Ivy McGraw Univ. of Oklahoma 2nd year

IVY MCGRAW

UNIVERSITY OF OKLAHOMA FALL 2013- SPRING 2015

IVY MCGRAW UNIVERSITY OF OKLAHOMA FALL 2013- SPRING 2014

TABLE OF CONTENTS 3 4 5 6 7-8

COLOR CUBED EXTRUSION LIFESIZE

9-10 11-12 13-14 15-16

STRUCTURE

17-18 19-20 21-22

MANIPULATE SPACE

23-24 25-26 27-28 29-30

GLOW SHADE ILLUMINATE

HALF-SPACE TRANSFORMING SPACE ROBIE HOUSE, FRANK LLOYD WRIGHT PRODUCING FROM PRECEDENT IMPRINT PHOTOGRAPHER’S STUDIO PHOTOGRAPHER’S STUDIO (MODELING)

31-32 33-34

INHABITABLE WALL AND FACADE

35-36 37-38

NATURE CENTER

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FOCUS

STAY AND WANDER

SOCIETY TO SERENITY THANK YOU

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FOCUS

COMPOSITION 1.4 THE ASSIGNMENT WAS TO CAPTURE A 3 INCH BY 3 INCH SQUARE ZOOM OF AN INTERSECTION OR CORNER FROM ONE OF THE WORKS IN COMPOSITION

1.3. THE REASON FOR MAXIMIZ-

ING AN INTERSECTION OR CORNER IS THAT THEY ARE THE MOST COMPLEX PART OF THIS PARTICULAR GENRE OF COMPOSITIONS.

BY ENLARGING THE INTERSECTION, ONE CAN DEMAND FOCUS ON THE USAGE OF THE REQUIRED POINTS AND LINES. THIS FOCUS MAY ALSO SUGGEST ANSWERS TO WHY THE MOTHER COMPOSITION LOOKS A CERTAIN WAY.

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COLOR

COMPOSITION 1.6 AFTER EXPLORING THE POSSIBILITIES OF BOTH POINTS AND LINES ON A 3 INCH BY 3 INCH GRID AND THE DYNAMICS OF RENDERING A PRODUCT OF TWO OVERLAPPING 3 INCH BY 3 INCH GRIDS, THE NEW TASK WAS TO COMBINE BOTH TECHNIQUES IN ORDER TO CREATE A MORE COMPLEX TYPE OF COMPOSITION. THIS ASSIGNMENT CHALLENGED THE IMAGINATION WHILE OPENING UP BROADER OPPORTUNITIES FOR INNOVATIVE COMBINATIONS SUCH AS CONTRAST, COMPLEMENTARY COLORS, AND SYMMETRY.

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CUBED

COMPOSITION 1.8

MOVING UP AND ONWARD FROM GRIDS, POINTS, LINES, AND RENDERING, OUR FIRST 3D CREATION CALLED FOR A CUBE-SIZED DELIVERY. CHIPBOARD AND BASSWOOD REPLACED LAMY PENS, CONSTRUCTION PAPER, AND COLORED PENCILS FOR THIS PROJECT. INSTRUCTIONS WERE TO MAINTAIN A SPACE OF A VOLUME, SPECIFICALLY, 3 IN X 3 IN X 3 IN, RATHER THAN SPACE WITHIN A 2D AREA. TOTAL PRODUCTS CONSISTED OF AN ORIGINAL 3 INCH BY 3 INCH CHIPBOARD CUBE, A SINGLE ROD STRUCTURE CAPABLE OF ENCLOSING A 3INCH BY 3 INCH CUBE, AS WELL AS A

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EXTRUSION COMPOSITION 1.10

AFTER DEVELOPING A MODEL ON RHINO MADE UP OF DOUBLE-ROD 9 INCH BY 9 INCH GRIDS AND EXTRUDING AREAS WHERE THE GRIDS OVERLAPPED, THE RESULT WAS FABRICATED USING BASSWOOD AND CHIPBOARD SIMILAR TO THE CUBES OF COMPOSITION 1.8. AREAS OF FLEXIBILITY EXISTED WHERE GRIDS WERE POSITIONED TO OVERLAP AND ALSO IN CHOICE OF HOW TALL AND TO WHAT ELEVATION EACH EXTRUDED VOLUME WAS SET.

