Joanne chao hua chen SCI-ARC MArch 1 2014 - 2015 Portfolio
Joanne Chao Hua Chen
joannechen0309@gmail.com 646-330-8224 3
Design Studio
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Prison of the future Frank Gehry Studio
Designing a prison for future is to reconsider the relationship between a prison and its surrounding neighborhood. To create a humane prison is essential. People in the prison are entitled the fundamental human right just as others. Prison is no longer a place for punishment, but a place for rehabilitation. This project is focus on creating a prototype of a prison that can be adapted to any existing environment. It is a combination of residential (inmates and staff) and public programs (commercial, office, community). The first (bottom) layer is public accessible which accommodates staff housing and public programs. Inmate housing is on the upper levels above staff housing. The layering of staff and inmate housing is to perform security within a building. Staff housing is a buffer zone between public and inmate residence. On the top floor situates private common area. In this area are classrooms, workshops and studios that only open to residents in the building, a private own communal
space. In the residential area, apartments are following a court yard layout. This layout allows more private open space and more outdoor gathering area. Each facility is a self-sufficient unit. All the programs attach to the facility is to ensure the function of this facility. There are indoor and outdoor urban agriculture areas which supply produce to the community. Adjacent commercial and community programs are run by this facility. Inmates are encouraged to work at those places as part of the rehabilitation experience. The service function of the facility not only generates income to support itself but also acts as a bridge to connect inmates and community. Eventually creates a value of the facility that perform positive feedback to the society. Eventually, this facility is aiming at creating a friendly environment, for inmates to interact, to learn and to improve. The issues of incarceration is a complicated matter. Architects might not have solutions for all the problems. However, this prototype could be a starting point.
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Program Diagram: Vertical program arrangement within a building.
Sectional Drawing The facility adapts to the existing context and start to create its own local environment. Clusters begin to form and rearrange existing site. Through the new armament, the existing city fabric is then being re-organized and activated. A micro urbanism appears and a neighborhood is being reconnected. A prison in the future becomes an infrastructure that blends into a city and revitalize existing context.
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The Prison
Circula�on: Elevator & Stairs
Common Gathering Area
Inmate Housing
Private Communal Space: Mee�ng Room Green House
Public Communal Space: Class Room
Ground Floor Floor Plan 1’= 1/16”
Above: Ground Floor Floor Plan Left: Program Diagram (physical model) The configuration of the facility is focusing on maximizing interaction between people. There are different types of communal places which dedicate to create social environment within facility. The white perforated rooms are meeting rooms for formal meeting with social workers and therapists. The upper floor loft space is a informal gathering space for inmates, a lounging area.
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The Prison
Second Floor Floor Plan 1’= 1/16�
Above: Second Floor Floor Plan Left: Physical Model Close Up This facility accomdates 200 inmates and 50 staff for housing. The private communcal space includes 2 legal office, 2 semina rooms 2 meeting rooms and a studio/workship space. 20,000 sqft of urban agriculture area is also provided in the vertical farm green house.
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Physical model 1:40 The design of this prototype can be adapted to any location, In the physical model, the location is chosen to be in Boyle heights, LA as a site for demonstration. In this location, the facility is layout as two clusters on the two sides of a central passageway. This no only serves as a prison but a neighborhood hub where the commercial and community programs are located. The prison of the future that create a new type of relationship between prisoners and community as a way to improve rehabilitation process. 15
Plinth
2016 Fall 3GA Elena Manferdini
design studio
The concern of the studio is to understand the political implications of form in shaping the experience of the city. Specifically, this studio will look at the various existing architectural plinth types as the place where specific figure/ground relationships get resolved within an urban context. The studio argues that plinths, even when privately owned, are important for the city at large because they are inevitably the site of public encounters. Any plinth formal strategy is by default political because it negotiates how distinct and autonomous buildings come to terms with a social
and cultural context. Among the possible diagrams of plinths, the class will reject the impenetrable generic box; alternatively, it will construct extroverted forms of plinths - meaning volumes whose formal qualities produce openness. The studio will challenge the outdated notion of the private, generic, and enclosed podium by inventing a new breed of figural plinths acting as mechanisms for integration and openness between public and private programs. This liberated ground will become a political space for encounter and exchange.
