Sydney kieler vc2 portfolio by Jesse Wetzel

LAWRENCE TECHNOLOGICAL UNIVERSITY SPRING SEMESTER 2014 PROFESSOR JESSE WETZEL

SYDNEY KIELER

ARCH 1223

VISUAL COMMUNICATION 2

TOOLING

pp. 3-8

pp. 13

EIDETIC tooling sketchup mixed media illustrator-ation detail drafting

methodology

PHYSICALITY pp. 14-15

METHOD

media matrix

diagram diary

seeing site analysis

pp. 9-10

site plan site section joiner

eideticism the eidetic image

SEEING pp. 10-13

physicality proun

CRITICALITY

pp. 16

construct + cornell box

criticality course/self evaluation new trajectories

p. 3

TOOLING : SKETCHUP

tooling

METADATA TOOLS USED ANALOG

DIGITAL SketchUp

PROJECT DESCRIPTION Project objectives: 1.

To demonstrate a comprehension of and satisfactory mastery of SketchUp by recreating a building based on access to the floor plans, ceiling plans, and photography of the site.

To demonstrate a comprehension of the typical commercial building construction plan.

To better understand the difference of using grouping and components to create a structure in SketchUp in an effcient manner.

REFERENCES READINGS “9 SketchUP Tips for better 3d modeling workflow”

PROJECTS University Texas Dallas Student Services Building

ARCHITECTS Busby, Perkins and Will Hill & Wilkinson

IMAGES

Lessons Learned: 1.

“Everything has thickness” - a rectangle drawn in SketchUp does not provide a surface that, in the phyiscal world, would be able to be built upon.

“Always be grouping” - by creating groups and components for objects that are used over and over again adjustments can be made in a more efficient way saving time.

“Windows are not blue” - pay attention to the material that is being applied to the building that is being constructed.

Site Plans Elevations

methodology

seeing

eideticism

physicality

criticality

Sydney Kieler / ARCH 1223 - Visual Communications 2 - Wetzel / Lawrence Technological University / spring semester 2014

p. 4

TOOLING : SKETCHUP

tooling

METADATA TOOLS USED ANALOG

SUPPORT IMAGES

DIGITAL

SketchUp

REFERENCES READINGS

Reference image of the interior lobby space of the physical building to determine possible height of the space and materiality of the physical building to be used when creating the digital recreation.

Reference image of the South West exterior perspective of the physical building to determine how the building interacts with the landscape around it.

â&#x20AC;&#x153;9 SketchUP Tips for better 3d modeling workflowâ&#x20AC;?

PROJECTS University Texas Dallas Student Services Building

ARCHITECTS Busby, Perkins and Will Hill & Wilkinson

4. fig. 1 - north east perspective on the physical building

fig. 2 - interior lobby space of the physical building

Reference image of the North East exterior perspective of the physical building to determine possible height of elements on the exterior of the building and how the building interacts with the surrounding buildings.

methodology

seeing

Reference image of the South exterior elevation of the physical building to determine overall appearance of the building.

IMAGES Site Plans Elevations

eideticism

physicality

fig. 3 - south west perspective on the physical building

fig. 4 - south elevation of the physical building

criticality

Sydney Kieler / ARCH 1223 - Visual Communications 2 - Wetzel / Lawrence Technological University / spring semester 2014

p. 5

TOOLING : MIXED MEDIA

tooling

METADATA TOOLS USED ANALOG Pencil Trace

DIGITAL SketchUP Photoshop

REFERENCES READINGS â&#x20AC;&#x153;Photoshop Post Rendered Workâ&#x20AC;?

PROJECTS Fremont Hotel

ARCHITECTS LTL Architects

IMAGES

PROJECT DESCRIPTION When reproducing an LTL image it does not matter what the image is of or what objects are in the space. What matters is what fundamental elements make up the image as a whole. The first step is to break the image down into the different methods that were combined to create the finished product. This particular image was created by combining digital 3D, digital 2D, and analog 2D elements. After determining this, the next step is to determine what software is appropriate for recreating the desired effect. For the digital 3D elements SketchUp was used. For the digital 2D elements Photoshop was used. For the analog 2D elements trace paper and pencil were used. The first step in the recreation was to create the main structure matching length and width proportions and perspective angle as closely as possible to the original. The next step was to produce the analog 2D line work by drawing on trace paper over a print out of the main structure. Lastly, in photoshop, the hand line work, color, and people were layered together over the main structure to create the final reproduced product. The little details, such as the posture of the people and the colors used, count was recreating an image. The closer the recreation looks to the original, the more authentic it feels.

methodology

seeing

eideticism

physicality

criticality

Sydney Kieler / ARCH 1223 - Visual Communications 2 - Wetzel / Lawrence Technological University / spring semester 2014

p. 6

TOOLING : MIXED MEDIA

tooling

METADATA TOOLS USED ANALOG Pencil Trace

SUPPORT IMAGES

DIGITAL

SketchUP Photoshop

Only the elements of the image that were 3D elements were traced over separating them from the rest of the image.

