Light Box by william crothers

Light Box

First Topography A topographic map of a distric in Hong Kong provides an apparently random set of contours that allow some an indeterminate quality against which the consistency and uniformity of the cube register. A river organizes the slope of the land. The possibilities of information-based product design raise questions about how info-graphics, typically flat representations of data, could take advantage of spatial qualities, such as the turning of a corner.

Second Topography This lamp employs the same map as Topo 1, but reverses the lamination gradient. In one, the river reads as dark, and consequently most distant, in the other it is fore grounded. This could be a literal littoral exercise, where more layers of paper represent increasing layers of material in the earth, or a more abstract, map-like image. In this way, the lamps further explore 2.5 d representation.

Disolving Corner The simple lamination of paper layers creates a surprisingly complex play of light through the resultant gradiant. The glue that adheres one layer to another is point-applied, resulting in frequent spaces between the paper layers. This space creates a soft transition in many places as the paper sheets are not in a binary of lamination or issolation.

Spherical Apertures Corners or succesive layers of a planar material, consistently deformed by a single geometry, give the impression of mass. Spheres, in this case, impact the layers of lazer-cut museum board. They enshroud a smaller, solid, prism, which conceals the light source. This false-bulb approach is rare in these lamps, as they generally conceal the lamp through the logic of their techniques (for instance, through minute, intentionally missaligned apertures).

Moire Two prisms of museum board encourage a vantage point in motion, as their thin, diagonal slits converge and separate. This overlap happens across the cube as well as between adjacent planes. The effect is significantly different when the outer cube is rotated ninety degrees. This makes the lines of diagonals intersect perpendicularly. While this makes clearer points of light, it detracts from the dynamic moire effect of the parallel orientation.

PinHole Gradient The miniscule holes in the surface of museum board work with another layer within to create rare, sparkling overlaps of view to the light source. This means that, while the light itself is visible, it is sufficiently decontextualized to avoid appearing a bare light bulb. When the light is off, the holes (now the dark part of the composition) animate the surface of the white museum board, as a gradient along the top and down the sides of the cube.

Turning 180 Holes The massiveness of this rockite casting offers the possibility of direction apertures, something thin sheets of paper do not. The apertures, over an inch thick, turn the gaze of the viewer away from the light source toward the opposite holes. This engages the viewer as the light source, readily apparent, is relentlessly elusive. The apertures were created by coating wood dowels in petroleum jelly and banging them out with a hammer and punch after setting.

Vertical Grain The distribution of purely vertical grain, similar to the outside of a zoetrope, gives limited views to the interior. Whenever these lines of light align, their combined brightness increases, in a kind of figureground juxtaposition, wherein the viewer moves around the lamp, hoping to aggregate voids into something stronger than either in isolation

Pinhole Grid Crossing horizontal and vertical lines, set in different planes, overlap to create a grid of bright, small squares connected in one direction by a network of dimmer lines. These lines bear the nearimperceptible scorch marks from the laser burning away museum board. These marks, as for all the museum board lamps, are best made in two or three passes on the laser cutter, each one a little deeper, to prevent browning on the white board.

Attached Strings The strings here, in a very literal way demonstate the possibility of straight lines to compose complex geometries through the logic of a ruled surface. The strings are extremely taught around a glued, basswood frame with overlapping x,y,z joints. The construction, given this framed appraoch, was tricky, given the small joints and force exterted on the cubeâ&#x20AC;&#x2122;s shape and by the enclosure of string.

Rocks An inconspicous plexi-glass cube, connected at the corners with plexi-weld, contains another, smaller cube. The stones in the space between aggregate densley to block the bulb, allowing only pinpoints of bright light to escape and creating a warm, diffuse light. Because the faces of the rocks are visible, their front faces appear to be the diffusers, rather than the sides actually exposed to the light. Their density belies the presence of the internal cube, suggesting a complete block of smooth stone.

Structured Skin Paper, when folded, becomes a structural skin, like hyper-thin, sophicisticated load bearing masonry or the stacked logs of a cabin. This lamp, however, maintains a structure/skin distinction, as the careful folding of the vertical members integrates itself into the material vocabulary of the rest of the lamp. The paper used in the execution of this design is particularly thin, casting an almost green glow.

Folded Dome This lamp employs a particularly intriguing means of creating non-developable surfaces from flat sheets. It is at once rigid and dynamic. This design rubs against the primary challenge of this folding technique--while it is flexible, it does not take on particular geometries with precision. Both the five sides and eight corners of the typical cubes were clearly inappropriate, so it finds its own form, an anomalous instance of a Light Boxâ&#x20AC;&#x2122;s local material condition dictating a global formal one.

