Cube Exercisespring 2012ARCH1353

For this exercise, we will be focusing on spatial relation-ships in the digital using one type of geometry, the cube. This discussion will explore the constructive constraints of a cube and its relationship to a defined space specified by the user (that’s you). The constraints of this exercise will require you to understand how to define space with a given set of rules and exploit those volumetric devices that as a translative device.

Research

You are to explore how you define a space with few vari-ables (the cube) as possible. This exercise has only one variable to help determine a space, the cube, where you will begin to “subtract” the components from view to reveal a spatial condition. This is not a literal exercise where you subtract cubes to reveal a square but more of an intended approach where some cubes give a hint to a space and are defined by another strategic move you develop. Look up different ways space is defined without a means to exemplify the space by a simple wall. This exercise is intended to help you understand that not all spatial conditions will be determined by two or three solid walls as shown in the Barcelona Pavilion.

Assignment 7

commands line copy cut delete trim extend array rotate rectangle poly-line curve

closecontourextract wireframeextrude curvescalelayersmake2Dviewport

Notes:You should have the following softwares installed.

1. Rhino 5

Layout2 - 10x17 Printed drawings on a 11x17 sheet showing all steps of the process.

Assigned: April 5thDue : April 12th

Programs used: Rhino Illustrator Photoshop

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Develop

01.) Construct a 1” x 1” x 1” cube. Then use the ARRAY command to create a 10 x 10 cube matrix in the “X” and “Y” direction. From here, you will then array that matrix in the “Z” direction by 10. So you’re overall appearance will look similar to the referenced image to the right.

02.) You’ve just created each level of your matrix assem-bly. Good. Now you need to separate each matrix level onto their own layers.

3.) You will then analyze each level and begin to sub-tract about 60-75 cubes from each level, defining space within each unit. During this procedure, keep continuity in mind. In other words, as you begin to move into each level, maintain a “core” space either at center or at a desired corner. You are not limited to just one central void but many, as long as you have a clear representa-tion and you are able to explain your moves. Remem-ber, you are defining space by cubes. Be critical and particular about the next move on each level.

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TERM:

4.) Begin to produce sections. Do produce a section in Rhino, you will use the command “CONTOUR”. Contour is a powerful tool when trying to determine certain pro-file lines along a surface as it changes. Rhino will track the progress of the surface in incremental steps. For this exercise, you will define the “contour” of the volume in the “X” and “Y” directions, defining 8 sections and 4 el-evations. For “CONTOUR”, define your direction by plac-ing the base and the direction, then determine the in-cremental steps (distance) to be 2. Rhino will produce 6 contours (for your reference: 2 elevations and 4 sec-tions).

5.) Place your result drawings onto the 10x17 layout (which means you will have to scale them down by 0.01). Make sure that all drawings are positioned either along the left, right, top, or bottom of page. Not a mixture of the four positions. Choose one. When you bring the line work into Illustrator, you will fill in the sections.

Note: 10x17 canvas; make a 10x17 canvas in Rhino, simply draw with the poly-line command 10” for height and 17” for width. Yes, 10x17. This means you will have a 10x17 on a 11x17 page. You will have to print and trim the excess 1/2” margin prior to pin up.

6.) Four axon views. Based on the demo in class, you should know how to determine your views in Rhino. You will now place 4 AXON views by selecting on the saved view, selecting the entire mass model (do this for the

SUBTRACTION: to hide elements you are try ing to eliminate from the spatial study. The cubes you are hiding will be placed on a separate layer called “NEGATIVE”. Do not delete any cubes because we will be us-ing them for the second study. The hidden elements can be placed onto a single layer because our study will be conclusive once all objects have be subtracted from their re-spective layers.

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“NEGATIVE” model only), and type in “MAKE2D”. Wait for program to respond. When Rhino is finished generat-ing your “MAKE2D” line drawing, it will place the draw-ing at the “0” coordinate. With the drawing still selected, make sure to group them. Then move it out of the way to produce the other three. You will take all four and scale them down (0.01) and place them nicely on the 10x17 layout.

7.) Now to setup your perspective view(s). Zoom into the interior of the “POSITIVE” model (the one you subtracted the cubes from) and explore the space. Look for a nice perspective view, playing with the camera lens length and location of the model. Pay attention to spatial con-ditions. Do not try to optimize a view that is obstructed by other cubes. You want a nice view as if you were ac-tually in this space. Once you define your perspective, then you are going to save the view, and selected the model to “MAKE2D”. Let Rhino process.

