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- EVDS GRAPHICS 1 - FALL 2009 - SARAH WILLIAMS

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1-INTRO TO RHINO; THE FOOTBALL09/24/2009

DECONSTRUCTED 2DECONSTRUCTED

ELEVATIONS PERSPECTIVE

- EVDS GRAPHICS 1 - FALL

2009 - SARAH WILLIA

MS

- - EVDS GRAPHICS 1 - FALL 2009 - SARAH WILLIAMS

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2-THINKING THROUGH THE LINE 3D 09/28/2009

INSPIRATION - HAND DRAWING 1

INSPIRATION - HAND DRAWING 2 RENDER

RENDER DETAILS


2009 - SARAH WILLIA

MS


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PEPPERS & PHONE JACK10/05/2009

SPACE INSIDE A PEPPERPHONE JACK ELEVATIONS

PHONE JACK SECTIONS


2009 - SARAH WILLIA

MS


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4-CONSTRUCTING A DRAWING (1)10/15/2009

COMPOSITION AT 1:50

ONE SIXTH OF STUDIO AT 1:50


2009 - SARAH WILLIA

MS


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5-CONSTRUCTING A DRAWING(2)10/19/2009

KASIAN GALLERY PLAN AT 1:1/4

STAIRS SECTION AT 1:1/4

FRONT SECTION AT 1:1/4


2009 - SARAH WILLIA

MS


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6-AUTOCAD10/25/2009

SECTIONS AT 1:1/4KASIAN GALLERY PLAN AT 1:1/4


2009 - SARAH WILLIA

MS


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7-PRECISE AGGREGATIONS10/28/2009

PRECISE AGGREGATIONS 1


Within each horizontal band, draw 2” long vertical lines with a horizontal spacing of 1”. Horizontally stagger each row by 1/2” so that there is a 1/2” offset between vertical lines in adjacent rows. Starting at the top row, assign a line weight of 4 to the 2” vertical lines. After every 2 rows moving in a downward direction, reduce the line weight by one half ” generating a decreasing lineweight sequence of 4-2-1-.5-.25-.125. Center Box: Within each horizontal band, draw 2” long vertical lines ” line weight 1pt. Starting at the top row, establish a horizontal spacing between lines of 1”. After every two rows moving in a downward direction, decrease the horizontal spacing by one half ” generating a decreasing horizontal frequency sequence of 1”-1/2”-1/4”-1/8”-1/16”-1/32”.Right Box: Within each horizontal band, draw vertical lines with a 1” horizontal spacing between each line segment”s base ” line weight 1pt. Each line should span from the lower boundary of the band to the upper boundary of the band. Starting at the top left corner, the base of this first line should form a 90 degree angle with the construction line that it anchors to. Each adjacent line segment must vary my an increment of 10 degrees from its prior iteration ” using the base of the line as its point of rotation. It is acceptable for lines to cross over one another within a given horizontal band. Play out this sequence until the entire right box is filled.

LefT Box: Within each horizontal band, draw 2” long vertical lines with a horizontal spacing of 1/2”. Horizontally stagger each row by 1/4” so that there is a 1/2” offset between vertical lines in adjacent rows. Starting at the top left, assign a line weight of 1 to the first 2” vertical line. Each adjacent line must either remain the same or increase or decrease by a single increment of line weight value. Your available line weights are as follows: 4-2-1-.5-.25-.125. Center Box: Within each horizontal band, draw 2” long vertical lines with a variable horizontal spacing ” line weight 1pt. The horizontal distance between two lines and the adjacent pair must maintain a 1/4” differential increment. For example, if two vertical lines form a horizontal spacing of 1/2”, the adjacent spacing must either be 1/4” or 3/4” in distance. 1/4” is the minimum spacing between vertical line segments. There is no upper bound for this value. You may begin at any point within any band. You may begin with a horizontal spacing of any value divisible by 1/4”. You must fill the entire box. Right Box:Using incremental line weights, variable horizontal spacing, and differential angles of incidence, create a set of rules for yourself and execute them within the entirety of the box. It is encouraged to deploy strategies of corresponding influence within this rule set ” for example, angles might correspond with line weight conditions, frequency might correlate with angles, etc.



2009 - SARAH WILLIA

MS


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8-DISPLACED AGGREGATIONS11/01/2009

THIRD ATTEMPT AT DISPLACED AGGREGATIONS...

