Stage 04.05 example process

Below is an example of the 2d process used for the creation of the initial site plan shards which act as the context for the construct. Your process may differ, but don't go beyond the bounds of the studio processes previously used.

Due to the nature of the physical model, you should have an initial plan of the shards ready to go on Monday (along with your materials). However, since the model will facilitate easily exchangeable context components,we may make adjustments and tweaks on the fly while building the model.

Original Site Plan/Top View

Primary Diagrammatic Thrusts

Secondary Diagrammatic Thrusts

View In/Out Definition

Plaza/Building Buffer Definition

Primary Wall Cuts/Buffers

Primary Path Cuts

Secondary Wall Cuts

Secondary Path Cuts/Buffers

Final Diagrammatic Context Shards

Stage 03/04 final submission requirements

Here are the submission requirements for the final presentations. It is up to you to ask questions about the requirements prior to submission on Friday, December 4th, at 4:30 PM. No late work will be accepted, and all minimum requirements must be met in order to present on Monday, December 7th. Late work will receive a minimum of a 1 letter grade reduction if accepted.

All requirements displayed are minimums. It is up to you to determine the balance between quality and quantity necessary to present your project in the most thorough and positive light.

Do not hesitate to ask any questions on these, and remember to add money to your laser cutter and print accounts prior to leaving for the break. This will allow you to come back to things and begin cutting your bases immediately upon return.


Final Model (1) - Final models will be constructed at various scales from person to person, but should have a base no larger than 30"L x 16"W. Scales will range from 1/16"=1'-0" to 1/50"=1'-0". For some of you, it may be necessary to crop to a portion of the model in order to keep it a manageable size. The determining factor for the size of the model is based on the maximum size of the smallest laser cutter. A larger model could be considered, but is not necessarily recommended due to the time constraints.

The construct portion of the model can be built with basswood, chipboard, clear or frosted acrylic sheet, and various forms of metal. This portion of the model will not be painted and should be built to an exacting, highly articulated standard. Excess glue between pieces, and rough edges will not be considered acceptable.

The context elements, or "shards," would be best built of solid mdf pieces glued together and sanded smooth. These pieces of the model will be painted flat black.

The construct and surrounding "shards" will be supported in space with threaded rod as used in previous models. The placement of these rods and suspended elements should be determined prior to construction of the model and model base.

The model base will be constructed using 2 layers of 1/4" plexiglass held together by threaded rod and hex head screws. Between the two plexiglass pieces will be a print to be determined. This print will be either a list of operational terminology used during the course of the semester or an image collage printed on transparency as previously done in studio. Since this is the final week of studio, it is of the utmost importance that you get your materials and files submitted to the laser cutter in an expedited fashion. This is typically the heaviest week for laser cutter activity, and since this is what you will build your model on you need it as soon as possible.

Plan/Section Plates (2-4) - Each plate will include 1 final plans and 1 final section, and should include titles, section markers, and other required graphic symbols included within the examples. Prints will be made on high quality paper and should be spray-mounted on black gator board if the cost constraints permit. All drawings should maintain appropriate and consistent lineweights. Plates should be designed with crop marks, and be of a consistent size when trimmed down. If you complete at least 3 plates, the top plan on the first plate should be the site plan.

Elevation/Section Perspective Plates (1-3) - Four elevations from one of the components/space defined in stage 03 will be displayed as though they are "unfolded." Accompanying this will be a section perspective with people and a background of the chosen space. These drawings will be placed together on a board, and will act as a display for the individual spaces. All drawings should maintain appropriate and consistent lineweights. Prints will be made on high quality paper and should be spray-mounted on black gator board if the cost constraints permit. Plates should be designed with crop marks, and if possible, be of a size consistent with the other plates when trimmed down.

Evolution Matrix Plate (1) - This plate will act as a display showing the evolution of your project and its various components since the end of stage 02 and will act as a method for determining the breadth of progress/process during stage 03. It is required that you submit process for at least 2 of the spaces. Prints will be made on high quality paper and should be spray-mounted on black gator board if the cost constraints permit. All drawings should maintain appropriate and consistent lineweights. The plate should be designed with crop marks, and be of a size consistent with the other plates when trimmed down. The plate will include the following drawings (most of which should already be completed):

03.03 - initial 2 zone study (2 views)
03.05 - 2 zone isometric with paths introduced
03.06 - initial plate insertion
03.06 - intimate space identification
03.06 - intimate space intermediate operations
03.06 - intimate space final operation (2 views)
03.06 - social space identification
03.06 - social space intermediate operations
03.06 - social space final operation (2 views)
03.06 - linkage space identification
03.06 - linkage space intermediate operations
03.06 - linkage space final operation (2 views)
04.00 - final composite isometric study with context shards(2 views)
04.00 - final plate/path and stair/ramp isometric with circulation diagram interwoven

Stage 04.05

For the final siting of the project, you will go through a simple diagramming process which will yield opaque masses which will surround your construct.

