geologist
A new type of stone, recently designated as “plastiglomerate”, has emerged since the mass production of plastic begun. This new stone is formed from the accidental hybridization of aggregates and plastic waste from humans. They are a material that represents the relationship between humans and the environment. Plastiglomerates are representational objects, they represent the blend of the subject, object, and environment.
Material Medium
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Plant T+E+A+M Studio
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From the idea of plastiglomerates became a new actor in architecture centered around the idea of “Post Rock” as stated by TEAM STUDIO. Post Rock is a new type of material that is authored rather than found. It creates a new idea of working with the material in architecture as a physical medium. For Post Rock, the material is no longer a representational tool for a medium, but rather a medium itself. In TEAM STUDIO’s project, Detroit Reassembly Plant, plastic waste, and concrete aggregate from Detroit were used to create a new building that translated both culture and ecology from the city. This idea of Post Rock also introduces a new understanding of architecture’s relationship to the environment.
Dusty Relief Francois Roche
Through a similar idea of “Post Rock”, came matierallurgy, a play on material and metallurgy as stated by Adam Fure. Medieval blacksmiths did not understand how the molecular level of metal worked, only knowing how to slowly work the material from the outside. Digital fabrication has become a process of working with materials on a molecular level, making the material match an exact model. Matierallurgy is the argument that material should be used as a medium when making form, not an afterthought for production. Rosche’s Dusty Reliefs allows for the exterior of the building to form itself, merely only giving shape to the program and covering in an electrostatic net that collects pollutants.
Material Medium
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P_Wall Andrew Kudless
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In P_Wall, Andrew Kudless created a complex form without the use of data-driven software and digital fabrication. Kudless made form work with a spandex base, allowing the material to take form in unpredictable ways. The complex form was created by designing with material as the medium instead of software.
Sumak 2’ Roxy Paine
Roxy Paine’s exhibit, Sumak 2’, created amorphous sculptures through the viscosity of the material. An automated machine slowly oozed plastic, creating a unique piece every time. Paine turned over the design of the sculpture to the machine and the material, he could only author how thick the material was and not the form directly.
Material Medium
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Material Medium Gallery The estranged central object is not clarified until the inhabiter located a hidden entrance into a back room.
Material Medium
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Photogrammetry Models Melted Plastic
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Plastiglomerates create a starting point for re-examining architecture and its role in the environment. Along with this, it also opens the discussion of how architects design unique forms. The form is often generated through mathematical-based software that is made of algebraic equations. Resulting in an indexical form that has done little to push the boundaries of a new form. In a process of working with material as a medium to create small forms, I replicated the process of plastiglomerates by melting plastic and using found rocks. This became an important study of learning how the two different matters combined in different conditions based on the viscosity of the plastic to create unique characteristics.
Photogrammetry Models Casted Plaster
By tying the form to the material, you are creating a form that cannot be realized beforehand with the use of digital tools. The new form that is produced is therefore one that has an opportunity to be unique, one that may be the answer to Kipnis’s DeFormation camp. Material Medium produces forms that cannot be decomposed or deconstructed into simple components or analyzed by comparing them to previous architecture forms. In contrast to DeFormation, Material Medium is referential, but it is not referential in form but in the history of the subject matter used. Material Medium becomes a new way to create a form that is not indexical, why also being able to sustain itself for the future since the agency of design is not relying on a singular person or software. Through a process of casting plaster in an unusual form, spandex, a form of complex curvature was created. This a form that is seeming complex through a lens of digital software, one that appears to consist of precise algebraic equations.
Material Medium
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Gallery Maquette
Plaster Cast
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Material Medium
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Model Photos
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In Jeffrey Kipnis’s text Towards A New Architecture, he states that there has been no new architecture mature in the past twenty years (safe to say 47 years now). The “new architecture” that Kipnis defines, is an architecture that has separated itself from the past while also sustaining itself for the future. Kipnis argues that a new architecture has formal vitality and a political reference, something that I believe Material Medium can provide. If you allow material to have agency in design, then you no longer have control over the form that is produced. Material Medium is inherently political because it is creating a representational object that links the new form to the history of the material
Model Photos
Material Medium does not have to be void of digital tools. While digital tools are not needed for the creation of the form, they can become a way of cataloging the results. While the created from has a physical scale, it can become scaleless in a digital realm through 3D scanning. A scanned object is now a new form that is slightly different from the physical model. This digital form can now be interpreted used as a new digital monolith. By going from the physical to the digital, the ability to re-purpose the form is now possible, meaning that we can design a form void of a program and mine it for its characteristics. The form can then be applied to a fitting scenario such as a sculpture, building, environment, etc.