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LIFESIZE

COMPOSITION 1.12 TAKING CRAFT TO NEW HEIGHTS, CARDBOARD AND 1 1/2 INCH SQUARE WOOD BEAMS BECAME THE NEW TOOLS TO DESCRIBE SPACE. GROUPS OF STUDENTS COLLABORATED TO MAINTAIN A

4 PARALLEL 9X9 GRIDS, EACH AT A DIFFERENT VERTICAL. THE COHESION OF 4 GROUPS’ CONSTRUCTIONS CREATED A PATH UNDER, BESIDE, AND THROUGH THE COMPLEX, YET SYSTEMATIC, PLACEMENT OF FORMS.

SERIES OF EXTRUSIONS THROUGH

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STRUCTURE MAKING 2.3

THIS PROJECT INTRODUCED THREE DIMENSIONAL DESIGN BY REQUIRING A TECTONIC MODEL MADE OF AT LEAST FIVE PIECES OF WOOD AND FOUR DIFFERENT JOINERY TECHNIQUES. THIS MODEL IS COMPRISED OF TWELVE PIECES OF WOOD, EIGHT OF WHICH FORM AN OCTAGONAL PERIMETER VIA MITER JOINTS FOR THE PERPENDICULAR INTERSECTIONS GOING ON INSIDE. TWO OF THESE THICK PEICES LAP JOINT ONTO THE PERIMETER AND SIT FLUSH TO THE OUTSIDE OF THE MODEL. THE OTHER TWO THINNER PIECES INSIDE ARE TUNNELING THROUGH THE AFORE-MENTIONED THICK PEICES, LIKE A MORTISE AND TENON JOINT. TOGETHER, THESE TWO THINNER PIECES FORM AN “L” OR RIGHT ANGLE BY WAY OF A RABBET JOINT. AND, FINALLY, THE REST IS BUTT-JOINTED TOGETHER.

OVERALL, THIS PROJECT EXPERIENCES TYPOGRAPHY NOT JUST ON THE X AND Y PLANE, BUT ALSO Z.

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GLOW

MAKING 2.4

DESIGN TOOK A TURN FROM HAND FABRICATIONS TO DIGITAL FABRICATION AS SOLID MODELING WAS FURTHER INTRODUCED, THIS TIME, WITH CONSIDERATION TO OUTSIDE FACTORS, SUCH AS LIGHT. WHILE THE AESTHETIC FORM OF A NIGHT-LIGHT COVER WAS EXPLORED AND DEVELOPED, THE PATHWAY FOR LIGHT TO GLOW ALONG WITH THE PATTERNS THE SHADOWS CREATE HAD TO BE CONSIDERED.

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SHADE MAKING 2.5

THIS TIME, WHEN INTERACTING WITH LIGHT, THE OBJECTIVE WAS TO SHADE A LIGHTBULB WITH A SERIES OF SURFACES THAT JOIN TO MAKE A LAMPSHADE. IN DESIGN PLANNING, AWARENESS OF SURFACE AREA AND IT’S CAPABILITIES WAS ESSENTIAL TO IDEALIZE THE SHADE’S RELATIONSHIP TO THE LIGHTSOURCE FOR BEAUTIFUL AND PRACTICAL AFFINITY.

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ILLUMINATE MAKING 2.6

ROUND TWO OF LAMP SHADE DESIGNS CAME WITH MORE ROOM FOR CREATIVITY- WITH CONTOUR MODELING. INSTEAD OF A SHADE COMPRISED OF ADDITIVE SURFACES, THIS ASSIGNMENT CALLED FOR COHESION AND CONNECTION, THAT WHICH IS AT THE HEART OF ANY SURFACE. THEREFORE, THIS LAMP SHADE, DESIGNED AND DEVELOPED TO ESTABLISH ORDERED DETAIL OF TWO CYLINDRICAL RINGS, SURROUND THE LIGHT BULB IN A MORE COVERING, YET SKELETAL WAY.

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MANIPULATE SPACE METHODS II MODEL DEVELOPMENT

THIS SERIES OF PROJECTS PORTRAYS THE LEARNING PROCESS OF USING RHINO SOFTWARE FOR DESIGNING ORGANIZATIONAL AND TRANSFORMATIONAL FORMS THAT ENCOMPASS SPACE. THIS FORM RESULTED FROM MANIPULATING CONTROL POINTS OF PARALLEL CURVES. ONCE LOFTED AND MADE INTO A SURFACE, THE FORM WAS CONTOURED AND SEPERATED INTO PERPENDICULARLY INTERSECTING PIECES IN ORDER TO BE CUT AND CONSTRUCTED INTO THIS MODEL. THE MODEL DISPLAYS POTENTIAL FOR AN EXPERIENCE LARGER THAN IT’S OWN SCALE.