Step 01 - Construct a line diagram of the construct. This should be a simple diagram that demonstrates the main thrusts and cuts evident within the construct.
Step 02 - Define the views looking into and out of the construct which you do not want impeded. These views will be treated as an empty zone around the construct.
Step 03 - Define open plaza areas. These do not need to extend far from the construct, and will allow for a buffer between the construct and its context.
Step 04 - Construct an opaque solid infilling the areas surrounding your construct which do not occur within the view and plaza zones defined in steps 01-03.
Step 05 - Cut away areas where the original line diagram and the new infill zone intersect. These cut zones will act as implied connections between the construct and surrounding masses. They will also act as streets and pathways, breaking up the infilled zone into smaller shards. Where extremely small shards are created, either connect it to an adjacent shard, or delete it to create more open space.
Step 06 - Cut and pierce the infilled solids where paths in and out of the diagram occur. This will physically connect the construct to the surrounding context
Step 07 - Adjust the height of the infilled pieces according to the height of your construct, its sectional qualities, and the views in and out of the construct. Tapering could be used in this step to yield views into and out of the construct, and also to generate implied connections to the construct.
Step 08 - Cut infilled pieces where implied patterning in the larger diagrammatic elements occurs. This process refers to the earlier iteration exercises.

The opaque masses/shards created will act as a surrounding context. These shards and your object will be built as floating elements over a plexiglass base for your final model.

Stage 04.04

Isometric Plate Diagram with dashed outlines of main forms from Final 2 Zone Isometric
Isometric Path/Circulation Diagram (basically plate adjusted)
Isometric Space Diagram

Stage 04.03

Complete four (4) elevations of your project. Imagine as though this elevation is taken 5' from the face of the building, and make a cut through your model at that point. Where paths or site geometry extend through this cut plane, treat them as a section cut.

Once you have cut the elevations from the model, make refinements as necessary in a 2d file, and export them to either Illustrator or InDesign. Olines of forms which are closer to the cut plane should be displayed using a medium line weight. Lines which represent cuts in a surface, or distant geometry should be represented with a lite line. Cuts through opaque solid areas/forms which are part of your adjusted zones should have a bold outline and be displayed using black fill set to 25% opacity. Cuts through opaque solid areas/forms which are part of unadjusted zones should be displayed using black fill set to 50% opacity. Open Space should be left white. Fill layers should be set below any line work which occurs.

Place the elevation number as described in previous assignments. These should be numbered in a clockwise fashion.
Submit the files to your archlab folder as horizontally oriented jpegs measuring 3200x2000 pixels, by 8:30 AM next class, and name them as follows:

DPP_04.03_EC01.01_plan cut.jpg
DPP_04.03_EC02.01_plan cut.jpg
DPP_04.03_EC03.01_plan cut.jpg
DPP_04.03_EC04.01_plan cut.jpg

Stage 04.01 & 04.02 continued

Continue to refine your plans and sections, making any corrections noted in class. Begin defining the placement of doors/openings and stairs/ramps within your plans and sections. Placement of these elements should work with and accentuate the diagrammatic nature of the construct and its sub elements. Adjustments and additions using these elements should be made between closed spaces within the construct, and between the construct and the site. Emphasis should be placed on maintaining the diagram evident within the plans/sections while providing for a natural connectivity

In addition to stairs and ramps, begin to add guard rails where there you overlook a drop off of more than two (2) feet. Guard rails would be displayed with a medium line due to their proximity to plan cuts.