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The Plinth
Massing Models In this massing study, a geometrical strategy is developed to position shape and its relation to the ground. Each massing carries a geometrical condition of how it sits on the ground. This condition is further studied and assigned purposes accordingly. Through this study, an understanding of shape and its intention is developed
When a Shape becomes a Building 1. Withdrawing of a corner becomes a public access point. 2. A set back of the upper-half volume becomes outdoor public platform. 3. The platform connects lower commercial area and upper residential area. 4. The removal of upper volume creates a programmable proportion for residential block. 5. This is the beginning of a programmable shape. A building. 19
Building Elevation
Building Elevation
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The Plinth
Commercial Residential Commercial Residential
Program Diagram In the diagram above, commercial area is marked with orange while residential area is marked with blue. Commercial programs locate at the lower part of the buildings. They are linked together to create continued spatial experience. Residential programs locate on the upper part of the buildings. They are more separated and with limited access.
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The Plinth
Floor Plan (not to scale) Ground floor floor plan
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The Plinth
ELEV.36'
ELEV.24'
ELEV.36' ELEV.36'
ELEV.48'
ELEV.48'
Floor Plan (not to scale) Eighth floor floor plan
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Above: Physical model - bristol board / museum board/printed mylar Right: Sectional model - museum board/PETG/printed mylar
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The Big Building 2016 Spring 2GB Erick Carcamo
design studio
This building is a 2.5 million sq-ft mix-use building located next to LA river in Lincoln height area. The bigness of this building is not only for accommodating growing needs of the local neighborhood, but is also the continuity of urban life into architecture itself. A building that has the gesture of inviting surrounding environment through it’s formal approach. The bending of each volume creates a movement of rolling the city fabric into the building. Three interlocking loops which contain three different programs (retail, office and hotel) intersect and allow the embedded programs to interact. The bending approach creates a
compact interior space. The volumes are sliced and slide away from each other to reveal the sectional property of the building. A new urban facade is then created through the interiors of the building. The parts slip away from each other reaching out to the surroundings. The building eventually extends itself and engages urban context through its movement. This project focuses on using formal approach to create an urban gesture of the big building, a gesture that is not only a sign but also an organization of programs and circulation within the building.
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The Big Dumb Building
The approach of bending is creating a gesture of rolling and folding city fabric into the building. A building therefore becomes a continuity of urban life.
The Big Dumb Building
Diagram (right) The volumes are sliced and slide away from each others to reveal sectional property of buildings. A new urban facade is then created through the building’s interior space.
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Retail Hotel Office
Ground Floor
20th Floor
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Physical Models (scale 1:150) styrene, clear PETG 41
Presidential Library 2015 Fall 2GA Devyn Weiser
design studio
The Presidential library is fuzzy and monolithic. The design approach is to create a monumental figure and eventually interrupt the reading of its homogeneity and singularity. The project started as a primitive mass. Mass moved and its movement was captured by Frame. Frame became the residue of those movement. Mass and Frame are dancing waltz. They move, duplicate and remain; rotate, duplicate and remain. Mass is dissimulated by the Frame rather than the Frame loudly reinstating the Mass. Interaction between them creates an fluttering, fuzzy figure. Programs are resting within interior volumes. Frame penetrates through envelope to interact with
interior space. The functional spaces are retreating from the Frame intrusion. The residual space between Frame and interior volumes becomes corridor, for architectural experience. A passage in between Frame and Mass. A polite distance between two dancers. Without frame, mass is mundane. Without mass, frame won’t exist. This project was born within the interaction between these two formal systems, investigating their identity as architecture effect and building element. Group members: Joanne Chao Hua Chen, Eric Eisenhut
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One volume that contains public program(left) intersects with the other volume that contains private program(right).The intersection is removed and relocated as auditorium. The remaining intersecting void becomes cafe area. The cafe area (overlapping area in the center) is the intersection of both forms and programs. It is the transitional area that bridges the public and private space. The offsetting of main volumes creating the interior volumes. They detach from their origins to allow the surrounding void. The ground is redivided by the extended boundaries from main volumes. Those extended lines eventually tie the site and buildings into one continuing whole.
