Julia Sarduy Statement About Scholarly Projects
Our bodies interact and engage with architecture in certain zones and are often limited by building standards. We touch door handles, countertops, and light switches, all between 30 to 42 inches from the floor, but rarely do buildings reach out to touch us. My research consists of architectural systems that draw on the forms of the human body as a generative design tool. Through the use of various computer software and machines guided by numerical data, I carefully calculate new methods for the body to press into, lean against, rest over, and move across architecture. In my projects, I strive to challenge building standards, create new architectural identities, and use the body as a valuable tool for design. Our anatomy allows us to move in a variety of ways that can generate an infinite amount of curves. In my thesis project, Body: conforM | Morph, I demonstrate how these forms can be translated into architecture. With the combination of Rhinoceros and Rhino CAM software, I have been able to convert certain anatomical dimensions and forms into an extensive list of coordinates for the CNC router. This tool is able to maneuver a specialty drill bit across a series of x, y, and z coordinates based on the digital model. To translate the geometries found in our bodies into numbers means that we can replicate these forms with building materials like wood, high density foam, or plastic to create architectural elements. This research led to the fabrication of a wall panel system that supports the body. I converted the contours of my own figure into a series of vacuum-formed plastic surfaces that conform to the body and guide it into various positions of action and repose. A CNC machine was used to mill these surfaces out of high density foam that was then prepared to accept a melted plastic skin. Through these methods, we are able to inform architecture and define contemporary standards personal to each individual. There are a number of digital fabrication methods that facilitate the translation of numerical data into physical objects. CAM (computer aided manufacturing) software allows us to convert digital 3D models into coordinates that can be milled by a CNC router. These machine-milled forms can then be vacuum-formed to create plastic skins for façade systems, furniture, and interior paneling. Additionally, the efficiency of 3D printers allows us to rapidly prototype designs and personalize each project to characterize new building archetypes. 3D printed forms can be integrated in building construction, furniture design, and architectural details. Sustainable, site specific strategies can also help foster new architectural identities. The conceptual design depicted in my portfolio titled, Vernacular Dynamism, illustrates a system of acrylic panels that are illuminated by both the forces of our environment and the body’s touch. Wind powered turbines provide energy for each panel to glow only when a pedestrian has rested against it, stepped over it, or the wind has pushed it through a series of pressure
sensors. A symphony of lights would then illuminate a path dictated by the community’s relationship with the surrounding natural forces. In the midst of all of these technological advancements, it is important to remain rooted in hands-on building and traditional techniques. I appreciate hand- craftsmanship in combination with digital fabrication. My furniture projects titled: Low 269 and Lapse are examples of how a machined form can seamlessly interlock with a classic, handcrafted joint. A CNC-milled surface rests over a welded framework and a wooden component is lap-joined with 3D printed plastic. These projects form interesting relationships between my hand and a machine that develop new characteristics for already accepted design standards. To take my research further, I would like to install similar projects in public spaces and document how individuals interact with each concept. I would like to explore how systems that challenge building standards can interact with and improve the quality of society. Through grant-writing, I aspire to receive funding for such installations and for digital fabrication tools and laboratory equipment. In this way, I hope to form a new, more personal identity for architecture in Central Florida.