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ACADEMIC DESIGN PORTFOLIO
AMANDA CLAYPASADENA CITY COLLEGESPRING 2009 - SPRING 2011
Morning 8am Noon 12pm After Noon 4pm
Winter (Jan 1)
Spring(April 1)
Summer(July 1)
Fall(Oct 1)
5 11
SPRING 201120B 20A
FALL 2010
21 33
10B14 12B
FALL 2009SPRING 2010
39 45 49 53
RESEARCH FOR MEDIA/JOURNALISM SCHOOL PROJECT
PASADENA CITY COLLEGEARCH 20BSPRING 2011PROFESSOR COLEMAN GRIFFITHSTUDENT AMANDA CLAYMEDIA GROUP PROJECT: CHADI, MIKE ANDERSON, ISREAL, GEVOSITE ANALYSIS GROUP PROJECT:
5Morning 8am Noon 12pm After Noon 4pm
Winter (Jan 1)
Spring(April 1)
Summer(July 1)
Fall(Oct 1)
DEMOGRAPHICSGENDER
AGE
18-24
25-34
35-44
45+
EDUCATION
LESS THAN HIGH SCHOOL
HIGH SCHOOL/COLLEGE
BACHELOR DEGREE
MASTERS/PH.D
HOUSE HOLD INCOME
$0-$49,000
$50,000-$100,000
$100,000 +
THE DAILY NY TIMES AL JAZEERA TUMBLER
5% 5% 5% 5% 5%
MALE
FEMALE
NATIONAL PUBLIC RADIO
65.5%
48.3%
92%
67%
54%
34.5%
51.6%
8%
34%
46%
11%
30.5%
26.5%
16%
13%
19.7%
56.3%
44.2%
24%
37%
28.1%
5%
21.4%
28%
24%
41%
8.2%
7.8%
33%
19%
4.3%
N/A
3.4%
N/A
13%
4.3%
54%
29.7%
N/A
32%
38.8%
26.5%
46.4%
N/A
32%
29.3%
8.8%
18.8%
N/A
34%
22.3%
38%
80.7%
N/A
20%
33.2%
24.5%
44.2%
N/A
53%
44.3%
37.5%
21.4%
N/A
43%
Project descriPtion: ReseaRch the connec-tions between old media and new media and how they woRk to deliveR news to the public. reasarch how different forms of media are used on our building site.
Project concePt: work with a small grouP to come uP with anylitical data on the media on site and how old and new media sources comPare.then in a larger grouP, including students from 10b as well as 20a/b reasearch the site and how different asPects of the site would affect media and Public demonstrations
Information Process
EDITOR FLASH
EDITOR AND CHIEF
NEWS EDITORS
OPINION EDITORS
FEATURES EDITORS
PRINTERS
ONLINE
IPAD
EDITOR AND CHIEF
GAMES/APPS EDITOR
NEWS EDITOR
SPORTS EDITOROPINIONS EDITOR
LIFESTYLE/CULTURE
EDITORIALS
NEWSROOM
JOURNALIST - THE DAILY
JOURNALIST - AP
JOURNALIST - AL JAZEERA
GAMESINTERACTIVE DIAGRAMSVIDEOTEXT
EDITOR AND CHIEF
PRODUCER
PROGRAM EDITORS
SPECIALIST
SPORTS EDITOR
NEWS EDITORS
OPINION EDITORS
PRODUCTION/FILMING
JOURNALISTS
Eye Witness
Event
News Source
Blog
Source
Primary Filter
Secondary Filter
Medium
Response
INTERNET
TV
ONLINE
DISTRIBUTION
COMMENT
SOCIAL NETWORKING
BLOGGING
COMMENT
SOCIAL NETWORKING
BLOGGING
COMMENT
SOCIAL NETWORKING
BLOGGING
CALL IN
SOLD TO OTHER NETWORKS
Opinion Based Direct Source Twitter
FollowersComments from
blog
Others commentblog
Blogs / Comment on what they
read
1970 npr is founded it took over the the nationeducation radionetork.
1971coverage of us senate hearings on vietnam war.
1971 first news program on the network. broadcastedlive, worldwide
1973 Hearts of Space music is debuted
1975 new show features interviews in the entertainmentfield.
1983 efforts to expand created a 7million dollar deficitcpb lend them money to get back on feet.
1991 Talk of the Nation a talk radio program
1999 JusticeTalking a weekly radio show, tackles the law and public policy
2002 NPR made some changes to appeal to younger listeners and to minority groups
2002 NPRWest opened in Culver City, Ca. to improve its coverage of the western United States
In 2003, some critics accused NPR of being supportive of the invasion of Iraq
2003 npr given 225 million -largest monetary gift ever to a cultural institution
2005 NPR has brief statements from major donors rather than commercials
2007 actors read classic and new short fiction before a live audience.
THE DAILY
NY TIMES
AL JAZEERA
TUMBLR
NPR
Media Companies History Timeline
Timeline SINGLE YEAR INCREMENTS
1850100,000
100,0
00 incre
men
ts1,0
00,0
00 incre
men
ts O
F S
UB
SC
RIB
ER
S/V
IEW
ER
S/L
ISTE
NER
S
200,000300,000400,000500,000600,000700,000800,000900,000
1,000,000 1,000,0001,100,0001,200,000
10,000,000
20,000,000
30,000,000
40,000,000
50,000,000
60,000,000
70,000,000
80,000,000
90,000,000
100,000,000
1860
-1851Founded by Jour -
nalist and Republican
politition Henry Jarvis
Raymond and former
banker George Jones
-1861 began publish -
ing 7 days a week
instead of 6 days a
week as a response
for desire for news about the Civil War.
-1870-1871 NY Times
also prints articles in a german language suplement to reach out to New Yorks 25% German Population
-1880 transition from
paper supporting only
republican canditates to being politically independant
-1912 Recogni-tion from Wood-row Wilson wins the Democratic presidential nomination
-1918 Times wins
its first Pulitzer
Prize
1946-1967
International edition
-1994 First web presence,
-1996 The Times on the Web www.nytimes.com goes online
in 1999 the Algerian government reportedly cut power to several major cities to censor
one broadcast
1999 was Aljazeera's first day of 24-hour broadcast
2001
launched
a free web site
available in United Kingdom for the first time
-2001aired video from osama bin laden
and talaban
1998 Aljazeera was also becoming a favorite sound
-
ing board for militant groups such as Hamas and Chechen separatists.
-1996 Aljazeera satellite channel
launched
-2005 TimesSelect a
premium online offering from the New York
Times, is launched.
2002 the network remained dependent on govern-ment sup-
port
2002
Bahrain
banned from reporting inside
because of bias
-2006 nytimes.com redesign is launched with
improved features
2006 Aljazeera launched an English language channel,
-2007 Mul-tiple new online sites
-2007 Started with 75,000 bloggers
1967 Joined owners of New York Herald Tribune and Washington Post to publish Intrnational Herald Tribune, located in
Paris.
-1896 Adolph S. Ochs,
publisher of The Chattanooga Times, acquires controlling ownership of The Times -Slogan All the News Thats Fit to Print first appears
-1886 Scandalin the grantadministration cause publisher to move times away from republican party
1870 1880 1890 1900 1910 1920 1930 1940 1950 1960 1970 1980 1990 2000 2001 2002 200520042003 2006 2007 2008 2009 2010 2011
-2008 iphone and itouch apps for NY times
readers
-2009 began production
of local inserts in regeons
outside of New York
area.
-2010 app for Android
smart phones
-2010 the scale jumped drastically to approx1/4 billion impressions each week
2011 egyptian protests government ordered tv to close its offices
-2011cameraman was killed while cover-ing lybian uprising
-2011
-2011
the last 6 months became an interntional growth,
released to the ipod/ i phone/ black berry
2011 The Daily launched on February 2
TEN YEAR INCREMENTS
ONE YEAR INCREMENTSTEN YEAR INCREMENTS
f
f
ff
Sawtelle
Mid-Wilshire
Hospitals Police
Religious Sites
Churches
Synagogues/Temples
Emergency Services
Cell Phone Stores
Fire Dept.
Communications
Dead Zones
Greenspace
Consulates/Embassies
Land Zoning Commericial Residential
Cities
pd
pd
pd
pd
pd
pd pdpd
pd
pd
westlake
52,041
68,716
23 schools
pd
$
128,654
30,27743 schools
3 policejuristicion93% rent7% own
$
35%rent 64% own
pd
$
33.829
96,31233 schools
1 policejuristicion57% rent43% own
pd
$48,34395,13517 schools1 policejurisdiction40% rent60% own
pd
$
47,16758,346
39 schools2 police jurisdictions78% rent22% own
pd
$33,343112,20526 schools2 policejurisdiction48% rent52% own
pd
$
84,34369,20547 schools2 policejurisdiction70% rent30% own
pd
$
209.829
15,31271 schools
4 policejuristicion93% rent7% own
pd
$
71,265
47,40625 schools1policejuristicion31% rent69% own
pd
$
124,281
30,55853 schools3 policejuristicion93% rent7% own
pd
$
12,654
85,27733 schools
2 policejuristicion53% rent48% own
pd
$
117,759
27,43257 schools
3 policejuristicion95% rent5% own
pd
$38,70057,71031 schools2 policejurisdiction80% rent20% own
Santa Monica
Westwood
Beverly Hills
Century City
Brentwood west mid-wilshire
Los Angeles
Pacific Ocean
Korean Town
Hancock Park
mid-city
pd
1 policejuristicion
pd
pd
pd
INTERSTATE 405 CROSSESOVER WILSHIRE BLVD
FEDERAL OFFICE BUILDINGIS BUILT ACROSS THE VETERANSCEMETERY.
PRESENTTODAY PROTEST ARE BEING HELD INFRONT OF THE FEDERALBUILDING, IN HOPE THAT THEIRVOICE AND OPINION BE HEARDTO THE ENTIRE NATION, AND THEN GLOBALLY
1969THE FEDERAL BUILDING WAS BUILT ACROSSFROM THE VETERAN CEMETERY. IT CONTAINS 19 FLOOR LEVELS, AND CONTROLS THE SOCIAL SECURITY ADMINISTRATION, THE VA, MOST OF THE VARIOUS VETERANS ORGANIZATIONS, AND THE IRS.
SITE EVOLUTION
WILSHIRE BLVD.FIRST BUILDINGS BEGIN TO APPEAR
1964THE INTERSATE 405 WAS DEVELOPED AND HASBECAME A MAJOR NORTH-SOUTH HIGHWAY IN SOUTHERN CALIFORNIA. THIS HIGHWAY HAS A PROMONATE CONNECTION TO WESTOWOOD, ANDTHE FEDERAL BUILDING.
