P2
| INTRODUCTION
CATALOG
MEDIUM
Vacuum Cleaner * 1
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Robot; Carpet
4
Stereotomy
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Vellum; Acrylic
12
Monument
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Collage
20
Chess Piece
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Rendering
28
Server Farm
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Vignette
38
Drawing a Wall *
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Spandex; Foam
52
Appendix Test Print
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/
64
Balance
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/
66
Shirt Folding Board
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/
68
1. Authorship and Partnership: All group projects are noted with asterisk mark * ; Works done by the author are noted by solid circle •, followed by initials Y.W; Works corporate with other students are noted by square , followed by partner's initials; Works done by other students are noted by empty circle °, followed by their initials. All drawings are edited by author, all texts written by author. | TABLE OF CONTENTS
P3
Vacuum Cleaner*
Erin Besler | Spring, 2015 Diandra Karen Rendradjaja, Maria Sviridova, Nawid Piracha, You Wu
P4
| PROJECT NAME
| PROJECT NAME
P5
Vacuum Cleaner
Erin Besler | Spring, 2015 Diandra Karen Rendradjaja, Maria Sviridova, Nawid Piracha, You Wu
I. CARPET BEATING MACHINES
II. USERS AND TOOLS: VACUUM TAKES “COMMAND"
During the turn of the 20 century, carpets were sent to special cleaning clinics in which vacuum equipment were installed. The design of vacuum cleaner at this stage imitated human motions of beating carpets. People called it “carpet beating machine.” 1 Later on, stationary vacuum, were introduced to public buildings such as hotels and hospitals. Vacuum devices were manufactured by central heating companies because they were permanent installations in basement that were incorporated into a functional part of buildings. In the last phase vacuum cleaners traveled with horse. French first developed vacuum cleaners on horseback and it gradually took the form we are familiar with today. As vacuum came into being, it gradually evolves from something that imitates human motion to something that extends human motion.
In this project, we are interested in asking what kind of users will be produced by the tools when vacuum cleaner takes a form of robot, what kind of constraints are imposed by such new work sphere and what kind of behaviors and products are disciplined by such constraints. First, an everyday vacuum cleaner is studying through various mediums and documentations, including photos, videos and drawings. Then a parallel study of the same task (cleaning the same dimension of a carpet with the same toolpath) is performed by robot. The relation between users and work sphere start to displace. Work site shifts from a physical space to a computer screen, from operating manually by arms and feet to inputting commands on keyboard. In the case of manual vacuum cleaning, we are constrained by the relation to our body, length of our arm, steps of our feet and the length of electrical cord in relation to wall outlet. In the case of robot, a different sets of conditions are introduced, such as tool path, winding and rewinding of the joints, and speed of each frame.
1 P.588, Giedion, S. Mechanization Takes Command: A Contribution to Anonymous History. New York: Norton, 1969. Print. P6
| VACUUM CLEANER MOTION CAPTURE
a’ b’ x 16
x 128
x 32
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x2
x4
x2
x2
x2
x3
c’
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a. 16’ PLA flexible pipe b. Plastic connection cord c. 8 inch metal gripper d. Pipe bracing e. Transparent plastic pipe with 4” diameter f. Plastic plate g. 1/4 “ Bolts h. Square plate i. 1/4 ” washer j. Brush holder k. Nozzle l. Wheels metal strut m. 3/4 “ plastic wheels
| VACUUM ASSEMBLY • ( Y. W )
P7
00:00
00:02
00:04
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00:08
00:10
00:12
00:14
R L
0
1
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2
1
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head
P8
shoulder
joint 1
wrist handle elbow
joint 3 joint 4 joint 2
nozzle
joint 5
| TRACK OF MANUAL MOTION: PLAN VERSUS ELEVATION  (D.K.R | Y. W)
01:20
01:40
02:00
02:20
02:40
03:00
03:20
L
R
L R
R
R
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01:00
03:40 L R
L R
00:40
00:20
04:00
L R
L
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L R
Time elapse
00:00
Pivot Point Rotation
| U SHAPE PATH  (D.K.R | Y. W)
P9
00:23
00:37
00:45
00:63
00:76
00:91
Time elapse Pivot Point
TIME LAPSE TURN
0
00:00
00:07
00:18
1
00:24
00:33
JOINT 3
JOINT 4
JOINT 5
JOINT 2 JOINT 1
NOZZLE
P 10
| TRACK OF ROBOTIC MOTION: PLAN ° (N.P, M.S)
00:41
2
00:50
00:58
01:03
3
0
01:10 3
00:00
Time elapse Pivot Point
01:10 01:17
01:17 01:25
01:25 01:31
01:31
4
4
01:39
01:39 01:45
01:45 01:52
01:52 01:57
01:57
5
5
X POSITION X POSITION OF NODE OF NODE
| ELEVATION • ( Y. W )
P 11
Stereotomy
Georgina Huljich | Spring, 2014
| FEATURED IN RUMBLE EXHIBITION
P 13
Stereotomy
Georgina Huljich | Spring, 2014 F’ E’ a’ F’ i’
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4
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I. SCIENCE OF THE TRAIT: DRAWING AS CALCULATOR Trait refers to a drawing instruction set for stone cutting technique in which each separate piece of ashlar stone can be seamlessly joined together into a single whole. In Le premier tome de l’architecture (1567), Philibert de l’Orme gave a detailed instruction set of Trompe of Anet, a small cabinet that has a complex surface geometry.1 Traditional orthogonal projection, used normally for simple shapes, is no longer applicable in complex geometry. Therefore, architects have to develop another set of projection method that will bridge the gap between drawing space and worksphere. Stereotomic projection was invented in order to reduce the amount of errors that will be translated from drawings to each action executed on site. Drawings, therefore, play both a role of instruction set for workers to carry out specific operations, and a role of calculator - envisioning building’s final form and pre-verifying for its plausibility.