The effect of the building is operated through the combination of two formal system: Mass and Frame. A primitive form is reshape through its rotational movement. It started as a solid Mass. In each movement, the form is regenerated through Frame system. Frame captures the rotational movement and acts as the second mass. The overlapping of Mass and Frame creates an hybrid articulation. The boundary of the form is no longer clear. It was defined by the edge of Mass and dissipated by the edges of Frame .
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Where does the building end? Where does it start? Where does the interior stop and the exterior begin? The building envelope is fragmentized by the punctuation of windows. The windows are penetrated by frames. Those frames are the continuity of interior structure. The interior structure reaches out to outside further than the building envelope. The most exterior boundary is defined by the most interior element. And that boundary is not consistent. It is the series of points that are extracted from frames. The border of this building is blurry and unsettled.
shade / shadow opaque / translucent emboss / deboss extrude/ protrude
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Presidential Library
Presidential Library
Planes (not to scale) upper: second floor ; lower: ground floor
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Presidential Library
Presidential Library
Sections (not to scale) upper: section AA ; lower: section BB
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Presidential Library
Presidential Library
Physical model: 1’=1/8� scale site: white acrylic building envelope: 3D print powder cafe volume: 3D print clear ABS glass envelope: 3D print clear ABS interior volumes: styrene daylight fixture: clear acrylic dowel
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House
2015 Spring IGB Ming Fung
design studio
This project is the application of previ-
modules generated from this process is the
ous geometrical analysis. A study car-
transitional space which connects a curve
rying from the understanding of tes-
on one end, and rectangle on the other
sellation is used to generate a three
end. They represent the ambiguous figures
dimensional form as a house.
that have both characters of tessellation and the bonding box. The overall shape
My house is about using tessellation
is the combination of six modules. Each
figure as outline to generate a series of
module has its own attitude, purpose and
form. Those forms are the abstraction
movement. The merging of various figures
of the original figure. The organic and
creates density within the interior space.
curvy profile lines from tessellation
However, the precise alignment on sur-
are placing upon the ground as a con-
faces create blankness and flatness on the
tinuity of the landscape. They expend
exterior. It is a complex configuration that
themselves into a bounding box and
has layers of reading and multiple gestures.
transform into rectilinear shapes. The
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Cube Metamorphosis
private space
entrance
light tunnel
circulation
circulation
There are five different modules made out of different profile lines. Those profile lines give different characteristics in to each module. Each module has its own attitude, intention and movement.
The merging of modules in a precise alignment on edges and surfaces create a tight gesture on the form. This gesture therefore create a compact and dense interior space through out the interconnection of modules.
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Cube Metamorphosis
B A
floor plan - ground floor 1/4” = 1’ - 0”
Floor plan - ground floor 3/32” = 1’- 0” Section - A 3/32” = 1’- 0”
The sweeping of curvature on the exterior is intentionally trying to imitate the natural form of landscape. The curvature appears from the ground, expends onto the exterior and then continue to the interior. It is an artificial articulation and reminder of the natural surroundings.
section A 1/4” = 1’ - 0”
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floor plan - second floor 1/4” = 1’ - 0”
Floor plan - second floor 3/32” = 1’- 0” Section - B 3/32” = 1’- 0”
section B 1/4” = 1’ - 0”
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Cube Metamorphosis
45 degree elevation 1/4” = 1’ - 0”
Je suis tout droit les moulures qui suivent out droit le plafond (I follow the line of moldings which follow that of the ceiling.)
The subdivision of facade is a panel systems. The line pattern is the division of each panel. Some panels run vertically, which are the operable panels. When the panels are open, different reading of facade will be unveiled. The operable panels allow the flexibility of transformation of exterior.
Tessellation of lines An approach to eliminate figure/ground relationship An approach from previous figure/ground study of tessellation is used to dissolve the flatness and blankness of the house facade. The line patterns on are the projection from interior geometries. Those lines reveal the interior volume and re-write the reading of facade.
