JL
Jeff Leopold
Portfolio 2019
Content
JL
Jeff Leopold 5349 Amesbury Dr. #2112 Dallas, TX 75206 440.865.5224 leopold.42@osu.edu
Post-Digital Aesthetics Aretha Franklin High School Museum of Internet Case Western Medical Library The Rotator Dance and Performance Arts Center Socrates Sculpture Park Competition EXPLO at Yale Western Europe Study Abroad Other
POST-DIGITAL AESTHETICS Sandhya Kochar / Dow Kimbrell Spring 2019 Honors Studio Rhino / VRay / Revit / AutoCAD / SketchUp Paint3D / Illustrator / Photoshop / Zbrush three.js / p5.js / Processing
FINAL MODELS
In our Post-Digital age, architectural design software is a tool for form making, used by designers to reach a largely predetermined end. While there is a kind of back-andforth, the software usually operates at the will of the designer. Algorithmic design processes have broken down this paradigm, though even in instances where coding is predominant, design intent is still operative. While software technology has led to flood novel form making, it is not considered determinative so much as enabling. We take for granted the embedded aesthetics in the software, with minimum consideration of its effects. It is a means to an end. What if we could critically analyze the embedded aesthetics and reproduce them in the physical world? This project seeks to explore the “embedded” logics in various design software tools and to tease out their embedded aesthetic sensibilities. We embrace the fact that the program used will heavily influence the designer’s work. Each software leaves distinct aesthetic traces on the artifacts they generate, both overt and latent. As designers we can hypothesize by looking at the designed object, the software in which it was modelled. A photoshop object looks very different from a sketchup object, looks different from a z-brush object, a revit object, or a paint 3D object. Our research critically examines this phenomena and displays how a softwares’ innate aesthetic qualities will impact the resultant objects’ characteristics.
RHINO
PHOTOSHOP
REVIT
PAINT 3D
Z-BRUSH
SKETCHUP
PHOTOSHOP
REVIT
PAINT 3D
SKETCHUP
RHINO
Z-BRUSH
ILLUSTRATOR
AUTOCAD
THREE.JS
P5.JS
To understand these innate aesthetic tendencies, we sampled a rock, and built it across 10 different softwares to explore and study their aesthetic differences, similarities, and tendencies. By using the same object as the starting point, we are able to compare the differences in the output to evaluate how the software impacts it. The workflow varied depending on how the software operates and what processes it favors. For example, some rocks were created through extrusion (SketchUp), others through boolean (Rhino and Paint3D), layering of graphics (Photoshop and Illustrator), or sculpture (Zbrush).
As seen in the models and drawings, when the same object is created in different software mediums the outcome will always differ due to the embedded aesthetic qualities of that medium. This is vital, as we want to bring the software to the foreground of design, instead of simply being a tool in the background. We are looking at the software as a critical design agent in the larger process. In architectural design, the designer collaborates with a given software medium, and the work produced bears the imprint of that collaboration. Oftentimes the limitations of a software becomes its aesthetic as much as its’ capabilities.
We call for a critical examination of the tools and technologies that we take for granted as a means of understanding our own visual culture within the context of larger cultural shifts and sensibilities that are occurring globally. As digital technology spreads further and fuses deeper into material things, it becomes increasingly important to train the eye to see its effects. If the digital turn produced spectacular buildings, the postdigital slips inconspicuously into our visual field, opening up new capabilities and capacities.
MODEL DETAILS
ARETHA FRANKLIN HIGH SCHOOL
Viola Ago Fall 2018 Studio
Rhino/ZBrush/VRay/Illustrator/Photoshop/Maya
SITE PLAN
ENVELOPE DIAGRAM
A study on digital form making and material representation, the Aretha Franklin Performance Arts high school takes a new aproach to the building envelope. I sought to study how the workflow between analog and digital modes of working can affect the materiality of the project. The building form was created digitally with a rigourous process of transformations applied to three cubes. The resultant form was then printed physically with a 3D printer, photographed, and then uploaded back into the digital world. The flat images of the 3D printed model were overlaid onto the digital model and transformed into volumetric forms as they wrapped around the digital model. Misalignmenets of the photographs with the digital model became an area of focus for the project. These misalignments informed the thickness, color, and opacity of the facade. When switching between analog and digital modes of working, material properties innately alter. This way of working created an entirely new type of envelope, belonging neither to the physical nor the digital world and representing our current state of design in the transition from analog to digital. TRANSFORMATION DIAGRAM
STUDY MODEL
TRANSVERSE SECTION
FINAL MODEL
ELEVATIONS
LEVEL 01 PLAN
LEVEL 05 PLAN
FINAL MODEL
SWATCH MODEL
ENVELOPE STUDIES
The above diagram shows the process of overlaying images of the physical model onto the digital model. The first and third image are of the physical model, photographed with colored light filters. The second and fourth photograph shows the misalignments that occur when the image is overlaid onto the digital model, shown darkened and outlined. The image wraps around the form, breaking down the definitiveness of the edge. Instead of a clear edge where one plane meets the next, the envelope seamlessly transitions around corners creating continuity in the building facade.