II. INFORMATION CONSTRUCTION THROUGH STEREOTOMY. In this project, an image of a mineral is assigned to student for reconstruction. In order to establish a water-tight object, parallel projection is not sufficient to interpolate a 3 dimensional relation from the incomplete data given by the images. Due to the complexities of the mineral and its elliptical form, an extra layer of information has to be “constructed.” “Stereotomic projection” therefore is re-introduced as a tool to build up an extra layer of information. First, a set of diagrams distill the process of basic stereometry technique used by L’Orme. Then same principle is applied on the 2D figures extracted from the images. The process translates an image to an object of digital space, and then from there back to drawing and eventually materialized in physical space. The process of translation, as Robin Evans suggested, is never accurate. Yet from the loss of accuracy, some interesting moments begin to unfold and emerge. 1
1 L'Orme, Philibert De. Le Premier Tome De L'Architecture De P. De L'Orme. Paris: n.p., 1568. Print.
1 Evans, Robin. The Projective Cast: Architecture and Its Three Geometries. Cambridge, MA: MIT, 1995. Print.
P 14
| CUTTING OF VOUSSOIR
| SERIAL SECTION
P 15
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I. INITIAL IMAGE
P 16
II. EXCAVATION 2D DATA
| STONE
III. GEOMETRICAL CONSTRUCTION
zz
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II
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I: TARGET PLANE II: CUTTING PLANE III: ORIGIN OF PROJECTION PLAN
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O’’
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IV. TRANSLATION FROM DRAWING TO OBJECT
O’’’
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V. SPHERICAL PROJECTION
| PEPAKURA
P 17
P 18
| STEREOTOMY
| INTERSECTION OF PROJECTIVE PATH
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| SPHERICAL MAPPING OF THE PROJECTION POINTS
| TRAIT: CUTTING SEAMS
P 19
Monument of Mundanity Andrew Kovacs | Winter, 2014
| ROAD CONSTRUCTION AHEAD
P 21
Monument of Mundanity
4T H
ST RE ET
Andrew Kovacs | Winter, 2014
6 7
4T
H
ST R
EE T
1
2
5 3
4 1
MUSEUM OF CONTEMPORARY ART
5
2
CITY PARK
6
T EE TR S STADIUM H 5T DOWNTOWN REGENCY THEATER
3
ENTRY TO UNDERGROUND PARKING
7
OFFICE BUILDING
4
HOTELS P 22
| CITY CONTEXT
| ITERATION OF INTERIOR VOID
a
c
c
a b
b a’
c’
c’ b’
b’
1. DIVIDE 1 BY 3
2. TAKE THE 2ND
3. SELECT THE ORTHOGONAL PAIRS
a
3. NAME IT A, A’ ; B, B’ ; C, C’
c
c’
5. A X A’
b’
6. B X B’
5. SO THAT A
A’ B
B’ C
I
I
b
a’
4. ROTATE 30 DEGREE WITHIN ITS LOCAL COORDINATE
a’
II
II
III
III
7. C X C’
8. ASSIGN I ’ AB OVE VOID II ’ V OID; III ’ BEL OW VOID
I. II.
GALLERY MIXED USE
III ELEVATED GROUND FLOOR
I. FIGURAL VOID In this project, a figural void is derived with a mathematical operation of dividing and pairing. The resulted form divides the box into four conditions, the figural void, poche, a slate sits on top of the void and negative space below the void. Programs are then installed accordingly. The top layer becomes a gallery, the void becomes a mixed-use chamber where cafe, sou| FORMAL LOGICS
venir stores locate, offices and theaters are carved out from poche. Formal languages too follows this conceptual divisions in which poche space gains a language of curve whereas the void gains a language of fold. The aim of this project is to blur the boundary between the figural void and negative poche space.