Submit the files to your archlab folder as horizontally oriented jpegs measuring 3200x2000 pixels, by 8:30 AM next class, and name them as follows:

DPP_04.01_PC01.04_plan cut.jpg (numbers in orange represent plan level and may differ from person to person)
DPP_04.01_PC02.04_plan cut.jpg
DPP_04.01_PC03.02_plan cut.jpg
DPP_04.01_PC04.02_plan cut.jpg

DPP_04.02_SC01.04_section cut.jpg
DPP_04.02_SC02.04_section cut.jpg
DPP_04.02_SC03.02_section cut.jpg
DPP_04.02_SC04.02_section cut.jpg

In addition to refining the previously defined plans and sections, complete 1 more plan. Errors from previously defined plans should be worked out, and should not appear in the new plans and sections. This new plan should also be worked out to the level of detail in the above description.

Submit the new file in the previously defined format to the archlab folder by 8:30 AM next class, and name it as follows:

DPP_04.01_PC05.01_plan cut.jpg

Stage 04.01 & 04.02 continued

Continue to refine your plans and sections. Submit the updated files to the archlab folder by 8:30 AM next class, and name them as follows:

DPP_04.01_PC01.03_plan cut.jpg (numbers in orange represent plan level and may differ from person to person)
DPP_04.01_PC02.03_plan cut.jpg

DPP_04.02_SC01.03_section cut.jpg
DPP_04.02_SC02.03_section cut.jpg

In addition to refining the previously defined plans and sections, complete 2 more plans and 2 more sections. One (1) of the new plans should be from above the project looking down, and will act as a site plan once everything is in place. Errors from previously defined plans should be worked out, and should not appear in the new plans and sections.

Submit the new files in the previously defined format to the archlab folder by 8:30 AM next class, and name them as follows:

DPP_04.01_PC03.01_plan cut.jpg
DPP_04.01_PC04.01_plan cut.jpg

DPP_04.02_SC03.01_section cut.jpg
DPP_04.02_SC04.01_section cut.jpg

For next class, be sure to bring tracing paper, and all of your printouts on 11x17's (4 plans and 4 sections) so that we can each have quick and meaningful work sessions in small groups.

Stage 04.02 continued

Pick the 2 sections within your project which show the most variety within your compositions/constructs. These sections do not have to be in sequence to one another (though this may help you get started).

Once you have cut the sections, make refinements as necessary, and export them to either Illustrator or InDesign. Cuts through opaque solid areas/forms which are part of your adjusted zones should be displayed using black fill set to 25% opacity. Cuts through opaque solid areas/forms which are part of unadjusted zones should be displayed using black fill set to 50% opacity. Open Space should be left white. Fill layers should be set below any line work which occurs.

Exterior walls should be 12" thick, and interior walls should be 6" thick. If you have other thicknesses for walls which are developed out of plan conditions evident in the model, use those. Doors and stairs do not need to be placed.

Place the section number as shown in the previous example. The section number should be 1/4" from the bottom and left edges in Arial Bold at 50 pt font, with 1 pt black stroke and no fill.

Print 11x17's of your sections and have them ready for discussion at the beginning of class.

Files should be submitted to your archlab folder as horizontally oriented jpegs measuring 3200x2000 pixels, by 8:30 AM next class, and named as follows:

DPP_04.02_SC01.02_section cut.jpg
DPP_04.02_SC02.02_section cut.jpg

Stage 04.01 continued

As stated in class, we will continue the preliminary plans for 2 levels. Pick the 2 levels which are most representative of your project. These plans do not have to be in sequence to one another (though this may help you get started).

Once you have cut the plans, make refinements as necessary, and export them to either Illustrator or InDesign. Cuts through opaque solid areas/forms which are part of your adjusted zones should be displayed using black fill set to 25% opacity. Cuts through opaque solid areas/forms which are part of unadjusted zones should be displayed using black fill set to 50% opacity. Open Space should be left white. Fill layers should be set below any line work which occurs.

Exterior walls should be 12" thick, and interior walls should be 6" thick. If you have other thicknesses for walls which are developed out of plan conditions evident in the model, use those. You should be showing overhead lines in these plans, but doors and stairs do not need to be placed.

Place the level number as shown in the previous example. The level number should be 1/4" from the bottom and left edges in Arial Bold at 50 pt font, with 1 pt black stroke and no fill.

Print 11x17's of your plans and have them ready for discussion at the beginning of class.