Only the elements of the image that were created using digital 2D software were traced over separating them from the rest of the image.

Only the elements of the image that could be created using the 3D modeling software SketchUp were traced over separating them from the rest of the image.

REFERENCES READINGS â&#x20AC;&#x153;Photoshop Post Rendered Workâ&#x20AC;?

PROJECTS Fremont Hotel

Only the elements of the image that were hand drawn were traced over separating them from the rest of the image.

methodology

seeing

ARCHITECTS LTL Architects

fig. 1 - hand drawn elements with underlay of original image

fig. 2 - hand drawn elements with underlay of original image

IMAGES

eideticism

physicality

fig. 3 - photoshop elements with underlay of original image

fig. 4 - SketchUP elements with underlay of original image

criticality

Sydney Kieler / ARCH 1223 - Visual Communications 2 - Wetzel / Lawrence Technological University / spring semester 2014

p. 7

TOOLING : ILLUSTRATION EXERCISE

tooling

METADATA TOOLS USED ANALOG Pencil Trace

PROJECT DESCRIPTION

DIGITAL

Project objectives:

SketchUP Photoshop Illustrator

To understand the difference in line weights as they relate to floor plans, section cuts, and elevations of a building.

To demonstrate comprehension and satisfactory mastery of the digital software Adobe Illustrator and its ability to take line work from a Rhino file and change its line weights.

REFERENCES READINGS

methodology

Lessons Learned:

PROJECTS

“Line hierarchy” - there is no particular thickness for lines used in a section cut. The thickness of a line is relative to the other use of the other lines in the image as well as the distance the image is being viewed from and the size of the printed image.

Test prints are important to do as the image progresses to determine how the image is being read from different distances.

“Always be grouping” - by organizing the lines that will be given the same line weights into different layers in a Rhino file will make the job of changing the line weights in Adobe Illustrator easier.

Muller House

ARCHITECTS Adolf Loos

IMAGES Site Plan Elevatins

seeing

eideticism

physicality

criticality

Sydney Kieler / ARCH 1223 - Visual Communications 2 - Wetzel / Lawrence Technological University / spring semester 2014

p. 8

TOOLING : DETAIL EXERCISE

METADATA

tooling

TOOLS USED ANALOG

PROJECT DESCRIPTION

DIGITAL

Project objectives:

Rhino Illustrator Photoshop

REFERENCES

To understand the difference in line weights as they relate to importance and materiality of the section cut of a building.

To demonstrate comprehension and satisfactory mastery of the digital software Adobe Illustrator and its ability to take line work from a Rhino file and change its line weights.

READINGS

methodology

Lessons Learned:

PROJECTS La Chataigneraie

Test prints are important to do as the image progresses to determine how the image is being read from different distances.

ARCHITECTS

Jean-Baptiste Ferrari et Associes

Horizontal sections Vertical section scale 1:20

IMAGES School in Founex (Detail Magazine: Facades 7-20-12)

4 4 7

Sydney Kieler / ARCH 1223 - Visual Communications 2 - Wetzel / Lawrence Technological University / spring semester 2014

1 gravel bituminous seal 160 mm thermal insulation seperating layer 320 mm reinforced concrete 30mm mineral wool 12.5mm perforated plasterboard 2 operable sash: triple glazing in aluminium frame, anodised, 8 mm toughened glass + 12 mm cavity + 6mm toughened glass+ 12 mm cavity + 2 X 5.5 mm laminated safety glass, sillicone seam 3 balustrade: 2 X 5.5 mm laminated safety glass 4 150/50 mm aluminium RHS, anodised polyester glass mat sheet with polyacrylic multi-toned coating 160 mm stone-wool thermal insulation 200 mm reinforced concrete 5 mounting: 50/50 mm stainless-steel channel 6 3 mm aluminium sheet, anodised polyester glass mat sheet 160 mm stone-wool thermal sheet stee 3 mm sheet steel 7 25mm terrazzo 70 mm screed 20 mm glass-wool impact-sound insulation 320 mm reinforced concrete 30 mm mineral wool 12.5 mm perforated plasterboard

seeing

eideticism

physicality

criticality

p. 9

METHODOLOGY : DIAGRAM DIARY

tooling

METADATA TOOLS USED

Electroics

ANALOG

Cosmetics

DIAGRAM DIARY

DIGITAL Rhino Photoshop Illustrator SketchUp

Image Annotation:

