robertanthonyjones
robertanthonyjones Creative Works / Vol. 3 / 2013
C r e a t i v e W o r k s / Vo l . 3 / 2 0 1 3
robertanthonyjones
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Contents Contents You Are Here. 02
Performative Factory Arch Studio IV Form Following an Undulating Function. 03-06
Novel Housing [1] Arch Studio III Healthy, Affordable, Multi-Family Housing 07-10
The Honest Detail Strategic Details in Contemporary Design Details, Details, Details. 11-12
The Kitchen Café Arch Studio II Highlighting History with Novelty. 13-16
Digital Fabric Digital Design + Fabrication Generative Digital Fabrication. 17-20
Systemized Light Arch Studio II Experiments with Controlled Daylight. 21-22
Palletsphere Green Fabrication Rudimentary Shelter + Reclaimed Material. 23-28
Me A Few Short Morals Which Begin to Define Me. 29
Résumé Education, Experience, and Awards. 30
References My Biggest Influences and Harshest Critics. 31
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Performative Factory Architecture Studio IV Under Senior Instructor Julee Herdt
factory model 1/8” = 1’ [poplar plywood, styrene, aluminum]
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site analysis + demographics study [Autodesk AutoCAD, Adobe Illustrator]
The Performative Factory is based on movements: the movements of its users, the movements of its systems, and the movements of the goods that it produces. A dynamic architecture inspires. Boulder Colorado’s extensive network of public bike paths is continued into the infrastructure through a gradual ‘velodrome’; accessible by commuters, clients, and visitors alike. Integrated into the velodrome’s circulation corridor is the production assembly line. Raw materials are processed into the final product through several patented mechanical processes in this assembly line. Movement through the velodrome will be constant and copious. The energy given off from this perpetual movement will be captured by fixed wind turbines and strategically placed Pavegen energy panels, turning continual kinetic energy into renewable electricity. The Performative Factory will be “off the grid”, powered mechanically by the very people who power the factory intellectually.
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factory model 1/8� = 1’ [poplar plywood, styrene, aluminum]
Programmatic Index existing site material handling gallery/showroom velodrome
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Novel Housing [1] Architecture Studio III Under Senior Instructor Stephan Eckert
housing model 3/16” = 1’ [MDF, basswood, acrylic, LED lights]
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unit floor plans [Autodesk AutoCAD, Adobe Illustrator]
‘Healthy, Affordable, Multi-Family Housing’ The first in a series of multi-family housing opportunities, Novel Housing [1] is focused on creating asthma friendly architecture at an inexpensive rate to both the builder and inhabitant. The form is strictly defined by the function; a function established through historical precedent, site analysis, and shareholder prerequisites. N
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site plan [Autodesk AutoCAD, Adobe Illustrator]
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a. b. c. d. e. f. g. h. i. j. k.
Detail Index dual pane glass panel exterior aluminum finish polyurethane insulation fixings with nuts and bolts interior aluminum finish nut and bolt panel connection neoprene joint enamelled extruded aluminum nut and bolt structural connection steel brace tubular steel structure
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The Honest Detail Strategic Details in Contemporary Design Under Senior Instructor Ken Renaud
Norman Foster’s Sainsbury Centre for Visual Arts Norwich, Norfolk, UK / 1974 - 1978 Norman Foster’s Sainsbury Centre for Visual Arts contains a complex system of environmental control through an honest route of expression. Foster utilizes the figurative value of exterior, visible structure and uninterrupted programme to achieve the flexibility and translucence needed in such a venue. In order for Foster to achieve his architectonic conception of uninterrupted space, lightness, and transparency; Foster implemented a system of welded steel members and panels. This system came together to form 37 portal frames which allowed for an unimpeded space of 435 feet. Rather than covering up this unique network of rectangular grids and portal frame elements, Foster left much of the network visible. This system plays a major role in the Centre’s program in itself. Foster integrated the galleries lighting system to into the infrastructure, allowing for limitless options when lighting the works on display. The system of portal frames connects to a cladding system which drapes the Centre’s longer facades. This cladding system is designed with different qualities, whether opaque/transparent glass or metal grilles, to keep energy consumption to a minimum. This connection between framework and cladding is illustrated in the detail shown.