45 degree elevation 1/4” = 1’ - 0”
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Cube Metamorphosis
Contour Sectional Model Material_ Museum Board
Cube Metamorphosis
Contour Sectional Model Material_ Museum Board
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Library
2014 Fall IGA Andrew Zago
design studio
A library is the combination of two types of programs; the program that relates to people and the program that relates to books. This idea is translated into a formal operation that the merging of two volumes represents the interaction of these two programs. There are two cubes; one contains book, the other contains people activities. The operation of combining these two volumes were executed in the way to perform ambiguity; the multiple readings of part to whole relationship. This ambiguity overwrites the legibility of primitive forms and allows complexity to exist within simple geometry.
Interiors are generated through out a series placement of cubes. Spatial arrangement is in response to the placement of those rectilinear forms. The programs start from first floor as working space and community space (people-related program). Following the gesture of forms, the circulation moves to second floor to enter the bookshelves and reading area. (book-related programs). Rectilinear geometries allow the clear program arrangement, however with an approach of layering those geometries a complexity of interior form can be achieved.
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Library
Sectional model (interior volumes) Material: paper
(left) The form is made out of two cubes. They intersecting each other with the co- relation on the edges. The alignment of edges make these two cubes merge into one entity. The first cube sits on the ground as a base, a foundation. The second cube touches the ground on the front and gradually lifting itself up with the support of the first cube. The Second cube, therefore alleviate the weight of the heaviness and float on the air. The upper-lifting gesture of the cube serves as a circulation movement from first floor to second floor.
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Library
Library
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Library
A grid is applied on the exterior to subdivide the facade into several perforated panels. The grid is the composition of multiple parallelograms tilting in different angles and regular rectangles. These two geometries connecting successively,shaping a subtle curvature with straight line segments. It is a approach to soften the angular exterior contour.
The wavy outlines that made out of several parallel line segments on the facade (see front facade on first elevation) will slightly transform into straight lines while turning away from viewers (see last elevation). The lines move away from the alignment with exterior shape by transforming from rectangles to parallelograms. They align with the exterior edges again through the optical illusion when they turn away. 75
Library
floor plan - ground floor scale: 1/32” = 1’- 0”
interior volume subdivision of cubes with cubes
floor plan - second floor scale: 1/32” = 1’- 0”
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Library
circulation and book shelves diagram - second floor
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Library
section drawing scale: 1/32” = 1’- 0”
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Applied Study
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Design Development 2015 Spring 2GB
Applied Study
This course investigates issues related to the implementation of design: technology, the use of materials, systems integration, and the archetypal analytical strategies of force, order and character. The course includes a review of basic and advanced construction methods, analysis of building codes, the design of structural and mechanical systems, Environmental systems, Buildings service systems, the development of building materials and the integration of building components and systems. The intent of this course is to develop a cohesive understanding of how architects communicate complex building systems for the built environment and to demonstrate the ability to document a comprehensive architec-
tural project and Stewardship of the Environment. A series of built case studies will be presented by the instructors along with visiting professionals in the field who are exploring new project delivery methods. These case studies will be shown in-depth with construction photographs, 3D renderings, and technical drawings and details. Pertinent specific topics for the course will be highlighted in each presentation, with a focus on the evolution of building design from concept to built form. Group members: Austin Anderson, Joanne Chao Hua Chen, Sasha Tillmann, Kimmy Lawes
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building overview
facade details
GFRP panels tertiary structure solar water heating system black glass
window sill floor vent floor finish concrete floor radiant floor heating system
floor vent exterior louver water proofing rigid insulation
structure diagram
structure tube pedestal connection joints GFRP panels
primary structure
secondary structure
aluminum stud
tertiary structure
gypsum board rigid insulation water proofing
facade detail close-up 87
Design Development
Design Development
roof details
custom solar glass PV cells rain screen skylight standoffs mullion rubber boots water proofing concrete roof decking hangers
roof detailsnclose up
custom solar glass PV cells rain screen skylight mullion standoffs water proofing rubber boots concrete roof
