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WRAP & BLURRED EDGES wrap & blurred egdes
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2D PRIMITIVE BULGING/ SOLID WRAP SOFT WRAP CONTINUOUS SURFACE
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line draft 1
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WRAP at physic object
cal
FOLDS
Originated from a two-dimensional illustration. The overlayed and offseted borderlines of geometry has catched my interest. These set of illustrations were actually started in an insometric point of view. A box appears at the center of the image as the prelimiinary essence. Then the strangeness started to bulging up from the original simple box. With smooth curved volumn and extended limbs. The border edges of the original stiff box was blurred. The two-dimensional format of representation of three-dimensional object has encouraged me to explore multiple ways of translating the offset patterns from the illustration. Thinking the object as a multiple layered operation, I figured two important indentities of the object I wants to create: The rigidness versus softness. When these two indentities come to material, it come to solid wood and canvas. flat canvas
fold
fold 1
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object back
object left
object top
object front
object right
Object Perspective
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Object Perspective
Egde zoom in
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LAYER ONE SOLID WRAP
the solid wrap - wood mass production
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the primitive box
bulging 1
the primitive box
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bulging 2
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The solid wood is firm and stable, without powerful manmade tools, it’s hard to shape it into anything. I started to imitate the 2 layerd operation with cutting extra wood in shape, and sand the edges out tryin to reproduce the blurred borderline of the object. Accidently, because of the rigidness and stiffness of the material wood, the added parts were attached on the outter surface of the primary box. As the attached parts were folding to the center in multiple directions, the operation seems like to be wrapping. However, it’s a wrapping with a thick, rigid volumn.
the inner mass view 1
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the inner mass view 2
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the inner mass view 3
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the inner mass view 4
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volume intersection
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the wrap - massing evolution
the wrap - assembly
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soft wrap
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LAYER TWO SOFT WRAP
the wrap closeup 1
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the wrap closeup 2
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the wrap closeup 3
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the wrap closeup 4
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the wrap top 1
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the wrap top 2
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the wrap top 3
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the wrap top 4
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LAYER THREE LINE WRAP
cross wrap
christo & jeanne claude refference
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the wrap(irregular) - canvas & ropes
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the wrap closeup 2
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parallel wrap(thin)
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the wrap top 1
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the wrap top 1
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wrap vertical
wrap horizontal 82
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wholeness section
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the wrap section 1
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the wrap section 1
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the wrap cut detail 1
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the wrap cut detail 4
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wrap the landscape
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blurred surface
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the wrap - artificial landscape in street scale
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WRAP on the si
ite
abandoned gym
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abandoned gym
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the site - topographical cliff & separation
CU undergrad entr
One facet of the gym in particular—a community entrance at the bottom of the building while Columbia students entered from the top—drew particular ire. 126
“It’s the symb people,” a Col call it the g-y-
rance
Harlem community entrance
bol of coming in through the back door that bothers the black lumbia professor explained to LIFE Magazine. “That’s why they -m crow door.” 127
In the late 1860s, the Commissioner of Central Park, Andrew H. Green, put forth the idea for Morningside Park, arguing that it would be very costly and very inconvenient to extend the Manhattan street grid over this topography. Green wrote that “the ridge of rocks is almost vendureless, breaks so abruptly towards the east as to render the streets that have been laid over it 128
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site
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site
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The large spanding grassland serve as the connective plane from the edge of the park from columbia side, to the edge of the cliff above the water.
Serving as part of the implemented infrastructure. The pool site, includes a dramatic height drop and a combination of natural ingredients of water and rock. It may become the center sightseeing and gathering place for people across the columbia 113th and 114th streets.
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Ref erences
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