HANSLEY S. YUÑEZ
Portfolio
MASTER OF ARCHITECTURE I
HANSLEY S. YUÑEZ
Portfolio
MASTER OF ARCHITECTURE I
CONTENTS
FLEURON
pg.
4
HYPERCUBES
pg.
10
KUBO
pg.
16
EQUILIBRIUM
pg.
22
Sol Lewitt: CLOCK TOWER
pg.
28
ATOMIC ORBITALS
pg.
34
FLEURON AN ORNAMENTAL PENDANT LAMP
• The fleuron depicTed above is one of The oldesT known Typographic ornaments. It first appeared in early Greek inscriptions ca. 500 BC and rose to popularity in the 15th century due to the work of French typographer Claude Garamond. The fleuron remains in widespread use today, notably though modern adaptations of Garamond’s work such as Sabon, Granjon and Garamond. This project transposes the fleuron into a 3-dimensional medium, combining typography, geometry, and industrial design to create a pendant lamp.
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| Hansley Yuñez | F L E URON
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05
FLEURON AN ORNAMENTAL PENDANT LAMP
icosahedral base
1 unit
5 units
The lamp’s underlying geometry is based on an icosahedron, a Platonic solid composed of 20 equilateral triangles. Each face on the icosahedron holds a module, which interlocks with its three neighbors to create a self-supporting spherical structure.
stellated base
1 unit
The base structure was expanded by stellating the icosahedron, a process that creates “spikes” through extension of the faces. Arms were placed on the spikes with hooks that connect to neighboring units. The result is a twolevel sphere consisting of an icosahedron enveloped by its stellation.
06
| Hansley Yuñez | F L E URON
5 units
DESIGN CRITERIA
The design criteria was broken down into three parts:
MODULE • must have three-fold rotational symmetry • must weave around neighboring pieces • must withstand significant deformation
during assembly
JOINERY • must interlock without using adhesives. • must not have overtly connective
parts (ie. flaps, slits)
MACROSCOPIC FORM • must clearly exhibit two-level geometry • must be diaphanous • must create multi -faceted shadows
MATERIALS & PRODUCTION The modules were cut out of 1⁄16" polystyrene using a waterjet machine. Styrene was chosen for its flexibility, machine compatibility, and visual characteristics. The resulting pieces had an unexpectedly ragged edge, most likely due to Sketchup’s method for approximating curves with line segments. The edges were sanded prior to assembly.
Prototype An earlier prototype was built from lasercut 1⁄8” MDF modules. The resulting pieces were relatively inflexible which made for difficult assembly. The modules were also subdivided into thirds which had to be glued with a brace. Subtle differences in the design include thicker arms and a more convoluted shape.
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07
JOINERY The first half of the lamp was assembled by referring to the Sketchup model. As the lamp is self-similar along any perspective, the positions of subsequent pieces could be inferred by examining the existing structure.
08
1 Arms hook to neighboring pieces.
2
3
Leaves interlock in pairs.
Five leaves combine to form a pentagon.
| Hansley Yu単ez | F L E URON
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09
a hypercube is a higher dimensional analog of a cube. in The same way ThaT a series of squares can be assembled in into a cube (using 2-d components to create a 3-d object), a series of cubes can be assembled into a tesseract (using 3-d components to create a 4-d object). The process of assembling a series of n-cubes into an n+1 object can be extrapolated indefinitely, with each iteration resulting in a higher dimensinal object. By collapsing multiple dimensions onto 2-d panes, we can create 3-d visualizations of hypercubes.
HYPERCUBES A VISUALIZATION
10
| Hansley Yu単ez | H YPE RC UB E S
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11
HYPERCUBES
1
CUBE A cube can be deconstructed by drawing each of its faces onto 6 parallel panes. When the panes are stacked, the faces align to create a cube.
cube (perspective)
cube (front)
tesseract
2 12
TESSERACT The deconstructed cube has spaces between the panes where additional cubes can be inserted. Superimposing 8 cubes results in a tesseract.
| Hansley Yu単ez | H YP E RC UB E S
3
SIMPLIFIED CUBE The cube from step 1 can be simplified by combining all the faces on a single pane.
