Arc 182 Portfolio

JoĂŁo Pedro Ellery // ARC 182 Portfolio

Table of Contents 2D - Geometric Logic //Gothic Window

3D - Fabrication and Mutation //Column Orders

3D Fabrication

//Variation and Mutation

3D Field

//Spatial Matrices, Microarticulations, and Renderings

1

Pages 3-6

7 - 12

13 - 18

18 - 28

2

2D - Geometric Logic // Gothic Window

3

2D - Geometric Logic //Gothic Window

In this exercise we learned the basics of 2D linework in Rhino through a detailed 2D geometric investigation into, and then transformation of, the decorative building element of a Gothic window from the 13th-14th century.

While Gothic geometry follows clear logic, it often does not adhere totypical reductive Cartesian formation processes. Rather, it is guided by more complex processes that connect different geometric orders through a complex set of relationships. The kind of complexity that arises from the fusion of different geometric orders demands the deployment of an alternative system of description and conceptualization.

To this extent, an effective practice of formal analysis must understand geometry not as a set of static rules, but rather as a kind of topological transformation that grows from one local instance to another one.

The second part of Exercise 1 will transform and adapt the system of the geometric logic diagram from 1A to develop a more complex system that speculates on the opportunities embedded in the original system. Though there are many many methods we could use to do this, we will explore two: 1) overlapping copies, and 2) nested details.

4

2D - Geometric Logic // Gothic Window (1A)

5

2D - Geometric Logic // Gothic Window (1B)

Exercise 01: Part 1B EĞƐƚĞĚ ĞƚĂŝůƐ ŐĞŽŵĞƚƌŝĐ ůŽŐŝĐ ĚŝĂŐƌĂŵ ĂŶĚ ĞůĞǀĂƟŽŶ drawing João Pedro Ellery

Z ϭϴϮ͗ ZĞƉƌĞƐĞŶƚĂƟŽŶ //

ƵŝůĚŝŶŐ &ĂĐƚƐ ͬ ƵŝůĚŝŶŐ &ŝĐƟŽŶƐ

6

3D - Variation and Mutation // Column Orders

7

3D - Variation and Mutation The assignment further explores the modeling “regimes” of the digital environment that we discussed briefly in the first exercise (through the lens of degree of curvature), this time for modeling in three dimensions. For our purposes, a modeling regime is a way of working and conceptualizing the tools available to you in order to produce coherent, logically ordered form.

The first regime we’ll call “Euclidean” - it uses familiar, nameable geometries like straight lines, circles and ellipses as the basis for building volumes. A hallmark of working in this way is that form can be described by a set of fixed locations in space: straight lines extend between two coordinates; circles have constant radii from a single point, and so on.

8

3D Objects - Variation and Mutation // Profile Iterations (2B)

"Loft"

"Sweep"

"Boolean"

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3D Objects - Variation and Mutation

// Sectional Profiles (2C)

Transforma�on of Sec�onal Cuts

Lo�ing Sec�onal Cuts

Lo�ing Sec�onal Cuts

“Lo�”

TOP VIEW

ELEVATION

"Loft"

A B

Sweep from A to B

Sweep from A to C

Sweep from B to C

Sweep all profiles

TOP VIEW

ELEVATION

"Sweep" C

A

B

“Extrusion”

“Revolve”

“Extrusion and Revolve”

“Boolean of Extrusion and Revolve”

TOP VIEW

ELEVATION

"Boolean"

A B

10

3D Objects - Variation and Mutation

// Geometric Logic + Construction Process (2D)

"Unfolding"

Kit-of-Parts

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3D Objects - Variation and Mutation

// Geometric Logic + Construction Process (2D)

E

D

C

5

4

3

B

A

2

D

1

2

3

Diagonal Contour Without Surfaces

Diagonal Contour With Surfaces

4

Horizontal Contour Without Surfaces

Horizontal Contour With Surfaces

E

1

C

"Serial Sectioning"

B

A

Vertical Contour Without Surfaces

Vertical Contour With Surfaces

"Contour"

12

3D Fabrication

// Variation and Mutation

13

3D Fabrication

// Variation and Mutation We make choices about how to physically model our designs in architecture - the scale of the model, the material, the fabrication method, etc. Each of these decisions is a design choice, and will communicate different things about the object, building, or design that you are modeling. Though there are nearly endless ways to physically model your designs - and students are encouraged to be creative in future modeling endeavors - for this assignment, we will operate a bit more strategically.

We learned three different modeling types that lend themselves to the three objects developed in Exercise 2C, as paired below.

Each of these model types will be developed digitally, to the point of laser cut files. For the physical component, we selected only ONE object to build.

14

3D Fabrication

// Methods of Fabrication

4

32”

1

18”

2

1

"Unrolled Surfaces"

32”

2 3 5

6

3 5

4

18”

6 Laser Cut FIle: 2 Sheets

32”

32”

32”

18”

18”

"Eggcrate" 18”

18”

Laser Cut FIle: 10 Sheets

15

3D Fabrication

// Methods of Fabrication

32”

32”

18”

18”

40 39 38 37 34 33

31 30 29 28 27 26 25 24 23 22 21 20 19 18 17 16 15 14 13 12 11 10 9 8 7 6 5 4 3 2 1

32”

32”

18”

18”

"Layered Contour"

36

35 32

32”

18”

Laser Cut FIle: 5 Sheets

16

3D Fabrication

// Methods of Fabrication

17

3D Fabrication

// Physical "Layered Contour" Model

18

3D Field

// Spatial Matrices, Microarticulations, and Renderings

19

3D Field

// Spatial Matrices, Microarticulations, and Renderings Exercise 4 will be an exploration of 3D fields. Stan Allen considers a field condition as “any formal or spatial matrix capable of unifying diverse elements while respecting the identity of each.” In exercise 4, the diverse elements of our exploration will be architectural roof typologies that we will re-form and deform (and eventually unpack).

For exercise 4A, we will begin by modeling common architectural roof types and then explore combinations and variations of roof typologies to create a field that we will break down into components in the next two exercises.

Exercise 4B aims to leverage the logic of the roof framing to produce a visually compelling spatial matrix. Exercise 4B frees the linear elements from their structural requirements and instead prioritizes the visual effects of illusion, overlap, density, interference.

Exercise 4C explores methods of articulating the smooth surfaces of your fictional roof fields through advanced 3D modeling in Rhino. We have used loft, sweep, boolean, edge surface, network surface, and planar surface (among others) to produce the individual smooth surfaces of our objects and fields this semester - now it’s time to explore greater detail and articulation within each of those individual surfaces.

Exercise 4D will focus on the production of a rendered image of your 3D field.

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3D Field

// Roof Fields (4A)

Planar Roof Field

"Cage Edited"

Non-Planar Roof Field "Flowed Along Surface"

21

3D Field

// Spatial Matrices (4B)

Matrix as Surface (Extracted)

Matrix as Surface (Projected)

Matrix as Volume

22

3D Field

// Microarticulations (4C)

23

3D Field

// Microarticulations (4C)

1 2 3 4 5 6 7 8 9 10

A

A

A

2A

10

9

8

7

6

5

4

3

2

1

24

3D Field

// Renderings (4D)

25

3D Field

// Renderings (4D)

26

3D Field

// Renderings (4D)

27

3D Field

// Renderings (4D)

28

jelleryl@syr.edu //+1(315) 278-5637