Yfactor

Location:

HHN 4th floor Hall

Time:

2p-7p

Jurors:
Kari Anderson

Rob Henderson

Terrence Seah

Gisella Vidalle

1. Eric
2. Lorena
3. Sandro
4. Rachel
5. Brian
6. Becca
Break
7. Bernie
8. Guy
9. Sang
10. Winnie
11. Hilary

1. make sure all drawings are titled. keep titling consistent from drawing to drawing. for example, use the lower right hand corner for title of the entire page and then local titles within the pages if necessary.
2. poche all section cuts and plan cuts with a medium to dark gray. there is one caveat to this: the poche may match the color of the models to be selected tomorrow.

3. everyone should have a document sized to the module that includes: your name, my name as instructor, arch 102.08, spring 2008 and your thesis statement and supporting info. it can be small: 9″x9″ or less. think of this almost exactly like a wall tag for a piece of art in a museum. it should be located at the beginning of your layout.

4. include section cuts on your plan. do NOT have section cuts cross the linework of the plan. they should be located in the white space outside of the plan. they should be labelled. for example, a-a, b-b. the sections should then be labelled corresponding.

5. be sure to include notation of your drawings and diagrams as we have discussed all semester. again be consistent throughout with font, size, location, etc.

in general, the graphic presentation wants to read as a whole. titling and annotation that is consistent throughout do this. sizing to the module does this. perhaps using a color for emphasizing to match your models does this.

check out the reviews tomorrow. keep a keen eye out for good presentation layouts.

i will post the final review order tomorrow

please coordinate a group buying of heavy black fabric.

use the small lockers from studio as model bases for the final review. use the black fabric to completely cover the lockers. place your massing model on this fabric covered locker.

carefully consider the location of the massing model relative to your presentation

following are instructions indicating how to properly scale your roofscape and site models in rhino. this will, in essence, ensure that you are working at full scale in rhino. that is, one foot in rhino is one foot in the real world. this will help you determine the size of spaces, etc. for human occupation.
1. in rhino, type ‘units’ at the command prompt. change the units to feet.
2. draw a plane at 96′x96′. this represents the 24″x24″ base of your site (massing) model for most of you whose site (massing) model is at 1/4″=1′-0″. For those of you whose site (massing) model is 1/8″=’1-0″, the plane should be 192′x192′.
3. scale your roofscape and site model in rhino so that it fits within the 96′x96′ plane as it does in your physical model.
following are instructions indicating how to cut plans and sections from rhino:

1. create a new file with a filename such as plancuts.3dm, etc. make sure the units are feet.
2. import, not insert, your site geometry, roofscape geometry and 96′x96′ plane. you used insert for creating the master file with the components of the roofscape and the site geometry as blocks. in this case, you will be importing so that the geometry of site and roofscape is not a block but is ‘live’ in this file.

3. scale all geometry so that the plane is 24″x24″ (2′x2′). this process effectively makes your geometry scaled to either 1/4″=1′-0″ if your plane was 96′x96′ or 1/8″=1′-0″ if your plane was 192′x192′. that’s the scale of the physical massing model and will be the scale of your plans and sections.
4. in the top view, create a plane that is bigger than the geometry of the site and roofscape.

5. in the front or side view, move it so that it is located at an appropriate place to cut a plan.

6. copy the plane so that it is located in other appropriate places to cut plans.

7. create two layers. one called: plancut. one called: plan.

8. make the plancut layers current.

9. enter ‘section’ at the command prompt. select all objects at the prompt. select one end of the plane and then the other at the prompt. hit enter.

10. this will create a ‘cut’ along the plane through whatever portion of the roofscape and site the plane intersects.

11. it will remain highlighted after you finish the command. keystroke ctrl+g to group the lines.

12. make the plans layer current. turn off the plancut layer.

13. enter ‘split’ at the command prompt. select all objects, use one of the planes as the object to do the splitting.

14. delete all objects above the plane that you split with.

15. hide all planes. enter make2d in the top view. select all objects. group all geometry.
16. this will make a flattened view of all geometry below the cut. it will also locate this at 0,0 which is not where the section cut will be located. you will need to manually line up the make2d geometry with the section cut geometry.
17.  by now you should have make2d geometry grouped on the plan layer and section cut geometry grouped on the plancut layer

18. export the section cut geometry as an .ai file called sectioncut.ai or equal. export the make2d geometry as an .ai file called make2d.ai or equal. important: make sure you ‘select the keep rhino units’ option and NOT the ‘snapshot of current view’ option. this will ensure that the scale of the geometry will be accurate.
19. open a new illustrator file at 36″x36″. open the sectioncut.ai file and the make2d.ai file.