FINAL MODEL
MUSEUM OF INTERNET Galo Canizares Spring 2018 Vertical Studio
Rhino/VRay/Illustrator/Photoshop/InDesign HTML/CSS/Javascript/p5
STATE OF BEING DIAGRAM
HTML1.html <!DOCTYPE html> <html class =”custom”> <head> <meta name=”viewport” width=device-width, initial-scale=1.0, maximum-scale=1.0, user-scalable=0> <style> body {padding: 0; margin: 0;}</style> <link rel=”stylesheet” href=”button.css”> <script src=”p5/p5.min.js”></script> <script src=”p5/p5.dom.min.js”></script> <script src=”p5/p5.sound.min.js”></script> <script src=”html1.js”></script> </head> <body> </body> </html> HTML1.js var A_curtainwall; var app_dishwasher; var E_lights_short0m; var F_chair02; var L_trees02; var Misc_car01; var P_bathtub; var S_columns0m; var Sframe; var A_railing; var A_window02; var app_refrigerator; var button; function preload () { A_curtainwall = loadModel (‘OBJ/A_curtainwall.obj’,true); app_dishwasher = loadModel (‘OBJ/app_dishwasher.obj’,true); E_lights_short0m = loadModel (‘OBJ/E_lights_short0m. obj’,true); F_chair02 = loadModel (‘OBJ/F_chair02.obj’,true); L_trees02 = loadModel (‘OBJ/L_trees02.obj’,true); Misc_car01 = loadModel (‘OBJ/Misc_car01.obj’,true); P_bathtub = loadModel (‘OBJ/P_bathtub.obj’,true); S_columns0m = loadModel (‘OBJ/S_columns0m.obj’,true); Sframe = loadModel (‘OBJ/Sframe.obj’,true); A_railing = loadModel (‘OBJ/A_railing.obj’,true); A_window02 = loadModel (‘OBJ/A_window02.obj’,true); app_refrigerator = loadModel (‘OBJ/app_refrigerator. obj’,true); } function setup() { var width = windowWidth; var height = windowHeight; createCanvas(width, height, WEBGL); button = createButton(‘BEGIN’); button.position(width/2-115,height/2-30); button.size(100,50); button.mousePressed(beginClick); } function beginClick() { window.open(“html2.html”, “_self”); } function draw() { background(255); pop(); //app_refrigerator push(); translate(580,250, 50); scale(.5); rotateX(frameCount * .01); rotateY(frameCount * .03); rotateZ(frameCount *.02); model(app_refrigerator); pop(); } HTML2.html <!DOCTYPE html> <html class =”custom”> <head> <meta name=”viewport” width=device-width, initial-scale=1.0, maximum-scale=1.0, user-scalable=0> <style> body {padding: 0; margin: 0;} button {z-index:999;}</ style> <link rel=”stylesheet” href=”button.css”> <script src=”p5/p5.min.js”></script> <script src=”p5/p5.dom.min.js”></script> <script src=”p5/p5.sound.min.js”></script> <script src=”html2.js”></script> </head> <body > <!--tool bar boxes <div id= menu style=”z-index: 900; position: absolute; margin-left: 20px; margin-top: 20px; width:230px; height: 450px; background-color: #afafaf;”></div>
<div id= menu style=”z-index: 900; position: absolute; margin-left: 10px; margin-top: 10px; width:230px; height: 450px; background-color: #fff;”></div> <!--background--> </body> </html> HTML2.js var app_dishwasher; var app_kitchensink; var app_microwave; var app_refrigerator; var app_stove; var app_toasteroven; var A_bridge; var A_curtainwall; var A_doors = []; var A_floor = []; var A_intwall = []; var A_railing = []; var A_roof; var A_stair = []; var A_wall = []; var A_window = []; var E_lights = []; var E_solarpanel = []; var F_chair = []; var F_stool = []; var F_table; var F_tv; var L_trees = [];
//grid push(); stroke(175); noFill(); for (var j = -650 ; j < height; j += 50) for (var i = -925; i < width; i rect(i, j, 100, 1); } } pop(); push(); stroke(175); noFill(); for (var j = -650 ; j < height; j += 50) for (var i = -925; i < width; i rect(i, j, 1, 100); } } pop(); //end grid strokeWeight(0.7); normalMaterial(); //A_curtainwall push(); translate(-620,-250, 50); scale(.5); rotateX(frameCount * .01); rotateY(frameCount * .02); rotateZ(frameCount *.01); model(A_curtainwall); pop(); //app_dishwasher push(); translate(-220,-250, 50); scale(.5); rotateX(frameCount * .03); rotateY(frameCount * .01); rotateZ(frameCount *.01); model(app_dishwasher); pop(); //E_lights_short0m push(); translate(180,-250, 50); scale(.5); rotateX(frameCount * .01); rotateY(frameCount * .02); rotateZ(frameCount *.02); model(E_lights_short0m); pop(); //F_chair02 push();
