Logan Dumont M. Arch 1 Portfolio

L O G A N M

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D U M O N T H

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International Relations Course

Exercise and Nutritional Studies Courses

CSU Chico

Oxford University San Diego State University B.A. in Public Administration w/ Emphasis in City Planning

Axonometric Cube Chance Operations Pentago Small Venue Personal Projects Intern Account Manager Project Coordinator

Technicolor

R&A Design Los Angeles Institute of Architecture and Design

Deluxe Digital Studios Graduate Prepatory Program

Axonometric Cube Hand Drawing

PROJECT BRIEF The ability to graphically represent ideas, whether it be on trace paper or napkins, is important to convey ideas. In these series of hand drawing exercises, everything from trace paper and drafting dots to 45 degree triangles and pantone were used to better understand where architecture originated. Two sets of important twentieth century house plans were given to study and form canonical procedures that would eventually lead to an axonometric cube formed from the original house plans.

PROCESS Each architectural floor plans were overlayed with orthogonal grids through every intersection. From there, special attributes throughout the plan were made visible. Studying thick walls, columns, enclosed spaces and door swings, both forward and inverse, were the basis of my projections. These rules filled in the orthogonal sections, creating two for each plan. The diagrams were then overlayed and reinterpreted by creating white space whenever black overlapped black. Final drawings were completed with ink on vellum, trimmed to the size of 7” x 7”. Finally, a 20” cube was drawn, transferring both diagrams to the bottom and back face of the cube. Here, each shape was projected and formed by Boolean operations.

Floor Plans Two important twentieth century canonical floor plans received an orthogonal grid oerlay by drawing a horizontal and vertical line through every intersection in the plan. This created visible sections to futher explore spatial patterns.

Hand Drawings Placing trace paper over the existing floor plans, a black and white figure/ground composition was created by pochet-ing sections of the previously drawn orthogonal grid. This was governed by revealing or emphasizing distinct aspects of each project. Columns, doorways and confined spaces were the driving forces of these projections.

Composites For each plan, two hand drawings were overlayed over one another and synthesized into composite diagrams. When black elements overlapped other black elements, that section would turn white.The final drawings were inked-on-vellum and cut to 7� x 7�.

LOVELL BEACH HOUSE

LANGE HOUSE

ORTHOGONAL GRID

Axonometric Cube The final two composites were placed into an axonometric cube where Boolean operations were used on the projections.

Pantone color was then used on specific attributes. Objects that had no touching corners and were soley by themselves were highlighted here in the final drawing.

ATTRIBUTE

OVERLAY

Chance Operations Sol LeWitt: Incomplete Cubes PROJECT BRIEF This project is based on Sol LeWitt’s Incomplete Cubes to teach the importance of establishing a rule based methodology to inform the making of an object, or in this case, a cube. Once all six incomplete cubes are formulated, the same ordering system is used to create extension elements outward, penetrating a planar enclosure. Using further developed rules, the planar element will then receive open and closed qualities.

PROCESS In order to select cubes from the list of Sol LeWitt’s incomplete cubes, I relied on a system derived from chance. I first selected a number from a hat, ranging from 3 to 11 sides which would determine how many edges the cube would receive. Since there are different permutations of a cube containing the same amount of edges, I then randomly selected a number between 1 and 8, which signified the placement of the first edge in the cube. From here, letters X, Y and Z were randomly chosen to designate axis for which the edges would form an incomplete cube. Extensions were fitted into place by using the existing pulled axis for each cube with a base length of .75”. Each extension grew by .25” whenever its axis crossed itself. Finally, cutouts were made from the skin by using the extensions lengths to guide the initialal process. Further rules were developed in order to give more depth to the skin.

Phase_1:

Permutations 3

4

5

Edges

6

X

For each of the six incomplete cubes, the number of edges are left to chance operations, with possibilites ranging from 3 to 11 edges per cube.

7

Y

8

9

10

11

1

2

3

4

X Y

Z

X

Y

Z

Y

Starting Corner One corner of a cube is then chosen for a starting position.

This decides the variation of a cube with the same amount of edges.

Sequence The sequence of edges are determined by axes X, Y and Z. They are consecutively pulled until the established amount of edges are configured.

1

8

X

4 3

6

7

8 Y

Z

2nd Edge 3rd Edge

X X

5

1st Edge

Z

X

1

Y

X

Z

Y

Z

X

Y

Z

X

Y

Z

X

Y

Z

X

Y

Z

X

Y

Z

X

Y

Z

X

Y

Z

Y

Z

X

Y

Z

X

Y

Z

X

Y

8

Z

4th Edge 5th Edge

6th Edge

1

7th Edge

Z

4

8th and Final Edge

8 6

9 2

5

6

Phase_2:

EXTENSION SEQUENCE FOR CUBE

Z

X

Y

Y

Z

Z

Z

Y

X

Y

Extensions

Z

Y

X

Y

Y

X

Lengths

CUBE MODEL WITH EXTENSIONS

Starting with a base length of .75” for a single pass along the Y and Z axes, the extension will increase in length by .25” whenever it crosses itself again.

2nd Pass

rd

3

1st P as s

ss Pa

.75”

4t

h

Pa

ss

.25”

X 5th Pass

Phase_3:

Enclosure

SKIN A.