20. in the new illustrator file, make two layers. one called sectioncut or equal and one called make2d or equal.

21. make the sectioncut.ai file active. select all objects. select edit>copy or ctrl+c.

22. make the new file active. make the sectioncut layer current. select edit>paste or ctrl+v. group all geometry.

23. make the make2d.ai file active. select all objects. select edit>copy or ctrl+c.

24. make the new file active. make the make2d layer current. select edit>paste or ctrl+v. group all geometry.

25. make sure the linework of the section and the linework of the make2d are oriented currently relative to each other.

26. make sure the stroke color of all linework is black.

27. change the stroke weight of the sectioncut linework to something heavy. perhaps 1.0 or 2.0

28. change the stroke weight of the make2d linework to something light. perhaps .5 or .25.

29. repeat for other plans and section cuts

the purpose of the two commands in rhino, the two layers, the two ai files, etc. is to be able to manipulate the linework of the section cut and the rest of the linework independently and easily. you will need to dial in the stroke weights relative to how it prints. further manipulation of the stroke of the make2d linework is encouraged to produce a deep reading of the plans and sections. in other words, it is just like modulating  the lineweights of your pencils or pens in hand drawing.

(not in order)

i want to see a sketch of the wall for your final review on thursday with the following. you determine size relative to its hierarchy in the presentation:

1. massing model- 1/4″ or 1/8″ scale- includes site/landscape and roofscape. matte white base at 24″x24″. dowels painted matte white to hold up landscape painted semi-gloss black. roofscape painted high gloss gray/silver/chrome.

2. autopsy drawing

3. re-assembly drawing

4. organizational drawing

5. research material (camouflage and patches) and drawings

6. re-assembly study models

7. photo sequence of shadow/light studies

8. drawing of shadow/light studies

9. close-up photos of shadow/light studies

10. profile mutation matrices

11. pair/cluster matrices

12. pair/cluster foam study models

13. aggregation (rule set) drawing for roofscape: x,y and z

14. tectonic connection drawing

15. tectonic connection model

16. plans of roofscape and site

17. sections of roofscape and site

18. elevations of roofscape and site

19. contour cuts of site

20. contour cuts of roofscape and site

21. 1/2″ building model

22. structural/material reference

23. tatto photo sequence

24. thesis statement

25. program and spatial narrative

26. drawing of roofscape to site connection

(not in order)

i want to see a sketch of the wall for your final review on thursday with the following. you determine size relative to its hierarchy in the presentation:

1. massing model- 1/4″ or 1/8″ scale- includes site/landscape and roofscape. matte white base at 24″x24″. dowels painted matte white to hold up landscape painted semi-gloss black. roofscape painted high gloss gray/silver/chrome.

2. autopsy drawing

3. re-assembly drawing

4. organizational drawing

5. research material (camouflage and patches) and drawings

6. re-assembly study models

7. photo sequence of shadow/light studies

8. drawing of shadow/light studies

9. close-up photos of shadow/light studies

10. profile mutation matrices

11. pair/cluster matrices

12. pair/cluster foam study models

13. aggregation (rule set) drawing for roofscape: x,y and z

14. tectonic connection drawing

15. tectonic connection model

16. plans of roofscape and site

17. sections of roofscape and site

18. elevations of roofscape and site

19. contour cuts of site

20. contour cuts of roofscape and site

21. 1/2″ building model

22. structural/material reference

23. tatto photo sequence

24. thesis statement

25. program and spatial narrative

26. drawing of roofscape to site connection

1. a rhino model illustrating a roofscape connected to the site

a. the roofscape will address occupation below, within and above it, it will address the specific programmatic and spatial concerns of your project, it will address the physical connection to the site, it will address environmental concerns.

b. the discussion will be about architecture. yes, we will talk tectonics, structure, variation, etc. but we will focus on how the roofscape performs as a piece of architecture. you should be able to view your work broadly and specifically to do so.

2. thesis statement

a. 2-3 sentences laying out your argument, your claim, your conceptual framework,  your thesis followed by supporting evidence. must relate in some way to hide/reveal/distort.
3. bubble diagramS

a. plural. there are multiple diagrams as you are diagramming multiple sets of relationships between activities and multiple time frames.

4. plans and sections

a. cut through the roofscape and site. these are first drafts so they can be rough. they will indicate where program resides, what the boundaries of each programmatic activity is, circulation, how one enters and exits the roofscape, etc.

