LAIAD Portfolio

RICARDO VEGA

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PORTFOLIO MASTER OF ARCHITECTURE 3

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RICARDO VEGA

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PORTFOLIO MASTER OF ARCHITECTURE 3

CONTENTS

tredoku pg. 6

CMY* permutations pg. 12 elemental atom pg. 18 axonometric pg. 24 gallo continuo pg. 28 mixed media pg. 32

tredoku A SYSTEMATIC BUILDING PROCESS

Based on a three dimensional version of the game sudoku, tredoku’s spatial field is a medium where numbers are able to communicate in space. The project seeks to develop a spatial language for numbers in order to create a system of unique interactions based on the rules of sudoku. A tredoku field can be configured in many ways, but here a selected portion was used to create interactions between numbers located in different planes and axes.

Los Angeles Institute of Architecture & Design Spring 2010

6 | RICARDO VEGA | TREDOKU

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SNIS SUDOKU NUMBER IDENTIFICATION SYSTEM

1 2 3 4 5 6 7 8 9

TREDOKU FIELD The project begins by establishing a selected portion of the tredoku base. In this case, inverted three plane enclosures, result in two volumes sharing one plane that can transmit information across volumes.

The SNIS is intended to identify a number by the context of its neighboring pair, and not individually. Consisting of six cells, each ID band contains a unique sequence that creates a binary relationship between any two numbers that add up to nine by completing a solid band.

TREDOKU BASE Each number on the sudoku grid contains a pair of SNIS identifiers along its edges.

The inner band contains the neighboring ID and the outer band the number’s ID. Since the array of numbers is different for every game, every number base will always have a unique identification.

8 | RICARDO VEGA | TREDOKU

NO. ID

NEIGHBOR ID

SAMPLE TREDOKU BASE

2

6

8

3

4

7

1

5

9 SUMS OF NINE

1+8

2+7

3+5

4+9

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INTERSECTION BLOCK Parameter: any two numbers that lie along the same line on different planes and add up to 9.

Outcome: generate a cubic block where both No. IDs intersect. Sides equal 2.5�, the length at which the No. ID will meet at the edge of the block.

FIELD EXTENSIONS All base numbers that match the parameter will intersect by extending the No. ID up to the intersection block. Any neighbor IDs inside the active number will be pulled halfway the length of the No. ID extension. Box intersections that lie on the same horizontal axis will also have horizontal extensions. Any SNIS IDs that remain after parameters have been fulfilled are eliminated.

10 | RICARDO VEGA | TREDOKU

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CMY*: permutations SOL LEWITT: INCOMPLETE CUBES

The project uses Sol Lewitt’s Incomplete Cubes as a foundation for developing a rigorous organizational rule system. The system is used to inform and develop a form language into a base framework which connects to a surrounding enclosure with extensions generated by the same set of rules.

Los Angeles Institute of Architecture & Design Spring 2010

12 | RICARDO VEGA | CMY* PERMUTATIONS

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permutations Six colors from Keith Harring’s, 1986 “Untitled” painting were selected to organize six incomplete cubes. Rather than selecting pre existing cubes from Sol Lewitt’s project , the different levels of cyan, magenta and yellow (CMY) of each color were recorded and used to generate new incomplete cubes.

Untitled, Keith Harring

CYAN

ORANGE

MAGENTA

TURQUOISE

YELLOW

GREEN

50 C 0M 10 Y

5C 45M 95 Y

10 C 60 M 0Y

80 C 30 M 35 Y

10 C 0M 80 Y

75 C 5M 100 Y

14 | RICARDO VEGA | CMY* PERMUTATIONS

MAIN AXIS

SECONDARY STICKS

Each color level is assigned to an axis. The existence of c, m or y in the cube’s color defines the presence of a stick in the designated axis.

Once primary sticks are generated, the percentage level of each color is used to generate a secondary axis stick. The cube is never capable of being complete due to the absence of color level k (black).

C M Y

C+M+Y PRIMARY

1

YELLOW PRESENCE

% < 50 % >_ 50

2

CYAN

PRESENCE

3

MAGENTA PRESENCE

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EXTENSIONS Each color presence within a cube is assigned one extension. Size and orientation are dictated by the percentage level. Higher levels are longer and extend in the direction of the primary color axis, lower levels are shorter and extend out of the secondary sticks.

ENCLOSURE Once the framework is complete the extensions support a surrounding enclosure. Starting as a complete envelope, incomplete cubes having any colors with levels above 50%, punch squares created by the axis of their strong and weak color levels.

16 | RICARDO VEGA | CMY* PERMUTATIONS

PUNCHES C

Y

Y

M

M

C M

C

M Y

C

Y

Extensions that intersect with the remaining enclosure punch through an axis sensitive marker that identifies the color from which the stick extends.

punch

extensions

C

Y

Y

C

C

Y

Y

M

M

Y

C

C

Y

Y

Y

C M

M C M

C M

M

M Y

C

Y

M C M

C M

M Y

C

Y

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elemental atom A CONCEPTUAL INTERPRETATION

46

106.42

Pd

palladium

Using the underlying structure of an atom, this project focused on systematically developing a form language by utilizing specific attributes of an element. Guided by an emotional characteristic of the element, attributes such as electron configuration and density, create a system of operations to shift and displace an initial 4â&#x20AC;? x 16â&#x20AC;? planar field.