1940SBY THE 1940S, SKYSCRAPERS WEREESTABLISHE FROM EAST TO WEST ALONGWILSHIRE BOULEVARD. THE EXPANSIONOF THE BUILDINGS WAS STOPPED DUETO THE CONSTRUCTION OF A NEW PATH.
1920SWILSHIRE BLVD HAD JUST BEEN EXTENDEDFROM EASTERN LOS ANGELES TO THE WESTCOAST. RESIDENTIAL AREAS WITH VERY FEWHOUSES WHERE SEEN THROUGHOUT THE BOULEVARD.
PRESENT DAY SITE
Morning 8am Noon 12pm After Noon 4pm
Winter (Jan 1)
Spring(April 1)
Summer(July 1)
Fall(Oct 1)
Morning 8am Noon 12pm After Noon 4pm
Winter (Jan 1)
Spring(April 1)
Summer(July 1)
Fall(Oct 1)
Figure Ground of City around Site
Wilshire Corridor Diagrams
Free Wifi
Paid WiFi
MASTER PLAN 405 FREEWAY MAIN STREETS (WILSHIRE BLVD/WESTOOD BLVD ) PURPLE SUBWAY LINE CULVER CITY BUS LINE BIG BLUE BUS LINE
405 FREEWAY LA CITY 14,170,000 DRIVERS 16,032,000 POPULATION 3.1 VEHICLES PER HOUSEHOLD 288,000 VEHICLES A DAY
MAIN STREETS (WILSHIRE BLVD/WESTOOD BLVD ) LA CITY 14,170,000 DRIVERS 16,032,000 POPULATION 3.1 VEHICLES PER HOUSEHOLD
AROUND 80,000 VEHICLES PASS THROUGH WILSHIRE BLVD
PURPLE SUBWAY LINE BEGAN 1990 79 MILES SYSTEM LENGTH 5 LINES RED AND PURPLE LINES COMBINED AVERAGE WEEKDAY RIDERSHIP 148,214 (ABOUT 54,098,110 YEARLY) TOTAL METRO RIDERSHIP 308,678 DAILY (ABOUT 112,667,470 ANNUALLY)
EXTENSION 2019: open to Fairfax; 2026: open to Century City; 2036: open to Westwood/VA.
CULVER CITY BUS LINE BEGAN 1928 7 ROUTES FLEET 52 25 SQ MILES COVERED DAILY RIDERSHIP ABOUT 16,438 (6,000,000 ANNUALLY)
BIG BLUE BUS LINE BEGAN 1928 18 ROUTES FLEET 240 DAILY RIDERSHIP 56,283 (ABOUT 20,543,295 ANNUALLY) LINES LINE 1 LINE 2 LINE 4 LINE 3 LINE 8 LINE 12
BUS STOPS HERE ON WEEKDAYS ONLY
FROM 7 AM - 10 PM
BUS STOPS HERE ON WEEKDAYS FROM 10 PM - 7 AM AND ON WEEKENDS 6AM -
12AM
Hour of day
Number of buses per hour
Each slot equals one bus
1
Purple Line MetroWestern and Wilshire Stations
Purple Line MetroWestern and Wilshire Stations
Big Blue Bus Santa MonicaWilshire and Bonsall Station
Big Blue Bus Santa MonicaWilshire and Bonsall Station
Culver City Bus Culver City Bus
Red and Purple Metro line stationWilshire/ Vermont
Red and Purple Metro line stationWilshire/ Vermont
MONDAY - FRIDAY WEEKENDS AND HOLIDAY
131415
1617
18
1920
2122
23 24 1 23
45
67
89
101112
131415
1617
18
1920
2122
23 24 1 23
45
67
89
101112
131415
1617
18
1920
2122
23 24 1 23
45
67
89
1011121314
1516
1718
1920
2122
23 24 1 23
45
67
89
101112
131415
1617
18
1920
2122
23 24 1 23
45
67
89
1011121314
1516
1718
1920
2122
23 24 1 23
45
67
89
101112
131415
1617
18
1920
2122
23 24 1 23
45
67
89
101112 1314
1516
1718
1920
2122
23 24 1 23
45
67
89
101112
131415
1617
18
1920
2122
23 24 1 23
45
67
89
101112
131415
1617
18
1920
2122
23 24 1 23
45
67
89
101112
Public Transportation System Diagrams Frequency of buses per hour at individual stops
JOURNALISM SCHOOL
PASADENA CITY COLLEGEARCH 20BSPRING 2011PROFESSOR COLEMAN GRIFFITHSTUDENT AMANDA CLAY
11
Project descriPtion: create a journal-ism school building with a working newsroom and media Publication asPect. building must also have a wikileaks information droP off location .
Project concePt: create an interaction between new media and old media tyPes of Publica-tion and ways of delivering news. building should relate to Protest square across the street and the Protest marches which will pass by the build-ing.
Direct relationship Action
ReactionIndirect relationship
Sear
ch
Wish
list
New User Personal Database
Sugests similar items
Previous search data continues
Shows statistics of other user purchases
Highest recommendation
level for wishlist
Purc
hase
Medium recommendation
because of purchase
Item DatabaseAll Stored Search and Purchase History
to pull from item database
Previous search data continues
to pull from item database
Amazon Recommendation System
Amanda Clay Arch 20B
Dynamic output = static Static output = dynamicIndirect relationship becomes direct relationshipDynamic action does not change as it reaches static. Static cant act without dynamic action rst. Static reaction changes states as it reaches dynamic.
Concepts:Direct/Indirect relationshipsAction/ReactionHierarchyDynamic/Static
10BSite Path
20B Site
20A Site
Federal Building
Wilshire BlvdMain Axis
Secondary Axes
Connections On Site
vertical circulation
rst oor
second oor
third oor
fourth oor
VERTICAL CIRCULATION WITHIN BUILDING
AMANDA CLAY ARCH 20B
INTERIOR VOIDATRIUM VOID
VOIDS WITIN BUILDING
AMANDA CLAY ARCH 20B
SCHOOL NEWSROOMWIKI LINKS FACILITIESLIBRARYVERTICAL CIRCULATION
AMANDA CLAY ARCH 20B
PROGRAM TO CIRCULATION
RELATION TO FEDERAL BUILDING
VIEW TO FEDERAL BUILDING FROM NEWSROOMNORMAL FOOTPRINT CONDITION
SCHOOLWIKI LINKSNEWSROOM
SYSTEM DIAGRAM
PROGRAM
STATIC TRANSITION DYNAMIC
SCHOOLWIKI LINKSNEWSROOM
SYSTEM DIAGRAM
PROGRAM
STATIC TRANSITION DYNAMIC
ELEVATION FROM GAYLEY AVESCALE 1/8 = 10
ELEVATION FROM LINDBROOK DRSCALE 1/8 = 10
AMANDA CLAY ARCH 20B
first floor Plan
elevation from galey ave
NEWSROOM PRODUCTION
NTHIRD FLOOR PLAN SCALE 1/8 = 10
CLASSROOM/ MEETING ROOMCLASSROOM/ MEETING ROOM
LAB
BA
BA
CC
MECHANICALSTORAGE
NFIRST FLOOR PLAN SCALE 1/8 = 10
AMANDA CLAY ARCH 20B
DIGITAL NEWS HUB AND WIKI LINKS PICK UP / DROP OFF
LIBRARY
STORAGE AND DELIVERY
MECHANICALSTORAGE
SERVER STORAGE
LARGE LECTURE HALL
BA
BA
CC
OFFICE
OFFICE
OFFICE
OFFICE
OFFICE
OFFICE
OFFICE
MEETING ROOM
CLASSROOM
MEDIA VIEWING LEVEL/ ROOFTOP GARDEN/ STUDENT LOUNGE
NFOURTH FLOOR PLAN SCALE 1/8 = 10
BA
BA
CC
MECHANICALSTORAGE
LARGE LECTURE HALL BALCONY
CLASSROOM/ SMALL LECTURE ROOM
NEWSROOM
TV STATION
NSECOND FLOOR PLAN SCALE 1/8 = 10
BA
BA
CC
MECHANICALSTORAGE
LONG SECTION C-CSCALE 1/8 = 10
AMANDA CLAY ARCH 20B
long section c-c
SHORT SECTION B-BSCALE 1/8 = 10
AMANDA CLAY ARCH 20B
second floor Plan
short section b-b
NEWSROOM PRODUCTION
NTHIRD FLOOR PLAN SCALE 1/8 = 10
CLASSROOM/ MEETING ROOMCLASSROOM/ MEETING ROOM
LAB
BA
BA
CC
MECHANICALSTORAGE
NFIRST FLOOR PLAN SCALE 1/8 = 10
AMANDA CLAY ARCH 20B
DIGITAL NEWS HUB AND WIKI LINKS PICK UP / DROP OFF
LIBRARY
STORAGE AND DELIVERY
MECHANICALSTORAGE
SERVER STORAGE
LARGE LECTURE HALL
BA
BA
CC
OFFICE
OFFICE
OFFICE
OFFICE
OFFICE
OFFICE
OFFICE
MEETING ROOM
CLASSROOM
MEDIA VIEWING LEVEL/ ROOFTOP GARDEN/ STUDENT LOUNGE
NFOURTH FLOOR PLAN SCALE 1/8 = 10
BA
BA
CC
MECHANICALSTORAGE
LARGE LECTURE HALL BALCONY
CLASSROOM/ SMALL LECTURE ROOM
NEWSROOM
TV STATION
NSECOND FLOOR PLAN SCALE 1/8 = 10
BA
BA
CC
MECHANICALSTORAGE
third floor Plan
SHORT SECTION A-ASCALE 1/8 = 10 AMANDA CLAY ARCH 20B
short section a-a
NEWSROOM PRODUCTION
NTHIRD FLOOR PLAN SCALE 1/8 = 10
CLASSROOM/ MEETING ROOMCLASSROOM/ MEETING ROOM
LAB
BA
BA
CC
MECHANICALSTORAGE
NFIRST FLOOR PLAN SCALE 1/8 = 10
AMANDA CLAY ARCH 20B
DIGITAL NEWS HUB AND WIKI LINKS PICK UP / DROP OFF
LIBRARY
STORAGE AND DELIVERY
MECHANICALSTORAGE
SERVER STORAGE
LARGE LECTURE HALL
BA
BA
CC
OFFICE
OFFICE
OFFICE
OFFICE
OFFICE
OFFICE
OFFICE
MEETING ROOM
CLASSROOM
MEDIA VIEWING LEVEL/ ROOFTOP GARDEN/ STUDENT LOUNGE
NFOURTH FLOOR PLAN SCALE 1/8 = 10
BA
BA
CC
MECHANICALSTORAGE
LARGE LECTURE HALL BALCONY
CLASSROOM/ SMALL LECTURE ROOM
NEWSROOM
TV STATION
NSECOND FLOOR PLAN SCALE 1/8 = 10
BA
BA
CC
MECHANICALSTORAGE
ELEVATION FROM GAYLEY AVESCALE 1/8 = 10
ELEVATION FROM LINDBROOK DRSCALE 1/8 = 10
AMANDA CLAY ARCH 20B
elevation from lindbrook dr
fourth floor Plan
NEWSROOM PRODUCTION
NTHIRD FLOOR PLAN SCALE 1/8 = 10
CLASSROOM/ MEETING ROOMCLASSROOM/ MEETING ROOM
LAB
BA
BA
CC
MECHANICALSTORAGE
NFIRST FLOOR PLAN SCALE 1/8 = 10
AMANDA CLAY ARCH 20B
DIGITAL NEWS HUB AND WIKI LINKS PICK UP / DROP OFF
LIBRARY
STORAGE AND DELIVERY
MECHANICALSTORAGE
SERVER STORAGE
LARGE LECTURE HALL
BA
BA
CC
OFFICE
OFFICE
OFFICE
OFFICE
OFFICE
OFFICE
OFFICE
MEETING ROOM
CLASSROOM
MEDIA VIEWING LEVEL/ ROOFTOP GARDEN/ STUDENT LOUNGE
NFOURTH FLOOR PLAN SCALE 1/8 = 10
BA
BA
CC
MECHANICALSTORAGE
LARGE LECTURE HALL BALCONY
CLASSROOM/ SMALL LECTURE ROOM
NEWSROOM
TV STATION
NSECOND FLOOR PLAN SCALE 1/8 = 10
BA
BA
CC
MECHANICALSTORAGE
Bunker Hill Music ParkPASADENA CITY COLLEGEARCH 20AFALL 2010PROFESSOR COLEMAN GRIFFITHSTUDENT AMANDA CLAY
21
Mouthpiece study: spacial sequence and poche areas
Existing mouthpiece Spacial Sequence ExteriorSection showing poche Spacial Sequence Interior Spacial Sequences Combined
Support Systems/ User Imput
Functional Systems
Long sections
Short Serial Sections
Breath Input
Handholds
Rubber Stopper
Spit Valve Release
Slide Movement
Trigger Attachment
Transformation Diagram from the Trombone: Horizontal to Vertical Orientation
Plan Section
Axon
Plan
Axon
Sections
A B C D E F G H I J K
A B C D E F G H I J K
RULE SETS
-Horizontal to vertical then expand -Pressure = Circulation
-Harmonic vs. Dissonance / Pleasing vs. Displeasing
-User imput creates ow/ Without user there is no Performance-Direct circulation dened by changing Poche
-Change in length changes tone/ Change in volume changes experience
Breath Input
Handholds
Rubber Stopper
Spit Valve Release
Slide Movement
Trigger Attachment
Octave wave patterns in relation to each other.
