M.arch portfolio

M.ARCH PORTFOLIO M.ARCH PORTFOLIO

AlAA AlAATARABZOUNI

AW/SS13 AW13

Computer Media

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Bulb Studio

Filament

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II

LINE VARIANCE + POLYGONS_P. 3-6

UNIT MULTIPLICATION SOPHISTICATION_P. 7-10

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VI

PROGRAMMATIC RESOLUTION + FORM MAKING_P. 19-22

DEALING WITH HYPOTHETICAL RESTRICTIONS_P. 23-28

POLYGON MODELING

DUMBO BATH-HOUSE

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UNITS AND FIELDS

LIMITS EXERCISE

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ASSEMBLAGE PROTYPING + FABRICATION_P. 41-44

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Glass Mount

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VIII Digital Fabrication

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III

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SECTIONAL ANALYSIS + MORPHOLOGICAL STUDY_P. 11-14

GRASSHOPPER DEFINITION MANIPULATION_P. 15-18

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VIII

SCHOOL DESIGN WITH TIGHT URBAN FABRIC_P. 29-36

PROTYPING + FABRICATION_P. 37-40

INVIGORATED INFRASTRUCTURES

ONE PECK SLIP

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PARAMETRIC MANIPULATION

DIGITAL FABRICATION

POLYGON MODELING

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WHOLENESS.

Similar to the light bulb, a drawing is delicate and intricate, both in terms of its composition as a whole and the qualities of its separate elements. Sculpting the form out of primitive polygon shapes has resulted in the intricate lightbulb.

Arch 611|Multimedia|Part3|Christopher Kroner|POLYGON MODELING.

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Ele

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Similar to the light bulb, a drawing is delicate and intricate, both as a whole and the qualitiesof its separate elements. While the task be considered solely for the purpose of learning the software, the n object (a MULTIPLICATION. light bulb) was not arbitrary. To further the analogy, a d has an everyday presence, and because of that it is sometimes overlo nating objects.

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ALAA TARABZOUNI 2311534

a

Computer Media I: Multimedia 12/FA-ARCH-611-05

Bulb

Filament

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b

Glass Mount

Screw Thread Contact

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Electrical Foot Contact

a Similar to the light bulb, a drawing is delicate and intricate, both in terms of its composition as a whole and the qualitiesof its separate elements. While the task of building a 3d-model can be considered solely for the purpose of learning the software, the notion that the choice of the object (a light bulb) was not arbitrary. To further the analogy, a drawing just like a light bulb has an everyday presence, and because of that it is sometimes overlooked. both are truly fascinating objects.

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UNITS AND FIELDS

Deformation Series

Deformation Series

rmation Series Deformation Series

MORPHOSIS.

BASE.

Base

The meticulous nature of creating the unit for this exercise extends to every aspect of the steps necessary to its completion. It is a process that envolves the parts and the whole; treating them all with equal attention in order to accomplish the task.

Arch 611|Multimedia|Part3|Ben Martinson|UNITS AND FIELDS.

Base

Target

TARGET.

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Target

The meticulous nature of creating the unit for this exercise extends to every aspect of the steps necessary to its completion. It is a process that envolves the parts and the whole; treating them all with equal attention in order to accomplish the task.

3D PRINT MULTIPLE VIEWS

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Arch 611|Multimedia|Part3|Ben Martinson|PARAMETRIC SCREEN.

INVIGORATED INFRASTRUCTURES

Arch 612|Advanced Multimedia|Christopher Kroner|INVIGORATED INFRASTRUCTURES.

ELEMENTS

Cross sections that most completely describe the programmatic, spatial, and material accommodations of the bridge in question are preferable for this task in order to move towards the modeling of these elements. In so doing, in series have intrinsic and extrinsic logics for subsequent kinematic control, as well as detailed articulation.

TOP.

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STILL OF PARAMETRIC ANIMATION

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PARAMETRIC MANIPULATION

Precision Variations of base unit showing morphological breadth, Developed parametric transformation, Complete parametric assembly model. Diagramatic description for the morphology of the unit with focus on layout and presentation.

ELEMENTS

Arch 612|Advanced Multimedia|Robert Cervellione|PARAMETRIC MANIPULATION.

SINGLE UNIT

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DUMBO BATH-HOUSE

OBJECT/CONTAINER EXERCISE.

Arch 601|Studio|Karel Klein|DUMBO BATH-HOUSE.

PEPAKURA COMPONENTS

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WET PLAN

The Dumbo bath-house project was comprised of two prats, the object/ container exrcise depictted in the previous page and the actual bathhouse illustrated here. Both were challenging in a programmatic sense as well as in form making. The restraints of the site were the ultimate strait. Functionality and logic were the drivers behind the design; it had to feel intuitive yet theatrical.

LONG SECTION

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LIMITS EXERCISE

Arch 602|Studio|Theo David|LIMITS EXERCISE.

The studio project commenced with a hypothetical project, that explored form and decision making in without the need to resolve programmatic issues. Making the transition from 2d collage and drawings to physical realizations more swift. This quick turn over resulted in a deep understanding of the actual sites’ restraints from this hypothetical exercise.

GEOMETRIC COLLAGE

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STUDY MODEL/CREATION OF SPACE

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SKETCHES OF JOURNEY TO THE SITE

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ONE PECK SLIP

Arch 602|Studio|Theo David|ONE PECK SLIP.

In addition to deriving from the limits exercise the design of the school was also heavily influenced by the site. The main goal was to compliment the existing context, while creating a stimulating environment for all patrons of the school; the children, faculty and the surrounding community.

LIBRARY INTERIOR RENDER

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SECOND-FLOOR PLAN

TWO-FLOOR PLAN

FIRST-FLOOR PLAN

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GROUND-FLOOR PLAN

lONGITUDANAL SECTION

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CROSS SECTION

TYPICAL CLASSROOM PLAN AND WALL SECTION

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WATER STREET ELEVATION

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PEARL STREET ELEVATION

PHYSICAL MODEL VIEWS

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DIGITAL FABRICATION

Arch 712|Digital Fabrication|Jeffrey Taras|DIGITAL FABRICATION.

CLOSE-UP OF PIECE

The entire semester was dedicated to acquiring the skills to extract the computer generated designs and fabricate them. After a rigorous process of modeling and prototyping the final piece was realized. After the CNCing of the piece, the Birch wood was painted, sanded, stained, resanded, gilded and antiqued to acheive the final finish.

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TOP VIEW OF FINAL PANEL PIECE 2’X4’

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ASSEMBLAGE

SIDE VIEW ASSEMBLY OF PIECES

COMP|Phillips 3D LED Competition|ASSEMBLAGE.

The Philips 3D LED competition was to design a light bulb fitting for the LED E-17 base that could be 3D printed. The requirment was to have a light bulb that could be enjoyed both on and off. The concept behind assemblage was to create a light source that seemed like it was literally emitting. Meaning that the light was a tangible-physical object.

INDIVIDUAL PIECE

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TOP AND BOTTOM VIEWS OF INDIVIDUAL PIECE

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