Files should be submitted to your archlab folder as horizontally oriented jpegs measuring 3200x2000 pixels, by 8:30 AM next class, and named as follows:

DPP_04.01_PC01.02_plan cut.jpg (numbers in orange represent plan level and may differ from person to person)
DPP_04.01_PC02.02_plan cut.jpg (numbers in orange represent plan level and may differ from person to person)

Stage 03.06 example process

Here is the process I used for the development of the intimate space. All in all, there were about 25 steps, which could have been broken into smaller step. Once again, a lot of the steps look very minor when considered individually, but should produce a developed space/zone en mass. Do not be intimidated by this, and do not be afraid to use these steps to help further develop your spaces/compositions. Developing your formal vocabulary is crucial for the articulation of the spaces/compositions, and trying new steps in a new order is crucial.

A word of advice is that you clearly identify what you are trying to do prior to doing it, write it down, do a quick sketch diagram, then perform the operation/step. Once you have completed the step, determine if you have developed the space within the confines of the diagram from step to step. Remember this is about articulation, not complete transformation, but with that said, an immense amount of work will develop something which may not resemble the original composition. The key is to do so in minor step that accumulate over time. If you can perform this process of identifying deficiencies/potentials, diagramming them, and determine potential solutions, I truly believe that you can design anything.

This is also about identifications of sub-systems, and the development of those. When you perform operations, do so on the individual sub-systems so that each begins to develop its own materiality/tectonic. Think about wether the operation you are performing will help the sub-system stand out against the whole, even when it is viewed in "all white."

An extremely important operational strategy is to develop the systems/sub-systems so that they do not share coincidental faces. Slight shifts or extrusions in a single direction will help to develop depth in and around the object, accentuating the differences between the systems/sub-systems. Remember that a coincidental face/surface will often cause the objects/sub-systems to be percieved as being the same, or part of one another when viewed without materiality.

Intimate Space Identification
The intimate space is shown in context using 25% opacity black.

Intimate Space Isolation
Here the intimate space is simply identified using the 25% opacity black.

Extension
The intimate space is extended along its main access in order to differentiate itself from the surrounding context. The main access was chosen in order to maintain the diagrammatic clarity of the space/component. The resultant of the slight extension is that the space no longer shares a coincidental face with the linkage space allowing for it to be read as a different system.

Micro-Cuts
Here regulating lines from a similar component further away in the composition are used to divide the object, allowing for more possibilities within future steps. These also begin to break the objects scale down.

Surface Scarring
Another set of regulating lines from a non-related component are used to produce surface scars on the object, further breaking the object. The difference between this and the previous steps is that the micro-cuts are used as a complete cut through the object which has a specific width, where as the surface scarring has none. Another operation I could have performed would have been to use "deep surface scarring," which would produce surface scars that have a width, but do not extend all the way through the object's skin.

Carve
A carve is used to identify the object as being inserted. A floorplate was used to develop the placement of this carve.

Plane/Carve
Here I let the surface of the space appear as though it has been pulled away from the object. It could also be considered as a carve dividing the object into two discreet pieces.

Infill
Infill is used between the two discreet pieces to develop a transparency zone between the two solids. I purposefully move the faces of the transparency zone in so that it maintains itself as a zone separate from the solids. This allows for them to be read as different even without the introduction of transparency.

Sub-System Identification
The larger block is identified as the primary sub-system, and plane which has been broken off is now identifed as the secondary sub-system. The transparency zone simply acts as a filler between the two sub-systems.

Primary Sub-System Frame Extension
For this step, a frame is extruded from the primary sub-sytem, connecting it to a path further over in the composition. The frame is developed using a series of rules which govern the patterning/distribution of the frame members. The frame direction was chosen as an extension of the perceived movement of the sub-system through the full composition.

Primary Sub-System Slots
Floor plates are used once again to create slots in the primary sub-system. Because the frame is perceived as extending from this sub-system, it is modulated to appear as though it flows from the object in its current state.

Secondary Sub-System Extension
The secondary sub-system is extended along the length of the primary sub-system. The patterns evident in its original state are also extended through itself. The extension of the plane allows for greater intimacy of the space enclosed by the frame. This extension continues to accentuate the directionality of the perceived movement of the space through the composition.

Secondary Sub-System Reduction

For this step, I pulled back the faces of the secondary sub-system that were coincidental to the primary sub-system. This was done to further accentuate the differences between the two sub-systems, and to emphasize the dominance of the primary sub-system. Here is a view of the whole as well so you can begin to see it in context.

