Portfolio: SCI-Arc Year 1 by Natou Fall

SCIARC 2016 | 2017

N A t o u

Natou Fall

natou.fall@gmail.com

2017

SCI-Arc 960 E 3rd St, Los Angeles, CA 90013

Contents YEAR 1

5 Statement

44 Environmental Systems

6 1GA Design Studio

52 1GA Intro to Contemporary Architecture

20 1GB Design Studio

56 Visual Studies I

34 1GA Intro to Contemporary Architecture

66 Visual Studies II

38 Materials and Tectonics

From orientation to the end of 1GB, a selection of photos taken to document my experience this year

As an architect you design for the present, with an awareness of the past, for a future which is essentially unknown. Norman Foster

SCI-Arc as an institution has its own way of doing things, which is exactly why I made the decision to start the M-Arch 1 program. The first few weeks of 1 GA were challenging, I felt like there was some greater lesson being taught and I was out of the loop. It wasn’t until I reminded myself “I know nothing,” let go of expectations, what I thought I knew about architecture, and architecture school that things started to make sense. 1 GB was just as demanding, if not more so. It required what was referred to as “design intuition” which, for me, made the process a personal challenge. I was pushed to let go of any attachments I had to a design, and to look at each iteration as a stepping stone rather than a finished product. A learning and un-learning process, this first year has given me so much knowledge about the discipline, the field, and myself as a designer.

Aminatou Fall M-Arch 1 Candidate

Design

Studio

1GA

Fall 2016

The 1 GA studio introduces students to the central problems of architecture—geometry, form, and space—through the technologies of their description—diagramming, drawing, and model making. Introductory exercises emphasize the role of drawing and analysis as both descriptive and generative. Students pay close attention to the development of ideas that inform an iterative and creative process for working with many different media: from physical models, to two-dimensional drawings, to digital interfaces. The course culminates in the design of a small public building in Los Angeles.

Constance Vale

“The facade matters most”

Design Studio

1 GA

Project Description Readings and Mis-readings. The goal of this project was to design a public library in Hyde Park. Initial formal explorations were based off of Tony Smithâ&#x20AC;&#x2122;s Smoke sculpture. Cladding grid explorations were based off of Richard Serraâ&#x20AC;&#x2122;s drawings and paintings. My final concept was driven by the cladding graphic, which was extended out onto the site and the interior.

Model pictured to the left is of Smoke, expanded, and cropped

Design Studio

Flat axonometric rendering of expanded Smoke model

1 GA

Oblique axonometric drawing of expanded and cropped Smoke

Wireframe drawing of expanded and cropped Smoke

Design Studio

Wireframe drawing of ‘Cube on point’

Wireframe drawing of ‘Smoke cell’

Wireframe drawing of Hybrid

1 GA

Flat rendering of initial cladding exploration, faces produced by hexagonal wireframe

Design Studio

Unrolled drawing of the cladding grid graphic

1 GA

Developed drawing of perforated skin

Flat rendering of east facing elevation

Design Studio

Second floor plan drawing

1 GA

First floor plan drawing

Design Studio

Long section drawing

Shortw section drawing

1 GA

Final section models pictured above.

Design

Studio

1GB

Spring 2017

This course is a continuation and expansion of the fundamental issues of architecture introduced in the first studio of the core sequence. The interrelationship between geometry, form, tectonics, and materiality is explored as it relates to overarching organizational systems and emergent systemic behaviors driven by programmatic content-structural logics and physical setting. Program and structure are considered to be creative components of design rather than fixed entities. Students are given the Emerging Professionals Companion along with updated IDP information. The working methodologies introduced in 1 GA are expanded and refined to allow each student to continue developing conceptual frameworks and productive techniques for the creation of architecture. As the first part of the Graduate Program’s Comprehensive Design Sequence, this course challenges students to design both site and buildings accommodation.

Alexis Rochas

“you’ve developed [formal] traits, now compose with them”

Design Studio

1 GB

Project Description Diptych. The goal of this project was to design a duplex in Frogtown. Initial formal explorations were based off of the prints by Eduardo Chillida. My final concept was defined by Chillida’s figure-ground relationships and my own formal development. The diptych was defined through the two courtyards of the duplex, which lead to the development of a ‘Chillida-esque’ figure-ground.