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HALF SPACE

METHODS II SECTION MODEL

AS EXPLORATION OF THE SECTION AND ITS IMPORTANCE IN THE PROCESS OF ANY ARCHITECTURAL PROJECT. THIS PRESENTATION IS NECESSARY AS TO GIVE THE CORRECT DIALOGUE OF THE INTERIOR, SKELETAL CURVE OF THIS PROJECT. THE SECTION ALSO SHARES THE TRUTH OF THE MODEL’S PATH CONFIGURATION AS ONE WERE TO PASS THROUGH OR UNDER ITS CURVED CEILING.

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TRANSFORMING SPACE METHODS II PAIRED MODEL

THE SECTION HALF OF THE MODEL AND ITS PARTNER, THE OTHER HALF, ARE FLIPPED OVER SO THAT THE FLAT ‘SIDES’ OF THE MODEL ARE NOW THE TOP, SEALING A WHOLE NEW TYPE OF TUNNELED PATH. THIS LAST PHASE OF THE PROJECT EXEMPLIFIES THE POSSIBILITIES OF A STRUCTURE THAT CAME TOGETHER FROM ALL THE ORGANIC PROPERTIES OF FORM: POINT, LINE, AND PLANE, AND THE ARTISTIC ADDITION OF MANIPULATION.

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PRECEDENT STUDY

ROBIE HOUSE - FRANK LLOYD WRIGHT DESIGN III

THE SEMESTER BEGAN WITH AN IN-DEPTH RESEARCH AND STUDY OF AN EXISTING WORK OF ARCHITECTURE. THE ROBIE HOUSE IN CHICAGO, ILLINOIS BY FRANK LLOYD WRIGHT IS DEFINED BY A UNIQUE CHARACTER AND THEME WITHIN ITS ORGANIZATION. THIS IS EVIDENT IN ITS GENERAL STRUCTURE, CIRCULATION, SPACE LAYOUT, THRESHHOLDS, AND DETAILING.

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PRODUCING FROM PRECEDENT IMPRINT DESIGN III - CONTINUATION OF

PRECEDENT STUDY

AS “RUINS” OF THE ROBIE HOUSE, THE SITE GROUNDS UPON WHICH A NEW DESIGN IS TO BE BUILT, HAS EMBEDDED THE FOOTPRINT OF THE SECTIONS AND PLAN OF THE ROBIE HOUSE, RAISED TOPOGRAPHICALLY IN PLACES TO REPRESENT THE PLACES OF CUT IN EACH SECTION AND PLAN.

A NEW DESIGN RISES UP FROM THE ROOTS OF THESE “RUINS” THAT ACT AS ARTIFACT OF THE ROBIE HOUSE.

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FLOOR ONE PLAN

PHOTOGRAPHER’S STUDIO

DESIGN III - CONTINUATION OF PRECEDENT STUDY

FOLLOWING A STUDY OF PHOTOGRAPHERS AND THE NATURE OF THEIR WORK, EACH STUDENT PRECEDED TO DESIGN A STUDIO AND HOME FOR THEIR SUBJECT HYBRIDIZED PHOTOGRAPHER.

QUALIFICATIONS FOR THE STUDIO DESIGN INCLUDE THE IMPRINTED SITE OF ROBIE HOUSE

“RUINS”, UPON WHICH A 24 FOOT WALL STRETCHES THE DIAMETER OF THE SITE, AS WELL AS THE BUILDING HOLDING GALLERY, STUDIOS, FLOOR TWO PLAN

AND OTHER NECESSARY SPACES FOR THE CLIENT PHOTOGRAPHER.

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5/8

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SECTION ONE- THROUGH WALL

SECTION TWO- THROUGH CENTER

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NORTH ELEVATION

SOUTH ELEVATION

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PHOTOGRAPHER’S STUDIO DESIGN

III - 3D DIGITAL AND PHYSICAL MODELING

ABOVE: EXTERIOR DIGITAL IMAGE LEFT: INTERIOR DIGITAL IMAGE OF GALLERY WITH HYBRIDIZED PHOTOGRAPHS

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PHYSICAL MODEL

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INHABITABLE WALL AND FACADE DESIGN IV

THIS PROJECT BEGAN WITH AN EXPLORATION OF CONCEPTUAL STRUCTURE MODELS FOR POSSIBLE SKIN LAYERS OF A FACADE.