| MUSEUM OF CONTEMPORARY ART
P 23
C’
PUBLIC DINING TABLE 公眾聚餐桌
06
05
07
COLUMN 柱支撐
GLASS
MULLION
玻璃
窗架
04
GLASS 玻璃
04
03
07
REINFORCED STEEL BAR 鋼筋
LIGHT CONCRETE FINISH 清水混凝土表面
B
B
10 QUARTZITE FLOOR 磨砂石英路面
10
02
01 RAMP 匝道
REINFORCED STEEL BAR 鋼筋
08
09
WOOD FLOORING 木地板
LIGHT CONCRETE FINISH 清水混凝土表面
A STANDING SEAM METAL ROOF 金屬縫邊屋頂 METAL PANEL BRACING 金屬板支撐
12
11
13 10 WINDOW SHADING 窗簾
METAL DECK 金屬甲板
05
10
15
MUSEUM 1ST FLOOR PLAN / SECTION A-A 01 02 03 04 05
ENTRY TO MUSEUM TICKETING INFORMATION DESK GALLERY STORE CAFE AND BAKERY
06 07 08 09 10
KITCHEN RESTROOM ELEVATOR LOBBY PERFORMING STAGE PROMENADE GALLERY
11 12 13 14 15
CATWALK COMTEMPORARY ART SECTION OFFICE AND ARCHIVE STORAGE CITY PARK
05 FLOOR TILE 地板磚
06
07
COLUMN 柱支撐
08
GLASS 玻璃
04
04
03
REINFORCED STEEL BAR 鋼筋
11
QUARTZITE FLOOR 磨砂石英路面
BALCONY SEATING
09
包廂
12 THEATER SEATING 劇院座位
10
10
02 13
01
MULLION
WOOD FLOORING
窗架
木地板
14
GLASS 玻璃
STANDING SEAM METAL ROOF
SKY LIGHT WELL
金屬縫邊屋頂
天井
CORRUGATED ALUMINUM PANELS 褶皺金屬鋁板
17
16
11
18
WINDOW SHADING
SOUND PROOF LAYER
窗簾
隔音層
10
磨砂石英路面
QUARTZITE FLOOR
METAL DECK
STORE CASHIER
金屬甲板
收銀臺
15
MUSEUM 2ND FLOOR PLAN SECTION B-B 01 02 03 04 05
ENTRY TO MUSEUM TICKETING INFORMATION DESK GALLERY STORE CONFERENCE ROOM
06 07 08 09 10
OFFICE ROOM MEETING ROOM TECH SUPPORT AND ARCHIVES RESTROOM PROMENADE GALLERY
11 12 13 14 15
PROJECTING ROOM BALCONY MAIN THEATER STAGE CITY PARK
16 17 18
STORAGE COMTEMPORARY GALLERY VOID
P 25
10
07
09 HANDICAP HAND RAIL 殘疾人扶手
DISPLAY SHELVES 展示架
SEATINGS 座位
08 SCULPTURE PEDESTAL
11
雕塑展區
ELEVATOR 電梯
LIGHT CONCRETE FINISH
03
清水混凝土表面
12
04 07
TILE FLOORING
05
03
地板
CORRUGATED ALUMINUM PANELS 褶皺金屬鋁板
01 RAMP
SOUND PROOF PARTITION 隔音層
匝道
REINFORCED STEEL BAR 鋼筋
06
07
02
CORRUGATED ALUMINUM PANELS 褶皺金屬鋁板
II. BURGLAR, SECURITY GUARD AND CLEANING LADY Inspired by artist Mierle Laderman Ukele’s maintenance art works, these two collage focus on labor that is involved in order to keep an institution like museum clean, safe and well organized. By foregrounding cleaning lady, security guard, construction worker, homeless, prostitutes and porter in those collages, I conceive that architecture, as a backdrop, on the one hand sets up a stage for events (morning jogging) and narratives (museum theft, or art napping), but on the other hand, constructs a power relation which needs to be fed by workers and constantly exerting power on its users.
III. INSTITUTIONAL CRITIQUE Monument of mundanity bears a paradoxical concept. First it celebrates mundane material from daily life such as fish tanks and pumpkins. Second, no matter how secular it tries to be, or how high a cultural elevation mundane objects are raised to, ironically there is an inherent and expensive cost to maintain a state of mundanity for things to keep going, a cost which is often ignored yet so dominated in institutions such as museums.