Formal explorations: axonometric drawings of 20 iterations

Design Studio

Chillida print abstraction diagram

Massing diagram

1 GB

Upper level plan drawings

Lower level plan drawings

Design Studio

River side rendered elevation

Street side rendered elevation

1 GB

Above: Section drawings

Design Studio

Rendered long section drawing

Rendered first floor plan drawing

1 GB

Rendered short section drawing

Rendered second floor plan drawing

Design Studio

Rendered long section drawing

1 GB

Rendered first floor plan drawing

Design Studio

Above + Right: 3D printed model of duplex

1 GB

History + Theory

Architecture + Formalism

Fall 2016

Todd Gannon

Intro to Contemporary Architecture

The readings through the first four weeks of this term have foregrounded questions of form to identify systems of order in aesthetic works. Such systems of order, as Caroline Levine notes, are fundamentally political. Using the assigned readings as a guide and paying particular attention to issues of cultural and social diversity, discuss the salient political implications of a formalist approach to architecture.

The New Oxford American Dictionary defines architecture as “the art or practice of designing and constructing buildings.”1 We now know this to be the most rudimentary definition for a field referred to as “The secret profession of architecture” by Reyner Banham.2 The so called “secretive-ness” of architecture is without a doubt due to the general public’s lack of knowledge about the field, both the profession and the discipline, as well its place in both the physical and theoretical worlds. For the purpose of this paper we will define architecture as two things: “the act of organizing the people’s lives”, to quote instructor Pavel Getov, and as the function that conserves ritual and mediates between mankind and our environment. 3 With the exponential advancement of technology used by architects and designers today, architectural theorists are discussing whether or not architecture should be viewed

and practiced from a formalist perspective. Formalism: a school of thought focused on ordering principles, patterns of repetition and difference i.e. form as defined by Caroline Levine 4, not to be confused with the aesthetic definition of form. In the introduction of her book, Levine argues that forms are what create order beyond the realm of aesthetics and are therefore political. She goes further to define politics as a matter of imposing hierarchies on experience and creating order in space thereby making politics dependent on form. 5 Using Levine’s formalism as a lens, one can begin to see how the act of designing or ordering spaces and aesthetic forms (architecture) relates to politics’ ordering of societal norms and hierarchies: race, socioeconomic status, gender, and so on. This correlation between architecture and politics is nothing new. In her book Ideas of Order, Jacqueline Gargus states, “Every architectural act is a civic tester loaded with political and social

implications,”6 thereby making all forms and orders of forms partisan. Take for example the mosque. Here is a structure typically designed to perpetuate a cultural and societal norm: gender segregation. The separate prayer, ablution, and entry spaces for men and women, the ordered forms, begin to constrain and emphasize difference among users. The same could be said for the way in which restrooms are designed, or ordered. In both instances the architecture becomes the function for enforcing these norms. Formalism is the means through which we can begin to conceive and connect forms in ways that are not conspicuous. Linking back to architecture’s double life, we can begin to see how the philosophical and physical begin to relate. The eyes of the public hold the key to where aesthetics and formalism come together. Without the skills to interpret architecture, the public assess and give structures

History + Theory

value based on their visual and emotional experiences. The formalist aesthetics discussion focuses on form and looks at how buildings, spaces, and objects can be balanced with concepts of individual and societal value. 7 When it comes down to it, architecture that is given significance in society is believed to be “beautiful” by the masses. Dave Hickey’s comparison of art dealers in the 90s to Foucault’s king best captures the public’s attitude toward architecture: ’they do not care what it means.’ 8 Given this the task for the architect becomes to reconcile the aesthetic and theoretical forms to give a structure value in society and in the field. While technology is widely used in today’s practice, the diagram remains the ultimate tool or “device” for this task. As stated by Douglas Graf, the role of the diagram is to order and bring specificity to the existence of the subject and the processes of cognition. 9

The points presented in the readings referenced throughout this paper support and prove formalist architecture’s political entanglement. Due to this, it can be stated that the architect then, by definition, has the power to comply and reinforce societal and political norms, or rebel against the status-quo and reorganize these forms to create new ones. The question now becomes whether or not a building designed through a formalist lens falls under the discipline, the profession, or both.