Wave patterns for Dissonant notes
REPETITION of pattern
Pleasing
Displeasing
RANDOM movement
Plan Section Axon
Sound wave and Pressure Diagram
Displacement
Elongation
Pressure
Pressure build up
Pressure release
The TromboneTrombone Transformation
Trombone Transformation
AMANDA CLAY ARCH 20A
COMPRESSION IS CREATED BY:
CIRCUITOUS ROUTE
OVERHANGS
IN TROMBONEON SITE DEFINATE BEGINNING AND END
INTERSECTIONS CHANGE IN DIRECTION
COMPRESSIONCOMPRESSION
DECOMPRESSION
SINGLE PATH THAT SHORTENS OR ELONGATES CREATING PRESSUREPATHS CREATE THE CIRCUTIOUS ROUTEMULTIPLE PATHS OF VARYING LENGHTHS CREATE LONG VS. COMPRESSED
Trombone Slide Positions
Each position is a half step apart in the musical scale
1
2
3
4
5
7
6
COMPRESSION
DECOMPRESSION
COMPRESSION/ IMPUT HIGH DENSITY
DECOMPRESSION/ OUTPUTLOW DENSITY
DIFFERENT LENGTHS CREATE DIFFERENT PRESSURES AND DIFFERENT NOTES DIFFERENT LENGTHS CREATE DIFFERENT DENSITIES AND DIFFERENT EXPERIENCES
Mouthpiece study: spacial sequence and poche areas
Existing mouthpiece Spacial Sequence ExteriorSection showing poche Spacial Sequence Interior Spacial Sequences Combined
Support Systems/ User Imput
Functional Systems
Long sections
Short Serial Sections
Breath Input
Handholds
Rubber Stopper
Spit Valve Release
Slide Movement
Trigger Attachment
Transformation Diagram from the Trombone: Horizontal to Vertical Orientation
Plan Section
Axon
Plan
Axon
Sections
A B C D E F G H I J K
A B C D E F G H I J K
RULE SETS
-Horizontal to vertical then expand -Pressure = Circulation
-Harmonic vs. Dissonance / Pleasing vs. Displeasing
-User imput creates ow/ Without user there is no Performance-Direct circulation dened by changing Poche
-Change in length changes tone/ Change in volume changes experience
Breath Input
Handholds
Rubber Stopper
Spit Valve Release
Slide Movement
Trigger Attachment
Octave wave patterns in relation to each other.
Wave patterns for Dissonant notes
REPETITION of pattern
Pleasing
Displeasing
RANDOM movement
Plan Section Axon
Sound wave and Pressure Diagram
Displacement
Elongation
Pressure
Pressure build up
Pressure release
The TromboneTrombone Transformation
Trombone Transformation
AMANDA CLAY ARCH 20A
COMPRESSION IS CREATED BY:
CIRCUITOUS ROUTE
OVERHANGS
IN TROMBONEON SITE DEFINATE BEGINNING AND END
INTERSECTIONS CHANGE IN DIRECTION
COMPRESSIONCOMPRESSION
DECOMPRESSION
SINGLE PATH THAT SHORTENS OR ELONGATES CREATING PRESSUREPATHS CREATE THE CIRCUTIOUS ROUTEMULTIPLE PATHS OF VARYING LENGHTHS CREATE LONG VS. COMPRESSED
Trombone Slide Positions
Each position is a half step apart in the musical scale
1
2
3
4
5
7
6
COMPRESSION
DECOMPRESSION
COMPRESSION/ IMPUT HIGH DENSITY
DECOMPRESSION/ OUTPUTLOW DENSITY
DIFFERENT LENGTHS CREATE DIFFERENT PRESSURES AND DIFFERENT NOTES DIFFERENT LENGTHS CREATE DIFFERENT DENSITIES AND DIFFERENT EXPERIENCES
Mouthpiece study: spacial sequence and poche areas
Existing mouthpiece Spacial Sequence ExteriorSection showing poche Spacial Sequence Interior Spacial Sequences Combined
Support Systems/ User Imput
Functional Systems
Long sections
Short Serial Sections
Breath Input
Handholds
Rubber Stopper
Spit Valve Release
Slide Movement
Trigger Attachment
Transformation Diagram from the Trombone: Horizontal to Vertical Orientation
Plan Section
Axon
Plan
Axon
Sections
A B C D E F G H I J K
A B C D E F G H I J K
RULE SETS
-Horizontal to vertical then expand -Pressure = Circulation
-Harmonic vs. Dissonance / Pleasing vs. Displeasing
-User imput creates ow/ Without user there is no Performance-Direct circulation dened by changing Poche
-Change in length changes tone/ Change in volume changes experience
Breath Input
Handholds
Rubber Stopper
Spit Valve Release
Slide Movement
Trigger Attachment
Octave wave patterns in relation to each other.
Wave patterns for Dissonant notes
REPETITION of pattern
Pleasing
Displeasing
RANDOM movement
Plan Section Axon
Sound wave and Pressure Diagram
Displacement
Elongation
Pressure
Pressure build up
Pressure release
The TromboneTrombone Transformation
Trombone Transformation
AMANDA CLAY ARCH 20A
COMPRESSION IS CREATED BY:
CIRCUITOUS ROUTE
OVERHANGS
IN TROMBONEON SITE DEFINATE BEGINNING AND END
INTERSECTIONS CHANGE IN DIRECTION
COMPRESSIONCOMPRESSION
DECOMPRESSION
SINGLE PATH THAT SHORTENS OR ELONGATES CREATING PRESSUREPATHS CREATE THE CIRCUTIOUS ROUTEMULTIPLE PATHS OF VARYING LENGHTHS CREATE LONG VS. COMPRESSED
Trombone Slide Positions
Each position is a half step apart in the musical scale
1
2
3
4
5
7
6
COMPRESSION
DECOMPRESSION
COMPRESSION/ IMPUT HIGH DENSITY
DECOMPRESSION/ OUTPUTLOW DENSITY
DIFFERENT LENGTHS CREATE DIFFERENT PRESSURES AND DIFFERENT NOTES DIFFERENT LENGTHS CREATE DIFFERENT DENSITIES AND DIFFERENT EXPERIENCES
300
305
310
315
320
325
33
0
33
5
34
0
345
295
290
285
330
350
355
360
28
0
285
290
29
5
305
315
325
335
345
350
Market Place
California Plaza
Metro Metro
ANGELS FLIGHT
points of inteRest on site
Location: Downtown LosAngles S. Hill St and W. 4th StSite: Bunker Hill is a significant landmark for downtown Los Angeles. It connects people from different ethnic backgrounds and social levels. The site is linked by the market and California Plaza. Site also acts as a hub for commuters, linking an underground rail sytem to above ground bus routes. California Plaza is located at the top of Bunker Hill and overlooks the site. The skyscrapers and Californa Plaza at the top of the hill are predominatly used by middle upperclass workers, and the market at the bottom of the hill is prodominatly used by lower class workers and immigrants. Part of the goal of this project is to link the two sites and create a reason for the different communities to interact.
Objective: Reintroduce the community to the chamber orchestra and reinvent the relationship between the community and the orches-ra, and enhance this relationship through architecture.
External Reference: As an external reference, an acoustic musical instrument was required, in order to embody the spirit of the chamber orchestra, as well as to teach the students about the type of music that would be performed. The study of the instrument should investigate how it creates sound through its form, components and use, and how these principles can be related to the site.
Mouthpiece study: spacial sequence and poche areas
Existing mouthpiece Spacial Sequence ExteriorSection showing poche Spacial Sequence Interior Spacial Sequences Combined
Support Systems/ User Imput
Functional Systems
Long sections
Short Serial Sections
Breath Input
Handholds
Rubber Stopper
Spit Valve Release
Slide Movement
Trigger Attachment
Transformation Diagram from the Trombone: Horizontal to Vertical Orientation
Plan Section
Axon
Plan
Axon
Sections
A B C D E F G H I J K
A B C D E F G H I J K
RULE SETS
-Horizontal to vertical then expand -Pressure = Circulation
-Harmonic vs. Dissonance / Pleasing vs. Displeasing
-User imput creates ow/ Without user there is no Performance-Direct circulation dened by changing Poche
-Change in length changes tone/ Change in volume changes experience
Breath Input
Handholds
Rubber Stopper
Spit Valve Release
Slide Movement
Trigger Attachment
Octave wave patterns in relation to each other.