Frame Subtraction

The frame extending from the primary sub-system is subtracted where the path from the context overlaps. This allows for the clear reading of which system came first, and also lends to the appearnce that this particular sub-system attaches onto the existing path in an almost parasitic fashion.

Frame Modulation

The top of the frame is modulated in order to emphasize the top portion which extends over the pathway beyond.

Stage 04

For next class bring in four (4) 8.5"x11" color prints of your best/favorite digressions. These will be discussed and used to develop your site/context further in stage 04. Pick these based on there thematic or conceptual content. Pretty colors don't count.

Stage 04.01

Begin making preliminary plan cuts of your compositions. These are preliminary cuts in that they are a first pass which will be further developed as we progress. Each additional pass will see us refining not only the drawings, but the design/models as well.

For your plans, you should be cutting the model at what would be roughly 3'-0" to 4'-0" above the floor plates. Number these sequentially from the bottom up starting with 01. Keep in mind we may not do all the plans, just the ones with particular areas of interest. In my model I have 10 floors, but I may only be fleshing out 5 of them to fully explain the areas which have been finessed.

As stated in class today, we will start with the preliminary plans for 2 levels. Pick the 2 which have had the most work completed within the model. These plans do not have to be in sequence to one another (though this may help you get started).

Once you have cut the plans, make refinements as necessary, and export them to either Illustrator or InDesign. At this stage line weights and fills will be critical in how plans are viewed. Cuts through opaque solid areas/forms should be displayed using black fill set to 25% opacity. Cuts through transparencies areas/spaces should be displayed using 20% opacity blue (R=0, G=120, B=255). Fill layers should be set below any line work which occurs. Lineweights should be divided into 6 categories. I have shown my preliminary weight choices. These should be used at your own risk as they have not been print tested:

cut - used to outline cuts through a solid/wall (0.60 pt black)
medium - used to display items between the floor and plan cut (0.35 pt black, not shown)
lite - used to display items at floor level (0.25 pt black)
beyond - used to display item below floor level (0.25 pt 50% opacity black)
overhead - used to display items above plan cut (0.10 pt black 2 pt dash, 2 pt space, not shown)
glass - used to display cuts through a transparency (0.60 pt black)

Place the level number as shown in the example to follow. The level number should be 1/4" from the bottom and left edges in Arial Bold at 50 pt font, with 1 pt black stroke and no fill.

Files should be submitted to your archlab folder as horizontally oriented jpegs measuring 3200x2000 pixels, by 8:30 AM next class, and named as follows:

DPP_04.01_PC01.01_plan cut.jpg (numbers in orange represent plan level and may differ from person to person)
DPP_04.01_PC02.01_plan cut.jpg (numbers in orange represent plan level and may differ from person to person)

Stage 04.01 example

Here is an example of what your preliminary plan cut should look like. This is a basic cut of the model. This will be further defined through numerous stages.

Stage 04.02

For your preliminary sections, you should be cutting the models at the most interesting/articulated and formally/spatially diverse areas. Don't cut them because they are easy, cut them because they will best explain and display the work present. Number these sequentially starting with 01. Keep in mind we may not do all sections, just the ones with particular areas of interest.

As stated in class today, we will start with the 2 preliminary sections. Pick the 2 which have had the most work completed within the model. These sections do not have to be in sequence to one another (though this may help you get started). Once you have cut the plans, make refinements as necessary, and export them to either Illustrator or InDesign. Use the defined lineweights from above to develop consistency within your plans and sections.

Place a section number as shown in the example to follow. The section number should match the format shown in the plans.

Files should be submitted to your archlab folder as horizontally oriented jpegs measuring 3200x2000 pixels, by 8:30 AM next class, and named as follows:

DPP_04.02_SC01.01_section cut.jpg
DPP_04.02_SC02.01_section cut.jpg

Stage 03.06 continued

Continue operating on your defined space digitally as discussed in class.You should think about each step, and the ramifications they entail. Make the adjustments we talked about today, and continue until you think you have exhausted all options, or until you think it reads well; be critical about this. If you think you have finished and are on the right track, continue by operating on the other spaces.

In addition to this, perform the initial isolation step on your remaining two spaces. Once you have isolated the spaces, export a hidden line isometric for each into Illustrator or InDesign with the space identified using black fill set to 25% opacity. This fill layer should be set below any line work which occurs. Submit your file as a horizontally oriented jpeg measuring 3200x2000 pixels.

