P1.6 - Stamps

Project 1: Volumetric Models


School: University of Michigan

Class: UG1 (Architectural Design 1)

In the spirit of capturing light (and also testing out the laser cutters on campus), the previous volumetric model was disassembled and taken into digital space to produce a set of models that would better illustrate the concept of light capture. 

The initial step was to document each layer of the previous model by creating ink stamps which would then be traced digitally. The process brought to light many interesting aspects of layer construction such as the effect of staggering changes between layers and the possible outcome of composing layers from various pieces. The possibility of creating a negative of the intended model also presented itself and provided many intriguing moments of light capture, especially when photographed in conjunction to its counterpart. 

The light studies that followed used the dark material of the models to allow the removal of physical mass and focusing only on the aspect of light. The intangible volumes created by the light could then serve as studies on how the painting Grey Tree used degradations of color, texture, and light to create intangible volumes.

P1.5 - Capturing Light

Project 1: Volumetric Model

School: University of Michigan

Class: UG1 (Architectural Design 1)

Ink sections

Ink sections inverted

The Sections 

In order to determine how the volumetric model was to manifest itself, sections were taken of model 1 at even intervals in order to explore what kind of volumes could exists outside of it. In the image Ink sections above, the sections intersect the model where the darkest ink is found. The gradient of ink that then moves to the edges of the paper serves to solidify the possible volumes outside the model. The image Ink sections inverted allows for a reading of the sections that pushes for a different interpretation of the ink, thus freeing my construction from pre-conceived constraints. 

The Model

By using numerous layers of foam I was able to take the ink sections and the light studies from P1.4 to slowly create the voids proposed. The final result was a model that enveloped the intangible volumes within it through a shifting form that lacked a central or axial mass. 

The light studies that followed sought to document the way that light was captured by this mass.

P1.4 - Shadow Studies

Project 1: Shadow Studies 1

School: University of Michigan

Class: UG1 (Architectural Design 1)

Image A

Model 1

The use of shadow studies provided me with a platform upon which to find new information in the layered volumes of the wire models. By using the contrasts between light and shadow in the images I began to imagine the appearance of a mass that contained one of these models  at its core. 

For Example:

In image A I took model 1 and created this shadow. If the white is considered a solid and the black considered void, you can begin to imagine a mass that contains a flute of void within it.

To better illustrate the topic: to construct my next model I focused on bringing to life the yellow portions of this image.

Model 2

The shadow studies of this model allowed me to venture further into the components of the flute-like void. By looking at the openings suggested by the shadows and the section-like effect of the studies I was able to examine the interior space of this void.

The steps that followed the shadow studies consisted of putting into construction a model that would amalgamate the two voids encountered in the shadow studies. This model was to explore in negative what the wire models sought to expose, the capturing of volumes of light in the painting Gray Tree. The new model would attempt to capture light masses by creating voids within itself and displaying those through another set of shadow studies.

P1.3 - Gray Tree Explorational Models

Project 1: Process Models 2

School: University of Michigan

Class: UG1 (Architectural Design 1)

The Models were continued, now incorporating metallic wire mesh to provide the creation of volumes with differences in texture and transmission of light as perceived in their respective fragments of the painting Gray Tree. After being finished, the models were the subjects of a light study that began, through the use of shadows, to determine the massing for the future models. 




Model 1

Model 2

 

P1.2 - Gray Tree Explorational Models

Project 1: Process Models 1


School: University of Michigan

Class: UG1 (Architectural Design 1)

After visiting the painting Gray Tree by Piet Mondrian in an attempt to decipher a possible three dimensional iteration, I've arrived at the following models:

Model 2 Crop

Model 2

Model 2

Model 1 Crop

Model 1

Model 1

     Each explaining the concepts from the images as described on the post "Looking at Gray Tree…" The attempt looked at ways of peeling away layers from the painting and placing them in a composition that describes the possible volumes encountered between the limbs of the tree. As if investigating the volumes of light that appear when sunlight passes through fog  under the shadow of a tree, the models change depending on your point of view; rotationally revealing and concealing layered and volumetric conditions within them. Again, it's only the first iteration…

     In response to this exercise I've discovered that the painting Gray Tree can be seen to have a multilingual composition. The brush strokes, color, changes in texture, lines, and the artist's systems of interpretation provided me with possibilities to create spaces within the models that explored various light conditions and volumetric connections. The painting, within my own exploration, requires me to further develop the models in order to discover the volumes that exists in the perimeter of their respective images. By enclosing more volumes and discovering ways to accurately portray the textures created by the brushstrokes I will expand the scope of the models and move to their second iterations.