Material Medium
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Material Medium
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FITTING ROOM
Contemporary architecture exist in two phases, a digital origin and physical production. The digital double of the physical production is typically turned into a digital waste that no longer serves a purpose. Architecture is constantly in flux, there is a need for architecture to be constantly changing and adapting to meet the current demands of its function. Seven architectural elements were designed, each having its own set of unique spatial qualities. The elements are not designed for a specific program or function, allowing them to be adapted and configured accordingly. An interface was developed that exist
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DS 4000 FASHIONING THE PHYGITAL Fall 2021 Peter Testa
in three equal parts; architectural elements, phygital material library, spatial arrangement. The first part of the interface allows you to create new materials that come from digital doubles of real materials or from new found phygital materials. The elements can then be customized with the new materials to add a new spatial quality to them. The last part of the interface allows you to the arrange the elements in a spaces and assign them specific programs, in this case a fashion factory. The interface not only allows for the designer to construct the space, but also for the inhabitants of the space to further customize their environment based on their own design preferences.
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Architectural Elements
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Influences by Perry Kulper’s article The Naming Problem, the elements are designed based on spatial quality and not program.
Elements Interface
The interfaces allows you to view all of the elements and the spatial qualities that they provide.
Fitting Room
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Material Interface
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The material library has two parts, scanned materials and phygital materials. The scanned materials exist as a digital double, allowing you to change their dynamics.
Customizable Elements
The elements can be further customized using the materials to create to spatial qualities.
Fitting Room
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Scene Construction
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Fitting Room
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Loading Docks
Distribution Conveyors
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Distribution Center
3D Scan Room
Fitting Room
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Collaborative Design
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Fitting Room
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Individual Design Studio
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Individual Design Tower
Fitting Room
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Hand Craft
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Fitting Room
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Production-Scape 1
Production-Scape 3
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Production-Scape 2
Production-Scape 4
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Material Medium Gallery The architecture is constantly being changed and adapted by its digital double, both existing equally. The architecture is constantly in flux, meeting the demands of the fashion factories need to constantly be changing with the seasons.
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Phygital
Monochrome
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Digital Back of House
2D-3D
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Phygital Interface The inhabitants of the spaces have the ability to further customize their environments. Allowing for the same space to exist uniquely to each designer in the factory.
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OB_CESSION
In light of Covid-19, the fashion industry has begun to branch out into a digital environments. Since the fashion industry is tangible, it relies on environments to be physically constructed in order to display their ideology. The construction of these scenes often come with excessive waste. This project addresses the current obsession of excessiveness of the fashion industry by allowing for the environment and the clothing to exist both digitally and
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AS 2768 PHYGITAL MATERIALITY Fall 2021 Peter Testa
physically. An imply studio spaces with stop motion cameras allow for real people and real clothes to be converted into a digital doubles. The excessiveness of the environment can now exist through the use of digital assets. This new environment is both a collage of the present and the past through the use of the digital and the physical. The digital double allows for the expansion of the physical, the garments can have new
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Swatch Patterns
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OB_CESSION
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Physical Scene
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OB_CESSION
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Physical Scene
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A physical and digital environment exist equally. Physical elements are scanned and a digital double is created that can further be added to by upcycled assets. An new altered digital environment now exist that is a collage of the present and past through the physical and digital assets.
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Physical Scene
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Digital Scene
OB_CESSION
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Scene 1
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OB_CESSION
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Scene 2
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OB_CESSION
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Scene 3
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OB_CESSION
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CURVED NOTION
Curved Notion is a project that seeks to expand upon the ideas of fabrication. A form was generated using an attractor curve in a grasshopper script. The form was scaled an rationalize in order to be constructed. In comparison to other fabrication methods, this project did not seek perfect realization of a digital model. Perhaps the biggest problem with parametricism is its reliance on perfection and little intolerance. Relying on most of the construction to be done
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AS 2765 STEAM ODYSSEY Qihang Fan Jingyuan Wu Yu Cheng Huang
FALL 2021 Soomeen Hahm
by robots at a high cost. Using Microsoft Hololens, we did not seek perfection, but rather revolution of the construction process. Using off the shell materials, a the parametric form was produced by using only hand methods. The notion of the complex being impossible to construct can be challenged not by seeking perfection, but seeking the way in which the form is constructed.