Environmental study The sun path diagram informs us of the direction that the sun moves throughout a specific time period. The diagrams above isolates the sun’s movement in the winter months from December to February and the summer months from June to August. The path is read using the sun’s azimuth and altitude lines. The library is positioned on the site to enable the maximum exposure on the southern facade, thus powering the solar thermal panels using solar energy. PV panels are placed on the roof where the greatest amount of sun hits the building throughout the year. Based on the annual psychrometric results for Chicago, Illinois, design strategies should focus on the areas with the highest percentages, including: Heating, add Humidigication if needed (47.9%, 4196 hours); Internal Heat Gain (20.6%, 1808 hours); Natural Ventilation Cooling (10.5%, 986 hours) and Sun Shading of Windows (10.8%, 947 hours). The solar radiation study informs us of the amount of sunlight available on each surface of the building throughout the year. It is used to determine where to position solar energy systems and facade insolation and shading throughot the building. We have the most solar radiation on the horizontal surface of the roof throughout the year. The vertical southern facade gets the second highest amount of solar radiation. The building is oriented towards the south so that it can capitalize on this solar exposure through use of solar thermal collectors. PV panels are most suitable for roof as it is the most exposed to sun light. The wind rose diagram shows the speed and direction of winds throughout the year in Chicago. The range of wind speed in this particular analysis goes up to 18 meters per second, which is high. The frequency of wind is greater from the West North West extending counterclockwise to the South. Most of the time, wind is coming from the south and southwest at speeds up to 10.8 meters per second. The wind speed in these directions averaged between 5.4 to 7.2 meters per second. This means the building will need protection from the wind in the south and southwest elevations. The wall protecting the outdoor terraces will assist in blocking the prevailing southern winds. For outdoor comfort during this time, wind speeds should be no more than 1.8 meters per second.
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Visual Study
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Informal Analysis 2016 Fall 3GA Anna Neimark
Visual Study
We can always rely on formal analysis to produce transparency of mathematical precision and its consequent claim to truth. Through most of the twentieth century, modernist ideology found its roots in classical values by this formula. Now consider, for a moment, some objects that cannot readily be explained in this way: dolmens, Mondrian’s canvases, a mountain in the Himalayas. These things have seemingly nothing in common, that is, until you begin to draw them. Laid out against a grid or a set of coordinates, they come in and out of focus Under the interpretive power of formal analysis, these objects tend to misbehave, to occupy the analytical frameworks
informally. They do not reduce to a simple diagram, massing, or algorithm. They might, at times, align, and, at other times, deviate from normal. Their imperfections—high tolerance, low resolution, blank finish—are rather difficult to model precisely. So they produce rude forms, odd details, blank corners, all products of what we will call informal analysis. This seminar will concentrate on drawing, modeling, and talking, in no particular order
Group members: Austin Anderson, Joanne Chao Hua Chen, Eric Eisenhut, Hans Wendel
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Elevation of Drawing plans One geometrical character of Matterhorn is its four almost symmetrical ridge line. In those drawings plans, Matterhorn is flattened into a two dimensional canvas. Each drawing plane is a rectangular frame, a coordinate system that can only capture so much of information. The frame is aligned to one ridge line as an anchor to the coordinate system. The rest of mountain than is freely situated within the frame. By doing so, each drawing plan is able to capture both foreground and background with the division of ridge line.
Drawing One Domesticating mountain Matterhorn
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Informal Analysis
Folded Drawing Plans Each drawing plan is folded according to ridge line to animate Matterhorn’s original three dimensional character.
The Folded Matterhorn This is a render of three folded drawings plans recomposing Matterhorn.
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Informal Analysis
Mountains (above) photos of mountain made with Plywood, Glidden Interior Paint, Wood Glue, Screws Mountains (right) mountain and people
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Familiar Form 2016 Spring 2GB Florencia Pita
Visual Study
This vidsual study project investigate the lineage of ready-mades (objet trouve) as a body of research that originated in the art world and has permeated to architecture. Indeed, instead of investigating architecture’s earlier forays into historical familiarity, the 80’, we will dwell onto contemporary notions of familiar figures and their versatile maneuvers of digital geometries. The project is inspired by a study from the painter Fabian Marcaccio, where he utilized a found 3d geometry combined with an extru-
sion-based 3d printer. Both the found form and the geometries of extruded plastic filaments give the object a ‘new familiarity’, the novelty of the color palette and the material texture act as digital ready-mades. Throughout the semester we will test the feedback process between familiar forms and un-familiar design processes. Group members: Joanne Chao Hua, Mia Johnson
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Familiar Form
The process is to eventually challenge the reading of carpets. Using conventional carpet patterns as the familiar object but replace the color with new color content that doesn’t relate to the carpet. The new color content is coming form folded iridescent paper,which will be the unfamiliarity that overwrite the familiarity. The colors generated from reflection and folding that allows the assigned object to have metallic material property. In the end, this blended image (right) of carpet patterns and iridescent color is used to render a new carpet with fur texture. The merging of reflected color palette and rendered fur texture challenge the reading of material property.