Cut-outs 1.5

Punches are made through the enclosure by using four steps, all of which are transferable from face to face and respective to each cube.

The width is determined by the extension’s length itself and will continue onto the adjoining face.

.75

TOP VIEW

B. SKIN .75 + .75 = 1.5

When two extensions are stacked vertically, its counterparts length is added to the width.

CUBE

C.

INSIDE THE CUBE OUTSIDE THE CUBE

The smallest extension’s length is cut inward. The largest is cut outward.

Lengths

=

1”

= 1.25” =

1.5”

= 1.75”

A.

B.

D.

.75 + 1 = 1.75

.75” .75 + .75 = 1.5

=

The height is the sum of all other extensions lengths in that cube, not including itself.

D.

C.

Pentago Duality PROJECT BRIEF One of the simplest ways to visually see duality is through a boardgame. One of the hardest design techniques is to create form language. This project asked to create form language using duality and a boardgame as the basis of our study. The requirements were to record 8 consecutive moves from each player, and construct a model within an imaginary cube. This would allow us to explore time as distance, a single move, while still having a loosely confined paramater, the imaginary cube.

PROCESS In this project, a game of Pentago was my choice of interest. This game consists of two players, a board with four 3x3 grids arranged into a larger grid of 6x6 along with black and white marbles. After player 1 places a marble, they are then able to rotate any one of the four 3x3 grids 90 degrees. Once five marbles of one color line up either horizontally, vertically or diagonally, a player has won. In the recording of this game, neither player had won after nine turns were taken. I chose to place the opponents on opposite sides to lend more interaction between the two, while mirroring every move in order to maintain consistency of gameplay.

Phase_1:

Language

Gameplay Initial Placement = .5”

5”

1. = Si le ng

Rotation = .5”

r Tu n

90 New Position = .5”

I chose to have both players start on opposite ends, while still maintaining their moves interaction with one another from ay place on the board. Once Player 1 makes a move and rotates one of the four quadrants, that rotation affects all pieces in that quadrant including the opponents pieces. Player 2 now has the ability to counter with a placement of a new piece and rotation.

P1

P1

12�

8 tu s=

rn �

12

P

2

OPPOSING SIDES

Completion After eight turns from each player were recorded, the game was concluded since all necessary standards were fulfilled. In this particular match, there was no winner. Instead a defensive strategy played out from each opponent, leading to a stalemate.

P2

Phase_2:

Anchor

Floating Pieces

6” ”=

x6

Stringer = 6”

m Di

6”

en sio n of

SECTION A

nt ra ad

Qu

Columns = 6”

Where game pieces did not interact with each other physically, they were anchored into place by columns and stringers. They were constructed and positioned following the original rotation of the game piece during a players turn, ultimately letting the pieces lay where they were originally intended to be. Anchors were used very sparingly in order to preserve as much language as possible.

FINAL

6”

Turn 4 SECTION A

ANCHORS

PLACEMENT

Small Venue Game Club

PROJECT BRIEF A cite plan was assigned with dimensions of 40’ x 40’ x 40’ which would hold a Game Club. Since the Duality project was built around the dimensions of a cube measuring 12” x 12” x 12”, it was to be scaled and used as the base model for the club. Inside that club, a stage measuring 20’ x 20’ x 20’ had to be placed anywhere in its enclosure, essentially creating a cube within a cube. Still maintaining a conceptual design, the club would encompass a few real elements such as hallways, windows and floors.

PROCESS In order to create a shell or skin for the cite plan, the Duality project was exploded from the center to create four individual pieces. Each piece was then flattened on two adjoining faces, creating a corner. Once all four corners were established, they were joined together to form a shell. To create the inside of the club, the shell’s unique and individual pieces were all given simplified rules to unify a more building like structure. Once the inner cube was placed, all objects would deflect from its space as if it had a force field. This enabled the stage to be preserved and remain a cube.

Phase_1:

Formation

Explotion Exploding the Pentago model from the center created four sections of cubes. Each cube was then flattened on two adjoining faces to create a corner.

Once all four sections were flattened, they were rejoined to create one single cube.

EXPLODE

COMPRESS

REJOIN

SMOOTH

SHELF

CHANNEL

FOOTING

STRINGER

WINDOW

Simplification Since the formation of the cube created multiple, distinct qualities, each were simplified in order to provide more of a balanced aesthetic and overall uniformity.

ground

SECOND FLOOR PLAN

SECTION A

A

B

STAGE

A SECTION B

B

NORTH

SOUTH

EAST

WEST

Personal Projects

HeART of Nails This project was gifted to my girlfriend on Valentine’s Day and was constructed with the simplicity of our relationship in mind while showing the important connection we share.

Nails, yarn and wood were the materials used.

Beer Cap Table In college, my roommates and I collected beer caps over the years. Our final year together we decided to create a table to celebrate our successful run of college. 1600 bottle caps were countersunk to be flush with the table top, and finished with resin to protect, level and showcase our work of art.

Tripod Side Table Serving as an everyday purpose, this side table was constructed with an industrial feel but yet maintaining a simplistic design. I wanted to keep the area this would occupy airy and open so that the eye would not be obstructed with a heavy mass. This was built with plywood, galvonized plumbing fixtures and screws.

The plywood received a clear polyurethane varnish to protect against spills.