The intent of this model was for each cube to have the number of overhangs correspond to the number of scores in each module of skin. Therefore the structure would pierce through the skin, and literally tie into the structure.

For the base of the model, the question is asked, "How does the vertical meet the horizontal?" Due to my design being potentially top heavy, i extended the frame 4 modules below the surfaces, and brought down the overhangs to serve as anchors for the structure, creating unity in the structure both above and below.

Top view, each cubic module has a 90 degree overhang, which I used to tie in some of the structure.




Final structural model, we were to have translucent skin to show the relationship between both the structure(frame) and the skin(form). Although this model is an improvement from my 1st attempt I have still not fully grasp the unity between the two. More work to be done.

Sketches, renderings, drawings, and journal pages on the way.

5 iterations of moving the modules throughout the field.

First attempt at a structural model. The structure did not have any relationship to the skin, final structural model soon to come.

Final skin model. As you can see the open spaces and scoring have an inverse relationship which change as you move up or down the vertical field.

We were assigned a Vertical Field Project as our first study for our 3rd year in architecture. We were to create a vertical field, starting with a 2''x 2''x 10'' skin. This project was first only about skin, and modules. We were to make 5 iterations of different modular designs moving across the skin of the field, and were to assign a verb describing our skin. After, we created the framework incorporated with our skin.

Anyways, I really liked a quote in the book Delirious New York which was,

"Brute material has been robbed of its density and flung into the sky to challenge its loveliness."
With this in mind, I wanted my vertical field to appear very dense at the top, and light on the bottom.

I moved the skin around creating 4 cubes growing in size as elevation increased. I then cut and scored the skin of the structure accordingly, making the skin more solid and dense as it rose, and very open and translucent near the bottom.

Timber Frame, Studio Time

This was the design chosen for our in studio timber framing competition. I was in charge of the drawings for this design. I have done a plan view, and perspective, the first two being scanned in, and the last two, photoshoppped slightly. This should be the last post for my second year in studio. It has been a great year, and I have learned alot.

Timber Competition Board

I decided to draft my competition board for the timber frame project, trying to improve my drawing abilities. I wanted to show something that my model could not, so I did an exploded axonometric drawing, attempting to show how the pieces were put in place. I included a short narrative to explain what the project meant to me.

Timber Chaos

This is my timber frame roof for the studio design competition held this past week. My model is made of bass wood, sprayed all white. My intention for the this roof was to create something asymmetrical that represented chaos. I photo shopped these images last night and had some fun with a few. Hope you enjoy.

Anthropomorphism

This is one of our first projects of the year, but I am late documenting it, so I decided to post the photographs. The model is made of layers of sanded foam, then coated with mod podge, and sprayed with grey primer. I first drafted a line drawing of the figure, then pulled the lines off the paper to make the structure. I then morphed the lines into a object represent different parts of the human body.

One Times Square

For the past few weeks, our studio has split into groups for a class called The Art of Building. The assignment was to find buildings with signage and study their facades. Our group chose the One Times Square Building in New York City. We decided to create two models, one of the original 1905 building, then of the current 2010 building. The building has undergone some drastic changes over the last 100 years in which one could say the building has gotten progressively worse by replacing the beautiful stone work with sleek walls and slapping un-organized advertisements along the facade. At the same time however, one cannot deny the unique atmosphere Times Square gives off by being surrounded in a sea of signage.

Invisible City

This is my board design for our 2nd year competition. I had a very conceptual idea for this project but i thoroughly enjoyed the thought behind it. The competition brief was to create a plaza behind our studio in which students could practice high wire walking. In reading a book by Italo Calvino, called Invisible Cities, I began to wonder how I could create such a plaza. The short story which is on my board portrays my idea. I encourage you to read it.

Model of the Salz Platz

Here are a few pictures of the final model. I photographed in both a photo lab, as well as in natural light outside. The ground is made of a grid of chipboard covered by patched cork board. The siding for the house is made of strips of bass wood, the windows and doors have stained basswood behind them, with a sheet of plastic in between the frame of the window and the wood. The roof is stained corrugated cardboard, and the water is made of melted clear wax. For the cables on the bridge, I use metal wire sprayed with glue, them rolled in actual salt. The entire model was hand cut/made.

Drawings of the Salz Platz, Take 2

Here are the last two drawings I completed before I presented my final project this week. The first is an interior perspective, the second is a collage of sketches. Due to not being able to see the inside of my model, I felt the interior perspective was necessary to get you "into" the space. The collage of sketches just shows my thoughts and how I progressed throughout this project.

Drawings of the Salz Platz

For the past two weeks I have been working on technical drawings to represent my project. The Drawings shown here are perspective, plan, and section respectively. The smaller structure on the left is a place for storing the SaltMaker's tools, gear, and work clothes. The structure on the right is where he will reside. I put these on opposite sides of the ravine to seperate the workplace and the living place. There is a small pedestrian bridge linking the two that will go over a small dam that will collect seeping salt water running down the ravine. The cables connecting from the structures to the ground are made of a fine web of nylon fibers in an aluminum casing. This will cause a capillary action that will pull the salt out of the pool and it will collect on the cables. This is where the SaltMaker gets his supply of salt. A final model is soon to come.

Thoughts On The Salt Maker

In the process of designing a house for anyone, in this case the Saltmaker, I think it is important to make a study model. Once I had an idea of what the basic scheme or layout of the house was, I needed to see it in three dimensional form in order to see what worked, and what I needed to work on. I spent a few hours making this study model and it has greatly helped me visualize what needs to be done to improve my project.