MUSEUM 3RD FLOOR PLAN 01 02 03 04 05
LIGHTWELL VOID CATWALK FROM BELOW PROMENADE GALLERY EXHIBITION ZONE MEDIA ART VIEWING ROOM
06 07 08 09 10
ELEVATOR LOBBY INDIVIDUAL EXHIBITION ROOM FOR PAINTINGS STORES AND SEATING AREA RESTROOM SPECIAL EXHIBITION GALLERY
11 12
SCULPTURE SECTION TEMPORARY STORAGE
| BURGLAR SECURITY GUARD AND CLEANING LADY
P 27
Chess Piece
Katy Barkan; Heather Roberge | Fall 2014
| CHESS PIECE
P 29
Chess Piece
Katy Barkan; Heather Roberge | Fall 2014
I CHESS PIECE This project starts with studying the geometry of a found object: chess piece. When a profile curve is selected and corresponding rail is matched, the sweeping operation produce a single surface that contains various conditions of pockets ranging from small, medium to large. At the same time, it never intersects itself, thus forming a new whole II PORTMANTEAU Borrowing the technique learnt from the chess piece, this project negotiates the conflicts generated by two distinctive programs, a single family residential housing and a robot workshop. It unifies two programs with one sweeping operation. Two rails that initially carry different characters and program are designed in such a way P 30
| CHESS PIECE
that they carefully work with each other and form into a single surface that is not self intersected. Program is studied through a taxonomy of local conditions with perceptual and spatial variations1. III CONSTRUCTION OF FRIENDLINESS: AUTOMATION AS PET The final rendering aims to create a playful description of robot arm, a constructed friendliness. It is no longer a monster that locked inside a cage. When put it in a domestic context such as home, it comes to being as a pet to a family. When left alone, it plays game with itself and messes things up. Ironically, Introducing of friendly machine arouses a images of emptiness and devoid of human trace. 1 Lynn, Greg. Folds, Bodies & Blobs: Collected Essays. Bruxelles: La Lettre VoleĚ e, 1998. Print.
| DEVELOPMENT OF REVOLVING AXIS
P 31
PRIVATE: BEDROOM
OFFICE
WORKSHOP
ROBOTIC ROOM
LIVING ROOM AND GARDEN
PARKING
EXHIBITION
ENTRANCE AND EXHIBITION
ENTRANCE
Office Garden Class Room Garden
LIVING ROOM AND GARDEN
OFFICE
BEDROOM
P 32
| UNWRAPPED DIAGRAM
COVERED PARKING
CLASSROOM AND DRIVE THRU
1. CORRIDOR
2. TANGENCY
3. NESTING
4. PLAZA
5. PRIVATE COURTYARD
7. PORCH
8. PLAZA
9. TANGENCY
10. INTERSECTION
11. BALCONY
01
6. HALLWAY
12. HALF ENCLOSURE
03
GARAGE DOOR 車庫門
SLIDING DOOR 滑門
02 LIGHT WEIGHT STEEL LATTICE
REINFORCED CONCRETE
钢格构桁架
混凝土 INTERIOR LIGHT CONCRETE FINISH 室內水泥清漆 STEEL COLUMN 金屬支柱
CONCRETE FINISH RAMP 水泥匝道
UP
04
GROUND FLOOR PLAN 01 02 03 04
CAR ENTRY CLASSROOM COVERED OUTDOOR PARKING ENTRY / EXHIBITION GALLERY
| TAXONOMY OF LOCAL CONDITIONS
P 33
UP
UP
GLASS 玻璃
02
01
HANDRAIL 扶手
MULLION
TILE FLOORING
窗架
地板
240°
A
07
06
03
A
08
05 DN
UP
270° STEEL BEAM 鋼柱
180° LIGHT WEIGHT STEEL LATTICE 钢格构桁架 UP
04 WALKABLE SURFACE 可行走平面
09
UP
UP
01
GLASS
15
玻璃
DN
SPIRAL STAIRCASE
MULLION
12
旋轉扶梯
窗架
TILE FLOORING LIGHT WELL
地板
天井
10 PERFORATED ALUMINUM SKIN 沖孔鋁制金屬板
11
05
UP
13
METAL HANDRAIL 金屬扶手
04
14
UP
B
B
09
2ND FLOOR PLAN / 3RD FLOOR PLAN 01 02 03 04 05
CAR ENTRY INDOOR TERRACE INDOOR PARKING ROBOTIC SPACE ESCALATOR GALLERY
P 34
06 07 08 09 10
OFFICE AND LIBRARY BEDROOM AND BATHROOM OUTDOOR TERRACE VISITORS ENTRANCE WALK-THRU GALLERY
11 12 13 14 15
PRIVATE ROOF GARDEN KITCHEN AND BAR GUEST BEDROOM LIVING ROOM DINING ROOM
PERFORATED ALUMINUM SKIN
LIGHT WEIGHT STEEL LATTICE
沖孔鋁制金屬板
钢格构桁架
METAL PANEL BRACING