Clothes

Mixture of public and private space

Raumplan volume comparison

How I spent my money on spring break

Travel plans in my house

READINGS

Van Berkel + Trummer “Between Ideogram and Image-Diagram”

Venn diagram of my approach to homework on spring break

How little a person takes up on a large campus

Having stock in the city

The world combining to Superkilen

The world combining at Air + Port

Food REFERENCES

fig. 1 - public vs. private in digital 2D

fig. 2 - Raumplan program in digital 2D

fig. 3 - indecical diagram in digital 2D

fig. 4 - circulation narrative in digital 2D

PROJECTS La Chataigneraie Muller House Cranbrook Home and Gardens

New Year’s Resolutions

Spring Break To-Do List

IMAGES

11. History inside the design for the Blavand Bunker Museum

Procrastination

12. Private is enclosed inside the public fig. 5 - indexical diagram in digital 2D

seeing

10. History inside the design for the Kimball Art Museum

ARCHITECTS Adolf Loos Albert Khan Jean-Baptiste Ferrari et Associes

methodology

fig. 6 - public vs. private in digital 2D

fig. 7 - high resolution vs. low resolution in digital 2D

fig. 8 - circulation and program narrative in digital 2D

eideticism

The diagrams that were the most productive for exploration were the diagrams in Figures 8 and 9 because they most clearly captured the ideas expressed in the BIG’s Gyre about public participation. The idea and method that was developed more than the rest was a circulation narrative diagram.

physicality

fig. 9 - circulation narrative in digital 2D

fig. 10 - incorporating history diagram in 2D

fig. 11 - incorporating history diagram in digital 2D

Sydney Kieler / ARCH 1223 - Visual Communications 2 - Wetzel / Lawrence Technological University / spring semester 2014

fig. 12 - public vs. private diagram in analog 3D

criticality

p. 10

METHODOLOGY : DIAGRAM DIARY

tooling

METADATA TOOLS USED ANALOG

DIAGRAM DIARY

DIGITAL

Image Annotation:

Rhino Photoshop Illustrator SketchUp

REFERENCES

fig. 1 - exterior style in digital 2D

fig. 2 - visibility in digital 3D

fig. 3 - materiality metaphor in digital 2D

fig. 4 - visibility in analog 3D

Separating styles of Cranbrook sharing a house

Where the time is spent on the outside reflects on the resolution of the facade

Brick material anchors the building to its spot

Permeable walls

methodology

READINGS Van Berkel + Trummer â&#x20AC;&#x153;Between Ideogram and Image-Diagramâ&#x20AC;?

PROJECTS La Chataigneraie Muller House Cranbrook Home and Gardens

The diagram that were the most productive for exploration was the diagrams in Figures 4 because it most clearly captured the ideas expressed in the visibility and feel that the arches at the Cranbrook School for boys had on the visitors. The idea and method that was developed more than the rest was the construct diagram studying visibility.

seeing

ARCHITECTS Adolf Loos Albert Khan Jean-Baptiste Ferrari et Associes

eideticism

IMAGES

physicality

criticality

Sydney Kieler / ARCH 1223 - Visual Communications 2 - Wetzel / Lawrence Technological University / spring semester 2014

p. 11

SEEING : CRANBROOK SITE ANALYSIS

tooling

METADATA TOOLS USED ANALOG Pencil Highlighter Trace

SITE ANALYSIS You should have several diagrams here exploring the Cranbrook Campus specifically. Show your four best diagrams and use them to talk about what you learned about the campus before and after visiting the site.

DIGITAL

REFERENCES

Diagram Descriptions:

READINGS

Van Berkel + Trummer “Between Ideogram and Image-Diagram”

PROJECTS Cranbrook Home and Gardens

ARCHITECTS

fig. 1 - channeled sight lines of Cranbrook in analog 2D

fig. 2 - study of the buildings of Cranbrook with functions for public and private in analog 2D

Before visiting the Cranbrook campus, I studied the relationship between buildings that currently functioned as public spaces and the buildings that currently functioned as private spaces. I studied how the uses changed over time and how the public spaces surrounded the public spaces on the campus.

Before visiting the Cranbrook campus, I studied the relationship between the buildings that were built for residential use in mind and buildings that were built for public use in mind. I was interested in how, at one point in time, people had lived so close, and practically inside the action of Cranbrook. After visiting the site I noticed how the landscape was used to create barriers to help create divisions and privacy.