Intro to Contemporary Architecture

Notes

1. The New Oxford American Dictionary, 2nd ed., s.v. “architecture.” 2. Reyner Banham, A Critic Writes: Selected Essays by Reyner Banham (Los Angeles: University of California Press, 1999), p. 292. 3. Jacqueline Gargus, Ideas Of Order: A Formal Approach to Architecture (Dubuque: Kendal/ Hunt Publications, 1994) p. 2.

7. Mark Foster Gage, Aesthetic Theory: Essential Texts for Architecture and Design (New York: W. W. Norton & Company, 2011) p. 19. 8. Dave Hickey, The Invisible Dragon/ Four Essays on Beauty (Los Angeles: Art Issues Press,1993) p. 25. 9. Douglas Graf, Perspecta, vol. 22, “Diagrams” in Paradigms of Architecture (Boston: MIT Press,1986) p. 43.

4. Caroline Levine, Forms: Whole, Rhythm, Hierarchy, Network (Princeton: Princeton University Press, 2015) p. 3. 5. Ibid., p.3. 6. Jacqueline Gargus, Ideas Of Order: A Formal Approach to Architecture (Dubuque: Kendal/ Hunt Publications, 1994) p. 3.

Applied

Science

Materials + Tectonics

Fall 2016

Pavel Getov

This course introduces students to fundamental tectonic principles with a strong emphasis on materials, material properties, and industrial processes. This course is an investigation into the anatomy of material and its potential use in architecture. The goal of the class is to provide students with a thorough understanding of materials, and of the design methods, techniques, and industrial processes by which they acquire meaning in an architectural and building context. By means of direct testing and experimentation, the class explores technical and rational manipulations of traditional as well as novel materials, aiming to develop an expansive understanding of their physical nature, environmental impact and possible reuse.

Elaine Chan, Boya Wang, James Jiang, Brandon Kintzer

“it’s not a sprint, it’s a marathon”

Applied Science

Materials + Tectontics

Project Description The goal of this project was to redesign an iconic structure using our knowledge of tectonics. Our group was assigned the Syndey Opera House. Our intervention was to redesign the roof, to allow for a more interaction between the roof and the interior spaces. The new design changed Utzonâ&#x20AC;&#x2122;s ceramic tiles into a panel system made of PMMA, steel, and glazing, to allow allow light into the space.

Rendering by Boya Wang of re-designed Syndey Opera House

Applied Sciences

Rendering of Interior with new proposed roofing system

Section drawing of panel system

Materials + Tectonics

Plan drawing of panel system

Model constructed of acrylic, foam core, bass wood, and museum board.

Applied

Science

Environmental Systems

Spring 2017

Jacob Chan, John Bohn

This course is intended as an introduction to environmental systems in architecture. Beginning with an understanding of basic thermodynamics and climatic conditions, the course will use architectural precedents to examine the fundamental issues of passive and as an introduction to active energy systems as they apply to architectural production and performance. Students will learn the physics of the building environment, basic environmental conditions and human comfort. Particular attention will be paid to issues of sustainability. Students will undertake preliminary assessments of client and user needs, building codes and design strategies that leverage careful site analysis in order to inform building location, orientation, massing and geometry. Integrating these issues into complex works of architecture will serve to synthesize of these ideas and demonstrate the performance of environmental systems in architecture. Significant historical, cultural and technological developments in environmental engineering will also be discussed. Finally, contemporary simulation technologies will be introduced as a tool for design and the application the concepts covered in the course.

Aya Gerpheide, Brandon Kintzer, Nicholas Perseo, Max Tavdi

Enthusiasm is vital in this business

Applied Sciences

Environmental Systems

Project Description The goal of this project was to study and visually represent the energy systems effecting a wellknown house in the LA area. Our group was assigned the Hollyhock House by Frank Lloyd Wright. The second part of the assignment was to relocate the house in a different climate and adapt the design. Our group put the Hollyhock House in Antartica. Our interventions created a roof that acts against the accumlation of snow, added insultation, and protection against high speed winds from potential snow storms.

