ARC 182 Portfolio

HELVETICA ALPHABETS

SYRACUSE UNIVERSITY SCHOOL OF ARCHITECTURE ARC 182 | REPRESENTATION II | MOLLY HUNKER TA: HAOQUAN & MIKE YU JIE CHEN

1A TYPOGRAPHY

1B TYPOGRAPHY AS SPETIAL FIGURE

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2A VARIATION AND MUTATION

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2B 3D ALPHABETIC VARIATIONS

2C DRAWING GEOMETRIC LOGIC

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2D SEAMING/ UNFOLDING...

ARCH 182: REPRESENTATION II Analy�cal Drawing EXERCISE 02D Yu Jie Chen

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ARC182: Representa�on II Alphabets

Exercise 02A Yu Jie Chen

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B22 BOOLEAN PROFILES 2: B21 FILE EXTRUDED PERPENDICULARLY, 1 PROFILE RESOLVED IN PLAN B20 BOOLEAN INTERSECTION RESULT

3A METHODS OF 3D FABRICATION

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BOOLEAN PROFILES 3: 1 PROFILE REVOLVED IN PLAN, 1 PROFILE REVOLVED IN SECTION BOOLEAN INTERSECTION RESULT

3B EGGCRATE MODEL

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4A COUNTERS 60

ARCH 182: REPRESENTATION II ALPHABETS EXERCISE 02B Yu Jie Chen B1 B2

4B CONTAINERS

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Hidden Hole

4C RENDERING / IMAGE VISUALIZATION

Details

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ARC 182: Representation II Alphabets: Methods of 3D Fabrication Exercise 03B Yu Jie Chen

CONTENTS

1A The first assignment, in which students will learn the basics of 2D linework in Rhino, will be a detailed 2D geometric investigation into, and then transformation of, letters of the English alphabet. While these letters and the various fonts that represent them - have clear geometric logic, they do not always adhere to typical reductive Cartesian formation processes. Rather, they are 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.

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TYPOGRAPHY

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1B 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 typography system.

Instead of entirely designing a new font, this exercise will treat the Helvetica font as an abstract system of geometric elements, from which to formulate a new form.

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TYPOGRAPHY AS SPATIAL FIGURE

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2A Building off of the underlying logic of geometric system diagrams developed in Exercise 1, Exercise 2 will explore control and precision in 3D digital modeling techniques. 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.

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.

The second modeling regime we’ll call Calculus-based. This method of working is characterized by geometries with continuous curvature that flows between fixed locations in space but cannot be reduced to a discrete set of fixed coordinates.

Instead, points acts as weights, tugging on smooth curves and surfaces to produce form that operates in three dimensions.

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VARIATION AND MUTATION

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ARC182: Repres

Alphabe

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2B Exercise 2B will focus on systematic, iterative transformations of the elements of the alphabetic letters explored thus far in the semester. Here, we will care about variation, versus variety. Our goal will be to manipulate specific variables of the underlying logic of the object’s geometry - namely profile curves in plan and section - in order to produce versions and mutations that become something new and different but is still guided by the same geometric DNA. This family of 3 object variations are developed through the “extrude”, “sweep”, and “Boolean” commands

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3D ALPHABETIC VARIATIONS

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BLOCK ARRANGEMENT 1: BLOCKS ROTATED ONLY IN PLAN

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BLOCK ARRAN Extru BLOCKS ROTATED O

ARCH 182: REPRE ALPHAB

NGEMENT 2: ude ONLY IN SECTION

ESENTATION II BETS

BLOCK ARRANGEMENT 3: BLOCKS ROTATED IN PLAN AND SECTION

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SWEPT PROFILES 1: 2 PROFILES SWEEP BETWEEN 1:2

Swe SWEPT PR 3 PRO SWEEP BETW

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ARCH 182: REP

eep ROFILES 2: OFILES WEEN 1:2, 1:3

PRESENTATION II

SWEPT PROFILES 3: 4 PROFILES SWEEP BETWEEN 1:2, 1:3, 3:4

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BOOLEAN PROFILES 1: 2 PROFILES EXTRUDED PERPENDICULARLY TO ONE ANOTHER BOOLEAN INTERSECTION RESULT

BoolP BOOLEAN 1 PROFILE EXTRUDED PERPENDICUL BOOLEAN INTERS

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ARCH 182: REPR

lean PROFILES 2: LARLY, 1 PROFILE RESOLVED IN PLAN SECTION RESULT

RESENTATION II

BOOLEAN PROFILES 3: 1 PROFILE REVOLVED IN PLAN, 1 PROFILE REVOLVED IN SECTION BOOLEAN INTERSECTION RESULT

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2C Exercise 2C explores the process of producing analytical and systematic 2-dimensional drawings / diagrams that describe some of the 3D objects you modeled in Exercise 2B, and their inherent geometric logic. Through orthographic (plan + elevation) and axonometric projection, students will represent the geometric logic and construction process of one object from each of the three families modeled in Exercise 2B. The goal of these drawings types is to unpack various inherent logics or systems of an architectural object and clearly communicate them. Each drawing type tells a different story about the object, and may be used for a different purpose. In this case, students will use all four drawing types to describe the object they modeled, and then compare and contrast the readings they develop through this type of analysis.