4
SIMPLIFIED TESSERACT Superimposing 8 cubes from step 3 creates a simplified tesseract.
TESSERACT The model was laser cut out of 1⁄8” acrylic sheets. The panes were inserted into “combs” to keep them upright. An attempt was also made to build the tesseract in step 2; however it proved surprisingly difficult to create an invisible bond between acrylic sheets. Tested adhesives include cyanoacrylate (superglue), rubber cement, hot glue, spray adhesive, glue dots and Weld-on solvent, all of which marred the acrylic surface.
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13
5 PENTERACT Combining 10 tesseracts creates a penteract. This diagram depicts a partially unfolded penteract. There are 7 tesseracts in the periphery and 3 overlapping tesseracts in the center for a total of 10 tesseracts.
Construction The tesseracts were arranged in a perpendicular orientation to maximize structural stability and surface area. The tesseracts were kept stable by supporting “combs” during assembly. Unfortunately, the tesseracts in the center were rendered unviewable by cloudiness caused by the cyanoacrylate (superglue). The peripheral tesseracts suffered minor clouding but were generally still visible.
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| Hansley Yuñez | H YPE RC UB E S
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15
A MODULAR TYPEFACE
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| Hansley Yu単ez | K UB O
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17
KUBO A MODULAR TYPEFACE Kubo is a study in modularity applied to type design. Characters are broken down into components which can then be rotated, stacked , rearranged and occluded to generate new forms. ¶ The name “Kubo” is derived from the indeginous Filipino dwelling bahay kubo, with which the font shares its modularity and cubic structure.
CREATING THE GRID
1 2
4 3
5 8
12 9
6
11 7
The Kubo grid is generated from an isometric projection of a cube. In this perspective, one of the cube’s corners is pointed towards the viewer and three faces are visible. The faces can be divided into quadrants to create twelve “pixels.” This arrangement of pixels is referred to as a hex pattern.
10 Because any of the cube’s corners can be pointed towards the viewer, a given cube can display up to 8 hex patterns.
A 12-pixel hex pattern.
Glyphs can be created by joining, stacking or occluding hex patterns. Some glyphs are composed of a single hex pattern, such as the lowercase “c.” Other glyphs require up to 6 hex patters, such as the uppercase “N.” 1 hex pattern
18
| Hansley Yuñez | K UB O
6 hex patterns
HEX PATTERN LIBRARY The entire Roman alphabet (26 uppercase and 26 lowercase characters) can be generated from a library of 32 hex patterns. The green sections are obscured and can be either black or white.
OPTIMIZATION Multiple hex patterns can be combined on a single cube. Pairing 2 hex patterns on opposite sides of a cube halves the number of necessary cubes to 16.
hex pattern #25
hex pattern #28
This number can be reduced further by prudently choosing pairs of hex patterns that combine to form a third hex pattern. This process culls 3 more cubes, which leaves a final total of 13 cubes capable of displaying all 32 required hex patterns. combined cube |
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KUBO TYPE SPECIMEN | 56 point
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| Hansley Yu単ez | K UB O
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21
EQUILIBRIUM A KINETIC MODEL
22
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Hansley Yu単ez | EQUILIBRIUM
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23
EQUILIBRIUM A KINETIC MODEL
center of mass
This structural project called for a model in equilibrium, using only passive physical mechanisms and simple materials. Our solution was to create a self-balancing system based on a wooden stake with attached weights. The weights were positioned as low from the stake as possible, effectively lowering the center of mass to below ground level and resulting in a surprising level of stability. The integrity of the system was highlighted by stacking multiple stakes on top of each other. Despite compounding the system’s instability, the entire structure proved resilient.
24
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Hansley YuĂąez | EQUILIBRIUM
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25
26
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Hansley Yu単ez | EQUILIBRIUM
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27
CLOCK TOWER SOL LEWITT: INCOMPLETE CUBES
for This projecT, we were To invesTigaTe The nonvisual aspecT of design. using the work of Sol Lewitt as a springboard, we were asked to develop an underlying system to organize physical forms. We were given a basic structure comprised of a skeleton, extensions, and an enclosure, through which our rule based systems was to inform the making of a final object.