IDEAS STEMMED FROM TWO TYPES OF PRECEDENTS: A NATURAL SKIN/STRUCTURE AND A SMALL TECTONIC MECHANICAL DEVICE-- IN TERMS OF THIS WALL: THE HAIR OF A POLAR BEAR AND A REVOLVING DOOR. CONCEPT MET INCEPTION WITH INFLUENCE OF TRANSLUCENCY IN A POLAR BEAR GUARD HAIR, AS WELL AS THE ROTATION AND ANGLE OF A REVOLVING DOOR. STRUCTURE GENERALLY DERIVED FROM THE PLAN VIEW-SHAPE OF A THREE-WINGED REVOLVING DOOR, WHILE THE MATERAL OF GLASS CAUSING DISTORTION REFLECTS TRANSLUCENCY, LIKE THAT OF A POLAR BEAR.

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STAY AND WANDER

DESIGN IV- INHABITABLE WALL AND FACADE CONTINUED WALL ROOF PLAN

THE OVERARCHING IDEA HERE IS TO CIRCULATE PEOPLE THROUGH A STRUCTURE THAT’S MORE INTERESTING TO INHABIT THAN TO LOOK UPON. THE IRONY THAT A BUNCH OF STILL “REVOLVING” DOORS CAN BE PLANTED AND CONNECTED IN SUCH A WAY TO STILL COMMAND WANDERERS WHICH WAY TO PLACE THEIR FEET, WHILE ALSO GIVING THE OPPORTUNITY TO HOVER WITHIN THE WALL SPACE AS NEW PATHS ARE SOUGHT AFTER.

AS THIS WALL HAS POTENTIAL

FOR A BAFFLING MAZE, THE TRANSLUCENCY OF THE GLASS AIDS THE EYES OF CATCHING GLIMPSES OF WHAT’S ON THE OTHER SIDE, AND WALL SECTION

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HOW TO GET THERE.

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NATURE CENTER

WHEELER PARK, OKLAHOMA CITY, OK

DESIGN IV

WHEELER PARK IS OUTLINED BY DOWNTOWN OKLAHOMA CITY, I-35, AND I-40; THERE SEEMS TO BE NO AVOIDING THE URBAN BUZZ AND NOISY REMINDER OF ITS LOCATION. HOWEVER, BECAUSE OF THE SLOPE IN TYPOGRAPHY, FAMILY OF FOLIAGE FRAMING THE MAIN PATH, AND THE CONTIUOUS DATUM OF THE OKLAHOMA RIVER, THERE IS OPPORTUNITY TO STEP OUT OF URBAN COMMOTION AND INTO A SECLUDED FOCUS. THIS DESIGN BEGAN WITH HIGHLIGHTING TWO INTERSECTING SPECTRUMS OF FOCUS: BUSY URBAN AND SERENE RURAL. THE PURPOSE OF THIS PROJECT IS TO BRIDGE THE GAP WHILE ACKNOWLEDGING THE DIFFERENCE; TO PROVOKE A SWITCHING FOCUS.

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SOCIETY TO SERENITY DESIGN IV- NATURE CENTER CONTINUED

THE HILL THAT THE PATH AND BUILDING FRONT SIT UPON, PLAYS A BIG ROLE: PERSONIFYING TRANSITION BY A NATURAL SLOPE IN ELEVATION. THE CENTER IS A LARGE, OPEN SPACE CLARIFYING THE SHIFT BETWEEN ENDS: SOCIETY TO SERENITY. MID-WAY TO THE SIDE ARE OFFICE SPACE AND A MORE PRIVATE REST SPACE THAT EXTENDS TO A BALCONY OVERLOOKING THE WATER, AND CIRCULATING MOVEMENT VIA A WALKWAY BACK TO THE OPEN INTERIOR, IMMEDIATELY MEETING THE STAIR LANDING AS THE LOWER LEVEL BECKONS. THIS LOWER LEVEL IS WHERE GUESTS MAY DINE, INDOORS TOP FLOOR PLAN

OR OUT. ONCE STEPS ARE TAKEN BEYOND THE BUILDING ONTO THE DOCK, THE BOATERS SHALL BOAT, THE FISHERS SHALL FISH, AND THOSE SEEKING QUIET MAY FLOAT ON THE BUOY IN SOLITUDE.

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BOTTOM FLOOR PLAN

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THANK YOU - IVY

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