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DRAWING GEOMETRIC LOGIC + CONSTRUCTION PROCESS

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PROFILE A: REVOLVE PROFILE A: REVOLVE

PROFILE B: REVOLVE

PROFILE B: REVOL

TOP VIEW TOP VIEW

ELEVATION ELEVATION

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B B A

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PROFILE A + B REVOLVE PROFILE A + B REVOLVE

BOOLEAN RESULT BOOLEAN RESULT

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PROFILE A + B + C: EXTRUDE

PROFILE A + B + C: R

TOP VIEW

ELEVATION

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PROFILE A + B + C: SPLIT

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SET RAILS CONNETCT FROM PROFLE A TO B

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ELEVATION

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2D This assignment builds upon to develop 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 are modeled.

Students will learn three different modeling types that lend themselves to the three objects developed in Exercise 2, as paired below. Each of these three model types will be developed digitally by each student, to the point of laser cut files. analytical drawing skills.

The goal of these drawings types is to unpack various inherent logics or systems of an architectural object and clearly communicate them. Each drawing type tells a different story about the object, and may be used for a different purpose.

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SEAMING/UNFOLDING, SERIAL SECTIONING, CONTOURING, KIT-OF-PARTS

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ARCH 182 Ana ARCH EX Y

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2: REPRESENTATION II aly�cal Drawing XERCISE 02D Yu Jie Chen

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ARCH 182: REPRESENTATION II Analy�cal Drawing EXERCISE 02D Yu Jie Chen

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ARCH 182: REPRESENTATION II Analy�cal Drawing EXERCISE 02D Yu Jie Chen

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Horizontal Contouring

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Vertical Con

ARCH 182: RE Analy�cal Draw

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EPRESENTATION II wing (With Surface)

Extracted Wireframe

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Horizontal Contouring

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Vertical Cont

ARCH 182: REP Analy�cal Drawing

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PRESENTATION II g (Without Surface)

Extracted Wireframe

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Block Rearrangement

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ock Rearrangement

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3A 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 we are modeling. For this assignment, we will operate a bit more strategically.

Students will learn three different modeling types that lend themselves to the three objects developed in Exercise 2, as paired below. Each of these three model types will be developed digitally and to the point of laser cut files.

1. Rearranged Block Object - Unrolled Surface Model 2. Swept Profiles Object - Layered Contour Model 3. Booleaned Profiles Object - Eggcrate Model

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METHODS OF 3D FABRICATION

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Unrolled Surface Model

ARC182: Representa�on II

Alphabets: Methods of 3D Fabrica�on Exercise 03A Yu Jie Chen

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Layered Contour Model

ARC182: Representa�on II

Alphabets: Methods of 3D Fabrica�on Exercise 03A Yu Jie Chen

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B22 B21 B20 B19 B18 B17 B16 B15

A1 A2 A3 A4 A5 A6 A7 A8 A9 A10 A11 A12 A13 A14 A15

B1 B2

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A18 A19 A20 A21

Eggcrate Model ARC182: Representa�on II

Alphabets: Methods of 3D Fabrica�on Exercise 03A Yu Jie Chen

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B23 B22 B21 B20 B19 B18 B17 B16 B15

B1 B2

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3B Eggcrate models are essentially bi-directional contour models. A system of perpendicular planes notch together to create a rigid, sturdy model that articulates mass and complex curvature well.

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EGGCRATE MODEL

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Top View ARC 182: Representation II Alphabets: Methods of 3D Fabrication Exercise 03B Yu Jie Chen

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Bird’s Eye View ARC 182: Representation II Alphabets: Methods of 3D Fabrication Exercise 03B Yu Jie Chen

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Details

ARC 182: Representation I Alphabets: Methods of 3D Fabri Exercise 03B Yu Jie Chen

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Details

ARC 182: Representation II bets: Methods of 3D Fabrication Exercise 03B Yu Jie Chen

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ARC Alphabets:

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4A Moving forward digitally with one object from each formal type, each student will develop their objects with thickness, using the “offset” command. Different thicknesses (thin, medium, thick) should be explored through the three iterations that are required in this assignment.

Using the Rhino commands “project” and “boolean”, each student will develop at least 1 “counter” (fenestration feature) in each of the object iterations. Consider a different feature type (inspired by the intro lecture) in each object, and label it as such: soft, deep, shallow, low resolution, excavated, hidden, solid, extruded, etc.

Features should occupy different surfaces of the models (planar faces versus non-planar) and explore both vertical (wall) and horizontal (roof/floor) applications.

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COUNTERS

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Deep Hole

Deep Hole

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Excavated Hole

Excavated

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Hidden Hole

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Hidden Hole

Hidden Hole

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4B Containers operate in many ways. They are used for protection and disguise. They are thresholds between interior and exterior. They simultaneously reinforce identity and hide true character.

They are symbolic of events and exaggerative of features.

Students will employ the idea of containers to both collect and unite these autonomous masses under/within a single envelope. Alphabet objects should conceive as interior volumes that situate themselves among and against each other, together forming a collection of parts within one building envelope.

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CONTAINERS

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Section 70

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4C Exercise 4C will focus on the production of a rendered image of your object container / proto-architecture.

Renderings or image visualizations, just like drawings, can take on many graphic modes or styles. They can be abstract, focusing only on light, color, or pattern, or can be developed into a much more complex scene with people, colors, textures, and weather. Each type of image is used to communicate different qualities of the project.

Our primary goal for this assignment is to produce two different visualizations that effectively communicate the formal, spatial and atmospheric qualities and potentials of the proto-architectures produced in Exercise 4B.

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RENDERING / IMAGE VISUALIZATION

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Photorealisti

ic Rendering

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Texture R

Rendering

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YU JIE CHEN YUJCHEN10@GMAIL.COM