Laying out a sheet in 3 partitions (as you did in the first 2 boards), place your final drawing from the last exercize in the left box. Label each line in the drawing with a specific nomenclature. Whatever nomenclature you use, each line in the left box must carry as its syntax the letter ”A”. Once all of the lines have been labeled, duplicate the drawing and place it in the right box. For the nomenclature in the right box, the syntax for each line must be changed from ”A” to ”B”. In the right box, move, shift, rotate and scale the lines in a manner that begins to organize the sheet into a habitable/circulateable diagram. You are not allowed to add or delete any lines. Lineweight too must also remain constant between each drawing. For example, if line 1A has a lineweight of .5, line 1B must also have a lineweight of .5. The rule in this reorganization is that you should manipulate these lines to accomodate a specific scale of habitation within this diagrammatic instancing of space. You are encouraged, but not required to achieve this by means of an iterative procedural application of rules. Be sure to keep track of each line”s nomenclature. Scale: 1” = 3”-0” Once you have completed one instance of this spatial reorganizion, you are to create a third drawing that is exactly the ”half-way” moment of transformation between the left and right boxes. This drawing is to inhabit the middle box on the sheet. In other words, in the center box, between every common pair of lines, you are to generate the precise half-way moment of its transformation between its ”A” and ”B” state. Lineweight is to remain constant between drawings.

Laying out a sheet in 3 partitions (as you did in the first 3 boards), place your final drawing from the last exercize in the left box. Label each line in the drawing with a specific nomenclature. Whatever nomenclature you use, each line in the left box must carry as its syntax the letter ”A”. Once all of the lines have been labeled, duplicate the drawing and place it in the right box. For the nomenclature in the right box, the syntax for each line must be changed from ”A” to ”B”. In the right box, move, shift, rotate and scale the lines in a manner that begins to organize the sheet into a habitable/circulateable diagram. You are not allowed to add or delete any lines. Lineweight too must also remain constant between each drawing. For example, if line 1A has a lineweight of .5, line 1B must also have a lineweight of .5. The rule in this reorganization is that you should manipulate these lines to accomodate a specific scale of habitation within this diagrammatic instancing of space. You are encouraged, but not required to achieve this by means of an iterative procedural application of rules. Be sure to keep track of each line”s nomenclature. Scale: 1” = 3”-0” Once you have completed one instance of this spatial reorganizion, you are to create a third drawing that is exactly the ”half-way” moment of transformation between the left and right boxes. This drawing is to inhabit the middle box on the sheet. In other words, in the center box, between every common pair of lines, you are to generate the precise half-way moment of its transformation between its ”A” and ”B” state. Lineweight is to remain constant between drawings.

SHEET 3 - HORIZONTAL SECTION

SHEET 4 - VERTICAL SECTION


2009 - SARAH WILLIA

MS


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9-AGGREGATE SURFACING11/09/2009

b1b2b3b4 b5

b6

b7b8b9

b10

b11

b12b13

b14

b16b17b18

b19b20b21b22

b23b24

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b35b36b37

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b40b41b4

2b43b4

4b4

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b50b51

b52b53b54

b55

b56b57b58b59b60b61b6

2b6

3b64

b65b6

6b67b68

b69b70b71b72b73

b74

b75b76b77b78b79

b80

b81b82

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b90b91

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b95b96b97b98

b99b100

b101b102

b103

b104

b105

b106

b107

b108

b109b110b111b112

b113b114b115b116b117

The last series of exercises has focused on the 2 dimensional manipulation of lines to create a set of variable ”field” condi-tions. These fields have been manipulated in order to translate a series of effects, generated through sets of transformational rules, into spatial conditions. Up until this point your representation of those transformations and the resultant ”spaces” has been two dimensional.Using Rhino you will further manipulate the lines from sheets 3 & 4 in the z and y axis respectively. (For example your ”plan” draw-ing [sheet 3] will be manipulated in the x axis, while the ”section” drawing from sheet 4 will be manipulated perpendicular to the viewing plane [the ”y” axis]). You will do this using only the move, loft and extrude commands. Instructions for Manipulation Move:Develop a procedure for moving lines perpendicular to the construction plane based on their line weights. For example the heaviest line weight might moved the farthest from the construction plane, while medium line weights are closer etc. Maximum distance should be 20 units from the construction plane. Loft/Extrude: Using the Loft and Extrude commands you are to create surfaces for your line aggregations. Your surfaces should relate to the spatial configurations you ”read” from the 2 dimensional drawings in assignments 3 & 4.Render: Assign all surfaces the same color and set your background color as either black or white. Render a frontal and side perspective of each set of surfaces at 400 x 800 pixels. (if you want to have lines show in your rendering either render edges or pipe your lines). Label and post the images to your blog by Noon on Monday November 9th.