Composite drawing of energy maps in an arctic climate

Applied Sciences

DESCRIPTION

AIR MOVEMENT Group No. 5 Natou Fall

East-bound winds traveling at speeds of 2mph, Winter, -45°F Site: South Pole, Antarctica

Increase in speed once wind passed over the house

Turbulence experienced within courtyard New roof design acts as a windbreaker on entrance side of the house

DATA SOURCES N

NNW

mph

NNE

WNW

NNW

NNE

9.66

4.83

SSE

3.22

SE SSW

1.61

SSE

WSW

ESE

SSE

SSW

ESE

0.00

Wind-Rose South Pole_Antarctica 18 FEB 11:00 - 18 FEB 14:00 Hourly Data: Wind Speed (mph) Calm for 6.24% of the time = 1 hours. Each closed polyline shows frequency of 1.4%. = 0 hours.

5.70

HOLLYHOCK HOUSE

16.56

5.37

2.18.17, 11am, 30mins South Pole, Antarctica Arctic Climate Zone

5.03

SSE

19.43

6.04

3.22 1.61

VELOCITY ft/s

6.38

4.83

SE SSW

6.71

6.44

0.00

7.05 E

8.05

6.44

ESE

SE SSW

9.66

8.05

ESE

11.27

ENE

WSW

ENE

14.50 12.88

ENE

12.88

16.11

NNE

14.50

mph

NNE NE

NNW NW WNW

7.38

ENE

16.11

NE NNW NW

WNW

7.72

mph

WNW

Turbulence experienced close to the ground

8.05

13.50

4.70

9.81

Wind-Rose South Pole_Antarctica 18 FEB 11:00 - 18 FEB 13:00 Hourly Data: Wind Speed (mph) Calm for 0.00% of the time = 0 hours. Each closed polyline shows frequency of 3.3%. = 0 hours.

Simulation

Diagram of arctic wind patterns

DESCRIPTION

AIR MOVEMENT

East-bound winds traveling at speeds of 3 mph, Winter, 59°F Site: Barnsdall Park, hilltop

Group No. 5 Natou Fall

Turbulence experienced on both sides of entry walk-way

Largest tree minimally affected wind flow due to its lowered position on the sloped topography

Turbulence experienced around the sloped topography

Increase in speed once wind passed over the house

DATA SOURCES N

NNW

16.11

ENE

NE NNW

14.50 mph

NNE

16.11

ENE

WNW

14.50

8.05

4.83

ESE

3.22

SE S

1.61

SSE

0.00

SE SSW

6.44

ESE

SW SSW

WSW

9.66

WSW

9.66 8.05

1.61

SSE

6.44 4.83 3.22

ESE

0.00

SW S

4.83

1.61

SSE

0.00

Wind-Rose Los Angeles Intl Arpt_CA_USA 17 FEB 11:00 - 18 FEB 14:00 Hourly Data: Wind Speed (mph) Calm for 3.57% of the time = 1 hours. Each closed polyline shows frequency of 1.4%. = 0 hours.

SSW

8.05 6.44

3.22

SE SSW

9.66

7.38 7.05

12.88 11.27

12.88

ENE

11.27

Turbulence within colonnade

7.72 ENE

14.50

mph

NNE

WNW

16.11

WNW

mph

NNE

WSW

8.05

WNW

mph

NNE

ESE

SSE

Wind-Rose Los Angeles Intl Arpt_CA_USA 18 FEB 11:00 - 18 FEB 13:00 Hourly Data: Wind Speed (mph) Calm for 0.00% of the time = 0 hours. Each closed polyline shows frequency of 3.3%. = 0 hours.