INTERIOR LIGHT CONCRETE FINISH
金屬板支撐
室內水泥清漆 STEEL BEAM 鋼柱
11 08
09
SPIRAL STAIRCASE
10
旋轉扶梯 LIGHT WELL 天井
07
06
FLOOR GLAZING 地井
05
04
03
01
02
SECTION A-A 01 02 03 04 05
COVERED OUTDOOR PARKING MULTI-MEDIA CLASSROOM CAR ENTRANCE OUTDOOR LOUNGE ROBOTIC WORKSHOP
06 07 08 10
BEDROOM LIBRARY AND OFFICE LIVING ROOM BOTANICAL GARDEN
LIGHT WEIGHT STEEL LATTICE
INTERIOR LIGHT CONCRETE FINISH
STEEL BEAM
钢格构桁架
室內水泥清漆
鋼柱
INTERIOR LIGHT CONCRETE FINISH 室內水泥清漆
09
METAL HANDRAIL
08
金屬扶手
PERFORATED ALUMINUM SKIN 沖孔鋁制金屬板
05
04
06
03
02
01
TO IN-DOOR PARKING
ESCALATOR TO 3RD FLOOR
匝道通向室內停車
電梯直通三樓
SECTION B-B 01 02 03 04 05
COVERED OUTDOOR PARKING ENTRY / EXHIBITION GALLERY CAR ENTRY OUTDOOR LOUNGE ROBOTIC WORKSHOP
06 07 08
INDOOR PRIVATE PARKING WALK THROUGH GALLERY LIVING ROOM
| CHESS PIECE
P 35
P 36
| PROJECT NAME
|
"OOPS"
P 37
Server Farm
Ramiro Diaz-Granados | Spring, 2015
| CITY OF VACANCY
| BIRD EYE VIEW
P 39
Server Farm
Ramiro Diaz-Granados | Spring, 2015
1. 2D FIGURE AND GROUND
2. PROJECTION AND INTERSECTION
I. HERDING CATS
III. A REMOTE COUSIN: ZONING CZAR
The difficulty of herding cats comes from negotiating various characteristics into one coherent field. Inspired by the Shapes Project by artist Allan McCollum, a catalog of images of vernacular building form are collected and 2D Shapes are extrapolated them. They become the very ingredient to mass produce 3D shapes with individual nuances and differences while maintains a formal coherence. Then program and function are assigned to the shapes according to its characters and zoning code given by other students.
Programs and forms are informed, but not determined by the zoning code each zoning czar imposed. Contradiction of such intersection of zoning overlay becomes an opportunity for architecture invention. For example, half of my district has a FAR of one and height limit no less than 400 feet. As a result, an empty tower with one penthouse on top became the major character of my city. A set of diagrams of zoning data are interpretated and re-drawn to indicate a remote kinship between forms and zoning laws.
II. SHIFTED PLATES: WHY IS CHESSBOARD FLAT? Streets and blocks, the very basic elements of urban fabric , are ruling factors that impact modes of communications and daily life. It is a chessboard in which characters are played on.1 The design, borrowed from manhattan city grid, aims to envision a city where the chessboard is destabilized, a vertical lifting and horizontal shifiting of ground zero. When premise of streets and blocks is shuffled, a new way of inhabitant has to be invented. The infrastructures are carefully designed that each planes do not need extra support.
IV. SERVER FARM: CITY OF VACANCY AND SCALELESS In the recent talk by Rem Koolhaas on Countryside, he uncovered the fact that factories in digital age, due to a high degree of automated process, are becoming increasingly big and at the same time highly under populated. 2The vignette and mood of the city, inspired by SUPERNAP Switch 7, a data center located in Nevada, advocates a sense of scale-less and vacancy. It depicts our mental experience of digital realm, where things can freely zoom in and out, where our senses are extended, where all the indication of human scale, doors, windows, and handrails, are extinct, and where human trace are obscured.
1 Pope, Albert. Ladders. Houston, TX: Rice School of Architecture, 1996. Print.
2 Speech.
P 40
| HERDING CATS
Koolhaas, Rem. "On Countryside." Harvard GSD, Boston. 15 Oct. 2015.