Render image this is a render image of iridescent color palette blend in with conventional carpet patterns. The reflection from original iridescent colors and threedimensional folds are translated again through the fur texture,which create ambiguity of materiality in the render image.
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Milled MDF piece (above) The image is translated again into a three-dimensional physical piece. This milled piece is to capture the original folds and pattern extrusion from the render image. The information from two-dimensional image is redefined through variety of depth.
Final printed piece (right) The render image is printed on top of the milled MDF which created a misalignment of this two method of representation. Unfamiliar is created again and challenge the reading of the render carpet image and its new material property. 105
Photorealistic 2014 Fall IGA
Visual Study
Why are photorealistic renderings so pervasive and persuasive? In Languages of Art Nelson Goodman makes the case that realistic representation is not based on resemblance or illusion “but upon inculcation.” This means that a culture’s idea of realism is based on the visual habit of a kind of image that establishes a standard. Today, that standard is the digitally manipulated photograph. Once held as the arbiter of truth and authenticity the photographic image can no longer be seen as purely an imprint of nature. As soon as one opens an image file on their computer, tablet, phone, or other digital device, it is being mediated
(transformed) by the specificities of the interface and software used. So when we see a photorealistic rendering, it’s not so much that it resembles the real world (whatever that might be) but that it corresponds with the mediated photographic images we are inundated with on a daily basis. As has been stated: “Realism isn’t reality. It is the tension between reality and its representation.” So what does this mean for architecture and the representation of space? This seminar will explore the estrangement of space through the composition of objects as represented through photography and rendering.
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photoÂrealistic
A New Space In this assignment, a space is composed through folding paper. Papers are printed with real material texture. They are folded to re-created a three dimensional space. Ambiguity appears when the piece is being photographed. The folded pieces with real material mapping challenge the reading of material quality. The material is re-configured and with the affect of light and shadow, this two dimensional object transformed into a three dimensional space. Through the different photography technique, the reading of space became blurry. Edges disappeared and boundaries are no longer clear. In this exercise, a realistic three dimensional spatial quality is produced through printed and folded paper.
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Shadows of Kitchen Utensils Shadows of whisks and knifes rendered in Maya model space
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Shadows of Kitchen Utensils Shadows of two whisks rendered in Maya model space.
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LetterForm 2014 Fall IGA
Visual Study
The letter form is constructed base on its controlling geometry and grids. A letterform is a composition of rigorous conducting of lines, points, grids and arcs. Those factors are use in the grasshopper software as parameters to manipulate the transformation of letterform. It is about understating the controls of form making with the tool of grasshopper scripting.
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Letter c and Letter b These two letters are used to generate the third letterform. The outline of two letters are projecting on each other and then create a new form out of their intersection
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New Letterform h A new form is made from the intersection of letter c and letter b. A third form is generated in the intention to be legible as a real letter, instead of an abstract figure. The new form is to look like an direct extrusion of letter h, however it is actually the intersection of letter c and letter b.
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physical model material: powder print 119
Render of letterform h Instead of using shade and shadow to precisely depict the physical condition of an object, line render is used to blur and obscure the reading of the figure. The render is made out of four types of lines in different directions. Each line represents a color, as an imitation of real color print. The four types of lines are representing CMYK color system. Four colored lines weave into a field of blueish-gray without using the real gray color. Through the lines, figure and ground blend into each other and reinforce the idea of blurry figure.
Errors and Mistakes This is a scan of a color print that was printed four times. Each time only one color of ink is being used. A paper run through a printer four times to imitate the real industrial printing process. The paper is placed upsidedown unintentionally therefore creating printing mistakes misregistration of figures, misalignment of cropping and the real printing mistakes are representing the imperfection of machines. 121