Presentation | Final

At the culmination of the semester, in addition to diplaying the the fourteen lamps, we produced a poster to synthesize in a consice format the explorations from the semester. This included line drawings as a way of visually taxonimizing the different lamps. An annotated bibliography discribed the resources we considered for the class, with a particular eye to what attracted us to them in the first place. This is partially rote documentation, but it is also a potential resource for further investigations, either by us, or other luminareis. The archtiectural precedents explore the disciplinary context in which we saw our work having potential traction; from Herzog + De Meuron and Libeskind, to work by Renzo Piano and Thomas Phifer and Toyo Ito, the possibilities for formal, as well as luminance-based inspiration are varied and exciting. The comparisons argue that broad issues of architectural form can be studied through specific investigations of material quality, highlighting the value of diversity in scale. As part of the reflection inherent in documentation like the poster, it becomes apparent that the names on it are insufficient credits.A number of people served as consultants, enthusiasts, and at times even assistants in the long, slow investigations and then the fast-paced final production phases. First, thanks to Gordon Wittenburg, whoâ&#x20AC;&#x2122;s insights about the project, as well as confidence in us, provided indispensible constraints and freedom. Kyle Hendricksâ&#x20AC;&#x2122;s practical know-how was much appreciated. Finally Spencer Lindstromâ&#x20AC;&#x2122;s, daring enthusiasm saved our favorite lamp from a nearcertain death in the final hours of the semester. Thanks all.

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PURPOSE THE CLASS IS AN EXPLORATION OF MATERIAL POSSIBILITIES UNDER THE EFFECTS OF A PRECISE LIGHT SOURCE. THESE EXPLORATIONS WILL HAPPEN IN TWO WAYS. FIRST, STUDENTS WILL CONDUCT OPEN-ENDED MATERIAL RESEARCH TO UNDERSTAND POSSIBLE MODIFICATIONS TO, AND CONNECTIONS BETWEEN COMPONENTS, WITH A PARTICULAR EYE TO THEIR EFFECTS ON AND UNDER LIGHT. SECOND, STUDENTS WILL APPLY THIS KNOWLEDGE TO DESIGNING AND CRAFTING 4"X4"X8" LIGHT-MODULATING BOXES. THESE VOLUMES MAY FUNCTION AS UNIFORM DIFFUSERS OF THE LIGHT (E.G. LAMPS), OR MAY MANIPULATE IT IN MORE SPECIFIC WAYS. FOR EACH MATERIAL TYPE, STUDENTS WILL REPEAT THIS CYCLE. THERE ARE FIVE MATERIAL CATEGORIES. THE MATERIAL SELECTION PROVIDES A FULL SPECTRUM OF LUMINANCE CHARACTERISTICS, FROM OPAQUE TO TRANSPARENT, DARK TO LIGHT, MATTE TO REFLECTIVE. FURTHER, EACH MATERIAL PRESENTS A UNIQUE SET OF FABRICATION POSSIBILITIES AND CHALLENGES. THE CONSEQUENT TECTONIC DISPOSITION OF EACH WILL REQUIRE CAREFUL CONSIDERATION, AS STUDENTS SEEK TO UNDERSTAND AND THEN EITHER TO ENFORCE OR SUBVERT THE NATURAL FABRICATION AND CONNECTION MODES OF EACH MATERIAL. CALENDER: THE COURSE WILL TAKE PLACE OVER 13 MEETINGS THROUGHOUT THE SEMESTER. THESE ARE DIVIDED INTO TWO WEEK INCREMENTS EACH FOCUSING ON ONE OF THE MATERIAL CATEGORIES. THE FIRST WEEK, TITLED “EXPLORATION” WILL FOCUS ON MATERIAL AND FABRICATION RESEARCH. THE SECOND WEEK, TITLED “PRODUCT” WILL FOCUS ON PRODUCING A FINAL, WELL CRAFTED OBJECT. IN THE END, THE STUDENTS WILL EACH HAVE PRODUCED FIVE FINISHED OBJECTS, ONE FOR EACH MATERIAL CATEGORY. WHILE THE FIRST WEEK WILL BE EXPLORATORY WITHOUT A PARTICULAR OUTPUT, EACH OF THE FIVE FINAL PIECES WILL BE CRAFTED WITH THE PRECISION OF A STUDIO MODEL. 10JAN_INITIAL MEETING 17JAN_PAPER/WOOD EXPLORE 24JAN_PAPER/WOOD PRODUCT 31JAN_PLEXI EXPLORATION 07FEB_PLEXI PRODUCT

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14MAR_METAL PRODUCT 21MAR_FABRIC EXPLORATION 28MAR_NO CLASS 04APR_FABRIC PRODUCT 11APR_BOOKLET DRAFT

18APR_NO CLASS (CHARRETTE) 25APR_NO CLASS (JURY WEEK) 02MAY_FINAL BOOKLET

PROJECTS ARE SHOWN BOTH IN THEIR FINISHED FORMS AND IN BOTH THE ORGANIZATION

WORKING DRAWINGS, TEMPLATES, AND PROTOTYPES.