After visiting the Cranbrook campus, I recorded the locations were I had heard distinct sounds, I was interested in how those sounds helped influence my experience at Cranbrook and how they programed the sight.

Albert Khan

IMAGES

fig. 3 - study of buildings of Cranbrook built for residential and public in analog 2D

Before viisting the Cranbrook Home and Gardens I had no awareness of how the house interacted with the site. After visiting Cranbrook’s campus I learned about the relation that the home to its landscape. I was taken back by the outstanding sight lines that were visible from the property and how different elements of the campus were visible from these sight lines.

methodology

seeing

eideticism

physicality

fig. 4 - study of sound on my first visit to Cranbrook campus in analog 2D

Sydney Kieler / ARCH 1223 - Visual Communications 2 - Wetzel / Lawrence Technological University / spring semester 2014

criticality

p. 12

SEEING : CRANBROOK SITE PLAN

tooling

METADATA TOOLS USED ANALOG

DIGITAL Rhino Illustrator

REFERENCES READINGS

PROJECTS Cranbrook House and Gardens

ARCHITECTS Albert Khan

IMAGES

SITE PLAN A two dimensional representation of a space never does the space as much justice as being there. However, with an understanding of topography lines in a sight plan you can start to understand how the sight might be structured. A sight plan will show elevation and were buildings are in relation to one another but they do not show how the plants in the landscape affect the experience on the site. From the site plan it is not clear the distinct site lines that impact visitors to the Cranbrook House and Gardens; those can only be truly experienced when actually at the sight. The topographical lines do show that the home is raised above the surrounding land gives the viewer an idea of how far away the buildings are to one another. The distance in the buildings in evident because the section of land that is taken only include the location of one. But again, a two dimensional site plan does not give the viewer as much inspiration and experience as being there will. To fully experience a space you must have visited it.

methodology

seeing

eideticism

physicality

criticality

Sydney Kieler / ARCH 1223 - Visual Communications 2 - Wetzel / Lawrence Technological University / spring semester 2014

p. 13

SEEING : CRANBROOK SITE SECTION

tooling

METADATA TOOLS USED ANALOG

DIGITAL Rhino Illustrator

REFERENCES READINGS

PROJECTS Cranbrook House and Gardens

SITE SECTION The site section does a better job than the site plan at representing the land to the viewer. The viewer can more clearly see how drastically, or slightly, the landscape changes. The section becomes even more effective when the objects directly behind the cut are displayed. This way the viewer also has a chance to see the plants that make up the siteâ&#x20AC;&#x2122;s landscape. Particularly with Cranbrook, through the site section the viewer can see the locations of the famous statues. The section cut also more clearly shows the presence the building has on the location. Focal points become more apparent in a site section and a viewer can get a more clear understanding about how a space is experienced.

methodology

seeing

ARCHITECTS Albert Khan

IMAGES

eideticism

physicality

criticality

Sydney Kieler / ARCH 1223 - Visual Communications 2 - Wetzel / Lawrence Technological University / spring semester 2014

p. 14

SEEING : JOINER

tooling

METADATA TOOLS USED ANALOG Camera

SITE JOINER DIGITAL

REFERENCES READINGS â&#x20AC;&#x153;10 Points of Joinersâ&#x20AC;?

PROJECTS Cranbrook Home and Studio

ARCHITECTS Albert Khan

IMAGES Telephone Pole (http://www. hockneypictures.com/photos/ photos_collages_01.php)

Joiners have the unique ability to record how a space is affected over time; more than what a single photograph can do. A joiner can also capture space and how different elements relate to one another. Joiners capture exactly what a visitor to the site might experience and they slow the moment down so that all elements in the scene can be viewed without missing out on the action of the scene. The separate photographs that make up a joiner not only come together to create the big picture, but they can also interact with each other to represent something symbolic. The joiner helped show the vast view of the sight, more so than what would have been visible in a single photograph. The joiner also help show how the sunlight would cast shadows on some sections of the sight but not others. After taking the photos for the joiner it was obvious that showing a path down stairs was extremely challenging and that a joiner is more affective when the photographer is standing still and just observing the world around them. The amount of time that an observer looks at a joiner is more closely related to the amount of time the joiner captures.

