INTRODUCTION TO CRAF T L au re n Davi s Fa l l 2019
CONTENTS
Ackn owl e dg e m e n t s Learnin g Esse n t i a l s Prod u c t De si g n De sign I te ra t i o n De sign Co n st r u c t i o n An d a f te r i t a l l
Ackn owledg em ent s
TO PASTRE
Tha n k yo u fo r yo u r pa t i e n ce a n d suppor t this sem este r. I always fel t l i ke yo u we re la ug hin g w ith m e even w h en you we re lau g h i n g a t m e . I co uld n ot have f ig ured out this camera w it h ou t yo u .
Learnin g Essent i al s
LEARNIN G ESSENTIALS We all g o tt a s t a r t s o m ewh e re... I ha d to sta r t f rom n othin g.
Learnin g Essent i al s
WOOD AND TOOL LEARNIN’
Yo u do n’ t kn ow your pro bl e m s un t i l yo u kn ow you r to ols.
Learnin g Essent i al s
MITER AND SPLINE
Learnin g Essent i al s
FINGER JOINT
Produc t D es i g n
PRODUCT DESIGN O h rig h t h e re we’ re go i n g to ta ke a g ood lon g ha rd look i n t h e m irror a n d eva l u a te o ur prin ciples a n d g oa ls of desig n.
Produc t D es i g n
OBJ ECTIFIED Sp oken f ro m o u r favo ri te b onsa i lovin g w ise ow l.
Produc t D es i g n
THE EYES OF THE SKIN Wh e n s o m et h in g is b u il t or d e sig n ed with care an d tim e, th ose inten t io n s b e co m e apar t of t h at b u i l t thin g. Wal ter Benjamin spoke of t hi s p h e n o m e n o n in Th e Work of Ar t in th e Ag e of M echanic al Reproduc t i o n st a t i n g t h a t a “ re p rod u c t ion of a work of ar t is la ckin g in on e elem ent : It s p re s en ce i n tim e an d s pa ce , its unique existen ce at th e pla ce wh ere it hap p en s to b e .�
Produc t D es i g n
THE EYES OF THE SKIN I lea rn ed t h a t b u ild in gs a c t in a sim ilar vein to g reat works of ar t b ut a re l es s p e rce ive d an d m ore lived. You feel th e intera c tion a buildi n g m a kes w i t h you t h rou gh you r tim e with it or th e passa ge of tim e yo u se ns e i n i t . I f “A rch ite c tu re is th e ar t of recon c iliation between o urse lve s a n d t h e world ,� wh e n we are talkin g about our senses we are rea ll y t a l ki n g ab ou t th e u n d e rstan din g of our existen ce.
Produc t D es i g n
THE EYES OF THE SKIN O n e ex p eri e n ce t h at really conn ec ts m e to this way of thinkin g ab o ut a rch i te c t ure was f rom v is itin g th e Chinati Foun dation created by D o na ld J ud d i n Marfa, Texas . I h a d only ever seen minim alist work be fo re in im a g e s , w hich d id n ot make much of an impression on m e. However, t h e w i s d o m o f th is work lie s in th e experien ce you have with it . T hro ug h usin g t h e el e m e n t s of s pa ce , form, an d material this minim alist wo rk m a kes yo u aware of you r s e n s es an d perceptions.
Produc t D es i g n
THE EYES OF THE SKIN I wa n t to un de rs tan d h ow t h e creativity I ha d wh en desig nin g could b e t ra n s ferre d to th e oth e r as p e c ts of architec ture. How can architec ture re co n c i l e yo ur s e n s e of s e lf with th e world aroun d you ? How c an we c reate s o m eth in g with s u s t ain ability an d lon g evity in m in d? How c an we b u i l d t h e d e s ign wit h th e s am e passion we ha d in desig nin g it? H ow c a n we c rea te b u ild in gs with a sense of developed tim e an d spa ce?
Produc t D es i g n
THE EYES OF THE SKIN T h e i d ea b eh in d A rcos an ti was to be an “urban laborator y ” wh ere st u d e nt s c a n co m e to learn an d test ideas on urban plannin g un der t h e h ea d h o n ch o arch ite c t Pa olo Soleri. Par t of th e conn ec tion an d g o o d will p re s en t i n t h e city com e s f rom th e fa c t that we all ha d a role in i t s con s t r u c t i o n an d care . To m e th e buildin g s h eld alm ost a ma gic aura. A n a ura I d o n’ t th in k cou ld ex is t if it weren’ t for th e way it was buil t an d t h e b ea u ty o f its cu s tomizat ion.