Los Angeles Institute of Architecture & Design Fall 2010

18 | RICARDO VEGA | ELEMENTAL ATOM

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elemental atom s-orbitals

p-orbitals

d-orbitals

Specific regions around an atom’s nucleus are subdivided into different orbitals of the sequence s, p, d, f and g. They are characterized by probability clouds in which an electron or electron pairs might be likely to exists at any given moment as it they rotate around the nucleus.

1s2 • 2s2 • 2p6 • 3s2 • 3p6 • 4s2 • 3d10 • 4p6 • 4d10

1s2 2s2

1p

6

3s2

2p

6

4s2

1d

10

3p

6

2d

10

CONFIGURATION Palladium’s electron configuration has nine different orbitals in the shapes of s, p and d. The plane field is interpreted as a slice of an atomic cloud from the center of the nucleus to the last electron orbital.

20 | RICARDO VEGA | ELEMENTAL ATOM

BREAKING THE PLANE The field is divided into nine orbital fields. The different size configurations are equal to the electron capacity of each orbital. Vertical shifts are based on oxidation states and neutron and electron placement are calculated using a circulation grid and the electron configuration for each orbital.

Orbital Widths

Orbital Heights

Orbital Shifts

Neutron

Placement

Electron

Placement

Volume

Extraction

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ELECTRONS AND NEUTRONS The 15 unbalanced neutrons in Palladium are evenly distributed through the orbitals, and form a large square volume. Each orbital has a specific electron capacity, and each electron is symbolized by two protruding, adjacent squares. Their placement and orientation is determined by a systematic grid.

Plane

Extension

ELECTRON Extension

NEUTRON

FORM LANGUAGE

Bridge

ELECTRON

ELECTRON

ROTATIONS In an atom, neutrons and protons attract towards the nucleus, thus the neutron volumes attract each other toward the center of the plane.

Anywhere there are two adjacent neutrons, the furthest rotates toward the center of the model.

22 | RICARDO VEGA | ELEMENTAL ATOM

Electrons in the same peripheral axis bridge themselves regardless of orientation. Planar fields that are unoccupied after the placement phase are eliminated. Electrons that exists in the same axis coordinates create small extensions that extend out towards the edge of the orbitalâ&#x20AC;&#x2122;s plane.

1) Section Plan

1

2) S

2

1

1) Section

1

2

1

2

2

2) Section

Front

1) Section

2) Section

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axonometric A DERIVATIVE VOLUME CONSTRUCT

Distinct features from two canonical house plans were used to generate a multitude of hand drawings culminating two sets of abstract spatial schemes. The two schemes were then positioned over adjacent planes of an axonometric cube.

Within the space of the cube spatial values from both schemes interact through boolean operations, resulting in a three-dimensional projection derived from two flat abstract drawings. All sets of drawings, from initial sketches to the final axonometric, are completely hand drawn.

Los Angeles Institute of Architecture & Design Spring 2010

24 | RICARDO VEGA | AXONOMETRIC

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1.

HOUSE DRAWINGS

Two distinct canonical house plans are referenced to create various spatial studies.

2.

HAND DRAWINGS

Each drawing focuses on developing abstract negative or positive values based on the pronounced features of each plan.

3.

COMPOSITE

Boolean operators on positive and negative space intersections combine the pair of drawings into a single composite.

4.

INK AND VELLUM

A 7” x 7” selection of each final composite is transferred to adjacent planes of an axonometric cube. Boolean operations create solid volumes within the intersecting space of entire cube. Selected operations are highlighted with Pantone film.

26 | RICARDO VEGA | AXONOMETRIC

Frank Lloyd Wright, Jacobs House 1936

Jørn Utzon, Utzon House, 1952

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gallo continuo A FLUID TESSELLATION

Starting with a square base on a linoleum block, parallel edges were translated to create a complex tessellation using basic geometric figures. Organic lines and shapes surround a central image and gradually fill the edges. The block can be printed repeatedly to create a continuous image.

Personal Project 2010

28 | RICARDO VEGA | GALLO CONTINUO

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gallo continuo A FLUID TESSELLATION Using a linoleum block, geometries were sketched out to create a preliminary geometric tessellation. Organic lines were introduced into the geometry to create a printing block with a design capable of covering any plane by repeating itself in multiple directions.

LINOLEUM BLOCK 6” x 6”

30 | RICARDO VEGA | GALLO CONTINUO

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mixed media synapse oil on canvas 2007

zamora intaglio print 2008

32 | RICARDO VEGA | MIXED MEDIA

tenoch aquatint print 2008

fluid ink drawing 2010

ryu linoleum print 2007

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Ricardo Vega 4323 Eagle Rock Blvd 130, Los Angeles, CA 90041 707.812.0073 | vega29@gmail.com

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