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Lesley Loo

ARC 101, Fall 2011 Faculty: Nicholas Bruscia, Stephanie Davidson, Matt Hume Teaching Assistant: William Sedig ARC 102, Spring 2012 Faculty: Georg Rafailidis, Chris Romano, Matt Hume Teaching Assistant: Scott Archambault

Table of Conctents FALL 2011 4 Final model 7 Media 8 SPRING 2012 10 Casting 14 Circulation 20 Hydrocastle 24 Process 30 Interiors 40

Exteriors 42

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FALL 2011

Detailed drawing of Canon lenses.

Representation of the canon lenses’s movement in 1-ply chipboard.

Study model testing tension with basswood.

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Final model. Made out of 1-py chipboard and two thin strips of basswood. As the person lays in the structure and rocks back and forth, it rocks an infant to sleep as well.

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Media 2011

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Final Space

Serenity Whilst walking around the South Campus, I decided to explore the library. It’s silence, for some odd reason, made me want to explore it a little more. Passing by a whole bunch of books, I noticed a single table pushed into a little space in the wall. Even though it looks really lonesome and solitary, it felt really peaceful and serene. As if no one knows I’m there and I’m in my own world. Because of it’s isolated area and quiet surroundings; one could feel at peace and tranquil here. Regardless of how cold it may look, sitting there felt pretty relaxing since I knew no one can bother me.

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Survey of Space

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Using the positive space we had from when we surveyed our space, we began to cast plaster molds to create an inversion of the space.

In order for easy removal of each piece, they were casted at six different times and at a slightly tapered 90ยบ.

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Exploded axonometric drawing of the casting process to represent how each piece was removed.

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In order for me to understand the plaster pieces better, they were drawn in section perspective. Each plaster piece was “looked into� so that I was able to become more familiarized with their space.

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Taking the knowledge of each of the plaster pieces, they were rearranged and combined in a way to recreate a new space and circulation.

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Final Model The plaster pieces were sequenced in a way to establish a continuous crculation within the space. The space was made in such a way for children to have the ability to experience different spaces whilst climbing, jumping, running and sliding around.

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Section perspetive of the final model.

The final model was manipulated and transformed in a way so that each cut served a purpose. Ladders, monkey bars, light sources, slides and poles were made into the space. The slight slits that were made from the cuts allowed light in which would naturally attract people.

Axonometric drawing of the final model’s circulation.

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Material test



Pillowcase method

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Quilted Fabric

These material tests were made to test the hydrocal plaster’s strength when combined with a different material or used in a different method. Each of the tests had it’s strengths and weaknesses. The newspaper test was stable because of the various curves the poles created. But newspaper was a frail material. Fabric became one of the best candidate for our groups’s tests because it was cheap, easy to manipulate and also was able to catch a lot of details. The quilted fabric showed us that it was able to stand up when it was resting on a rounded surface.

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After settling on which material we wanted to use we began to cast different places within our studio. The casts were made by dipping fabric into hydrocal plaster. Each of the casts tested each of the space’s structural and spacial potential. We began to stray away from the door because it didn’t maintain a lot of structural support consider how planear it was.

We began to cast the column because it made it possible to span ten feet. It also offered a lot more geometric diversity and structural support than the door. Using cow fencing, we were able to replicate the column and use the little metal spokes on top for something the fabric can hook on to. Because of the fabric’s natrual behaivor, large wrinkles were formed during the casting process. the wrinkles were helpful because it offered more strength.

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Exploded axonometric drawing of each of the casted pieces.

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Many of the wrinkles were made intentionally at places we assumed were weak points or needed more strength because of it’s placement and geometric form.

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After each of the casted pieces dried, we layed them flat so we could fill some of the wrinkles in with hydrcal plaster to ensure extra stability. We also manipulated some of the pieces so that when the roof as put on, it would fit.

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When we were done casting and manipulating the walls fo our space, we began to give the walls a few thin layers of plaster. The second coat established more strength and it also made the walls look more smooth.

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After the walls were in place, we began casting the original walls again to create the roofs of our space. But considering the ten foot span we had cover, we needed more support.

So we began to cast test beams as a mini representaion of I-beams.

The beams alone were unable to withstand two bags of hydrocal. But when it was attatched to the roofs, it’s strength increased.

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To test the I-beam’s true potential, we made a roof to test how much it would hold up.

When the I-beams were attached to the roof, it has the ability to hold up a person laying flat across it.

It was also able to hold up to six bags of hydrocal. (Each bag of hydrocal weighs atleast fifty pounds each)

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After we were finished assembling each of the walls and roofs, our space became a complete enclosure. The interior of the space is extremely dark, but because of the thinness of our material, it allowed a little light in. This sublte light created a nice ambient lighting within the space.

The only part of the space that allows the most light in is where the door is. When closed, the space is entirely dark.

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Besides the lighting, our space also offered various spacial qualities. Considering that it was derived directly from the studio walls, it gave us different indentations, protrusion and heights. We had some parts of our space that were taller than others and some that were roomier than others.

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Team Enirambus Lesley Loo, Ryan Macari, Kyle McMindes, Kenzie McNamara, Ana Misenas, Christopher Ruggiero, Allie Strycharz and Christopher Wisdom. Project: Hydrocastle

Our overall structure was an enclosed structure. It offered complete privacy and unique spatial qualities. It had the ability to either be really dark or bright. Not only is it spatially interesting, it is also incredibly strong and structural. It has the ability to hold up to four of our group members.

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2011-2012 Portfolio  

Studio 101-102