Produc t D es i g n
THE EYES OF THE SKIN
I a m f i n d i n g a lot m ore b locks than th e form , spa ce, an d order way o f t h in ki n g . T h es e b lock ofte n fe el like th ey com e f rom coordinatin g al l o f t h e d i f fe ren t e n t it ie s th at fa c tor into a buildin g. I would arg ue t hat cy p h e ri n g t h rou gh t h e s e take s th e sam e level of creativity that a fo rm , spa ce a n d o rde r d e s ign p rob le m does. I un derstan d why solvin g spa t i al d e si g n p ro b l ems like in Th e Eyes of th e Skin is im por tant . H owever, I d o n o t t h i n k d e s ign e rs will b e ab le to fa ce th e challen g es of our chan gi n g wo rl d w i t h o ut a d d re s s in g t h e h ow of a projec t with equal emphasis.
Produc t D es i g n
A TIMELESS WAY OF BUILDING Q ua l i ty i s a s ou rce n ot a d e s cri ption. We classif y wh eth er objec ts have it o r n o t b ut q u ality is t h e s ource of th e objec ts. Real quality is w hat is kn ow n b ut n ot n am e d . Cities are g rown f rom th e source of qua l i ty. C it ie s a re g rown an d n ot b u il t . What g ets buil t gets destroyed. W hat g rows s t ays . I f wh at is grown is destroyed it will g row a g ain. What g et s b uil t g e t s d es troye d ove r an d over a g ain. T his will happen until i t i s f inal l y g row n.
Produc t D es i g n
A TIMELESS WAY OF BUILDING Wa lki n g t h ro u gh a city you wi ll see a mix of what is about to be d e st royed a n d w h at will always be th ere. What will be destroyed is w hat is w i t h o ut q u ality. W h at s t ays is th e source. T h e tren ds of a c ity will b e com e m i s u s e d an d d is like d . Th e source of th e tren d will always stay i n sty le. I f t h e t re n d is u s e d it will fail. Wh ere th e tren d stems f rom s t ays love d . I t i s n o t u n til t h e t re n d is invented a gain that it rea ch es clo ser to t h e s o u rce .
D esign Iterat i o n
FIGURING OUT THE CAMERA A lso p repa ri n g for batt le . W h e re th e lim its are put to th e test .
D esign Iterat i o n
CAMERA INSPIRATION Leve l s o f t h i nks .
D esign Iterat i o n
CAMERA PRECEDENTS
D esign Iterat i o n
INITIAL SKETCHES AND RESEARCH Wh e re I we n t d e e p in to th e tu nn el.
D esign Iterat i o n
INITIAL SKETCHES AND RESEARCH
D esign Iterat i o n
545 CAMERA PRECEDENTS
D esign Iterat i o n
545 SKETCHES AND RESEARCH
D esign Iterat i o n
545 SKETCHES AND RESEARCH
D esign Iterat i o n
545 SKETCHES AND RESEARCH
D esign Iterat i o n
545 SKETCHES AND RESEARCH
D esign Iterat i o n
DESIGN ITERATION 1
D esign Iterat i o n
DESIGN ITERATION 2
D esign Iterat i o n
DESIGN ITERATION 3
D esign Iterat i o n
DESIGN ITERATION 4
D esign Iterat i o n
DESIGN ITERATION 5
D esign Iterat i o n Left
Front 3/8"
3/8"
3/4"
3/4"
3/4"
8 7/32"
7 15/32"
5 5/8"
5 3/4"
8 31/32"
7 15/32"
1/4"
7 15/32"
4 23/32"
5 7/32"
1/4"
8 31/32"
1"
3/8" 1/2"
2 3/32"
3/8"
2 3/4"
1/2"
8 7/32"
7 15/32"
3/4"
3/4"
3/4"
5 7/32"
2 3/8" 1/2"
2 3/8"
1/4" 1/2"
4 1/4"
1/2"
1/4"
2 3/32"
8 7/32"
6 1/8"
1/4"
1/4" 9/16" 4 13/32" 5 7/32"
Right 3/4"
Back 3/8"
3/8"
1/4"
4 23/32"
1/4" 3/4"1 23/32"
1/4"
8 19/32"
3/8"
6 1/8"
8 7/32"
7 15/32"
5 5/8" 1/2" 2 3/32"
8 7/32"
3/8"