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exhibition model 1/4” = 1’ [basswood, foam core board, aluminum]
The Kitchen CafĂŠ Architecture Studio II Under Senior Instructor Bill Holicky
longitudinal section [ink on mylar]
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transverse section [ink on mylar]
Man’s primal instinct is to eat. Eating has evolved from a means of maintaining life to a form of artistic expression and creativity. It is this ingenuity which defines our species as human. Creating an architecture to encompass this programme was NOT inspired by the act of eating itself, but rather by its process; cooking. The design was approached as a chef would prepare a feast. Initially, factions of information in the form of site analysis, community survey, and historical precedent were organized as the primary ingredients. Then this information was slowly ‘cooked’ to produce an appropriate architectonic product; resulting in a successful programmatic juncture and an aesthetic blended impeccably on the 100+ year old site.
N first floor plan [ink on mylar]
17 Digital Fabric Digital Fabrication Under Senior Instructor Marcel de Lange In collaboration with: John Gackstetter Grace Dixon Efficiency through mass production is the definitive goal of industrial design. Advancements in digital fabrication applications are allowing todays designers the ability to meet this “supply and demand� production method more efficiently than ever before. Digital fabrication methods also allow us to produce tangible forms which, when conceptualized, appear technically intangible. Applying the principles of digitally guided mass production and geometric generation to architectural design is what was accomplished in the production of Digital Fabric. Specifically, Digital Fabric is an investigation of generative digital fabrication through graphical algorithm. In diffident terms, it is the creation of three-dimensional objects from two dimensional images as the result of automated control point locations.
algorithmic sections [Rhinocerous 3D + Adobe Illustrator]
fabricated installation 1 : 1 [12 ft x 8 ft x 2 ft]
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fabricated installation 1 : 1 [12 ft x 8 ft x 2 ft]
Our goal throughout the installation’s production and fabrication was to keep the design process fluent: 1. Design the parametric form – Completed using Rhinoceros 4.0, a three dimensional modeling tool which utilizes free-form non-uniform rational B-spline (NURBS) modeling methods. 2. Generate the dimensional sections – Completed using Grasshopper beta script 8.0, a generative modeling plug in for Rhinoceros 4.0. Grasshopper uses handler defined graphical algorithms to manipulate control points within an object. 3. Fabricate the object tangibly – Completed using basic CNC milling techniques guided by the sectional line work created from the previous generative step.
Material Detail 1/16” steel cable cnc milled expanded polystyrene foam 1-1/2” pvc plastic pipe recycled interior paint
21 Systemized Light Architecture Studio II Under Senior Instructor Bill Holicky
“Space and light and order. Those are the things that men need just as much as they need bread or a place to sleep.” - Charles-Edouard Jeanneret ‘Le Corbusier’ Systemized Light is meant to, as Corbusier suggests, provide natural light by means of geometries and order. Rotating louvers are spaced evenly and enclosed at their perimeters by a dual panel glazing system. In order to maximize the intake of natural daylight, the rails are positioned at the center of each louver rather than at their edge, where they would begin to enclose the openings and block daylight. Utilizing the site’s specific geographic location, solar diagrams were used to calculate precise solar azimuth angles for any time of the year. When open, the angle of each lever is set to exactly 26 degrees, the azimuth angle of the sun on the winter solstice. This allows less light to penetrate the space during summer months and more during winter months when heat is needed.
dynamic section + daylight analysis [graphite on vellum]
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Palletsphere
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Green Design + Fabrication Under Senior Instructor Eric Morris
In collaboration with:
Max G Henry Palletsphere5 is a rudimentary shelter for dwelling. It is an attempt at creating shelter that is inexpensive and simple to construct, while effectively robust to withstand the elements. Inspiration was found in the vast quantity of abandoned shipping pallets commonly found behind many ‘big box’ stores and often times in our own backyards. This investigation challenges the boundaries of refurbished pallet assembly and aesthetics through digitally designed geometric construction.