Wave patterns for Dissonant notes
REPETITION of pattern
Pleasing
Displeasing
RANDOM movement
Plan Section Axon
Sound wave and Pressure Diagram
Displacement
Elongation
Pressure
Pressure build up
Pressure release
The TromboneTrombone Transformation
Trombone Transformation
AMANDA CLAY ARCH 20A
COMPRESSION IS CREATED BY:
CIRCUITOUS ROUTE
OVERHANGS
IN TROMBONEON SITE DEFINATE BEGINNING AND END
INTERSECTIONS CHANGE IN DIRECTION
COMPRESSIONCOMPRESSION
DECOMPRESSION
SINGLE PATH THAT SHORTENS OR ELONGATES CREATING PRESSUREPATHS CREATE THE CIRCUTIOUS ROUTEMULTIPLE PATHS OF VARYING LENGHTHS CREATE LONG VS. COMPRESSED
Trombone Slide Positions
Each position is a half step apart in the musical scale
1
2
3
4
5
7
6
COMPRESSION
DECOMPRESSION
COMPRESSION/ IMPUT HIGH DENSITY
DECOMPRESSION/ OUTPUTLOW DENSITY
DIFFERENT LENGTHS CREATE DIFFERENT PRESSURES AND DIFFERENT NOTES DIFFERENT LENGTHS CREATE DIFFERENT DENSITIES AND DIFFERENT EXPERIENCES
AMANDA CLAY ARCH 20A
California Plaza Overhang. High reverberation and echo levels
Surfaces enclosing siteActing as sound reflectors
Looking out from siteBuildings enclosing site and acting as reflectors
street level
building top
building top
Plaza overhang
Plaza
Vertical Datums
64
68
59
74
65
64
62
61
65
64
72
72
5964
64
59
85
64
67
59
63
64
63
64
71
59
64
62
77
78
75
67
67
70
64
62
68
73
74
74
75
75
A
B
C
D E
300
305
310
315
320
325
33
0
33
5
34
0
345
295
290
285
330
350
355
360
360
28
0
280
280
28
5
29
0
295
285
290
29
5
305
315
325
335
345
350
Market Place
California Plaza
Metro
Metro
ANGELS FLIGHT
Lower Noise/Density Areas
Lower Noise/Density Areas
Higher Noise/Density Areas
300
305
310
315
320
325
33
0
33
5
34
0
345
295
290
285
330
350
355
360
360
28
0
29
0
295
285
290
29
5
305
315
325
335
345
350
Highest point on site352
Lowest Point on site 285
Market Place
California Plaza
Metro
Metro
ANGELS FLIGHT
High/Low spots on site
Pedestrian Circulation
Anchor Points
Vertical Circulation
Vehicle Circulation
A
B
C
D E
300
305
310
315
320
325
33
0
33
5
34
0
345
295
290
285
330
350
355
360
360
28
0
280
280
28
5
29
0
295
285
290
29
5
305
315
325
335
345
350
A
A
B
B
C
C
D
A
B
C
D E
300
305
310
315
320
325
33
0
33
5
34
0
345
295
290
285
330
350
355
360
360
28
0
280
280
28
5
29
0
295
285
290
29
5
305
315
325
335
345
350
D
ADA WALKABLE SLOPE
SLOPES ON SITE
Constraints on Site
EXPANSION/ CONTRACTION ON SITE
axon of site
SITE SECTION ESCALE 1/16 = 1 0
California Plaza Overhang. High reverberation and echo levels
Surfaces enclosing siteActing as sound reflectors
Looking out from siteBuildings enclosing site and acting as reflectors
street level
building top
building top
Plaza overhang
Plaza
Vertical Datums
64
68
59
74
65
64
62
61
65
64
72
72
5964
64
59
85
64
67
59
63
64
63
64
71
59
64
62
77
78
75
67
67
70
64
62
68
73
74
74
75
75
A
B
C
D E
300
305
310
315
320
325
33
0
33
5
34
0
345
295
290
285
330
350
355
360
360
28
0
280
280
28
5
29
0
295
285
290
29
5
305
315
325
335
345
350
Market Place
California Plaza
Metro
Metro
ANGELS FLIGHT
Lower Noise/Density Areas
Lower Noise/Density Areas
Higher Noise/Density Areas
300
305
310
315
320
325
33
0
33
5
34
0
345
295
290
285
330
350
355
360
360
28
0
29
0
295
285
290
29
5
305
315
325
335
345
350
Highest point on site352
Lowest Point on site 285
Market Place
California Plaza
Metro
Metro
ANGELS FLIGHT
High/Low spots on site
Pedestrian Circulation
Anchor Points
Vertical Circulation
Vehicle Circulation
A
B
C
D E
300
305
310
315
320
325
33
0
33
5
34
0
345
295
290
285
330
350
355
360
360
28
0
280
280
28
5
29
0
295
285
290
29
5
305
315
325
335
345
350
A
A
B
B
C
C
D
A
B
C
D E
300
305
310
315
320
325
33
0
33
5
34
0
345
295
290
285
330
350
355
360
360
28
0
280
280
28
5
29
0
295
285
290
29
5
305
315
325
335
345
350
D
ADA WALKABLE SLOPE
SLOPES ON SITE
Constraints on Site
EXPANSION/ CONTRACTION ON SITE
A
A
B
B
C
C
DD
E
E
ciRculation on site
sound levels on site
elevation e-e
California Plaza Overhang. High reverberation and echo levels
Surfaces enclosing siteActing as sound reflectors
Looking out from siteBuildings enclosing site and acting as reflectors
street level
building top
building top
Plaza overhang
Plaza
Vertical Datums
64
68
59
74
65
64
62
61
65
64
72
72
5964
64
59
85
64
67
59
63
64
63
64
71
59
64
62
77
78
75
67
67
70
64
62
68
73
74
74
75
75
A
B
C
D E
300
305
310
315
320
325
33
0
33
5
34
0
345
295
290
285
330
350
355
360
360
28
0
280
280
28
5
29
0
295
285
290
29
5
305
315
325
335
345
350
Market Place
California Plaza
Metro
Metro
ANGELS FLIGHT
Lower Noise/Density Areas
Lower Noise/Density Areas
Higher Noise/Density Areas
300
305
310
315
320
325
33
0
33
5
34
0
345
295
290
285
330
350
355
360
360
28
0
29
0
295
285
290
29
5
305
315
325
335
345
350
Highest point on site352
Lowest Point on site 285
Market Place
California Plaza
Metro
Metro
ANGELS FLIGHT
High/Low spots on site
Pedestrian Circulation
Anchor Points
Vertical Circulation
Vehicle Circulation
A
B
C
D E
300
305
310
315
320
325
33
0
33
5
34
0
345
295
290
285
330
350
355
360
360
28
0
280
280
28
5
29
0
295
285
290
29
5
305
315
325
335
345
350
A
A
B
B
C
C
D
A
B
C
D E
300
305
310
315
320
325
33
0
33
5
34
0
345
295
290
285
330
350
355
360
360
28
0
280
280
28
5
29
0
295
285
290
29
5
305
315
325
335
345
350
D
ADA WALKABLE SLOPE
SLOPES ON SITE
Constraints on Site
EXPANSION/ CONTRACTION ON SITE
California Plaza Overhang. High reverberation and echo levels
Surfaces enclosing siteActing as sound reflectors
Looking out from siteBuildings enclosing site and acting as reflectors
street level
building top
building top
Plaza overhang
Plaza
Vertical Datums
64
68
59
74
65
64
62
61
65
64
72
72
5964
64
59
85
64
67
59
63
64
63
64
71
59
64
62
77
78
75
67
67
70
64
62
68
73
74
74
75
75
A
B
C
D E
300
305
310
315
320
325
33
0
33
5
34
0
345
295
290
285
330
350
355
360
360
28
0
280
280
28
5
29
0
295
285
290
29
5
305
315
325
335
345
350
Market Place
California Plaza
Metro
Metro
ANGELS FLIGHT
Lower Noise/Density Areas
Lower Noise/Density Areas
Higher Noise/Density Areas
300
305
310
315
320
325
33
0
33
5
34
0
345
295
290
285
330
350
355
360
360
28
0
29
0
295
285
290
29
5
305
315
325
335
345
350
Highest point on site352
Lowest Point on site 285
Market Place
California Plaza
Metro
Metro
ANGELS FLIGHT
High/Low spots on site
Pedestrian Circulation
Anchor Points
Vertical Circulation
Vehicle Circulation
A
B
C
D E
300
305
310
315
320
325
33
0
33
5
34
0
345
295
290
285
330
350
355
360
360
28
0
280
280
28
5
29
0
295
285
290
29
5
305
315
325
335
345
350
A
A
B
B
C
C
D
A
B
C
D E
300
305
310
315
320
325
33
0
33
5
34
0
345
295
290
285
330
350
355
360
360
28
0
280
280
28
5
29
0
295
285
290
29
5
305
315
325
335
345
350
D
ADA WALKABLE SLOPE
SLOPES ON SITE
Constraints on Site
EXPANSION/ CONTRACTION ON SITE
California Plaza Overhang. High reverberation and echo levels
Surfaces enclosing siteActing as sound reflectors
Looking out from siteBuildings enclosing site and acting as reflectors
street level
building top
building top
Plaza overhang
Plaza
Vertical Datums
64
68
59
74
65
64
62
61
65
64
72
72
5964
64
59
85
64
67
59
63
64
63
64
71
59
64
62
77
78
75
67
67
70
64
62
68
73
74
74
75
75
A
B
C
D E
300
305
310
315
320
325
33
0
33
5
34
0
345
295
290
285
330
350
355
360
360
28
0
280
280
28
5
29
0
295
285
290
29
5
305
315
325
335
345
350
Market Place
California Plaza
Metro
Metro
ANGELS FLIGHT
Lower Noise/Density Areas
Lower Noise/Density Areas
Higher Noise/Density Areas
300
305
310
315
320
325
33
0
33
5
34
0
345
295
290
285
330
350
355
360
360
28
0
29
0
295
285
290
29
5
305
315
325
335
345
350
Highest point on site352
Lowest Point on site 285
Market Place
California Plaza
Metro
Metro
ANGELS FLIGHT
High/Low spots on site
Pedestrian Circulation
Anchor Points
Vertical Circulation
Vehicle Circulation
A
B
C
D E
300
305
310
315
320
325
33
0
33
5
34
0
345
295
290
285
330
350
355
360
360
28
0
280
280
28
5
29
0
295
285
290
29
5
305
315
325
335
345
350
A
A
B
B
C
C
D
A
B
C
D E
300
305
310
315
320
325
33
0
33
5
34
0
345
295
290
285
330
350
355
360
360
28
0
280
280
28
5
29
0
295
285
290
29
5
305
315
325
335
345
350
D
ADA WALKABLE SLOPE
SLOPES ON SITE
Constraints on Site
EXPANSION/ CONTRACTION ON SITE
California Plaza Overhang. High reverberation and echo levels
Surfaces enclosing siteActing as sound reflectors
Looking out from siteBuildings enclosing site and acting as reflectors
street level
building top
building top
Plaza overhang
Plaza
Vertical Datums
64
68
59
74
65
64
62
61
65
64
72
72
5964
64
59
85
64
67
59
63
64
63
64
71
59
64
62
77
78
75
67
67
70
64
62
68
73
74
74
75
75
A
B
C
D E
300
305
310
315
320
325
33
0
33
5
34
0
345
295
290
285
330
350
355
360
360
28
0
280
280
28
5
29
0
295
285
290
29
5
305
315
325
335
345
350
Market Place
California Plaza
Metro
Metro
ANGELS FLIGHT
Lower Noise/Density Areas
Lower Noise/Density Areas
Higher Noise/Density Areas
300
305
310
315
320
325
33
0
33
5
34
0
345
295
290
285
330
350
355
360
360
28
0
29
0
295
285
290
29
5
305
315
325
335
345
350
Highest point on site352
Lowest Point on site 285
Market Place
California Plaza
Metro
Metro
ANGELS FLIGHT
High/Low spots on site
Pedestrian Circulation
Anchor Points
Vertical Circulation
Vehicle Circulation
A
B
C
D E
300
305
310
315
320
325
33
0
33
5
34
0
345
295
290
285
330
350
355
360
360
28
0
280
280
28
5
29
0
295
285
290
29
5
305
315
325
335
345
350
A
A
B
B
C
C
D
A
B
C
D E
300
305
310
315
320
325
33
0
33
5
34
0
345
295
290
285
330
350
355
360
360
28
0
280
280
28
5
29
0
295
285
290
29
5
305
315
325
335
345
350
D
ADA WALKABLE SLOPE
SLOPES ON SITE
Constraints on Site
EXPANSION/ CONTRACTION ON SITE
view fRom accRoss stReet
LARGE PERFORMANCE SPACE PLANSCALE 1/4 = 10
SECTION C SCALE 1/4 = 10
laRge peRfoRmance space plan
laRge peRfoRmance space section c-c
LaRge peRfoRmance space:this space would be used by a laRgeR chambeR oRchestRa, with 10-20 musicians, and pRedominatly viewed by people enteRing the site fRom the subway and loweR entRances, as well as people moving up thRough the site. theRe is a small seating aRea foR those who wish to sit and listen as well.