Next, perform a single operation on each space study, and export a hidden line isometric from each as shown previously. I suggest performing simple operations such as defining micro-cuts, sub-system identification, or possible materiality identification. Submit your files as a horizontally oriented jpegs measuring 3200x2000 pixels.

The files should be downloaded to your archlab folder by 8:30 AM Friday, and named as follows:

DPP_03.06_SS01.02_social space isolation.jpg
DPP_03.06_SS01.03_social space operation 01.jpg

DPP_03.06_SS02.13_linkage space operation 11.jpg
DPP_03.06_SS02.14_linkage space operation 12.jpg
DPP_03.06_SS02.15_linkage space operation 13.jpg
DPP_03.06_SS02.16_linkage space operation 14.jpg
DPP_03.06_SS02.17_linkage space operation 15.jpg
etc...

DPP_03.06_SS03.02_intimate space isolation.jpg
DPP_03.06_SS03.03_intimate space operation 01.jpg

Stage 03.06 continued

Take your defined space of choice and begin operating on it digitally as discussed in class. Remember we are looking for significant progress here, negative adjustments or those without net effect will be considered unacceptable. You should think about each step, and the ramifications they entail.

The first step in the process is to isolate your defined space; see the following example for the graphical illustration of this. Once you have isolated the space, export a hidden line isometric from your digital model into Illustrator or InDesign with the space identified using black fill set to 25% opacity. This fill layer should be set below any line work which occurs. Submit your file as a horizontally oriented jpeg measuring 3200x2000 pixels.

Next, begin operating on your space, and at each step, export a hidden line isometric from your digital model as shown in the examples to follow. You should complete a minimum of 5 operations that positively affect the space study. Minor operations used for identification purposes are encourage to clearly describe the process, but do not count toward the required 5 significant operations. Submit your files as a horizontally oriented jpegs measuring 3200x2000 pixels.

The files should be downloaded to your archlab folder by 8:30 AM Wednesday, and named as follows:

DPP_03.06_SS02.02_linkage space isolation.jpg
DPP_03.06_SS02.03_linkage space operation 01.jpg
DPP_03.06_SS02.04_linkage space operation 02.jpg
DPP_03.06_SS02.05_linkage space operation 03.jpg
DPP_03.06_SS02.06_linkage space operation 04.jpg
DPP_03.06_SS02.07_linkage space operation 05.jpg
DPP_03.06_SS02.08_linkage space operation 06.jpg
DPP_03.06_SS02.09_linkage space operation 07.jpg
DPP_03.06_SS02.10_linkage space operation 08.jpg
DPP_03.06_SS02.11_linkage space operation 09.jpg
DPP_03.06_SS02.12_linkage space operation 10.jpg
etc...

Stage 03.06 example process

Here is an example of the process of breaking down the linkage space. I am going to go through this in an excruciatingly step by step fashion in an effort to better explain everything I am working on. A lot of the steps I will complete will look/be very minor when considered individually, but should produce a developed space/zone en mass.

I will continue to post on this as I work through it.

Linkage Space Isolation
Here the linkage space is simply identified using the 25% opacity black. Though it is alone in space right now, we could begin to layer this and the subsequent drawings for the final presentations.


Transparent/Opaque Identification
For this operation, I completed an elevation diagram identifying solids which seemed to cap what could be transparent zones. This diagram worked with the already existing micro-cuts, as well as the surrounding forms not seen in this particular isolated view. Transparent zones are identified using 20% opacity blue green (R=0, G=120, B=255), and opaque zones are identified using 25% opacity black.


Sub System Identification
Here I am Identifying the opaque zones which seem to follow a different set of formal rules. I could see trying to develop each one with a particular tectonic/formal quality in order to clearly express how they operate differently within the whole composition. The first (and largest) sub-system is identified using the original 25% opacity black, the secondary is identified using 40% opacity black, and the tertiary is identified using 50% opacity black.


Sub-System Micro-Scarring
Micro-Scarring is used to break down the primary sub-system using the floor plates and other significant/opportunistic geometries as guides. This brings the scale of the objects down to a more human scale.

Phase Shift
In order to develop the rhythmic nature of the diagrammatic elevation, selective geometry is shifted from the primary sub-system to the transparent system, and back to the main composition. In making these decisions, I was looking at everything involved, not just the isolated pieces. In general, I am flipping between isolated, and un-isolated to develop the entirety.