AND MATERIAL EXPLORED IN THIS BOOK WILL BE HELPFUL TO US.

ERWIN HAUER: CONTINUA-ARCHITECTURAL SCREEN AND WALLS ERWIN HAUER ERWIN HAUER CONTINUA WAS AN AUSTRIAN-BORN SCULPTOR WHOSE DESIGNS OF PERFORATED WALL SCREENS AND MODULAR STRUCTURES ARE DIRECTLY APPLICABLE TO INSPIRE AND CHALLENGE US THROUGHOUT THIS INDEPENDENT STUDY.

FINAL PROJECT: IN ADDITION TO THE FIVE FINISHED PIECES, A FORMAL BOOKLET WILL BE REQUIRED TO BE TURNED IN MAY 2ND AS THE FINAL PROJECT FOR THE COURSE. THE BOOKLET WILL INCLUDE DOCUMENTATION OF FABRICATION AND MATERIAL RESEARCH, PROCESS AND COMPLETED PIECES IN THE FORM OF PHOTOGRAPHS, TEXT, DIAGRAMS AND ARCHITECTURAL DRAWINGS TO EXPLAIN EACH PROJECT.

TECHNIQUES: LASER CUTTER (TO CREATE CONTOURS, STENCILS, PRECISION CUTTING) WOODSHOP TOOLS (BAND SAW, CIRCLE SAW, TABLE SAW, PLANER) CARVING TOOLS (WOOD, FOAM, RUBBER TO CREATE OBJECTS OR MOLDS) HAND TOOLS (FOLDING, BENDING, SEWING, GLUING, CUTTING, TAPING, STAPLING, FORMING) CASTING (PLASTER, RESIN, CONCRETE) HEAT GUN (MELTING, FORMING PLEXI) GRASSHOPPER PLUG IN FOR RHINO (PATTERN CREATION)

FOLDING TECHNIQUES FOR DESIGNERS: FROM SHEET TO FORM PAUL JACKSON THIS WELL DESIGNED BOOK GOES INTO DETAIL INTO TECHNIQUES OF FOLDING SUCH AS PLEATED SURFACES, CURVED FOLDING, AND CRUMPLING. IT COVERS MORE THAN 70 TECHNIQUES EXPLAINED BY CLEAR STEP-BY-STEP DRAWINGS, CREASE PATTERN DRAWINGS, AND SPECIALLY COMMISSIONED PHOTOGRAPHY. THIS BOOK COULD BE PARTICULARLY HELPFUL FOR THE PAPER/WOOD SEGMENT. THE TECHNIQUES EXPLORED HERE WOULD LOOK INTO QUESTIONS OF STRUCTURE AND PATTERN CREATED BY FOLDING.

Aggregation

Herzog and De Meuron, Bird’s Nest Stadium

Herzog and De Meuron Dominus Winery

Reckless and Precise Adventures in Illumination Will Crothers Martha Cox Prof. Wittenberg

Renzo Piano, New Caledonia

Light Box RESOURCES THE FUNCTION OF ORNAMENT | FARSHID MOUSSAVI GIVES A WIDE FIELD OF POSSIBILITIES FOR DIFFERENT USES OF PATTERN IN ARCHITECTURE, FROM SURFACE APPLICATIONS ON ENVELOPE MATERIALS, TO MORE INTEGRAL USES IN FACADES, SUCH FENESTRATION. THE IDEA OF MATERIALS MODULATING LIGHT IS OBVIOUSLY PARTICULARLY PERTINENT TO THE LAMP STUDIES. THE FORMAT OF THE BOOK ITSELF MAY ALSO BE USEFUL AS WE WORK TO MAKE A FRAMEWORK FOR ARCHIVING OUR VARIOUS MATERIAL DEPLOYMENTS AND THE EFFECTS THEY PRODUCE. THIS BOOK WILL BE ONE FOR OVER ALL CONSULTATION, NOT SPECIFIC TO ANY ONE MATERIAL CATEGORY.