MEDIUM PERFORMANCE SPACESCALE 1/4 = 10
SECTION B SCALE 1/4 = 10
medium peRfoRmance space section b-b
medium peRfoRmance space planMedium peRfoRmance space:this space would be used by a smalleR chambeR oRchestRa, with 3-5 musicians, and pRedominatly viewed by people moving up thRough the site. theRe is a small seating aRea foR those who wish to sit and listen as well. this is a much moRe intimate set-ting foR music, and while it can be heaRd fRom otheR places on the site, it is hidden fRom view, and is a pleasant suRpRise foR guests as they come upon it
SECTION A SCALE 1/16 = 1 0
small peRfoRmance space section a-a
small peRfoRmance space plan
Small peRfoRmance space:this space would be used by a smalleR chambeR oRchstRa, usually soloists oR duets, and pRedominatly viewed by people gatheRing at the top of the site, just undeR califoRnia plaza. this peRfoR-mance space is fRamed by the gRand staiR up to the plaza, and is a spotlight foR solo musicians as the most visible peRfoRmance space.
minimal surfaces
Pasadena city collegearch 12bProfessor kelly bairstudent amanda clayFALL 2009
33
Project descriPtion: create an art Pavilion using built minimal surfaces in the footPrint of the villa nm build-ing that was studied in a Previous Project.
Project concePt: take designed minimal surface shaPe which has been created from original minimal surface and use to create enclosure for building in a way that creates a usable and Pleasing form while following Programatic constraints.
Program: building should have a recePtion area, artwork viewing areas and enclosed sPaces for storing artwork.
LEGEND
1 ENTRY2 RECEPTION3 GALLERY4 ARCHIVES5 ENTRY6 RESTROOM7 EXTERIOR LOUNGE AREA8 INTERIOR LOUNGE AREA9 CAFE
TOP FLOOR SITE PLANSCALE
10 2 4 8
MIDDLE FLOOR
RIGHT ELEVATION LEFT ELEVATION
BACK ELEVATION
LONG SECTION
FRONT ELEVATION
BOTTOM FLOOR
EXPLODED AXON
11
22
9
9
3
8
4
55
4
66
77
N
SHORT SECTION
PASADENA CITY COLLEGE _ VISUAL COMMUNICATIONS II _ UN STUDIO / VILLA NM REDUX _ AMANDA CLAY
01 MANTAThe original minimal construction object is used to create the walls of the house by using it as a modular element on dierent scales.
FOR THE LOWEST FLOOR A SINGLE UNIT IS USED FOR EACH WALL. THE UNIT IS STREACHED IN ONE DIRECTION TO BECOME THE LENGTH OF THE WALL AND THE WIDTH OF THE UNIT IS HALFED TO ALLOW WALKING SPACE INSIDE THE ROOM.
IN THE MIDDLE LEVEL THE CUBES DIMENSIONS STAY IN THEIR ORIGINAL PORPORTIONS FOR THE LENGTH, AND TWO REFLECTED UNITS ARE USED FOR EACH WALL.THE WIDTH OF THE UNITS ON THIS LEVEL ARE ALSO HALVED TO ALLOW FOR MORE ROOM ON THE INTERIOR.
ON THE UPPERMOST FLOOR A BLOCK OF EIGHT UNITS CREATES THE LONG WALLS, WITH THE UNITS STACKED IN TWO ROWS OF FOUR ON TOP OF EACHOTHER. EACH OF THE UNITS IS REFLEXTED TO CREATE THE OTHERS. ON THIS LEVEL THE ORIGINAL WIDTH OF THE UNITS IS KEPT TO PROVIDE VARIALTION IN THE INTERIOR EXPERIENCE.
MIRROR WING AT SHORT END (LEFT) COPY IN PLACE TWO WINGSROTATE 3D AT 180 DEGREES USINGWING EDGE AS ROTATION AXIS
ROTATE CUBE SO THAT TOP SIDEBECOMES LEFT SIDE
COPY IN PLACE LATEST TWO WINGS(TOP)ROTATE 3D AT 180 DEGREES USINGWING EDGE AS ROTATION AXIS (FOREGROUND)
COPY IN PLACE LATEST TWO WINGS(FRONT)ROTATE 3D AT 180 DEGREES USINGWING EDGE AS ROTATION AXIS (LOWER RIGHT)
ROTATE CUBE SO THAT RIGHT SIDEBECOMES TOP SIDE
COPY IN PLACE LATEST TWO WINGS(TOP)ROTATE 3D 180 DEGREES USING WING EDGE AS ROTATION AXIS (RIGHT)
ROTATE CUBE SO THAT RIGHT SIDEBECOMES FRONT SIDE
COPY IN PLACE LATEST TWO WINGS(FRONT)ROTATE 3D 180 DEGREES USING WING EDGE AS ROTATION AXIS (RIGHT)
TETRAHEDRON LINE FROM MIDPOINT TO MIDPOINT TO TOPOINT BACK TO ENDPOINT SPHERE INTERSECTING SURFACE RADIUS FROM QUARTERPOINT TO MIDPOINTSPHERE INTERSECTING SURFACE RADIUS FROM ENDPOINT TO ENDPOINTTHREE DEGREE CURVE FROM ENDPOINT TO MIDPOINT TO MIDPOINT TO ENDPOINTBOUNDRY LOFT
11
2
2
3
3
4
4
5
5
6
6
7
7
SERIAL SECTIONS OF MANTA
1 2 4 80
pRocess of cReating manta minimal suRface object fRom oRiginal minimal suRface.
The original minimal construction object is used to create the walls of the house by using it as a modular element on dierent scales.
For the lowest oor a single unit is used for each wall. The unit is streached in one direction to become the length of the wall and the width of the unit is halfed to allow walking space inside the room.
In the middle level the cubes dimensions stay in their original porportions for the length, and two reected units are used for each wall.The width of the units on this level are also halved to allow for more room on the interior.
On the uppermost oor a block of eight units creates the long walls, with the units stacked in two rows of four on top of eachother. Each of the units is reexted to create the others. On this level the original width of the units is kept to provide varialtion in the interior experience.
The original minimal construction object is used to create the walls of the house by using it as a modular element on dierent scales.
For the lowest oor a single unit is used for each wall. The unit is streached in one direction to become the length of the wall and the width of the unit is halfed to allow walking space inside the room.
In the middle level the cubes dimensions stay in their original porportions for the length, and two reected units are used for each wall.The width of the units on this level are also halved to allow for more room on the interior.
On the uppermost oor a block of eight units creates the long walls, with the units stacked in two rows of four on top of eachother. Each of the units is reexted to create the others. On this level the original width of the units is kept to provide varialtion in the interior experience.
placement of minimal suRfaces within the oRiginal villa nm footpRint to cReate walls.
foR the lowest flooR a single unit is used foR each wall. the unit is stRetched in one diRection to become the length of the wall and the width of the unit is halved to allow walking space inside.
in the middle level the cubes dimensions stay in theiR oRiginal poRpoRtions foR the length, and two Reflected units aRe used foR each wall. the width of the units on this level aRe also halved to allow foR moRe Room on the inteRioR.
on the uppeR flooR a block of eight units cReates the long walls. each of the units is Reflected to cReate the otheRs. in this levelthe oRiginal width of the units is kept to pRovide vaRiation in the inteRioR expeRience.
LEGEND
1 ENTRY2 RECEPTION3 GALLERY4 ARCHIVES5 ENTRY6 RESTROOM7 EXTERIOR LOUNGE AREA8 INTERIOR LOUNGE AREA9 CAFE
TOP FLOOR SITE PLANSCALE
10 2 4 8
MIDDLE FLOOR
RIGHT ELEVATION LEFT ELEVATION
BACK ELEVATION
LONG SECTION
FRONT ELEVATION
BOTTOM FLOOR
EXPLODED AXON
11
22
9
9
3
8
4
55
4
66
77
N
SHORT SECTION
PASADENA CITY COLLEGE _ VISUAL COMMUNICATIONS II _ UN STUDIO / VILLA NM REDUX _ AMANDA CLAY
01 MANTAThe original minimal construction object is used to create the walls of the house by using it as a modular element on dierent scales.