5. density maps

a. composite drawings of your contour cuts. plan and elevation.

and counting.

logistics:

we will be having a pinup in room hhs 512 on thursday.

this will be the last pinup before final.

deliverables to be indicated in subsequent post.

we will be having saturday desk crits again with the projector.

final review is on wednesday april 23 from 2p-7p.

you are required to have a massing model at 1/4″=1′-0″ and a building model at 1/2″=1′-0″.

because of the insanity surrounding the laser cutter during finals, you must start cutting for your final models now.

which means you must finalize your design now.

you should have 70% complete by thursday, and 90% complete by the following monday.

slight changes to the rhino model and as such, the drawings are possible after the models are made during the week of production prior to final review.

plan your time wisely.

buy a calendar, work backwards from the final review date to give yourself target due dates for each item.

i will be asking to see this calendar and a sketch of what your final review wall will look like on saturday.

many of you have made a good first pass at bubble diagrams. these diagrams should be utilized and drawn just like all the other drawings/notations we have drawn throughout the semester. that is, with points, lines and planes. with lineweights and linetypes. with relationships indicated between parts, with hierarchy, etc.

the diagrams should include the following:
1. time

a. this is a crucial aspect and will call for several bubble diagrams to be drawn that correspond to the durations of the activities. remember, duration was one of the four aspects of the programmatic event. so, for example, you might have four bubble diagrams that indicate different relationships between activities, that indicates the relevance of a certain activity in time and that each corresponds to a unit of time (ex: the four seasons of the year, four parts of the day, etc.) consider the unit of time both in conventional terms (hours, days, etc.) but also non-conventional ones (in winnie’s casino, the amount of money someone wins might be a unit of time. ex: ‘how long were you gambling last night’, ‘i won $1,000′)
2. activity

a. indicate only the major and some minor activities

3. a quantitative aspect of the activity

a. this could be shown in the size of the bubbles and could indicate size, importance, etc.

4. relationship between activities

a. use lines to connect the centerpoints of each circle. the value of the line (i.e., lineweight, type) will indicate a certain type of relationship.

b. use boundaries to group zones of activities that relate

remember:

these are diagrams, not plans or sections to be extruded or placed over your morphological framework. they illustrate relationships, quantities, etc. not precise locations. you will need to calibrate the diagrams to the morphology and vice versa.
you are now well suited to begin to tune, vary, calibrate, in short, design, the roofscape to address: a) the physical connection to the site b) the programmatic and spatial content of your event and c) the occupation below, within and above the roofscape.

consider scale carefully. both of the human body relative to the spaces you are making and of the size of your units relative to real world units. also, consider other scalar certainties that can help you scale your roofscape. for example, sang is designing a boxing gym/arena. the real world size of a boxing ring becomes a critical scalar constraint that has to be worked with. there will not be too many of these, i.e., you will not be designing doors, etc., but they will prove useful.

hYper_BubbleDiags.pdf

Following are an example of a plan and section composite drawing of contour cuts. we will use these as an analytical tool to understand the densities and intensities of the site model, but also as a generative drawing map for your programmatic diagrams. the contour cut composites will be further composited with your bubble diagrams. more on this is a subsequent post.

procedures:

1. perform 3-4 contour cut sets of your site model in plan (the example uses 4 sets).

2. vary the distance between the cuts (ex: .5, 1, 2 and 4). the distances should be tuned to your individual model. i.e., 3, 4, 8 and 12 may be more suitable in some cases.

3. use ‘make2d’ to flatten each set of cuts.

4. export each set of cuts as individual .ai files. use file names that correspond to the type of cut. ex: 1.ai, 2.ai, etc.
5. open a new file in illustrator. size it to 18″x18″. create five new layers. name the lowest layer ‘background’.

6. create a rectangle with a black fill the entire size of the document’s pasteboard on the background layer. lock the layer.

7. open the first exported .ai file from rhino. select all objects>copy. go to the new file>paste.

8. rename one of the newly made layers corresponding with the cut. ex: cut-1, cut2, cut-4, etc. make sure the pasted linework is on the appropriate layer.

9. change the stroke color of the linework to white. change the stroke width to .25. group all the lines.
10. repeat with each successive cut. change the stroke weight of each successive layer/cut to be heavier. experiment with changing the stroke width until the density of the drawing reads well.

11. when all linework has been imported and you are sure they are related to each other properly, scale all linework up to fit comfortably within the black background.
see the examples below for all of the above.

Elevation

http://pressg5.net/yFactor/wp-content/uploads/2008/04/hYper_DiagramComposite1.ai

Plan

http://pressg5.net/yFactor/wp-content/uploads/2008/04/hYper_DiagramComposite2.ai