Los Angeles Institute of Architecture & Design FALL SEMESTER, 2008
22 28
|| Hansley L OC K TOW E R Hansley Yu単ez Yu単ez || CEQUILIBRIUM
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02 23 29
ROTATE 90°
TWELVE
TE
N
O TW
INCOMPLETE CUBES
E
FO UR
HT IG
When viewed from an isometric perspective, a cube’s hexagonal outline can be interpreted as a clock face. The hexagon’s six vertices correspond to the times 12:00, 2:00, 4:00, 6:00, 8:00 and 10:00. The cubes are stacked in successive order to form a clock tower.
S IX 24 30
|| Hansley L OC K TOW E R Hansley Yuñez Yuñez || CEQUILIBRIUM
ROTATE 90째
TWELVE
TE
N
O TW
EXTENSIONS
FO UR
T GH I E
In the second step, extensions are added to the cubes. They extend from the center of each hexagon like the hands of a clock. The length of the extensions corresponds to the elapsed time.
S IX ||
25 31
ROTATE 90°
TWELVE
TE
N
O TW
ENCLOSURE
E
FO UR
HT IG
In the final step, the cubes are enveloped in an enclosure. Viewports are cut to expose the elapsed time, etchings outline the underlying clock faces, and slits demarcate the clock vertices.
S IX 26 32
L OC K TOW E R || Hansley Yuñez || CEQUILIBRIUM
etchings
slit
viewport
extensions
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27 33
ATOMIC ORBITALS A CONCEPTUAL MODEL
10
20.180
Ne neon
The projecT goal was To develop our abiliTy To creaTe a novel form language. Drawing from the rules governing the structure of an atom, we were tasked to create a physical representation of the atom’s inherent relationships, with paritcular emphasis on creating a dialogue between two parts (ie. the electron and the shell). This project also explores spatial quality, composition, and structural integrity.
Los Angeles Institute of Architecture & Design SPRING SEMESTER, 2008
28 34
C ORB I TAL S || Hansley Yuñez || ATOMI EQUILIBRIUM
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29 35
ATOMIC ORBITALS A CONCEPTUAL MODEL
s-orbital
p-orbitals
The Heisenberg Uncertainty principle states that electrons orbit do not orbit the nucleus in definite paths; instead they exist within certain probability clouds. These clouds, or atomic orbitals, vary in shape and size depending on the type of atom and the number of present electrons. The orbitals are filled by electrons in order of increasing energy level. The first level is the sorbital, followed by the p-orbital, d-orbital, f-obital and finally the g-orbital. The shapes of the first four orbitals are shown above.
py
pz SHELLS The element neon attracts 8 electrons: 2 electrons occupy the s-orbitals and 6 are found in the p-orbitals. The s-orbitals are spherical zones within which the first 2 electrons are likely to be found. The remaning 6 electrons are found in the p-orbitals, which are oriented along the x, y and z-axes. They are labeled px, py, and pz.
px
s px
pz
py 30 36
C ORB I TAL S | Hansley Hansley Yu単ez Yu単ez | ATOMI EQUILIBRIUM
py SHELLS + ELECTRONS
pz px
The s and p-orbitals are populated with electrons which trace circular paths around the nucleus. As the electron paths collide with the shells, they cause the shells to fracture. These shells collide with their neighbors, which causes further fracturing. This sets off a continuous chain reaction of collisions until the structure reaches equilibrium.
s px pz
py
ASSEMBLED ATOM The s-orbitals are nested inside the p-orbitals. Gaps caused by the fracturing process allow for glimpses inside the atom.
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31 37
inverted shells
fins
EXPERIMENTING WITH FORM LANGUAGE Several form languages were explored during conceptualization. The underlying commonality is the representation of shells and their interaction with electron paths. The final form was selected for its clarity and intelligibility. shells
wireframe
32 38
|| Hansley C ORB I TAL S Hansley Yu単ez Yu単ez || ATOMI EQUILIBRIUM
hybrid
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02 33 39
• HANSLEY YUÑEZ
10 Akron St. Unit 330 10 akron st., unit 330, cambridge, ma 02138 Cambridge MA, USA 02138 857.756.6321 • hyunez@gsd.harvard.edu hyunez@gsd.harvard.edu