assembled shelter 1 : 1 [“beetle kill” pine, poplar plywood]
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concept development [Rhinoceros 3D + V-Ray]
modifiable
optional modifications
modifications in place
modular
single
double
triple
27 bracket sequence [Autodesk AutoCAD + Adobe Illustrator]
penta hexa hepta octa
[5] [6] [7] [8]
Each module of Palletsphere5 [penta] consists of five ISO standard pallets and 15 pre-fabricated brackets. If the need for more space occurs, pallets can be added to create a larger volume of space within the shelter. Palletsphere6 [hexa] contains six pallets + 18 brackets; Palletsphere7 [hepta] contains seven pallets + 21 brackets; etc. The shipping pallets originate as a by-product of beetle kill pine tree harvesting from the United States and Canada; while the CNC fabricated brackets are cut from re-claimed 3/4� poplar plywood sheets.
assembled shelter 1 : 1 [“beetle kill� pine, poplar plywood]
Me
I decided I wanted to become an architect at age four when I was given a massive suitcase full of ‘Lego’ blocks. [sometimes clichés just happen] The pursuit of virtuous design has inspired me for the past 23+ years; eight of which expended through formal education. [practice makes perfect] I graduated from one of the nation’s paramount public research universities which introduced global diversities and accentuated collaborative resolve in the design process. [appearances can be deceiving] I am currently employed by the reprographics assistance lab with the college I attended; providing students and faculty with graphic expertise. [practice what you preach] I attribute the ingenuity and accomplishments of my work to everyone who I have had the honor of knowing throughout my life. [never forget where you come from]
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Résumé Contact
Education
www.JonesProduct.com JonesProduct@gmail.com 303.562.4975
University of Colorado College of Architecture + Planning, Boulder, Colorado 2007 - 2011
Work
Bachelor of Environmental Design GPA 3.7 / 4.0
Product Manager / Designer Big Ax Technology, San Francisco, California 2012 - Present
Awards
Manage a cross-functional scrum/agile development team for mobile products including “SkyPlans.com”; a project cost estimation tool entering into a market of over two million working professionals.
Amer. Institute of Architecture Students
Define and implement product design direction including branding, customer support, and user interface specifications.
University of Colorado at Boulder Graduation Exhibit Feature Fall 2010 Spring 2011
Architecture + Planning Digital Imaging Lab Technician University of Colorado OIT, Boulder, Colorado 2009-2012
Digital Craftsmanship - First Place Spring 2011
Julee Herdt’s Studio IV Best of Show - Architectural Presentation Fall 2010
Managed, maintained, and operated student/faculty digital media technologies and reprographics including printers, plotters, and scanners.
Expertise
CAD / BIM
Autodesk AutoCAD Autodesk Revit
3D Modeling
Rhinoceros 3D Autodesk Revit Trimble SketchUp D.S. Solid Works
Agile
Development
Atlassian JIRA Atlassian Bonfire 37signals Basecamp
Illustrator CS6 Photoshop CS6 InDesign CS6
Web UI
Photoshop CS6 Illustrator CS6 Flash CS6 Wordpress
References Julee Herdt Architect, AIA Professor of Architecture University of Colorado BioSIPs, Inc, Founder/Owner 303.946.3951 herdt@comcast.net Philip Isaac Oaks Industrial Designer Academic Technology Coordinator University of Colorado 303.921.1118 pioaks@gmail.com Curt Hammerly Academic Technology Coordinator University of Colorado 303.735.1704 curt.hammerly@gmail.com Gordon Young Knights of Columbus - Archangel Council 11732 - PR Representative Career and Technical Education Teacher [Retired] gyoung@cherrycreekschools.org
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