FOR THE LOWEST FLOOR A SINGLE UNIT IS USED FOR EACH WALL. THE UNIT IS STREACHED IN ONE DIRECTION TO BECOME THE LENGTH OF THE WALL AND THE WIDTH OF THE UNIT IS HALFED TO ALLOW WALKING SPACE INSIDE THE ROOM.
IN THE MIDDLE LEVEL THE CUBES DIMENSIONS STAY IN THEIR ORIGINAL PORPORTIONS FOR THE LENGTH, AND TWO REFLECTED UNITS ARE USED FOR EACH WALL.THE WIDTH OF THE UNITS ON THIS LEVEL ARE ALSO HALVED TO ALLOW FOR MORE ROOM ON THE INTERIOR.
ON THE UPPERMOST FLOOR A BLOCK OF EIGHT UNITS CREATES THE LONG WALLS, WITH THE UNITS STACKED IN TWO ROWS OF FOUR ON TOP OF EACHOTHER. EACH OF THE UNITS IS REFLEXTED TO CREATE THE OTHERS. ON THIS LEVEL THE ORIGINAL WIDTH OF THE UNITS IS KEPT TO PROVIDE VARIALTION IN THE INTERIOR EXPERIENCE.
MIRROR WING AT SHORT END (LEFT) COPY IN PLACE TWO WINGSROTATE 3D AT 180 DEGREES USINGWING EDGE AS ROTATION AXIS
ROTATE CUBE SO THAT TOP SIDEBECOMES LEFT SIDE
COPY IN PLACE LATEST TWO WINGS(TOP)ROTATE 3D AT 180 DEGREES USINGWING EDGE AS ROTATION AXIS (FOREGROUND)
COPY IN PLACE LATEST TWO WINGS(FRONT)ROTATE 3D AT 180 DEGREES USINGWING EDGE AS ROTATION AXIS (LOWER RIGHT)
ROTATE CUBE SO THAT RIGHT SIDEBECOMES TOP SIDE
COPY IN PLACE LATEST TWO WINGS(TOP)ROTATE 3D 180 DEGREES USING WING EDGE AS ROTATION AXIS (RIGHT)
ROTATE CUBE SO THAT RIGHT SIDEBECOMES FRONT SIDE
COPY IN PLACE LATEST TWO WINGS(FRONT)ROTATE 3D 180 DEGREES USING WING EDGE AS ROTATION AXIS (RIGHT)
TETRAHEDRON LINE FROM MIDPOINT TO MIDPOINT TO TOPOINT BACK TO ENDPOINT SPHERE INTERSECTING SURFACE RADIUS FROM QUARTERPOINT TO MIDPOINTSPHERE INTERSECTING SURFACE RADIUS FROM ENDPOINT TO ENDPOINTTHREE DEGREE CURVE FROM ENDPOINT TO MIDPOINT TO MIDPOINT TO ENDPOINTBOUNDRY LOFT
11
2
2
3
3
4
4
5
5
6
6
7
7
SERIAL SECTIONS OF MANTA
1 2 4 80
The original minimal construction object is used to create the walls of the house by using it as a modular element on dierent scales.
For the lowest oor a single unit is used for each wall. The unit is streached in one direction to become the length of the wall and the width of the unit is halfed to allow walking space inside the room.
In the middle level the cubes dimensions stay in their original porportions for the length, and two reected units are used for each wall.The width of the units on this level are also halved to allow for more room on the interior.
On the uppermost oor a block of eight units creates the long walls, with the units stacked in two rows of four on top of eachother. Each of the units is reexted to create the others. On this level the original width of the units is kept to provide varialtion in the interior experience.
Designed minimal surface construct to be used in building process
LEGEND
1 ENTRY2 RECEPTION3 GALLERY4 ARCHIVES5 ENTRY6 RESTROOM7 EXTERIOR LOUNGE AREA8 INTERIOR LOUNGE AREA9 CAFE
TOP FLOOR SITE PLANSCALE
10 2 4 8
MIDDLE FLOOR
RIGHT ELEVATION LEFT ELEVATION
BACK ELEVATION
LONG SECTION
FRONT ELEVATION
BOTTOM FLOOR
EXPLODED AXON
11
22
9
9
3
8
4
55
4
66
77
N
SHORT SECTION
PASADENA CITY COLLEGE _ VISUAL COMMUNICATIONS II _ UN STUDIO / VILLA NM REDUX _ AMANDA CLAY
01 MANTAThe original minimal construction object is used to create the walls of the house by using it as a modular element on dierent scales.
FOR THE LOWEST FLOOR A SINGLE UNIT IS USED FOR EACH WALL. THE UNIT IS STREACHED IN ONE DIRECTION TO BECOME THE LENGTH OF THE WALL AND THE WIDTH OF THE UNIT IS HALFED TO ALLOW WALKING SPACE INSIDE THE ROOM.
IN THE MIDDLE LEVEL THE CUBES DIMENSIONS STAY IN THEIR ORIGINAL PORPORTIONS FOR THE LENGTH, AND TWO REFLECTED UNITS ARE USED FOR EACH WALL.THE WIDTH OF THE UNITS ON THIS LEVEL ARE ALSO HALVED TO ALLOW FOR MORE ROOM ON THE INTERIOR.
ON THE UPPERMOST FLOOR A BLOCK OF EIGHT UNITS CREATES THE LONG WALLS, WITH THE UNITS STACKED IN TWO ROWS OF FOUR ON TOP OF EACHOTHER. EACH OF THE UNITS IS REFLEXTED TO CREATE THE OTHERS. ON THIS LEVEL THE ORIGINAL WIDTH OF THE UNITS IS KEPT TO PROVIDE VARIALTION IN THE INTERIOR EXPERIENCE.
MIRROR WING AT SHORT END (LEFT) COPY IN PLACE TWO WINGSROTATE 3D AT 180 DEGREES USINGWING EDGE AS ROTATION AXIS
ROTATE CUBE SO THAT TOP SIDEBECOMES LEFT SIDE
COPY IN PLACE LATEST TWO WINGS(TOP)ROTATE 3D AT 180 DEGREES USINGWING EDGE AS ROTATION AXIS (FOREGROUND)
COPY IN PLACE LATEST TWO WINGS(FRONT)ROTATE 3D AT 180 DEGREES USINGWING EDGE AS ROTATION AXIS (LOWER RIGHT)
ROTATE CUBE SO THAT RIGHT SIDEBECOMES TOP SIDE
COPY IN PLACE LATEST TWO WINGS(TOP)ROTATE 3D 180 DEGREES USING WING EDGE AS ROTATION AXIS (RIGHT)
ROTATE CUBE SO THAT RIGHT SIDEBECOMES FRONT SIDE
COPY IN PLACE LATEST TWO WINGS(FRONT)ROTATE 3D 180 DEGREES USING WING EDGE AS ROTATION AXIS (RIGHT)
TETRAHEDRON LINE FROM MIDPOINT TO MIDPOINT TO TOPOINT BACK TO ENDPOINT SPHERE INTERSECTING SURFACE RADIUS FROM QUARTERPOINT TO MIDPOINTSPHERE INTERSECTING SURFACE RADIUS FROM ENDPOINT TO ENDPOINTTHREE DEGREE CURVE FROM ENDPOINT TO MIDPOINT TO MIDPOINT TO ENDPOINTBOUNDRY LOFT
11
2
2
3
3
4
4
5
5
6
6
7
7
SERIAL SECTIONS OF MANTA
1 2 4 80
LEGEND
1 ENTRY2 RECEPTION3 GALLERY4 ARCHIVES5 ENTRY6 RESTROOM7 EXTERIOR LOUNGE AREA8 INTERIOR LOUNGE AREA9 CAFE
TOP FLOOR SITE PLANSCALE
10 2 4 8
MIDDLE FLOOR
RIGHT ELEVATION LEFT ELEVATION
BACK ELEVATION
LONG SECTION
FRONT ELEVATION
BOTTOM FLOOR
EXPLODED AXON
11
22
9
9
3
8
4
55
4
66
77
N
SHORT SECTION
PASADENA CITY COLLEGE _ VISUAL COMMUNICATIONS II _ UN STUDIO / VILLA NM REDUX _ AMANDA CLAY
01 MANTAThe original minimal construction object is used to create the walls of the house by using it as a modular element on dierent scales.
FOR THE LOWEST FLOOR A SINGLE UNIT IS USED FOR EACH WALL. THE UNIT IS STREACHED IN ONE DIRECTION TO BECOME THE LENGTH OF THE WALL AND THE WIDTH OF THE UNIT IS HALFED TO ALLOW WALKING SPACE INSIDE THE ROOM.
IN THE MIDDLE LEVEL THE CUBES DIMENSIONS STAY IN THEIR ORIGINAL PORPORTIONS FOR THE LENGTH, AND TWO REFLECTED UNITS ARE USED FOR EACH WALL.THE WIDTH OF THE UNITS ON THIS LEVEL ARE ALSO HALVED TO ALLOW FOR MORE ROOM ON THE INTERIOR.
ON THE UPPERMOST FLOOR A BLOCK OF EIGHT UNITS CREATES THE LONG WALLS, WITH THE UNITS STACKED IN TWO ROWS OF FOUR ON TOP OF EACHOTHER. EACH OF THE UNITS IS REFLEXTED TO CREATE THE OTHERS. ON THIS LEVEL THE ORIGINAL WIDTH OF THE UNITS IS KEPT TO PROVIDE VARIALTION IN THE INTERIOR EXPERIENCE.
