Danny Karas 630-388-8632 daniel.karas2@gmail.com
Table of Contents
Limn (6-29)
Swill (32-47)
Gingricken (50-55)
Proji (56-57)
Gughi (60-61)
Link (62-63)
Hive (64-65)
Matter (66-71)
2013 Generative Morphologies
Limn Projection: Projection in orthographic view is one of the techniques used to created the imagery. The projection of shade and shadow onto 3 Dimensional objects like a sphere or square give new insight to how we understand depth within a 2 Dimensional image. Animated projection was also used by projecting animated shadow movements onto a sectional relief model to produce and object whose depth is continuously changing and being altered. Geometry: The geometry was created on an outside first, inside second process. The outside geometry is meant to be a convex, multi-sided object that has been smoothed to remove any hard edges, much like a weathered rock. This produces a sort of Michael Meyers (Halloween mask) type effect. A single hard edge and sculpted cut out of the object gives it a point to be oriented against. Instances of shadow were then interpreted and painted on the outside to produce levels of ambiguity within the object, moments where you are unsure if geometry extends into darkness or brightness or if it stops short. The inside of the object is separated from the outside, rather than just an offset, these squares intersected by spheres allow us to understand the difference between a hard edge and a soft “edge� and how the projection of imagery can enhance or fake those moments. Hatching: Hatching was the primary technique used to interpret shade and shadow and is what helps tie the entire project together by giving a single direction to the hatching that is continuous throughout the project. Different densities of hatch help darken, lighten, flatten, or add contrast to each image and the single type of hatch in the same direction do not over clutter the composition. Diagonal structured components were used to enforce the direction of the imagery. The project is meant to explore new ways of understanding how designers create and read projects through orthographic images and the projection of imagery onto 3 dimensional objects. This project is about the drawing and how it can translate into other mediums. Project in Collaboration with: Austin Samson Advised by: Andrew Atwood
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DS1201
Generative Morphologies
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Creating the faceless object by smoothing away formal features
Generative Morphologies
2013
DS1201
Generative Morphologies
Exploration of creating fake shadows and relationships between the interior and exterior pieces
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Initial experiments with using hatching as a flattening device and exploring the potentials of different hatching methods
Generative Morphologies
2013
DS1201
Generative Morphologies
Experimenting with the chiaroscuro effect on a earlier formal iteration
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10 Aerial Plan
Generative Morphologies
2013
DS1201
Generative Morphologies
Building Isometric
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12 Theater Plan
Generative Morphologies
2013
DS1201
Generative Morphologies Plan Detail
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Theater Entrance Plan
Generative Morphologies
2013
DS1201
Generative Morphologies Plan Detail
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16 North Elevation
Generative Morphologies
2013
DS1201
Generative Morphologies East Elevation
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Small Theater Section
Generative Morphologies
2013
DS1201
Generative Morphologies Section Detail
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Small Theater Section
Generative Morphologies
2013
DS1201
Generative Morphologies Section Detail
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22 Unrolled Interior
Generative Morphologies
2013
DS1201
Generative Morphologies
Interior Panorama
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Unrolled interior Elevation
Generative Morphologies
2013
DS1201
Generative Morphologies
Unrolled Exterior Elevation
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26 Physical Models
Generative Morphologies
2013
DS1201
Generative Morphologies
Physical Models
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28 Relief Model
Generative Morphologies
2013
DS1201
Generative Morphologies Relief Model
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2012 Swill: Brutalist Pop
Swill:
Swill seeks to create to create an interaction between the kitchness of pop and the monumentality of traditional brutalism. Swill looked to replicate ideas of strong extrusion found in brutalism and adapt it from a graphic pattern. The premise was to move past the problems of a simple field project and blur the figure ground, enabling the object to free itself to become sculptural and unique. The project draws from brutalistalism in its theories starting with a kit of parts, simple, rough, dilineated rather then historical precedent. Swill itself takes the idea of hyper-ornamentation in its rigor of patterning and texture to create a saturation of depth in its adapted graphic extrusion. The project located in Mendoza, Argentina takes advantage of its unique program of winery and tourist attraction and blends together the field condition with the figure. The building sought to create an aesthetic that seemed to grow from the landsape itself, as if atlantis had finally dried up and its runes were brought to the surface. Its aesthietic style has references but seeks present itself in a naivity that neither denies or emphasis its relatives. Project in collaboration with Lily Nourmansouri advised by: Florencia Pita
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Pop Brutalist Winery