6.71

VELOCITY ft/s

6.38

4.84

6.04 5.70

4.1925

5.37 5.03

3.4234

4.70

2.4204

Simulation

Diagram of orginial wind patterns

HOLLYHOCK HOUSE 2.18.17, 11am, 30mins Hollywood, CA Climate Zone 6

Environmental Systems

AIR MOVEMENT Group No. 5 Natou Fall

Artic wind energy map

Hollywood wind energy map

Applied Sciences

Rotate 90o + Compare and Contrast. Right: original energy composite Left: arctic energy composite

Environmental Systems

History + Theory

Tony Smith + Architectural Precedent

Fall 2016

Todd Gannon

Intro to Contemporary Architecture

In your design studio, you were asked to examine the work of the sculptor Tony Smith as a starting point for your own investigations. Drawing upon the essays we have examined in class, outline your own position on the role of historical precedents in general (and Tony Smith in particular) in the production of new work. In building your case, discuss specific concepts and practices we have encountered in the readings throughout the term parallel or contrast your ambitions

Precedent is defined as “an event or action that is regarded as an example to be considered in subsequent similar circumstances.”1 As humans we look to precedents for our everyday lives: children look to parents to learn how to react to situations, judges look to similar cases to decide on a verdict, and so on. History tends to repeats itself for that very reason. In architecture precedents are either emulated or disfigured, regardless of how they are treated they are studied all the same. The significance of precedents in architecture can be likened to the significance of the liver in humans. Design is described by Mark Gage as “a fundamental act of existence”2 in his book Aesthetic Theory, and in order to design anything, whether it be a house or a skyscraper, one must first understand what that structure or space means and how it works which requires precedents. Architecture is based on learning from the mistakes and accomplishments of others so to speak. The study of precedents in architecture also serves as the foundation to architectural theory

and the advancements made in both the discipline and the field. Tony Smith, minimalist sculptor and a notable figure in the art world is known for his large scale pieces of work. Smoke, a sculpture in a series of three by Smith was done in 1967 for the Corcoran Gallery in Washington, DC.3 In 2008 an aluminum version of the sculpture was created as a permanent installation for LACMA, in Los Angeles, CA.4 Smith’s body of work consists of large-scale outdoor pieces, Smoke however has only ever occupied interior spaces both at the Corcoran Gallery and now in the Ahmanson Building Room at LACMA.5 Smoke can be considered an “axiomatic structure”, defined by Rosalind Krauss in her essay Sculpture in the Expanded Field, as a sculpture that plays with “ the abstract conditions of openness and closure” in architectural space.6 While it is composed of relatively simple geometries (octahedra and tetrahedra) their composition leads to a multitude of misreadings. When in its presence it begins to create optical illusions with the space; volumes are seen in some instances and disappear in the next, the ordering system remaining elusive

to viewers. Smoke’s composition alludes to the hexagon and the cube from plan and perspective views. Based off of Robert Venturi’s definition of architecture, from his essay Complexity and Contradiction in Architecture, as “form and substance […] it’s meaning derives from its interior characteristics and its particular context,” it can be argued that while it borders between architecture and sculpture due to its large scale, it is not architecture since it has no interior, and both its form and substance are abstract and not tangible.7 Therefore it was not studied as an architectural precedent but treated as a catalyst, a sort of muse if you will. Michael Fried, who criticizes minimalist art in his essay Art and Objecthood, would define Smoke as a “Pneumatic structure [with] latent or hidden naturalism” due to the fact that it occupies a space comparable to the way a human would.8 Smoke interacts with the space of the Ahmanson Building Room, framing but not delineating space. The aim with this project became investigating the relationship between the cube and Smoke.

History + Theory

The cube, the building block of architectural form was studied and manipulated to create misreadings analogous to the misreadings created by sculpture. To produce the form which lead to the structure of the library, the cube, rotated onto a single point, and an outline of the volume which is framed within the sculpture were combined to produce a hybrid form. Although a volume was derived from the sculpture during the process of combining the two forms, the cube remained the focus. The result, as shown in figure 1, was a form which can be misread as both an enveloped cube from one view, and a two dimensional oblique cube from another. The process of manipulation of the volume derived from the sculpture is comparable to Craig Owens’ description of Philip Johnson’s analysis of precedents for the Glass House, in his essay Philip Johnson: History, Genealogy, Historicism, he refers to it as “a process of reinterpretation and rearrangement.”9 The difference being that the relationship between the precedents of the Glass House and the house itself are overt, whereas the relationship between Smoke