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Form Progression
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Curved Notion
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Developed Form
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Connection Details
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App Design
Fologram
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Board Connections
Steam Bending
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Constructed Chair The doubly-curved chair was constructed using off the materials and hand tools. 58 2”x4’ oak boards, 15 1-3/8” x 4’ punched steel bars, 324 1/4” hex nuts, 324 1/4” hex bolts, and 648 flat washers.
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Board Connections
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Bracket Connections
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Completed Chair
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Side Profile
Back Profile
Side Profile
Front Profile
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DESIGN DEVELOPMENT The project is a musical school located at the north-west corner of Exposition park. The building consist of a series of stack floor plates supported by two concrete cores. Enclosed glass volumes intersect both interior and the exterior. The exterior is a shell that covers the interior floors with a high level of surface articulation. The outer shell has additional layers of FRP panels and carbon fiber woven structure. A typical steel beam and concrete structural system is used as the primary structure to support the floor plates. Two large concrete cores provide the vertical structure and the floors are supported by steel trusses and
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2GAX THEORIES OF CONTEMPORARY ARCHITECTURE Kaitlyn Cartmell / Qihang Fan Katherine Gessing / Yuze Han Chenjia Ren / Khanh Linh Thai Kangzin Wu / Qiaochu Yang Jure Zibret
Fall 2021 Herwig Baumgartner Zach Burns
frames that tie back into the cores. Since the exterior shell is separate from the interior space, is treated with its own structural system that ties back into the floor plates and concrete cores. The shell is clad both on the interior and the exterior, created a five floor poche space. The shell is supported by an exo-skeleton system that has a secondary T frame system that is connected by nodes spanning every five feet. The entire exterior is clad in identical five foot triangulated insulated aluminum panels, allowing for the complexity of the facade to be constructed in an efficient manner.
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FRP Pannels Aluminum Pannels
Glazzing
Carbon Fiber
Exterior Identifications
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Secondary Structure Primary Building Structure
Exo-Skeleton Strcture
Structural System
Design Development
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Original Building The building consist of regular interior with a complex exterior with multiple layers. The exterior is a giant shell that covers the interior space. The shell is clad on both the exterior and interior creating a unique design challenge.
Design Development
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FRP Pannels Glazzing Secondary T Frame Insulated Aluminum Pannel
Curtain Wall System Carbon Fiber Woven Pannel
Chunk 1
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The building consist of a vertical structural system supported by two concrete cores. The exterior has a separate exo-skeleton system to support the cladding. The exoskeleton is clad on both the interior and the exterior. The exterior has an additional layer of FRP panels that act as sun shade devices. On the curtain wall system, a carbon fiber woven panel system is used for sun shading.
Design Development
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Glazzing Exo-Strcture FRP Pannel
Walkway On Pannel Connection Interior Cladding Interior Secondary T Frame Structure Insulated Aluminum Pannel
Small Chunk
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Exo-Structure
Nodes
Exterior T Frames
Mullions
Insulated Aluminum Panel
Exterior Glazing
Panel Structure
FRP Panel Connection
FRP Panel
Interior T Frame
Interior Mullions
Interior Cladding
Interior Cladding
Thermal Break
Completed Chunk
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Raised Floor System HVAC Duct Work Connection to Primary Exo-Strcture Interior Secondary T Frame Structure Ventilation for Exo Structure
Exterior Secondary T Frame Structure
Suspended Ceiling
Shell Connection
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Secondary Structure
Mullions
Metal Decking
Concrete Floors
Curtain Wall
HVAC
Raised Floor
Suspended Ceiling
Exo-Structure
Connection To Primary
Exterior T Frames
Insulated Aluminum Panels
Interior T Frame
Interior Cladding
Ventilation Panels
Design Development
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Green System
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Pinned Connection to Flat Metal Support Flat Metal Support Walk Way
Secondary T Frame Node Connection to Primary
Metal Support Conection to Node
18” HSS Primary Structure
FRP Panel
Secondary T Frame Node Connection to Primary 18” HSS Primary Structure
Irrigation Line Node Connection to Primary
Walk Way Pinned Connection to Flat Metal Support Drip System Soil Felt Lining FRP Pannels Pinned Connection to Flat Metal Bar
18” HSS Primary Structure
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3/8” Double Glazing
Mullion
T Section Secondary Structure
Back Face Mullion With Click Conection
Node conection with plate attachment for T Sections
18” HSS Primary Strcture
Exploded Facade System
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Secondary T Frame
18” Hollow Steel Primary Structure Node Conection To Primary Mullion on T Frame Welded Node Connection Insulated Aluminum Panel W/ Snap Connection
Secondary T Frame
Secondary T Frame Interior Panel Cladding
2D Facade Detail
Design Development
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3/8” Double Glazing Silicone Spacer Setting Block Mullion
Secondary T Frame Structure Back Face Mullion With Click Conection
Typical Mullion
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Weatherseel Silicone 3/8” Double Glazing Spacer and Setting Block
2” Insulated Aluminum Panel with Snap Conection Mullion
Secondary T Frame Back Face Mullion With Click Conection
2” Insulated Aluminum Panel with Snap Conection Mullion Snap Connection Secondary T Frame Back Face Mullion With Click Conection
Weatherseel Silicone 3/8” Double Glazing
Spacer and Silicone Seel
Spacer and Setting Block
Mullion Types
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HOW ARE IMAGES READ
HT 2553 AESTHETIC IMPLICATIONS OF NOISE
Fall 2021
Walead Beshty
Algorithms have become a part of everyone’s life, rather they know it or not. Algorithms are designed to read an image in a very direct and precise way, allowing for the same construction of pixels to be interpreted in different ways based on the objective of the algorithm. There is no correct way for a human to read an image due to independent thoughts and opinions.