MIRROR WING AT SHORT END (LEFT) COPY IN PLACE TWO WINGSROTATE 3D AT 180 DEGREES USINGWING EDGE AS ROTATION AXIS
ROTATE CUBE SO THAT TOP SIDEBECOMES LEFT SIDE
COPY IN PLACE LATEST TWO WINGS(TOP)ROTATE 3D AT 180 DEGREES USINGWING EDGE AS ROTATION AXIS (FOREGROUND)
COPY IN PLACE LATEST TWO WINGS(FRONT)ROTATE 3D AT 180 DEGREES USINGWING EDGE AS ROTATION AXIS (LOWER RIGHT)
ROTATE CUBE SO THAT RIGHT SIDEBECOMES TOP SIDE
COPY IN PLACE LATEST TWO WINGS(TOP)ROTATE 3D 180 DEGREES USING WING EDGE AS ROTATION AXIS (RIGHT)
ROTATE CUBE SO THAT RIGHT SIDEBECOMES FRONT SIDE
COPY IN PLACE LATEST TWO WINGS(FRONT)ROTATE 3D 180 DEGREES USING WING EDGE AS ROTATION AXIS (RIGHT)
TETRAHEDRON LINE FROM MIDPOINT TO MIDPOINT TO TOPOINT BACK TO ENDPOINT SPHERE INTERSECTING SURFACE RADIUS FROM QUARTERPOINT TO MIDPOINTSPHERE INTERSECTING SURFACE RADIUS FROM ENDPOINT TO ENDPOINTTHREE DEGREE CURVE FROM ENDPOINT TO MIDPOINT TO MIDPOINT TO ENDPOINTBOUNDRY LOFT
11
2
2
3
3
4
4
5
5
6
6
7
7
SERIAL SECTIONS OF MANTA
1 2 4 80
LONG SECTION
LEGEND
1 ENTRY2 RECEPTION3 GALLERY4 ARCHIVES5 ENTRY6 RESTROOM7 EXTERIOR LOUNGE AREA8 INTERIOR LOUNGE AREA9 CAFE
TOP FLOOR SITE PLANSCALE
10 2 4 8
MIDDLE FLOOR
RIGHT ELEVATION LEFT ELEVATION
BACK ELEVATION
LONG SECTION
FRONT ELEVATION
BOTTOM FLOOR
EXPLODED AXON
11
22
9
9
3
8
4
55
4
66
77
N
SHORT SECTION
PASADENA CITY COLLEGE _ VISUAL COMMUNICATIONS II _ UN STUDIO / VILLA NM REDUX _ AMANDA CLAY
01 MANTAThe original minimal construction object is used to create the walls of the house by using it as a modular element on dierent scales.
FOR THE LOWEST FLOOR A SINGLE UNIT IS USED FOR EACH WALL. THE UNIT IS STREACHED IN ONE DIRECTION TO BECOME THE LENGTH OF THE WALL AND THE WIDTH OF THE UNIT IS HALFED TO ALLOW WALKING SPACE INSIDE THE ROOM.
IN THE MIDDLE LEVEL THE CUBES DIMENSIONS STAY IN THEIR ORIGINAL PORPORTIONS FOR THE LENGTH, AND TWO REFLECTED UNITS ARE USED FOR EACH WALL.THE WIDTH OF THE UNITS ON THIS LEVEL ARE ALSO HALVED TO ALLOW FOR MORE ROOM ON THE INTERIOR.
ON THE UPPERMOST FLOOR A BLOCK OF EIGHT UNITS CREATES THE LONG WALLS, WITH THE UNITS STACKED IN TWO ROWS OF FOUR ON TOP OF EACHOTHER. EACH OF THE UNITS IS REFLEXTED TO CREATE THE OTHERS. ON THIS LEVEL THE ORIGINAL WIDTH OF THE UNITS IS KEPT TO PROVIDE VARIALTION IN THE INTERIOR EXPERIENCE.
MIRROR WING AT SHORT END (LEFT) COPY IN PLACE TWO WINGSROTATE 3D AT 180 DEGREES USINGWING EDGE AS ROTATION AXIS
ROTATE CUBE SO THAT TOP SIDEBECOMES LEFT SIDE
COPY IN PLACE LATEST TWO WINGS(TOP)ROTATE 3D AT 180 DEGREES USINGWING EDGE AS ROTATION AXIS (FOREGROUND)
COPY IN PLACE LATEST TWO WINGS(FRONT)ROTATE 3D AT 180 DEGREES USINGWING EDGE AS ROTATION AXIS (LOWER RIGHT)
ROTATE CUBE SO THAT RIGHT SIDEBECOMES TOP SIDE
COPY IN PLACE LATEST TWO WINGS(TOP)ROTATE 3D 180 DEGREES USING WING EDGE AS ROTATION AXIS (RIGHT)
ROTATE CUBE SO THAT RIGHT SIDEBECOMES FRONT SIDE
COPY IN PLACE LATEST TWO WINGS(FRONT)ROTATE 3D 180 DEGREES USING WING EDGE AS ROTATION AXIS (RIGHT)
TETRAHEDRON LINE FROM MIDPOINT TO MIDPOINT TO TOPOINT BACK TO ENDPOINT SPHERE INTERSECTING SURFACE RADIUS FROM QUARTERPOINT TO MIDPOINTSPHERE INTERSECTING SURFACE RADIUS FROM ENDPOINT TO ENDPOINTTHREE DEGREE CURVE FROM ENDPOINT TO MIDPOINT TO MIDPOINT TO ENDPOINTBOUNDRY LOFT
11
2
2
3
3
4
4
5
5
6
6
7
7
SERIAL SECTIONS OF MANTA
1 2 4 80
9
2
38
1
2
9
6
45
7
6
7
4
9
2
38
1
2
9
6
45
7
6
7
4
fRont elevation
bottom flooR planmiddle flooR plan
back elevation
shoRt sectionlong section
top flooR plan
LEGEND
1 ENTRY2 RECEPTION3 GALLERY4 ARCHIVES5 ENTRY6 RESTROOM7 EXTERIOR LOUNGE AREA8 INTERIOR LOUNGE AREA9 CAFE
TOP FLOOR SITE PLANSCALE
10 2 4 8
MIDDLE FLOOR
RIGHT ELEVATION LEFT ELEVATION
BACK ELEVATION
LONG SECTION
FRONT ELEVATION
BOTTOM FLOOR
EXPLODED AXON
11
22
9
9
3
8
4
55
4
66
77
N
SHORT SECTION
PASADENA CITY COLLEGE _ VISUAL COMMUNICATIONS II _ UN STUDIO / VILLA NM REDUX _ AMANDA CLAY
01 MANTAThe original minimal construction object is used to create the walls of the house by using it as a modular element on dierent scales.
FOR THE LOWEST FLOOR A SINGLE UNIT IS USED FOR EACH WALL. THE UNIT IS STREACHED IN ONE DIRECTION TO BECOME THE LENGTH OF THE WALL AND THE WIDTH OF THE UNIT IS HALFED TO ALLOW WALKING SPACE INSIDE THE ROOM.
IN THE MIDDLE LEVEL THE CUBES DIMENSIONS STAY IN THEIR ORIGINAL PORPORTIONS FOR THE LENGTH, AND TWO REFLECTED UNITS ARE USED FOR EACH WALL.THE WIDTH OF THE UNITS ON THIS LEVEL ARE ALSO HALVED TO ALLOW FOR MORE ROOM ON THE INTERIOR.
ON THE UPPERMOST FLOOR A BLOCK OF EIGHT UNITS CREATES THE LONG WALLS, WITH THE UNITS STACKED IN TWO ROWS OF FOUR ON TOP OF EACHOTHER. EACH OF THE UNITS IS REFLEXTED TO CREATE THE OTHERS. ON THIS LEVEL THE ORIGINAL WIDTH OF THE UNITS IS KEPT TO PROVIDE VARIALTION IN THE INTERIOR EXPERIENCE.
MIRROR WING AT SHORT END (LEFT) COPY IN PLACE TWO WINGSROTATE 3D AT 180 DEGREES USINGWING EDGE AS ROTATION AXIS
ROTATE CUBE SO THAT TOP SIDEBECOMES LEFT SIDE
COPY IN PLACE LATEST TWO WINGS(TOP)ROTATE 3D AT 180 DEGREES USINGWING EDGE AS ROTATION AXIS (FOREGROUND)
COPY IN PLACE LATEST TWO WINGS(FRONT)ROTATE 3D AT 180 DEGREES USINGWING EDGE AS ROTATION AXIS (LOWER RIGHT)
ROTATE CUBE SO THAT RIGHT SIDEBECOMES TOP SIDE
COPY IN PLACE LATEST TWO WINGS(TOP)ROTATE 3D 180 DEGREES USING WING EDGE AS ROTATION AXIS (RIGHT)
ROTATE CUBE SO THAT RIGHT SIDEBECOMES FRONT SIDE
COPY IN PLACE LATEST TWO WINGS(FRONT)ROTATE 3D 180 DEGREES USING WING EDGE AS ROTATION AXIS (RIGHT)
TETRAHEDRON LINE FROM MIDPOINT TO MIDPOINT TO TOPOINT BACK TO ENDPOINT SPHERE INTERSECTING SURFACE RADIUS FROM QUARTERPOINT TO MIDPOINTSPHERE INTERSECTING SURFACE RADIUS FROM ENDPOINT TO ENDPOINTTHREE DEGREE CURVE FROM ENDPOINT TO MIDPOINT TO MIDPOINT TO ENDPOINTBOUNDRY LOFT
11
2
2
3
3
4
4
5
5
6
6
7
7
SERIAL SECTIONS OF MANTA
1 2 4 80
LEGEND
1 ENTRY2 RECEPTION3 GALLERY4 ARCHIVES5 ENTRY6 RESTROOM7 EXTERIOR LOUNGE AREA8 INTERIOR LOUNGE AREA9 CAFE
TOP FLOOR SITE PLANSCALE
10 2 4 8
MIDDLE FLOOR
RIGHT ELEVATION LEFT ELEVATION
BACK ELEVATION
LONG SECTION
FRONT ELEVATION
BOTTOM FLOOR
EXPLODED AXON
11
22
9
9
3
8
4
55
4
66
77
N
SHORT SECTION
PASADENA CITY COLLEGE _ VISUAL COMMUNICATIONS II _ UN STUDIO / VILLA NM REDUX _ AMANDA CLAY
01 MANTAThe original minimal construction object is used to create the walls of the house by using it as a modular element on dierent scales.
FOR THE LOWEST FLOOR A SINGLE UNIT IS USED FOR EACH WALL. THE UNIT IS STREACHED IN ONE DIRECTION TO BECOME THE LENGTH OF THE WALL AND THE WIDTH OF THE UNIT IS HALFED TO ALLOW WALKING SPACE INSIDE THE ROOM.
IN THE MIDDLE LEVEL THE CUBES DIMENSIONS STAY IN THEIR ORIGINAL PORPORTIONS FOR THE LENGTH, AND TWO REFLECTED UNITS ARE USED FOR EACH WALL.THE WIDTH OF THE UNITS ON THIS LEVEL ARE ALSO HALVED TO ALLOW FOR MORE ROOM ON THE INTERIOR.
ON THE UPPERMOST FLOOR A BLOCK OF EIGHT UNITS CREATES THE LONG WALLS, WITH THE UNITS STACKED IN TWO ROWS OF FOUR ON TOP OF EACHOTHER. EACH OF THE UNITS IS REFLEXTED TO CREATE THE OTHERS. ON THIS LEVEL THE ORIGINAL WIDTH OF THE UNITS IS KEPT TO PROVIDE VARIALTION IN THE INTERIOR EXPERIENCE.