and the produced structure for the library remains nuanced. When designing there is a fine line between subtle references and copying, an architectural work should never be a simulacrum, or a copy of anything. The goal was avoid creating any conspicuous relationships between Smoke and the final structure, the approach was concerned on the abstraction of the cube. In spite of that architectural precedents were studied in the process, such as the Seattle Public Library by OMA , the Exeter Library by Louis Khan, and the Beinecke Library at Yale. Architecture should be influenced by architecture, and be about architecture. In his essay Critical Architecture: Between Culture and Form, K. Michael Hays, discusses architecture as autonomous form and says when architecture stops depending on something else it can become “the end of representation and the beginning of something quite its own.”10 Once more, the definition of precedent refers to “an example to be considered in subsequent similar circumstances,”11 Smoke can never be a definitive architectural work as it neither

creates nor defines occupiable space, it occupies space itself just as any other user would (granted it occupies much more). Smoke, regardless of how similar to architecture it may be cannot be considered as precedent to architectural work.

Figure 1: Foam model of Library Structure ( Fall 2016)

Intro to Contempoary Architecture

Notes

1. The New Oxford American Dictionary, 2nd ed., s.v. “precedent.” 2. Gage, Mark Foster, Aesthetic Theory: Essential Texts for Architecture and Design (New York: W. W. Norton & Company, 2011) p. 19. 3. Barron, Stephanie. “Smoke.” Smoke | LACMA Collections. 2011. Accessed December 02, 2016. http://collections.lacma.org/ node/215109. 4. Ibid. 5. Ibid

6. Krauss, Rosalind. “Sculpture in the Expanded Field,” October 8 (Spring 1979), reprinted in The Originality of the Avant-garde and Other Modernist Myths (Cambridge, MIT Press, 1986): 41

7. Venturi, Robert, Complexity and Contradiction in Architecture (New York: Museum of Modern Art, 1966) 29 8. Fried, M. (1995). Art and Objecthood. In G. Battcock (Ed.), Minimal art; a critical anthology (pp. 116-147). ( Los Angeles, CA: University of California Press.) p. 129 9 Owens, Craig, “Philip Johnson: History, Genealogy, Historicism,” Catalogue 9 (September/October 1978), reprinted in Jeffrey Kipnis and David Whitney, eds., Philip Johnson: The Glass House (New York: Pantheon, 1973): 83 10. Hays, K. Michael, “Critical Architecture: Between Culture and Form,” Perspecta 21 (1984): 17 11. The New Oxford American Dictionary, 2nd ed., s.v. “precedent.”

Visual

Studies

Fall 2016

The 1GA Visual Studies course is structured as an introduction to forms, methods, conventions and approaches to architectural drawing and representation. Beginning from the fundamentals of orthographic projection, the course will sequentially examine the notion of sections and cut drawings, oblique and axonometric projections, and various types of curvature, from simple to complex, in both to and three dimensions. Students will be required to constantly work between the construction of drawings and the construction of physical models, gaining familiarity with the constraints and advantages of each. The course will concentrate heavily on geometry. Distinct from strictly mathematical geometry, architecture necessarily presumes three-dimensional form and, in particular, material dimensions. Methods of two- and three-dimensional projection will therefore be absolutely essential. One of the courseâ&#x20AC;&#x2122;s goals is for students to attain familiarity with descriptive geometry, which allows the visualization and representation of complex three-dimensional forms. The purpose of the Visual Studies sequence in general is to provide students with techniques that they can apply to their work in other classes, and to studio in particular; this course is directly coordinated with the 1GA and 1GB Studios in order to provide students with tools and techniques that they will use in those courses.

Matthew Au, Emmett Zeifman

what even is a jig?

Visual Studies

VS I

Project Description Through a series of exercises designed to help us learn the 3D modeling techniques in Rhino, we designed a ser of 3-dimensional arcs in space. The final project was to design a jig to be used to reproduce one of the arcs.