8.) Once you have created your perspective “MAKE2D” view, go to that drawing and delete any excessive lines drawn (which will be quite a few). Find the view you in-tentionally desired and place into the 10x17 canvas.

9.) Now that you have finalized the perspective, begin to edit the line weights accordingly (which is closer to you [1.0] to which is further from you [0.005]).

10.) This concludes board one.

11.) For board two (10x17 on a 11x17 canvas), you will compose an exterior (bird’s eye) view of the “NEGATIVE” model and provide an axon view of 5 different levels of your matrix assembly (levels 1, 3, 5, 7, and 9). The axon view must be in the same orientation and view for all five. This will require you to copy the levels over and po-sition the levels on the ground plane and then capture the axon view for each level. This will be the same pro-cedure you performed for the exterior view of the “NEG-ATIVE” model miniature views. MAKE2D to capture the views.

12.) You must scale the 5 axon levels by 0.2 to ensure that all fit (refer to image at right).

13.) Export both board layouts as separate files as an Il-

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lustrator file

File > Export Selected > Select objects > Enter > Change file type to AI > Give it a Name > Save

14.) Open board one in Illustrator. You’ll notice that your layers are PRESERVED!!! Just change the line-weights ac-cording to your hierarchy. Add additional graphic ele-ments and text. Clean up the drawing and save. Do the same for board 2.

WHAT DO I NEED TO TURN IN?

1. CUBE RHINO FILE: 007_FirstNameInitialLastName_Cube.3dm

2. BOARD 1: 007_FirstNameInitialLastName_board_1.AI

3. BOARD 2: 007_FirstNameInitialLastName_board_2.AI

4. BOARD 1: 007_FirstNameInitialLastName_board_1.PDF

5. BOARD 2: 007_FirstNameInitialLastName_board_2.PDF

WHAT DO I NEED TO PRINT AND PIN UP?

1. BOARD 1: 007_FirstNameInitialLastName_board_1.PDF

2. BOARD 2: 007_FirstNameInitialLastName_board_2.PDF

WHAT HAPPENS IF I DO NOT PIN UP ON THE DUE DATE?

1. It is LATE. You have until the end of the week to turn it in with the respective points deducted. (5 points per busi-ness day). By the end of the due date week, it is consid-ered excessively late and you will not receive any credit for the assignment. In other words, its a ZERO!

WHAT IF MY COMPUTER DIES AND I CAN NOT PRINT. OR IF I JUST CANT PRINT?

1. Refer to the previous question. It is LATE!

WHAT IF I’M PRINTING AT THE START OF CLASS, WILL I BE

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COUNTED OFF?

1. YES, it is considered late. You must have your two lay-outs, printed and ready to pin up before the start of class. Instructors will mark off points if this is not done properly and before the start of class.

CAN I ALTER THE TEMPLATE?

1. NO. You cannot alter the template. Tampering with the template will result in point deduction. This includes, changing font, size of font, failure to follow instructions, scaling text, providing unnecessary text, or changing the color of text. (2 points for every mistake you make)

IF I TURN IN A PIECE THAT IS PIXELATED, WILL I BE PENAL-IZED AND BY HOW MUCH?

1. YES, you will be penalized. You will be penalized by 10 points. There is no reason why your work is pixilated be-cause it is all vector base.

WHAT IF I ASK QUESTIONS ON HOW TO PERFORM TECH-NICAL TASKS DURING THE DUE DATE AND DURING CRI-TIQUES? WHICH MEANS I DIDN’T COMPLETE THE ASSIGN-MENT AND ITS NOT PINNED UP AND I’M WORKING ON IT DURING CLASS.

1. That’s an automactic ZERO! This means you did not fol-low directions. You did not do the assignment. You wait till the last minute which does not excuse you. You did not seek help from you instructor. In fact, you are not allowed to ask your instructor ANY questions on the day that it is due. If it is not pinned up at the start of class, it is LATE!

WHAT IF I DID NOT COMPLETE THE ENTIRE WORK AND I EMAIL MY INSTRUCTOR THAT I WILL ONLY PIN UP ONE OF THE TWO BOARDS?

1. You must always pin up something. However, because you did not pin up all of you work, you just now lost 20 points.

WHAT IF I FEEL AS IF MY WORK IS NOT COMPLETED, DO I STILL PIN UP?

1. YES! You must always pin. This is your repsonsiblity. Fail-ure to pin up will result in points deducted.

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