| SHAPES PROJECT
P 41
100’ 500’
150’
1. GENERIC GRID, MANHATTAN
100’
150’
50’
50’
2. ELEVATED GRID
A. INITIAL STATE
B. ELEVATED MASS
C. SHIFTED MASS
D. RESULTED MASS
P 42
| SHIFTED PLATES: FORMATION OF INTER-PLANE SERVER FARM
3. LIBERATED GRID
Technocracy Penthouse
Scaffolding
Misalignment Due to Plane Shift
Columns
Elevator Shaft
District Commercials
Office
| WORM'S EYE VIEW
P 43
P 44
| SHIFTED PLATES
Light Well Grounddog House
06
Bat House 05
Structure Support / Server Farm
07
Light Well
08
Inter-Plane Express
Toward Circuit City
Toward City of Split
03
01
02
Toward City of Panopticion
04
Aliso Village Freeway 110
WORM’S EYE VIEW OF SERVER FARM 01
TOURIST CENTER FOR WATER PARK
06
DISTRICT COMMERCIALS
02 03 04
EXISITING RAILROAD TURNAROUND SLUM L.A RIVER
07 08
PLANE OF RESIDENTIALS CEMETERY
05
CITY PARK
Park
| SERVER FARM TOUR GUIDE
Parking P 45
er les Riv Los An ge ENTRY TO PARKING
TO CIRCUIT CITY
250 FEET 200 FEET
GROUND
TO ARCHAIC CITY
PARKING
CITY PARK
P 46
| SERVER FARM
Sant
a An
a Fre
eway
Aliso V
illage
Apartm
ent
PANOPTICON
PERFORATED PLANE
TO UNDERGROUND CITY
PERFORATED PLANE
TO CITY OF MIRROR
CITY OF LABYRINTH
| CITY GUIDE
P 47
RESIDENTIAL ZONING LAW Imposed by Czar: Maddie Jones
BUILDING HEIGHT ZONING LAW Imposed by Czar: Casey Ringenberg
2B+ Apartment Lofts 700 sqft/unit
0 - 200 ft
Less than 2
4B+ Apartment Lofts 1400 sqft/unit
200 - 400 ft
2-5
Hotels, Hospitals, Schools and Daycare
No less than 800 ft
5-7
Building Height < 200
FAR 2 - 5
Shifted Planes
P 48
FAR ZONING LAW Imposed by Czar: Isabel Brañas
| INTERBREEDING OF ZONING OVERLAY
Building Height > 800
Tower Of Vacancy
FAR = 1
2-5
Interconnected M
COMMERCIAL ZONING LAW Imposed by Czar: Arditha Auriyane
HISTORICAL PRESERVATION ZONING LAW Imposed by Czar: Rebecca Fray
District Commercial: theme park, golf course, tourist stores 50-90% Neighborhood Commercial: clinic, auto 40-70% sales, retails, movies Local Commercial: banks, convenient 30-50% stores, cafe
District Commercials
Megastructure
Theme Park
PARKING ZONING LAW Imposed by Czar: Stephanie Loo
Above-Grade Multi-Level Parking Street Parking Only
Historical Preserved
Surface Parking
Historical Preserved
LA River And Railroad Turnaround
Surface Parking and Entry to the city
TECHNOCRACY PENTHOUSE
700
PERFORATED GARDEN
200
RESIDENTIAL BELLY
150
SERVER FARM
50
| ALL ZONING DIAGRAMS DRAWN BY Y.W ; DATA FED BY STUDENTS INDICATED ABOVE
P 49
1/4 gutter on each side
P 50
| SERVER FARM
P 51
Drawing a Wall*
Gabriel Fries-Briggs | Winter, 2015 Angelique Firmalino, Diandra Karen Rendradjaja, Giulia Astrachan, Isabel Brañas, Naomi Steinhagen, Mélodie Deny, You Wu
| NOTATION DRAWINGS • ( Y. W )
| 4' X 8' WALL DRAWINGS â&#x20AC;¢ ( Y. W )
P 53
Drawing a Wall
Gabriel Fries-Briggs | Winter, 2015 Angelique Firmalino, Diandra Karen Rendradjaja, Giulia Astrachan, Isabel Brañas, Naomi Steinhagen, Mélodie Deny, You Wu
I REVISIT VECTORS
II DRAWING MATERIAL
Vector as a scientific notation first developed by Hermann Günther Grassmann in 19 century to describe the movement of ebb and flow in his essay “Theory of the Ebb and Flow.” 1 In the last couple decades, vectors quickly became a cult in architecture under the rise of parametric design and then soon became outdated. In this project, we re-visit the concept of vectors not as a graphic device but treat it as a notation that informs and prescribes the behavior of material.
First, we research on “canonical” plumbing drawing of its both visual qualities, such as geometry, mass, and material and non visual qualities, such as heat dissipation, material properties and assembly methods. Then those “found properties” will first be translated into a language of vectors and quantify into direction and magnitude. It then materializes into a new 4’ by 8’ wall section by constructing a sewing instruction ( Pg. 59 ) set from the vector field.