7 15/32"
3/4"
5 7/32"
1/4"
1/2"
6 1/8"
8 7/32"
1"
4 13/32"
9/16"
1/4"
DESIGN ITERATION 5 SHOP DRAWINGS 5 7/32"
Pinhole
Top
Front piece with 1/4" deep routed square for fitting in brass piece
Brass Piece for pinhole pinhole is .43 mm diameter
5 3/4"
4 11/32" 2" 1/2" 1/4"
1/4"
4 1/4"
5 3/4"
4 11/32"
1/4"
1/4" 1/2"
Brass piece is glued to end of 1/4" wooden sq uare to fit into back of the front camera
4 13/32"
9/16"
D esign Iterat i o n
1/4"
5 7/32"
Pinhole
Top
Front piece with 1/4" deep routed square for fitting in brass piece
Brass Piece for pinhole pinhole is .43 mm diameter
5 3/4"
4 11/32" 2" 1/2" 1/4"
1/4"
4 1/4"
5 3/4"
4 11/32"
1/4"
1/4" 1/2"
3/4" 3/8"
3/4"
Brass piece is glued to end of 1/4" wooden sq uare to fit into back of the front camera
Bottom 5 7/32"
1/4"
1/4"
1/4"
1"
1/2"
5/16"
4 1/4"
1/8" 1/4"
11/16"
5 7/32"
5 3/4"
3 1/2"
1/2"
3/8"
5 3/4"
1/4"
Shutter
3/8"
3/4"
3/4"
3/8"
DESIGN ITERATION 5 SHOP DRAWINGS
D esign Iterat i o n Front Elevation
Side Section 5 21/32"
5 1/16" 2 1/4"
9"
9 1/2"
5 1/2"
4 3/4" 4 5/32"
Back Elevation
Side Elevation
9"
9"
5 1/2"
4 3/4"
5 21/32"
FINAL SHOP DRAWINGS
D esign Iterat i o n Shelf 4 29/32" 19/32"
7/32"
Side, end grain shows here and is covered up by sides 4 3/32"
3/16"
4 3/4"
5/8"
Back view, seen from back of camera as side g rain
Side view, end g rain shown here
3/8" 4 3/32"
4 3/4"
3/16"
Top
Top View
3/16"
FINAL SHOP DRAWINGS
D esign Iterat i o n
Bottom 5 21/32"
4 3/4"
Side view: End grain shows here, is covered by sides
Top view, rails go hole way through
Back view
Front, Works as a drawer and hold pinhole piece
Back
8 1/16"
2 5/8"
4 3/4"
4 3/4"
FINAL SHOP DRAWINGS
D esign Iterat i o n
Top "Handle"
1 1/16"
15/16"
25/32"
Side View end grain shown here
9/32"
Back view, bottom glues to top of front piece
5 1/2"
2 13/32"
4 25/32"
3 1/2"
Shutter
FINAL SHOP DRAWINGS
D esign Iterat i o n 1. Kn ow/c a l c ulate you r cam e ra param eters - Fo c a l l e n g t h of 1 0 6 mm (4 .1 7 ” ba ck f rom th e pinh ole to th e f ilm ) -Equ i va l en t to 28 mm f ilm -75 d e g ree s o f v iew- a litt le b it of a wide an g le -Pin h o l e d i a m e te r .43 mm e q u i valent to .019” -F sto p - f 24 4 2 . Jo i n w h i te oak . 3 . Pl a n e w h i te oak to 9/ 1 6 ”. Plan e ipa to 5 /8”. 4 . Jo i n o n e s i d e of b ot h wood s . 5 . Cu t w h i te oak on t ab le s aw to m ake parallel at 5 ¾.” 6 . Fi rs t s t a r t by makin g th e 4 pieces that go aroun d th e cam era. Th e four s i d e s w ill b e cu t f rom s ide to top to side to bottom so that t h e g ra i n r un s con tin u ou s ly.
1. First cut the side piece on the chop saw at 8 7/32 .” (cut off
t h e e d ge of wood s o that it is square) .
2 .Th e n cu t off t h e top piece at 4 11/ 32 .”
3 . T h e n cu t th e s id e piece on th e ch op saw at 8 7/ 32 .” M a ke
s ure it is flu s h e d in s ize to th e oth er piece. ( c ut off
t h e e d ge of wood s o that it is square) .
4 .Th e n cu t t h e b ottom piece at 5 7/ 32 .”
5 . Fin ally cu t t h e s h e lf at 4 5 / 32 ”. It will th en n eed to be rip p ed
o n t h e t a b l e s aw at 4 ¾”. Do th is in th e direc tion that will be consistent wit h t h e g ra i n s on t h e top s an d bottoms.