Fold

CRAFTING 4”X4”X8” LIGHT-MODULATING BOXES. THESE VOLUMES MAY Daniel Libeskind, Connecticut Couse

FUNCTION AS UNIFORM DIFFUSERS OF THE LIGHT (E.G. LAMPS), OR MAY MANIPULATE IT IN MORE SPECIFIC WAYS. FOR EACH MATERIAL TYPE, STUDENTS WILL REPEAT THIS CYCLE. THERE ARE FIVE MATERIAL CATEGORIES. THE MATERIAL SELECTION PROVIDES A FULL SPECTRUM OF LUMINANCE CHARACTERISTICS, FROM OPAQUE

Toyo Ito, Serpentine Pavillion

TO TRANSPARENT, DARK TO LIGHT, MATTE TO REFLECTIVE. FURTHER, EACH

AT ITS CORE, THIS BOOK DESIRES TO DEFINE THE WORD “PATTERN” AND EXPLORE ITS CAPABILITIES. PATTERNS CAN BE MORE THAN JUST ARBITRARY, ORNAMENTAL OR INTERCHANGEABLE. THE ARE MACHINES, GRAPHIC MACHINES, WHICH CAN BE GIVEN INPUTS AND PRODUCE OUTPUTS. PATTERNS ALSO DO NOT ONLY EXIST IN TWO DIMENSIONS. THIS BOOK WILL BE PARTICULARLY HELPFUL TO US IN DEFINING AND CREATING PATTERNS THROUGHOUT THE SEMESTER TO INTENTIONALLY AND POWERFULLY MODULATE LIGHT.

MATERIAL PRESENTS A UNIQUE SET OF FABRICATION POSSIBILITIES AND CHALLENGES. THE CONSEQUENT TECTONIC DISPOSITION OF EACH WILL REQUIRE CAREFUL CONSIDERATION, AS STUDENTS SEEK TO UNDERSTAND AND THEN EITHER TO ENFORCE OR SUBVERT THE NATURAL FABRICATION AND CONNECTION MODES OF EACH MATERIAL.

Thomas Phifer Raleigh art musuem

THE ARCHITECTURE OF PATTERNS | PAUL ANDERSEN, DAVID SALOMON, DAVID CARSON, SANFORD KWINTER

DIGITAL FABRICATIONS: ARCHITECTURAL AND MATERIAL TECHNIQUES LISA IWAMOTO THIS BOOK CELEBRATES THE DESIGN INGENUITY MADE POSSIBLE BY DIGITAL FABRICATION TECHNIQUES. AUTHOR LISA IWAMOTO EXPLORES THE METHODS ARCHITECTS USE TO CALIBRATE DIGITAL DESIGNS WITH PHYSICAL FORMS. THE BOOK IS ORGANIZED ACCORDING TO FIVE TYPES OF DIGITAL FABRICATION TECHNIQUES: TESSELLATING, SECTIONING, FOLDING, CONTOURING, AND FORMING. PROJECTS ARE SHOWN BOTH IN THEIR FINISHED FORMS AND IN WORKING DRAWINGS, TEMPLATES, AND PROTOTYPES. BOTH THE ORGANIZATION AND MATERIAL EXPLORED IN THIS BOOK WILL BE HELPFUL TO US. ERWIN HAUER: CONTINUA-ARCHITECTURAL SCREEN AND WALLS ERWIN HAUER CONTINUA WAS AN AUSTRIAN-BORN SCULPTOR WHOSE DESIGNS OF PERFORATED WALL SCREENS AND MODULAR STRUCTURES ARE

Lamination

DIRECTLY APPLICABLE TO INSPIRE AND CHALLENGE US THROUGHOUT THIS INDEPENDENT STUDY. HOW TO DESIGN A LIGHT | DESIGN MUSEUM THIS BOOK INCLUDES A WORKING CASE STUDY ARNOLD CHAN, ONE OF THE WORLD’S BEST-KNOWN LIGHTING DESIGNERS, TRACES THE DESIGN AND DEVELOPMENT OF ONE OF HIS INSTALLATION AT THE LONDON RESTAURANT Sanaa, Toledo Glass Museum

FOLDING TECHNIQUES FOR DESIGNERS: FROM SHEET TO FORM | PAUL JACKSON THIS BEAUTIFULLY DESIGNED BOOK GOES INTO DETAIL INTO TECHNIQUES OF FOLDING SUCH AS PLEATED SURFACES, CURVED FOLDING, AND CRUMPLING. IT COVERS MORE THAN 70 TECHNIQUES EXPLAINED BY CLEAR STEP-BY-STEP DRAWINGS, CREASE PATTERN DRAWINGS, AND SPECIALLY COMMISSIONED Weiss/Manfredi’s Diana Center

PHOTOGRAPHY. THIS BOOK COULD BE PARTICULARLY HELPFUL FOR THE PAPER/ WOOD SEGMENT. THE TECHNIQUES EXPLORED HERE WOULD LOOK INTO QUESTIONS OF STRUCTURE AND PATTERN CREATED BY FOLDING.

Frank Gehry, InterActiveCorp Headquarters

Aperture

HAKKASAN. THIS BOOK WOULD BE A QUICK CONSULTATION FOR INSPIRATION.

Sou Fujimoto, House N

Notre Dame du Haut, Le Corbusier

FOA, Carabanchel Housing

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