methodology

seeing

eideticism

physicality

criticality

Sydney Kieler / ARCH 1223 - Visual Communications 2 - Wetzel / Lawrence Technological University / spring semester 2014

p. 15

EIDETICISM : THE EIDETIC IMAGE

tooling

METADATA TOOLS USED ANALOG Pencil Vellum

DIGITAL Rhino Photoshop Illustrator

THE EIDETIC IMAGE methodology

REFERENCES READINGS James Corner “Eidetic Operations”

seeing

PROJECTS Cranbrook Home and Gardens

ARCHITECTS Albert Khan

IMAGES Central California History Museum Eidetic Image (http:// www.bartlett.ucl.ac.uk/ architecture/events/perrykulper-bartlettils)

eideticism

physicality

criticality

Sydney Kieler / ARCH 1223 - Visual Communications 2 - Wetzel / Lawrence Technological University / spring semester 2014

p. 16

PHYSICALITY : PROUN

tooling

METADATA TOOLS USED ANALOG Pencil Cardboard

DIGITAL

REFERENCES READINGS

PROJECTS Cranbrook Home and Studio

ARCHITECTS Albert Khan

IMAGES

PROUN The goal of the proun in to communicate an idea through physical construction. The proun is not suppose to look like the idea that it is trying to present and does not necessarilly communicate ideas that relate to form or architecture. Often times, the most commpelling view of the proun is the shadow that the object casts. The proun is ment to be viewed from different orrientations and does not relate directly to any sort of scale. The material used to construct the proun is also important because different materials can determine what ideas can be expressed. When crafting the proun it is important to pay attention to pay attention to the way that it is constructed. The way corners are put together and the material is stacked can spark a new idea or conversation that futher expores the topic. This proun is an exploration of the significant site lines surrounding the Cranbrook House. After visiting the location I realized there were projected views orientated to the North, South, East and West cardinal directions. The circular shape of the proun makes reference to a compass with the screens of cardboard representing the different views. Their length corresponds to the prominent effect they have on the site. The short walls correspond to views that have low resolution, and the longer walls correspond to the views that are of higher resolution. The walls are screened so that as the eye looks in the direction of one site line the other lines disappear. Opposite the compass, the shape creates the view that I witnessed while at the site. As you walk around the Cranbrook home the way nature is sculpted draws your eye to another point on the campus. After producing the proun, it lead my mind to a contemplation about Cranbrookâ&#x20AC;&#x2122;s master plan and if the site lines are aligned to specific directions or spots because of the plan.

methodology

seeing

eideticism

physicality

criticality

Sydney Kieler / ARCH 1223 - Visual Communications 2 - Wetzel / Lawrence Technological University / spring semester 2014

p. 17

PHYSICALITY : CONSTRUCT

tooling

METADATA TOOLS USED ANALOG Pencil Circle Template Plywood Dowel Rods

DIGITAL

REFERENCES READINGS

PROJECTS Cranbrook Home and Garden

ARCHITECTS Albert Khan

IMAGES

CONSTRUCT + CORNELL BOX The construct is a physical diagram that displays site specific information as it relates to a main idea. The construct, like the proun does not look like what it represents. The construct, unlike the proun can incorporate several mediums that can help express the idea. The construct that I created is a analog 3D representation of the age of the buildings at Cranbrook as they relate to one another. I used wooden dowel rods of different diameters to represent the building, with the oldest buildings having the widest diameters. Because of relations between the site and the sight lines of the Cranbrook house that my proun lead me to explore, I used the construct to further that exploration. Through the construct I was trying to express ideas of an overall site plan for Cranbrook. I thought that maybe the buildings were meant to circle around the Cranbrook house aligning to the cardinal directions. I choose to use yarn of different colors to record my several visits to Cranbrook. I also choose to let the amount of times the sting was wrapped around to represent how much time I spent in that particular area of the campus. The construct also incorporates elements of a Cornell box, so objects that i picked up from the site, like a soda can, ticket stub, and brick chips, are displayed in the construct I choose to place the Cornell box pieces where I found them relative to the buildings on the sight. I also wanted to incoorperate them into the visits that I found them on.

methodology

seeing

eideticism

physicality

criticality

Sydney Kieler / ARCH 1223 - Visual Communications 2 - Wetzel / Lawrence Technological University / spring semester 2014

p. 18

CRITICALITY : NEW TRAJECTORIES

tooling

METADATA TOOLS USED ANALOG pencil vellum french curves plaster

DIGITAL

COURSE CONCLUSIONS methodology

rhino photoshop illustrator

REFERENCES READINGS van berkel + trummer “between ideogram and image-diagram”

seeing

PROJECTS mobius house, un studio

ARCHITECTS sean lally 51N4E DS+R

eideticism

IMAGES manimal (http://www.daniellee.com/ Ox.jpg)

physicality

criticality

Sydney Kieler / ARCH 1223 - Visual Communications 2 - Wetzel / Lawrence Technological University / spring semester 2014