Contour line drawing of 3-dimensional arcs

Visual Studies

Arcs produced through tetrahedron re-folding

3 3/4” 3”

5 1/4” 4”

8”

7 1/2”

3”

SEGMENTS 3 of 4 segments shown views are as follows: - plan view - right elevation - left elevation - front elevation - back elevation - isometric view 1 -isometric view 2

1/2”

1”

note: all segments derived from local arcs + have equal diameters

Scale: 1’- 0” = 1/4” Jig NF16.p01 Stock: mdf, 3/4” x 9” x 7-3/8” Tool: FS Bandsaw

Natou Fall Visual Studies | Fall 2016 December 8, 2016 Revision: 2 Page 4 of 12

A01.05 Page from the final construction document set which laid out the sequence of steps to produce the arc segment

VS I

Arcs produced through tetrahedron re-folding

cut 1

5 1/2” cut 5

4”

SEGMENTS CONT. 3”

cut 2 cut 3

cut 4

1 of 4 segments shown views are as follows: - plan view - isometric view 1 -isometric view 2 - right elevation - left elevation - front elevation - back elevation

8”

the following pages contain instructions to produce this segment

Scale: 1’- 0” = 1’ - 0” Scale: 1’- 0” = 1/2” Jig NF16.p01 Stock: mdf, 3/4” x 9” x 7-3/8” Tool: FS Bandsaw

1/2”

Natou Fall Visual Studies | Fall 2016 December 8, 2016 Revision: 2 Page 5 of 12

A01.05 Page from the final construction document set which laid out the sequence of steps to produce the arc segment

Visual Studies

JIG KEY

cf1

views are as follows:

cf2

top to bottom - back elevation - plan view - front elevation - worm’s eye plan view right to left - left elevation - front elevation - right elevation

Additional Pieces:

-6 1/2” X 3” round dowels sled supports - 4 1/2” x 1” round dowels stops, pivot, sled stops - see next page for sled and jig table key

3/4” w2

s4A

s3A

s2A

s3B

s2A

s3A

s2B

s4B

s3B

s2B

s4A

Scale: 1’- 0” = 1/2”

s4B

Jig NF16.p01

Stock: mdf, 3/4” x 9” x 7-3/8” Tool: FS Bandsaw

cf1

7 7/8”

Natou Fall Visual Studies | Fall 2016 December 8 , 2016 Revision: 2 Page 6 of 12

A01.05

JIG TABLE + SLED views are as follows: TABLE top to bottom - front elevation - plan view - back elevation

1’ 4 3/4” 3/4”

5 7/8”

3/4”

5 3/8”

1 3/8”

d3A d2A

1/2”

d1A

right to left - left elevation - front elevation - right elevation

5 3/8”

1 3/8”

6 1/4”

3/8”

2 1/8”

Additional Pieces:

jb8

8 3/8”

1/2”

-6 1/2” X 3” round dowels sled supports - 4 1/2” x 1” round dowels stops, pivot, sled stops

jb6

9”

6 7/ 8”

1’ 4 3/4”

jb5

jb9

jb4 jb10

jb7

1/2” 3/8”

jb3

jb1 jb11 jb2

Jig NF16.p01 4 5/8”

d2B d1B

Stock: birch plywood, 1/2” x 2’ x 2’ Tool: FS Bandsaw

1”

d3B

Scale: 1’- 0” = 1/4”

Natou Fall Visual Studies | Fall 2016 December 8, 2016 Revision: 2 Page 7 of 12

A01.05 Pages from the final construction document set which laid out the sequence of steps to produce the arc segment

VS I

Model photo of the jig and shed, model made of manila paper and bass wood

Model photo of jig, model made of manila paper

Visual Studies

CUT 1 OF 5 Instruction: - set jig table on bandsaw bed - insert 1” pegs into jb1 + jb2 - position jig on jig table in alignment with jb1, p1, s1, + jb2 - place stock material on jig + jig table assembly - rotate jig + stock material toward bandsaw blade until jig meets jb2 peg - discard cut off material

p1. jb1 s1. jb2

Scale: 1’- 0” = 3/8” Jig NF16.p01

”

cut off

”