SECTION

PLAN


2009 - SARAH WILLIA

MS


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10-DIGITAL FABRICATION11/23/2009

NEW RHINO MODELS

LASER FILE CONSTRUCTION FINAL MODEL

In this exercise you will make a model of your aggregate surfacing construct. The model will be produced using a production process based on 2D digital fabrication (laser cutting). Please be prepared to do some additional work to your Rhino model in order to use ”unroll surface” command in rhino. (By using this command the surfaces can be projected onto the base plane without distortion, after which you can cut them out and glue them together.)This exercise will have two parts: Part one ” you will work with the aggregate surfacing construct ” due on Nov 23 ” photos of the process of building the model to be posted on the blog by 12:00pm; model to be brought to the class. Part two ” you will work with the region of the aggregate surfacing con-struct ” due on Nov 30 ” photos of the process of building the model to be posted on the blog by 12:00pm; model to be brought to the class. A detailed discussion of the exercise will be conducted in the class using your constructs as examples. Preparing the construct for laser cutting involves translation of that surface and its geometry into a set of 2D components. To achieve this you will develop a geometric, tectonic, manufacturing and assembly logic for producing a final material construct. The process involves the following steps: 1. Geometric logic ” rationalize the surface i.e. devise an appropriate geometric description using developable planar elements (polygons, triangles, ruled surfaces). 2. Tectonic logic ” develop a strategy of tectonic translation (structure and skin), i.e. define which components will have the structural role in the assembly. 3. Manufacturing logic ” once the planar geometry of the components is determined, unfold them, lay them out in a ”nesting” drawing, and cut them using the laser cutter. Please make sure to photograph your cut sheets and post the photographs on the blog. 4. Assembly logic ” assemble the scale model. You should pay particular attention to assembly processes and techniques/procedures to be used (coding, sequencing, etc.). Please make sure to photograph this process and post the photographs on the blog.


2009 - SARAH WILLIA

MS


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11-DIGITAL FABRICATION(2)11/30/2009

EARLY ITERATION

FINAL RENDER RENDER DETAIL CONSTRUCTION

In your second iteration of the digital fabrication models, you are again working from the Dispaced Aggregation and Aggregate Surfacing Assignments and are free to revisit these in order to augment the final product. A few additional guidelines to adhere to: 1. Taking procedure of your drawing and making a model that takes that procedure + materiality into account. 2. The models should fill the 12”x6”x6” boundary conditions. It can be considered however, that the forms created may have a performance outside of this boundary condi-tion and extend into a (limitless?) field condition 3. The models should be omni-directional in nature and extend in all three axis, not just extruded in a single axis. There should not be any single ”base” for these models and they should exist as though in a state of zero gravity. 4. Every surface should contact adjacent surfaces on atleast three edges. This is to encourage a continuity of surface, dimensionality, and a ”modular” construction. 5. In addi-tion to this, try to use creasing and folding as a means to integrate structure with surfaces.a few things to consider: the models are not a direct translation of the drawings and should try to articulate the procedure and negotiation that occurs through the act of making. The experiences you have had making the previous models should be used to inform a reworking of your drawings and likewise with your digital models. There should be a dialogue between the 2d drawings, the digital models, and the physical models. Think about scale and how this affects the interpretation of your model as a field condition. Intention should be readable. include a 12”x6” printout of the reworked drawings. Anticipate that the models may be mounted on the wall and should also be solid enough to be held and manipulated. Its not a bad idea to document the fabrication process as well.

FINAL MODEL


2009 - SARAH WILLIA

MS


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SKETCHBOOK 1-THE SEARCHING LINE11/21/2009


2009 - SARAH WILLIA

MS


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SKETCHBOOK 2-TONE11/16/2009


2009 - SARAH WILLIA

MS


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SKETCHBOOK 3-MATERIALS11/30/2009


2009 - SARAH WILLIA

MS


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