6 . L ab e l ea ch s id e an d f ront an d ba ck of ea ch side so that
t h e grain s t ays
ORDER OF OPERATIONS
D esign Iterat i o n 7. D a d o t h e p ie ce s s o th at t h e c am era f its in.
1 . Firs t mark ou t th e sides of what n eeds to be da dod. Use
sh o p d raw i n gs wo mark ou t what is da dod.
2 . S e t u p th e d a d o b la de. M ake sure it is c uttin g into th e wo o d
a t 3/ 1 6 ” d ee p.
3 . Firs t make th e h ori zontal c uts for th e side piece on th e to p
a n d b o tto m th at ru n at 9/ 1 6 ” thick .
4.
C h an ge th e da do bla de thickn ess. T h en m ake t h e
ve r t i c a l o n t h e s id e p ie ce t h at run at 5 /8” thick .
5.
Make th e 5/8” c uts on th e bottom piece.
8 . T h e n g o to t h e rou t in g t ab le to make th e rest of th e da dos.
1 . Firs t s tar t wit h t h e side pieces. M ake sure th e router bl a d e
is rai s ed to c u t at 3/ 1 6 ” d e e p. Th en set up a jig so that th e m iddle pi ece d o e s n o t c u t all th e way t h rou gh.
2 . Do th is for ea ch s ide. You will have to make two c uts fo r
ea ch pa s s a g e to e n s u re t h at th e piece f its in perfec tly at 9/ 16”.
3 . T h e n cu t th e top of th e sh elf piece that h olds th e f i l m
h o ld er. M a ke s u re th e t h e s h e lf h olds it snug for wh en th e f ilm h ol d er slid e s t h ro ugh . 9. Now yo u a re rea d y to make th e top piece! Just make sure that t h e wid t h o f t h e cam e ra is workin g well based of th e f ilm h older.
1 .Th e ba ck of t h e top piece has to receive th e piece on t h e
f ilm h o l d e r th at b locks ou t lig ht . I did this by settin g th e da do up so t h a t t h e re i s ab ou t 1 /32” by 1 /32” n otch alon g th e ba ck side for th e f i l m h o ld er to s l i de to. Th is e n s u re s that th ere are n o light leaks.
ORDER OF OPERATIONS
2 . T h e n I ma d e th e n otch on th e f ront side of th e top piece.
10. Fo r t h e f i n al cu t s n e e d e d to th e wood make th e han dle for th e f ro nt p ie ce. I d e c i de d n ot to n otch it bec ause I foun d it was easier to ens ure n o li g h t l ea ks t h at way. Th at way th e han dle is restin g into th e n otch. 11. N ex t I us ed a 1 5/ 1 6 ” d rill b it to create th e foc al len gth h ole in t h e p in h o l e c a m era. 12 . T h en i t i s tim e to u s e Tu n g & oil to f inish th e c am era. 13 . N ex t i t i s tim e to make t h e shutter an d pinh ole piece out of bra ss.
1 . Firs t make te mp lates for th e shutter an d pinh ole piece. L a-
se r cu t a c r yl i c s h e e t s to ge t to th e right thickn ess that th e han d rou ter n e e d s to m a ke th e n e ce s s ar y cut .
2 . Firs t rou te in to t h e f ront of th e f ront piece th e thickn es s o f
t h e b ra s s .
3 . T h e n make t h e b rass shutter. First drill th e 15 / 16” h ole i nto
t h e s h utter.
4 . Th e n tra ce th e s ize of th e c ircle an d c ut it out on th e m et al
sh o p ba n d s aw.
5 . T h e n d rill t h e ce nter point of th e c ircle. Use th e cen ter
p o in t o n t h e grin d e r to s m oot h th e brass piece out into a perfec t c ircl e. Con t i n ue to te s t it with t h e f ront piece to m ake sure it is a g ood f it . Use a f lat h ea d s c rew to t igh te n th e shutter down. Shave th e screw if it is to o la rg e .
6 . Th e p in h ole p ie ce is a sim ilar process. Use th e a cr ylic tem -
p la te to ro u te in to t h e wood . Th en c ut th e brass piece down an d shap e it so t h a t i t f it s flu s h in to th e wood.
7. From th e ce n te r p o int of th e foc al circle m ake th e pinh o l e
wit h t h e s m a lle s t tool you h ave. T his Is hard to g et com pletely a ccurate b ut a s l o n g as th e h ole is le s s th en 1/ 32 ” in diam eter it will work . 14 . N ow yo u’ re d on e an d you h ave a leg it cam era!!!