meta data through different algorithms specific to the program in use. The image is constantly being deconstructed into a string of text and re-assembled into an identical image or a new image based on an algorithm. The process that happens between the initial and final result allows for a parasite to create something new or unpredictable.
As architects, the image has replaced the drawing as our tool of communicating space. Even the orthographic drawings that we produced are only displayed through the means of images. We work with images on a daily basis and know so little about how the images are read and used. Since images have become digital, the image is read as
My research began by study different algorithms that read images and the result that they produce. The main focus is on The Colorful Image Colorizer algorithm. It was developed by Richard Zhang, Phillip Isola, and Alexei A. Efros with the intent to re-color grayscale images with A.I. based algorithm.
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Digital Image Code
Digital Signal Processor
Analog to Digital Converter
Charged Couple Device
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Camera Lens
Digital Photo The digital photograph, or image, is created by a camera lens filtering lighting to a charged couple device. This device then converts the light into a digital image code. The code is a string of text that represents each pixel as a color value and can assembled into a .jpg file in a computer based software. Since the image begins as a string of code and there is no singular origin, an infinite amount of originals can exist since the meta data remains the same.
How are Images Read
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(R+G+B) 3
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(0+255+188) 3
R: 0 G: 255 B: 188
R: 148 G: 148 B: 148
Grayscale Algorithms
(.21R+.72G+.07B) 196 (.21(0)+.72(255)+.07(188)
R: 0 G: 255 B: 188
R: 196 G: 196 B: 196
Grayscale Algorithms
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In order to convert an image into grayscale, each pixel must be separated and ran through the algorithm to construct a new color value.
Old photograph (chemical based) are converted into digital images by scanning.
Color is applied by highlighting areas and applying a fill color with an opacity level.
The original chemical based photograph is now converted into a digital image that has an opacity overlay.
(R+G+B)
RGB values are calculated by comparing pixel clusters to over 1,000,000 images that have been analyzed with an A.I. algorithm that associates RGB values with pixel clusters.
Original Image Colorization
LAB color space L = Luminosity A = green and red values B = blue and yellow values
Colorful Image Colorization
= Luminosity
3 R = Unknown G = Unknown B = Unknown
The original method of color images relied on a hand made process. The Colorful Image Colorization relies on an A.I. to generate the colors, allowing for misinterpretations.
How are Images Read
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Morning Cleaning
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The same image can exist in multiple formats. The original image can be viewed as cluster of pixels, a three dimensional plot of points based on their RGB values, a 2D plot of the color range, or a string of text that tells a software how to construct the cluster of pixels to be viewed.
3D Color Space
2D Color Profile
Image Text Code
How are Images Read
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Image - 20
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A new image was created by pushing the Colorful Image Colorizer algorithm to its extents. By creating a feed back loop with the resultant image, a new image emerged. The image appears to be of a low fidelity even though it has the exact same resolution of the original images.
How are Images Read
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Height Field - 1
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In a comparison to see how a human reads depth and a computer reads depth, the images imputed into a heighfield map in Cinema 4D.
Height Field - 20
The resultant images from the Colorful Image Colorizer algorithms become flattened and texture when the depth is read by Cinema 4D’s algorithms.
How are Images Read
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3D Color Space Between Images Using Houdini FX, all 20 images from the Colorful Image Colorizer study could be analyzed spatially by the amount of color each image retained. As the each image was fed back into the algorithm, certain colors remained and others faded out. This study allows for the sequence of images to be read in a new spatial way.