2GAX
Swill: Brutalist Pop
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32 Mendoza Site Plan
Swill: Brutalist Pop 2012
2GAX
Swill: Brutalist Pop Form Catalog
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34 Restaurant Aerial
Swill: Brutalist Pop 2012
2GAX
Swill: Brutalist Pop Winery Aerial
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Restaurant Perspectives
Swill: Brutalist Pop 2012
2GAX
Swill: Brutalist Pop
Winery Perspectives
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South Section Catalog
Swill: Brutalist Pop 2012
2GAX
Swill: Brutalist Pop
North Section Catalog
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40 Elevation Catalog
Swill: Brutalist Pop 2012
2GAX
Swill: Brutalist Pop
Elevation Catalog
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Restaurant Perspective
Swill: Brutalist Pop 2012
2GAX
Swill: Brutalist Pop
Interior Perspectives
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44 Exterior Perspective
Swill: Brutalist Pop 2012
2GAX
Swill: Brutalist Pop
Exterior Perspective
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46 Physical Models
Swill: Brutalist Pop 2012
2GAX
Swill: Brutalist Pop
Physical Models
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2012 Modeling Tool Camp
Visual Studies Gingricken is an experiment of creating a artificial landscape using the simple merging or a ginger and a chicken. Initially we began by photographing the ginger and chicken and plugging them into 123D catch a image processing software that creates 3D meshs from photos. We then went about creating variations of the realistic objects into “the fantastic�. These object were not full on abstraction rather a line between majestic and realistic. The ginger and chicken were then composited on a digital 2.5D canvas attempting to create a scene of coral interacting with lava deep beneath the surface. The project then emerges using the depth of the ginger as a natural coral and the chickens legs as a connecting device for flows and bubbles of lava. Although there is no immediate recognition of the initial objects in the composition the figural nature of the ginger and the chicken are preserved. The Second Project involves using the program touch-designer to project false shadows onto an object to simulate a animated hatch. Project in Collaboration with: Pedar Brand, Austin Samson Advised by: Elena Manfrendi
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AS3302
Modeling Tool Comp
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Ginger Modeling Progression
Tableau Vivant
2012
VS4200
Tableau Vivant
Chicken Modeling Progression
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52 Final Digital Canvas
Tableau Vivant
2012
VS4200
Tableau Vivant
Final Digital Canvas
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54 Canvas Detail
Tableau Vivant
2012
VS4200
Tableau Vivant Canvas Detail
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56 Projected Animation Stills
Exact Forms 2012
VS2538
Exact Forms
Projected Animation Stills
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2013 Advanced Structural Systems
Advanced Structural Systems Advanced Structural Systems is a class or structural exploration. The first project involved the forces of tension, using weight and gravity to hold the shape of a new structure for the Guggenheim. The second project involved using catanery hanging chains to model a structure in compression. The project was envisioned as a Dj tent as the structure would be very lightweight and mobile. The third project was an exploration into tension and compression. The object was envisioned at the scale of a building, allowing users to inhabit the object and experience the bizarre nature of the doubly curved structure.
Project in Collaboration with: Austin Samson, Carlos Vargas Advised by: Greg Otto
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AS3302
Advanced Structural Systems
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Model Development
Advanced Structural Systems
2012
AS3302
Advanced Structural Systems
Model in different Positions
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62 Model Application
Advanced Structural Systems
2012
AS3302
Advanced Structural Systems
Physical Model
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Model Development
Advanced Structural Systems
2012
AS3302
Advanced Structural Systems
Physical Model
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2012 Advanced Tectonic Systems
Advanced Tectonics Family Matter is a project that takes pattern into the scale of the oppressive. FM takes over its world wrapping anything and everyone. Using a pattern in Carbon Fiber tow we were able to take the wrapping of figure outside the cartoony realm of the Hejdukian and into the grotesque by choosing the figuration of a family rather then a inflatable. The pattern thickens and thins around the figure creating what seem to be wrinkles in form and suggest higher figurative detail. The hardening process of the tow created the illusion of a soft object(the bodies) being morphed into a rigid wall structure, creating a dialogue between the two pieces. The tow hardens and the molds are removed creating a grotesque scene of a family being engulfed in pattern. Project in Collaboration with: Ryan Manning, Ana Munoz, Lily Nourmansouri, and Johnathon Schnure Advised by: Marcelo Spina
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AS3302
Advanced Tectonic Systems
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Model Development
Advanced Structural Systems
2012
AS3302
Advanced Structural Systems
Physical Model
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70 Model in Progress
Advanced Structural Systems
2012
AS3302
Advanced Structural Systems Model Detail
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