D esig n Construc t i o n
MAKING THE CAMERA We a re o ut o f th e t u n n e l!!!!
D esig n Construc t i o n
CONSTRUCTION Pickin g o u t s o m e wh i te oa k .
D esig n Construc t i o n
CONSTRUCTION J oin in g , pla n i n g, ri p p i n g a n d ch oppin g . C hloe reta ug ht m e h ow to ch an ge o u t t h e d a do bla de. I w ill n ever forg et .
D esig n Construc t i o n
CONSTRUCTION Lea rn in g h ow to ch a n ge o ut th e router bit , a n d set up jig s so t hat I do n t have to ma ke t h roug h cut da dos.
D esig n Construc t i o n
CONSTRUCTION Wel l h ere I go t a m o ck u p beca use I wa nted to test my desi gn for f it . I rea l i ze d t h a t i t wa s ha rd to m ea sure th e exa c t f it for t h e f ilm h o l d e r a n d i t wa s better to test th e w id th little by litt le. I t s t h e p o i nt wh e re you sta r t m ea surin g throug h feel . I also realize d t ha t t hro u gh usin g two dif ferent woods I coul d g et a really b ea u t i fu l co n t ra st over th e ca m era .
D esig n Construc t i o n
CONSTRUCTION Pieces w it h t h e rea l wo o ds. Th e bea utif ul rem na nts of our Ens to n Hom e s re t ro ga l a c tic fa rm sta n d wa s put to th e test .
D esig n Construc t i o n
CONSTRUCTION It was im po r t a nt to gl u e t h e ca m era w ith th e f ilm h older i n t h e slo t to m a ke s u re t h e f it wa s g ood.
D esig n Construc t i o n
CONSTRUCTION Th e pieces gl u e d , t h e f ro n t piece drilled, a n d th e f ina l stai n in g!
D esig n Construc t i o n
CONSTRUCTION Th e tem pla te fo r t h e s h u tter. First th e pieces ha d to be laser cu t an d t h e n cl a mp e d to th e f ront piece. Th en th e wood i s car ved in to to p rov i d e s pa ce for th e shutter.
D esig n Construc t i o n
CONSTRUCTION Th e sh u tter p i e ce wa s ma de by f irst routin g th e a peture in to t h e brass.
D esig n Construc t i o n
CONSTRUCTION Th en t h e s h u tte r p i e ce i s cut out usin g th e m eta l sh o p’s ban dsaw. Af te r wa rd s a s c rew h eld th e centerpoint of th e c i rcl e to g et it to i t s p e r fe c t roun dn ess.
D esig n Construc t i o n
CONSTRUCTION Nex t t h e pinh o l e p i e ce wa s m a de in bra ss. First it wa s cut to t h e rig h t size o n t h e t a b l e saw. Th en th e edg es were roun d ed on t h e san d e r to f i t . T h e e n d of th e spur wood bit wa s used to m ake t h e p i n h o l e . T h i s ge ts th e pinh ole size a t a proxim a tel y .019 in ch es.
An d Af ter i t Al l
FINAL
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FRONT AND INTERIOR
An d Af ter i t Al l
FINAL
An d Af ter i t Al l
FINAL
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WHAT I LEARNED - A lways us e a te s t p ie ce - A lways m a ke a m ock u p (u n t il you are a master) - It s ea s i er to s olve p rob le ms in th e sh op th en in your h ea d - Wo o d i s co mp licate d an d b eautif ul - Pro b l em s o l v in g is a lot eas ie r wh en you kn ow th e tools you are wo rk in g w i t h a n d t h e mate rial - O t h er p eo p le in th e s h op are your best f rien ds
An d Af ter i t Al l
FUTURE PHOTOS GO HERE ... T his o n e w i l l p robab ly b e m e throwin g my han ds up into th e ai r i n ce leb ra t i o n .
An d Af ter i t Al l
FUTURE PHOTOS GO HERE ... T his w i l l b e on e of th e wate rfal ls of Clemson for Pastre.
An d Af ter i t Al l
FUTURE PHOTOS GO HERE ... T his w i l l p ro bab ly b e an ex p os ure I m ess up in th e lab.
An d Af ter i t Al l
FUTURE PHOTOS GO HERE ... T his w i l l b e a p ic tu re of th e cam era itself taken in a m irror. Amazin g .