How are Images Read
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GENERAL CONDITIONS General conditions examines the role of scale, context, and naming of architecture. The extracted objects from the Lieb House, Frankfurt Kitchen, and Winton Guest House are used to define a new action rather than function. A series of acts remove architecture from its “standard” context and given new action through digital scenarios. The materials are examined on a physical and digital scale simultaneously. New value is given to the pieces by interpreting new potentials offered through digital platforms. A new platform, BAM, was used to extract geometry from the Lieb House, Frankfurt Kitchen, and the Winton Guest House.
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DS 5000 DOUBLE STANDARDS
Donwon Choi
SPRING 2022
Devyn Weiser
BAM allows you to rename the geometry with general attributes and a sub level of values. You can then randomly extract a set numbers of pieces bases on the attributes and values to create new geometry to be interpreted digitally or upcycled physically as a way of extending the life of architecture. The project is carried out in four acts; Furnishings to Furnishings, House Parts to New House, Object to City, and House to Furnishing. As the acts progress, the examination of the objects shifts from physical to digital, allowing the focus to shift from the physical object to the digital double as a new way of creating.
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Lieb House
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Winton Guest House
Frankfurt Kitchen
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Attributes - Glass, Concrete, Wood Values - All Tween - 100 Limit - 10 View - Axon SW
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Attributes - Gypsum Values - All Tween - 100 Limit - 12 View - Choisy SW
Attributes - All Values - All Tween - 100 Limit - 170 View - Axon SE
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Frankfurt Kitchen
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Furnishings to Furnishings
The scale, material, and geometry remained the same as the original Frankfurt Kitchen. New physical pieces of furnishings were created at a 1:1 scale. The new physical pieces were examined for their spatial attributes and performance qualities, and were assigned a function as a new piece of furnishing.
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House Parts to New House
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A further examination of 1:1 scale, the possibilities of using the digital counterparts were explored. The extracted geometry has the opportunity to become nameless, materialess, and functionless. This allows for another reading of the house parts in a digital environment for new future physical pieces.
Lieb House
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Objects to City Working in contrary to naming heavy platforms like BIM, BAM objects exist physically before they exist digitally. The digital model and the physical pieces can be upcycled simultaneously. Assets were examined for new functions ranging from 1:1 scale, up to 100:1 scale to form new urban environments. The same geometry existing on a new spectrum ranging from the digital to the physical based on the potential for the spatial performance.
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Lieb Table
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House to Furnishing
The use of context through digital assets allowed for multiple readings of the same BAM geometry. The geometry functioned using the same material but at a new digital scale. The Lieb house assets created a new table that can simultaneously perform for 1:1 or 10:1 scale objects.
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New Frankfurt House
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Automavision Conditions
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The studies of context, function, and camera from Kit Kit extended into the robot house. Physical models were examined in relationship to one another, relation to the camera, and relation to their digital counterparts as a way of giving them new relevance through context.
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Automavision Conditions
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Two cameras were attached to robot arms that randomly moved around the models, using the cinematic technique, automavision, invented by Lars Van Trier. Each camera began to create new worlds for the geometry depending on which context they were capturing.
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PERCEPTUAL DETAIL Inspired by House III designed by Peter Eisenman, the cabinet uses separation of structure and surface as a stimulant for activity. It becomes unclear what is structure and was is detailed design. The separation of structure and surface allows for the surface to further engage with the structure, for the surface to move in between the structure. Perceptual Detail is a cabinet that seeks engagement. The essence of the detail does not lie in its own appearance, but the
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AS 2509 DETAILS, DETAILS
Chenjia Ren
SPRING 2022
Dwayne Oyler
potential to impact the users perception. The detail is both a visual stimulant and physical experience. The cabinet plays with the intersection of voids and volumes to create its functionality. The puzzling nature of the cabinet uses the detail of the wood and metal as a communication for engagement. The cabinet has four hidden drawers, each one requiring a degree of interaction with other pieces to open the drawers.
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.5” Steel Square Section
.5” Plywood Faces
Puzzle Drawers
.125” Plate Steel
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Perceptual Detail The cabinet uses the void of the structure as a background and foil, as conscious stimulant for the activity of the owner. The void space in the cabinets enacts engagement, allowing the user to discover.
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AUSTIN LIGHTLE
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Thank You Austin.j.lightle@gmail.com 740-708-7013
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CONTACT INFORMATION
Austin.j.lightle@gmail.com 740-708-7013