1 Crowe, Michael J. "A History of Vector Analysis." A History of Vector Analysis. University of Louisville, n.d. Web P 54
| MASS ANALYSIS AND VECTOR DIAGRAM ( A.F | M.D | D.K.R | Y. W)
1
2’ SPACING JOIST
2
EXHAUST / ROOF VENT
3
SHOWER OUTLET
4
2 ” X 4” STUDS
5
STACK VENT
6
WATER TANK
7
HEATER: WATER INLET
8
LOWER SHOWER OUTLET
9
SHOWER DRAINAGE
10
U TRAP
11
SINK WATER SUPPLY
12
WET VENT
13
SOIL STACK 1/4” SLOPE
14
COLD WATER SUPPLY
15
SOIL STACK 1/4” SLOPE
16
DRAIN TO WASTE LINE
17
CLEAN-OUT PLUG
1
2
3
4
5
6 11 7 12
8
9 10 15
13 14
16 17
| SECTION (D.K.R | N.S | Y. W)
P 55
3. A JOINT AND MASS ANALYSIS ° ( A.F | M.D )
3. B VECTORS ANALYSIS ° ( A.F | D.K.R )
III SEMIOTIC: VECTORS AS DATABASE
HOLES:
The project interprets the physical system of the plumbing as a vector field in order to identify the manifestations of interconnectivity in the system. Its non-visual properties (3.A), borrowing from semiotics approach, are mapped into a vector diagram (3.B) where its magnitude and direction becomes a database in which material logics of our wall derives (3.C).
The locales in which material exits the system through the fixtures, where immerse pressure and heat are released from the system and thus forming a pressure vacuum, are translated into physical empty holes on the wall.
P 56
| SEMIOTICS: VECTORS AS DATABASE
A1
A2
A3
A4
B1
B2
B3
B4
C1
C2
D1
D2
E1
E2
E3
E4
F2
F3
F4
F1
C3
D3
C4
D4
3.C SEWING HEIGHT AND FRAME HEIGHT ° ( I.B )
3.D 4' BY 8' WALL SECTION: PANELS ASSEMBLY
HILLS AND SADDLE POINTS:
INDENTATION:
The locations at which heat hovering before it exits the system are conceived as an accumulation of pressure and temperature. Therefore, it is rendered as an physical acumulation of mass. This translation is made available by having stitching avoid these locales in order to allow the foam to expand to its full extent.
The moments within the pipes in which rapid directional change of flow occur is retained in our translation. Regulated with stitching of varied lengths, indentation of the wall renders a phantom of the canonical plumbing system.
| SEMIOTICS: FROM DRAWING TO MATERIAL
P 57
A. NON VISUAL ATTRIBUTES
B. SEWING NOTATION
C. SEWING INSTRUCTION
1”
A.1 DIRECTION DEVIATION
B.1 FIGURAL EFFECT
1”
1”
C.1 CONSTANT SPACING AND HEIGHT
1”
A.2 HEAT ACCUMULATION
1”
B.2 PINCHING
1.5”
2”
C.2 CONSTANT SPACING; VARYING HEIGHT
3” 1”
2”
A.3 CONSTANT FLOW
B.3 GRADIENT
C.3 VARIOUS SPACING AND HEIGHT
A.4 TIGHT STITCH
B.4 RUNNING STITCH
C.4 SLIP STITCH
P 58
SLIP STITCH
LOOSE STITCH
3 IN PINCHING HEIGHT
RUNNING STITCH
TIGHT STITCH
2 1/2 IN PINCHING HEIGHT
| SEWING NOTATION • (Y.W)
1 1/2 IN PINCHING HEIGHT
3”
D4
A1
A2
A3
A4
B1
B2
B3
B4
C1
C2
C3
C4
D1
D2
D3
D4
E1
E2
E3
E4
F1
F2
F3
F4
I. DRAWINGS
II. LASER CUT BOARD
III. FABRIC
IV. FOAM
| DRAWING AS TOOLPATH: MEDIUM • (Y.W)
| DRAWING AS TOOLPATH: INSTRUCTION SET • (Y.W)
P 59
C
2
C
3
D
3
D
4
E
3
A1
A2
A3
A4
B1
B2
B3
B4
E
4
C4
C1
P 60
| EXPLODED DIAGRAM ° (D.K.R)
D1
D2
E1
E2
F1
F2
F3
F4
| MATERIAL ASSEMBLY ° ( D.K.R )
P 61
PINCHING POINT
PANEL VOLUME = 55.54 OZ
OUTLET TO ADJACENT PANELS DENT HEIGHT = 2”
P 62
| PANEL VISUALIZATION • ( Y. W )
i.
ii.
iii.
iv.
v.
vi.
vii.