{ += 50) {
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SCREENSHOT OF ONLINE GAME
HOLOGRAM MACHINE
This project was an exploration into how the internet has impacted architecture and how we can learn from the internet to enhance our architectural creations. The main focus of this project was on BIM and cloudsharing workflow. This way of working creates â&#x20AC;&#x2DC;clashesâ&#x20AC;&#x2122; when users simultaneously work on the same component of a building. To exploit these clashes for our benefit, we created an online game that simulates these clashes, shown above. Through this game, we extracted a series of components to create our museum of internet, shown below. We used these components and rearranged them into a structural whole that showcases how BIM clashes can be used to create a new language of architecture in a digital world.
COMPONENTS
Software inherently determines the outcome of an architectural project to conform to the standards written in the code of the program. The museum of internet challenges this norm, asking what would happen if we put stairs inside of a wall? Or a door that transforms into a staircase? Or a wall that becomes a floor? These are just a few examples of the components that were created through purposeful BIM clashes. The outcome of this project has many different states of being depending on if a component is open or closed, vertical or horizontal, up or down. When combined together in various ways they create interesting new spatial relationships. Our project showcases just one of these many arrangements. Many combinations are possible, resulting in a different spatial experience each time the museum is visited. The museum exists virtually so that anyone can access it and users are encouraged to create their own clashes of architectural components through our online game. Users are then able to export their creation into a custom made hologram machine that displays their new component in three dimensional space, shown on the facing page. The museum of internet is not so much a museum as it is a staging area to explore new architectural components. Our project challenges designers to embrace the clashes that arise when working with the cloud.
MODEL RENDERINGS
FINAL MODEL
PLAN
FINAL MODEL
SECTION
FINAL MODEL
ELEVATION RENDERINGS
CASE WESTERN MEDICAL LIBRARY Jacqueline Gargus Fall 2017 Studio Rhino/VRay/Illustrator/Photoshop
SITE PLAN
ENTRANCE RENDERING
B
A
A
B
Floor Plan 1
LEVEL 01 PLAN
FINAL MODEL
LONGITUDINAL SECTION
Floor Plan 3
LEVEL 03 PLAN
Floor Plan 5
LEVEL 05 PLAN
Situated in the center of Clevelandâ&#x20AC;&#x2122;s cultural core at Wade Oval, this project sets out to create a new gathering space for students of Case Western University. It draws students in through its monumental entrance and into the atrium where cantilevers project out and study space is abundant. The building is organized as a series of stacked bars that wrap around an interior courtyard looking out towards the Oval. These bars expand and contract in areas creating a varied scale of spaces serving different needs. The apparent erosion of the building serves to create both interior and exterior terraces. Light is brought in through a raised clerestory roof and a translucent outer shell which difusses direct light and keeps the interior private. This building excells in creating both large open spaces for gathering and small niches for personal studying, serving the community in a variety of ways and catering to the study habits of different students.