Stock: mdf, 3/4” x 9” x 7-3/8” Tool: FS Bandsaw

Natou Fall Visual Studies | Fall 2016 December 8, 2016 Revision: 2 Page 8 of 12

A01.05

CUT 2 OF 5 Instruction: - set jig table on bandsaw bed - insert 1” pegs into jb3, jb4. + jb5 - place jig on jig table in alignment with jb3, p1, jb4, p3, jb5, + p2 - place stock material on jig table with now curved egde against cf1 - rotate material toward blade using cf1 as a guide until - discard cut off material

p2. jb5

cf1 p1. jb3

5 3/8”

cut off

Scale: 1’- 0” = 3/8” Jig NF16.p01

p3. jb4

7 7/8”

Stock: mdf, 3/4” x 9” x 7-3/8” Tool: FS Bandsaw

Natou Fall Visual Studies | Fall 2016 December 8, 2016 Revision: 2 Page 9 of 12

A01.05 Pages from the final construction document set which laid out the sequence of steps to produce the arc segment

VS I

CUT 3 OF 5 Instruction:

d1A. s3A

d4. jb6

- position jig on sled in alignment with w1 - insert 2” pegs through d1A to s3A, + d1B to s3B - insert 1” pegs into jb6 + jb7 - position sled-jig assembly onto jig table in alignment with jb6, d4, jb7, + d5 - place stock material onto jig nested against cf2 - set assembly onto bandsaw table - slide toward blade until jig table stop meets the edge of bandsaw table - discard cut of material

cut off

cf2

Scale: 1’- 0” = 3/8” Jig NF16.p01 Stock: mdf, 3/4” x 9” x 7-3/8” Tool: FS Bandsaw

2 1/8”

d5. jb7

d1B. s3B

Natou Fall Visual Studies | Fall 2016 December 8, 2016 Revision: 2 Page 10 of 12

A01.05

CUT 4 OF 5

d4. jb8

d2A. s2A

Instruction: note: this step does not produce cut off

d2A. s2A

- position jig on sled in alignment with w2 - insert 2” pegs through d2A to s2A, + d2B to s2B - insert 1” pegs into jb8 + jb9 - position sled-jig assembly onto jig table in alignment with jb8, d4, jb9, + d5 - place stock material onto jig nested against cf2 - set assembly onto bandsaw table - slide toward blade until jig table stop meets the edge of bandsaw table

cf2

d5. jb9 w2 d2B. s2B

d2B. s2B

Scale: 1’- 0” = 3/8” Jig NF16.p01

2 3/8”

Stock: mdf, 3/4” x 9” x 7-3/8” Tool: FS Bandsaw

Natou Fall Visual Studies | Fall 2016 December 8, 2016 Revision: 2 Page 11 of 12

A01.05 Pages from the final construction document set which laid out the sequence of steps to produce the arc segment

Visual

Studies

Spring 2017

Anna Neimark, Matthew Au

Diagramming and Spatial Constructions The course forms the continuation of Strategies of Representation 1 by expanding on the conceptions of representational tools, emphasizing diagramming and spatial representations, and incorporating site analysis, topography and three-dimensional realizations. The program focuses on developing the precision of intentions in the production of architectural drawings and instilling a critical sensitivity for the inherent bias and interface of each deployed medium of representation.

Rachel Hamilton, Brandon Kintzer

what letter does that look like to you?

Visual Studies

VS II

Project Description Figuration and legibility. This semester we each chose a letter to analyze from the Romain du Roi font designed for King Louis XLV. With this letter we carried out a series of manipulations (folds and curls) to produce a 3 dimensional form. For the second half of the semester, the group project was to create a scaled model of our grid manipulations. To study compositions our group used note cards and staples; this inspired us to reproduce one of our iterations at 10x the scale.

Bitmap rendering of distorted letter k

Visual Studies

B D

12 D

Original letter form drawing, Grid folding drawing

Painted 3D model of new figure

12 D

15 a

VS II

Projection drawing,

Visual Studies

Rendering of distorted letter form

VS II

Initial bitmap rendering

Visual Studies

Above: Model of scaled note card, decontextualized the model appears small, however it stands at 5â&#x20AC;&#x2122;5â&#x20AC;?

VS II

Above: Model of scaled note card