IV FROM DRAWING MATERIAL TO MATERIAL DRAWING Contrary to the traditional drawing to material paradigm (A→B), a one to one scale (8' by 4') drawing ( A cropped portion is shown on Pg. 52 -53 ) then is informed and produced by using the output material as an input through digital 3D scanning. Therefore, under the help of digital tools, drawing not only serves as an instruction for materialization, but become a reciprocal counterpart of material. The causal relation between drawing and material in which drawing always proceeds materialization of an idea thus become reversible and mutually dependent (A ←→ B).
JOINTS FROM MASS ANALYSIS
OUTLET TO ADJACENT PANELS DENT HEIGHT = 2”
| SECTIONS ° (N.S)
P 63
Appendix - 1| Test Print Spring, 20151
1 Appendix contains a collection of personal exercises of notation drawings that focus on tools and mediums.
0’ 0”
1’ 63”
3’ 27”
4’ 89”
6’ 52”
8’ 15”
9’ 78”
11’ 41”
13’ 04”
14’ 67” 16’ 30”
17’ 93”
19’ 56”
21’ 19”
22’ 82”
24’ 45”
26’ 08”
27’ 71”
29’ 34”
30’ 97”
32’ 60”
34’ 23”
35’ 86”
37’ 49”
39’ 12”
40’ 75”
42’ 38”
JAW
U. S
44’ 01”
45’ 64”
47’ 27”
48’ 9”
50’ 53”
P 64
| TOOLPATH OF A PRINTER HEAD
P 65
| TEST PRINT: DIGITAL FILE AND ITS OUTPUT
A U.S. aircraft carrier has been dispatched to waters off Yemen to join other American ships prepared to block any Iranian shipments to the Houthi rebels fighting in Yemen.
OUTPUT
The U.S. Navy has been beefing up its presence in the Gulf of Aden and the southern Arabian Sea amid reports that a convoy of about eight Iranian ships is heading toward Yemen and possibly carrying arms for the Houthis.
FAST MOTION
A Navy official confirmed to Fox News that the USS Theodore Roosevelt -- along with her escort ship, the USS Normandy, a guided-missile cruiser -- left the Persian Gulf on Sunday en route for the Arabian Sea, to help enforce the blockade.
MEDIUM MOTIOM
This notation studies the behavior of a printer head found in UCLA printing lab. The test print contains a variety of objects that architect's drawing are composed of: fill, text, straight line and curve. The drawing underscores the varying toolpath of those objects. The image of test print shows errors that occurs during the process. ( Ink mark on the top left corner and a fainted text above original text )
SLOW MOTION
I. TOOLPATH OF A LAB PRINTER HEAD RETURN TO THE INITAL POSITION
Tensions are rising in the region even as the U.S. and five other world powers scramble to strike a final deal with Iran on its nuclear program by the end of June. The fighting in Yemen, where U.S. ally Saudi Arabia is leading a coalition against the Iran-backed rebels, is complicating matters. White House Press Secretary Josh Earnest, without commenting specifically on any Navy movements, said the U.S. has concerns about Iran's "continued support" for the Houthis.
| SCALED DIGITAL FILE
| PHOTO OF ORIGINAL TEST PRINT ON DIGITAL COLOR PRINT, WITH FAINT ERROR MARK PRODUCED BY PRINTER
Appendix - 2 | Balance Spring, 20151
1 Balance is a German stop-motion animated film, released in 1989. It was directed and produced by twin brothers Wolfgang and Christoph Lauenstein. Screen shot from Youtube. Text from Wikipedia.
2
1 3
1
2 2
ROTATION
MOMENT DIAGRAM
CHARACTER
FRAME
P 66
| BALANCE
1
2 1
3
2
2
1
3
1
1
3
POSITION OF THE BOX
ROTATE 180 DEGREE
STEP FORWARD
SEQUENCE OF THE MOVEMENT
PLACE
ROTATE TO THE LEFT
| BALANCE
P 67
Appendix - 3 | Shirt Folding Board Spring, 2015
1. OPEN FLAT
2. FLIP TO THE RIGHT
3. FLIP TO THE LEFT
3. FLIP UP
4. OPEN FLAT
NORMAL
SHIFT
TILT
ROTATION
I. ERROR MAKING: MECHANICAL AND ANOMALY Shirt folding board is a idiot proof device to reduce domestic labor - folding shirts. Simply by mechanically following a 3 steps motion of folding, users will put clothes into a correct press without any effort. However, because of its highly mechanical and repetitive motion, maneuvering the input slightly off its default position will generate anomaly P 68
outcomes or nearly random shapes. Putting into other words, the production of orderliness and randomness in a function solely depends on whether its input falls into its prescribed domain or not. It seems that in a digital age full of processes and programs, an investigation on error making can be treated as a strategy of art-making.
| SHIRT FOLDING BOARD : MECHANICAL AND ANOMALY
THE END THANK YOU
P 69
P 70
| YOU WU
| WUYOU1004@GMAIL.COM