Striation
The primary sub-system is further divided using a series of rules. This is done to further develop the sub-system's individual tectonic, and to emphasis the lengthy nature of the particular space/zone. Due to the number of dashed hidden lines created in this step, I had to give them all an opacity of 25% in order to maintain drawing readability.

Here is the linkage space back in it's context. It is beginning to develop its own particular tectonic nature within the whole.

Tertiary Shift
The tertiary sub-system is shifted outward from the skin to develop it as an object within the linkage space/zone. This was done to emphasize the fact that it was already being perceived as an object due to it's minor scale and detachment from main opaque sub-systems.

Aperture
The tertiary system is shelled to create an aperture for outward viewing, and the floor plates within the aperture are extended slightly outward. This is one of those times when a smaller object within the space/zone is becoming a sub-space. In the end, though we identify the linkage space originally as a whole space, it is becoming a series of spaces which comprise a linkage zone. In regards to this, we will have to be careful in how we explain each project's process.

Lateral Cuts

Here I break the scale of the transparent system using cuts across the objects laterally. These cuts are based on floor plate locations.

Sub-System Micro-Scarring

Micro-Scarring is used to break down the secondary sub-system using pre-existing guides. This breaks up the onject allowing for future operaopbility scale.

Sub-System Subtraction

For this step, I subtracted from the secondary sub-system wherever floor plates passed through.

Stage 03.06 continued

With your spaces identified, begin to dissect them individually. Perform operations previously completed in studio, and as described in class today. Remember to be careful in doing this; we are coming up on the end of the semester, and we do not want to add more objects, as much as we want to break up the scale of the current objects. Use rules to develop the objects, and write them down. You should use these to explain your process when we are next in class. You will be asked to show this sequence much like in stage 02, so you will also need to save a progression of files showing the various steps taken.

This is an exercise in human scale, formal clarity, and issues of effect (variable levels of transparency and translucency). It is also an exercise in identifying and developing pattern, and knowing when/how to identify or accentuate a break or end in the patterns developed.

When you are operating on the spaces, think about what it would be like to be within them, and the original intent of the space.

For next class, you need to have made these developmental adjustments to one (1) of your previously defined spaces. This needs to be completed in both study and digital model formats, and each should include developed floor plates for that particular area.

Stage 03.06 continued

Take your diagrammatic composition, and begin adding generic floor plates. These floor plates should be spaced vertically in general scale with your compositional elements, and should work with the existing paths and formal elements. The easiest way to complete this exercise is to draw the initial generic plates in plan and then copy them up and down in an elevation view. Once you have them all in place, go in and make adjustments so that they fall within your formal elements.

Once you have defined all of your generic plates, export a hidden line isometric from your digital model into Illustrator or InDesign with each full plate identified using black fill set to 25% opacity. This fill layer should be set below any line work which occurs. See the example to follow prior to submission. Submit your file as a horizontally oriented jpeg measuring 3200x2000 pixels.

Next, go in and make adjustments to your generic plates in an effort keep your diagrammatic composition reading as clearly as possible. Complete a hidden line isometric as stated above. See the example to follow prior to submission. Submit your file as a horizontally oriented jpeg measuring 3200x2000 pixels.

The files should be downloaded to your archlab folder by 8:30 AM Monday, and named as follows:

DPP_03.06_PI01.01_generic plate insertion.jpg
DPP_03.06_PI01.02_generic plate adjustments.jpg

Stage 03.06 example

Here is an example progression of floorplate insertion, and the subsequent adjustments. You will have to compare this with the previous images to make better sense of what I am trying to accomplish.

Generic Plate Insertion
For this, I simply drew plates in plan, and placed them in elevation/section according to where paths passed through the diagrammatic forms. Then I looked at the pattern being developed by this in order to add additional plates.


Generic Plate Adjustments
Most of the adjustments made along the main bar where completed in order to accentuate the carves along the edges. Other adjustments where made to begin developing spaces according to their implied or defined use. These plates will probably be revisted as adjustments are made to the defined linkage, social, and intimate spaces. Plate adjustments within the social space were made to develop a tiered system of overlapping and overlooking spaces, while allowing for paths to maintain their individual readings. This area in particular will require more work to make it read clearly, and it is quite obvious it looks nothing like the original plates at this point (which may or may not be beneficial).