FINAL MODEL
TRANSVERSE SECTION
SCHEMATIC DIAGRAM
THE ROTATOR Jonathan Rieke Spring 2017 Studio Rhino/VRay/Illustrator/Photoshop
FINAL MODEL AND TEAM
PLANS
TRANSFORMATION DIAGRAM
SKIN DIAGRAM
SECTION
The goal of this project was to create a study space for students during finals week. We were restricted by two things: the structure had to fit inside a twelve by twelve foot square and had to be entirely made from cardboard. My team and I created the Rotator, the name itself being palindrome and a play on the idea of forward/backward movement. Our space was composed of three twisted cylinders that lean on and support one another, covered with a snake-like skin. The skin had to be designed and fabricated one strip at a time to achieve the doubly-curved surface. From the outside the structure appears to be in continuous movement and tension, moving forward and backward simultaneously. While on the inside it is spacious and furnished with a bench and desk for studying. The three circle plan creates multiple different niches for students to inhabit and work separately. To finish out the twelve by twelve foot square site, we created a base following the footprint in which we attached string to. The string captures the exterior of the structure and creates another pocket for studying fitted with a second bench. This pocket being neither exterior or interior, it blurs the line between where the study space begins and where it ends. MODEL ASSEMBLY
MODEL ASSEMBLY
ELEVATIONS
DANCE AND PERFORMANCE ARTS CENTER
FINAL MODEL
Jonathan Rieke Spring 2017 Studio
Rhino/VRay/Illustrator/Photoshop/Maya
LEVEL 02 PLAN
FINAL MODEL
FINAL MODEL
ELEVATIONS
The Dance and Performance Arts Center, DPAC, is situated on a site bordered by a parking garage, DPAC offices, a public park, and retail shops. My design began with an ordered grid of columns that spills out to the southwest corner, breaking the order, and inviting guests to explore the building. Supporting a large canopy roof that resembles a classic stage curtain being pulled back at the beginning of a performance, the columns also support the performance halls which are suspended in space beneath the curtain roof. Circulation in the building is a series of hanging stairs, catwalks, and terraces. The column grid intersects with the circulation at points, sometimes blocking path, and at other times creating gathering spaces in the path. The DPAC blends distinctions between interior and exterior through its use of a curtain roof. The roof encloses space, though never cuts off the guest from the exterior world. The column grid is not bound to the confines of the roof, spilling out, telling guests to be playful and explore the performance being put on.
SOCRATES SCULPTURE PARK
FINAL MODEL
In collaboration with mr Studio Winter 2017
SITE PLAN
Our proposal for the Socrates Sculpture Park competition imagined lifting and twisting the landscape into seating for guests. The seats would be made from thin stainless-steel sheets, polished on one side and covered with Turf on the other. This juxtaposition of material sets up a unique relationship to the landscape. On one side, the seats blend into the grass of the site. On the other side they stand out, reflecting and distorting the surroundings. Our proposal creates a series of eight different seating types, each composed of one sheet of stainless-steel. The sheet is easily bent into place to form the seat and when finished, can be unrolled flat for storage and transportation. Our proposal adds additional seating to the park as well as a series of playful forms to occupy the waterfront park. SITE DIAGRAM
SEATING OPTIONS
TRANSFORMATION DIAGRAM
EXPLO AT YALE Architecture Instructor Residential Advisor Summer 2017
STUDENT PLANS
In the summer of 2017 I had the opportunity to work at EXPLO at Yale, a pre-college summer program for high school students from all over the world. EXPLO invites college students from across the globe to teach what they are passionate about to younger students. The goal of EXPLO is to make learning engaging for students through interactive classroom activities, active discussions, and independent thinking. While at EXPLO I taught the Architecture course and Architecture at Yale Workshop, while also working as a residential advisor to a diverse group of high school students. I wrote the curriculum for the architecture course which centered on the questions of: What is architecture and itâ&#x20AC;&#x2122;s purpose in society? How does an architect create and effectively communicate their idea? And how does an architect find and use inspiration to create meaningful space? The students were taught how to draw in plan, section, and elevation, and culminated with creating models that fit together in a culdesac type of community with each student working with a unique site. In addition to classroom teaching, I also led architecture trips around campus which taught students about the history and architectural styles of Yale. STUDENT PLANS
STUDENT MODELS
WESTERN EUROPE STUDY ABROAD Jacqueline Gargus, Jonathan Rieke, and Emily Mohr May 2018
OTHER
Paint / Digital