MIRROR WING AT SHORT END (LEFT) COPY IN PLACE TWO WINGSROTATE 3D AT 180 DEGREES USINGWING EDGE AS ROTATION AXIS
ROTATE CUBE SO THAT TOP SIDEBECOMES LEFT SIDE
COPY IN PLACE LATEST TWO WINGS(TOP)ROTATE 3D AT 180 DEGREES USINGWING EDGE AS ROTATION AXIS (FOREGROUND)
COPY IN PLACE LATEST TWO WINGS(FRONT)ROTATE 3D AT 180 DEGREES USINGWING EDGE AS ROTATION AXIS (LOWER RIGHT)
ROTATE CUBE SO THAT RIGHT SIDEBECOMES TOP SIDE
COPY IN PLACE LATEST TWO WINGS(TOP)ROTATE 3D 180 DEGREES USING WING EDGE AS ROTATION AXIS (RIGHT)
ROTATE CUBE SO THAT RIGHT SIDEBECOMES FRONT SIDE
COPY IN PLACE LATEST TWO WINGS(FRONT)ROTATE 3D 180 DEGREES USING WING EDGE AS ROTATION AXIS (RIGHT)
TETRAHEDRON LINE FROM MIDPOINT TO MIDPOINT TO TOPOINT BACK TO ENDPOINT SPHERE INTERSECTING SURFACE RADIUS FROM QUARTERPOINT TO MIDPOINTSPHERE INTERSECTING SURFACE RADIUS FROM ENDPOINT TO ENDPOINTTHREE DEGREE CURVE FROM ENDPOINT TO MIDPOINT TO MIDPOINT TO ENDPOINTBOUNDRY LOFT
11
2
2
3
3
4
4
5
5
6
6
7
7
SERIAL SECTIONS OF MANTA
1 2 4 80
9
2
38
1
2
9
6
45
7
6
7
4
Right elevation
left elevation
legend
1 entRy2 Reception3 galleRy4 aRchives5 entRy6 RestRoom7 exteRioR lounge aRea8 inteRioR lounge aRea9 cafe
cube pRoject
pasadena city collegeaRch 10bfall 2009pRofessoR coleman gRiffithstudent amanda clay
39
Amanda ClayArch 10B10/7/09Found Space Collage
Amanda ClayArch 10B10/7/09Found Space CollageGeometry
AMANDA CLAYARCH 10B10/13/09
ASSEMBLED SHAPES VIEW 1 ASSEMBLED SHAPES VIEW 2 ASSEMBLED SHAPES VIEW 3
pRoject descRiption: find an aRea of unplanned space and cReate a photo collage of the volumes of space it encompases. take the volumes and manipulate them inside of a box to cReate negative volumes. finally, split both the combined manipulated volumes and the diffeRenced box into layeRs to cReate a woRking template.
concept: take found shapes and using a 3d modeling pRogRam, distoRt the shapes to cReate unique volumes. utilize these volumes to exploRe the idea of negative space within a cube. woRk to cReate inteResting expeRiential spaces within a simple cube while leaRning to use a modeling pRogRam and leaRning to set up lazeRcutting templates. shapes staRt out Roughly RectilineaR and
become moRe dynamic and cuRved thRoughout the manipulation pRoccess.
found space between houses found volumes within space befoRe alteRation found shapes alteRed fRom oRiginal foRm and combined to cReate unique volumes
found shapes alteRed fuRtheR and placed inside cube
found shapes cut by cube bounding box and split into layeRs
diffeRenced cube alteRed shapes cut by cube bounding box
AMANDA CLAY ARCH 10 B 10/29/09PERSPECTIVE VIEW 1
AMANDA CLAY ARCH 10 B 10/29/09PERSPECTIVE VIEW 1
FABRIC FORMWORK
PASADENA CITY COLLEGEARCH 14SPRING 2010PROFESSORS COLEMAN GRIFFITH AND DIONICIO VALDEZ
STUDENT AMANDA CLAY
GROUP PROJECT
45
pRoject goal: leaRn the pRopeRties of fabRic casting and how this mode of casting cement can influence the pRoject as opposed to the tRaditional foRmwoRk casting. cReate a system which suppoRts itself and plant life in an inteRRelated system.
pRoject descRiption: this was a gRoup pRoject with six stu-dents woRking togetheR. we decided to cReate a modulaR system us-ing the fabRic casting method. one of the main goals of the pRoject was to figuRe out how we could show the attRibutes of fabRic in the final cement model, and utilize these attRibutes to influence the cReation and design of the pRoject.
this model was oRiginally a spheRe, with fouR aRms, but when it bRoke it inspiRed ouR design in unfoRseen ways.
this sketch came fRom the disscusion about the spheRe aRms and how they could be used to cReate a Repetitive system utilizing both sides of the cuRve, as well as the hanging aspect of fabRic and how it could be used to collect eitheR plants oR wateR.
study models and design pRoccess
building pRocess
foRmwoRk stRetched oveR ball and base concRete is pouRed into foRmwoRk concRete dRies and fabRic will be cut offconcRete pouR bag is inseRted into top of foRm
this was the last of the study models that did not look like ouR final pRoject. howeveR, fRom this RewoRking of the spheRe model, we came up with a physical example of how pieces could inteRlock and woRk togetheR to cReate a system. the holes in the pieces aRe meant to hold the plants, with the Roots sticking down thRough the
in the final design, the method of constRuction allowed gRavity to pull extRa concRete down to the legs of the foRm, buldging at the bottom wheRe it needed the most stability and thinnng at the top wheRe it needed to be thinneR.
vaRiations of stacking
BODIES AND SKINS
PASADENA CITY COLLEGEARCH 12BFALL 2009PROFESSOR KELLY BAIR
STUDENT AMANDA CLAY
49
created six feet long with seven control points on each, evenly spaced.
On each line, one control point is taken up
second lines are mirror images of eachother, and the third and fourth are mirror images of eachother.
side is moved, and on the second two lines, the middle point is moved
2) The lines are then arranged vertically so that mirror image lines are next to eachother, and with the altered point pulled to the same side.
Also, the curves are enclosed on either end
create the corners of the box.
3) Next the lines are rotated 90 degrees to vertical.
4) Each curve is turned 90 degrees left or right, alternating in directionwith each curve, except for the straight curves.
Amanda ClayArch 12B 02.0 bodies and skins
1
1
2
2
3
3
4
4
1 2 3 4
1 2 3 4
created six feet long with seven control points on each, evenly spaced.
On each line, one control point is taken up
second lines are mirror images of eachother, and the third and fourth are mirror images of eachother.
side is moved, and on the second two lines, the middle point is moved
2) The lines are then arranged vertically so that mirror image lines are next to eachother, and with the altered point pulled to the same side.
Also, the curves are enclosed on either end
create the corners of the box.
3) Next the lines are rotated 90 degrees to vertical.
4) Each curve is turned 90 degrees left or right, alternating in directionwith each curve, except for the straight curves.
Amanda ClayArch 12B 02.0 bodies and skins
1
1
2
2
3
3
4
4
1 2 3 4
1 2 3 4
created six feet long with seven control points on each, evenly spaced.
On each line, one control point is taken up
second lines are mirror images of eachother, and the third and fourth are mirror images of eachother.
side is moved, and on the second two lines, the middle point is moved
2) The lines are then arranged vertically so that mirror image lines are next to eachother, and with the altered point pulled to the same side.
Also, the curves are enclosed on either end
create the corners of the box.
3) Next the lines are rotated 90 degrees to vertical.
4) Each curve is turned 90 degrees left or right, alternating in directionwith each curve, except for the straight curves.
Amanda ClayArch 12B 02.0 bodies and skins
1
1
2
2
3
3
4
4
1 2 3 4
1 2 3 4
pRoject goal: leaRn how to manipulate lines and cReate oRigi-nal suRface skins Resulting fRom delibeRate movements of lines. cReate a cube with fouR sides oRiginating fRom built skins and top
and bottom flat.
pRoject descRiption: cReate a skin by delibeRatly manipulating lines and lofting them togetheR. with this manipulation, the con-stRucted skins aRe then used to cReate volumetRic bodies. pRocess of conveRting lines to planes to volumes is studied and developed upon.
lines aRe cReated by alteRing specific points within line
lines aRRanged with miRRoR im-ages next to eachotheR
next the lines aRe Rotated 90 degRees to veRtical.
created six feet long with seven control points on each, evenly spaced.
On each line, one control point is taken up
second lines are mirror images of eachother, and the third and fourth are mirror images of eachother.
side is moved, and on the second two lines, the middle point is moved
2) The lines are then arranged vertically so that mirror image lines are next to eachother, and with the altered point pulled to the same side.
Also, the curves are enclosed on either end
create the corners of the box.
3) Next the lines are rotated 90 degrees to vertical.
4) Each curve is turned 90 degrees left or right, alternating in directionwith each curve, except for the straight curves.
Amanda ClayArch 12B 02.0 bodies and skins
1
1
2
2
3
3
4
4
1 2 3 4
1 2 3 4
Next the curves are lofted together to create a planarsurface
This surface is then mirrored six feet away to createthe opposite side of the square.
Finally, the existing two sides are copied and rotatedto create the missing sides and a at top and bottom are added.
Amanda ClayArch 12B 02.0 bodies and skins
Next the curves are lofted together to create a planarsurface
This surface is then mirrored six feet away to createthe opposite side of the square.
Finally, the existing two sides are copied and rotatedto create the missing sides and a at top and bottom are added.
Amanda ClayArch 12B 02.0 bodies and skins
Next the curves are lofted together to create a planarsurface
This surface is then mirrored six feet away to createthe opposite side of the square.
Finally, the existing two sides are copied and rotatedto create the missing sides and a at top and bottom are added.
Amanda ClayArch 12B 02.0 bodies and skins
each cuRve is tuRned 90 degRees left oR Right, alteRnating and stRaight lines put on eitheR
next the cuRves aRe lofted togetheR to cRe-ate a planaR suRface
this suRface is then miRRoRed to cReate the opposite side of the squaRe.
finally, the existing two sides aRe copied and Rotatedto cReate the missing sides.
Spatial Sequence Model
PASADENA CITY COLLEGEARCH 10BFALL 2009PROFESSOR GRIFFITH
STUDENT AMANDA CLAY
53
pRoject goal: undeRstand volumetRic spaces within buildings and how they inteRact. leaRn to build a model out of wood and acRylic, focusing on accuRacy and cRaftsmanship.
pRoject descRiption: take an existing building, the la baita lodge, and diagRam the spatial sequences within the building to undeRstand how spaces inteRact with eachotheR. afteR diagRaming spaces, cReate physical wooden model to show ciRculation, public inteRlocking spaces and pRivate spaces. each type of space is shown with a diffeRent mateRial.
fiRst flooR plan of la baita lodge
ciRculation and public spaces in sequence
entRy hallway enteR main public Room within main public Room
second flooR plan of la baita lodge
ADJACENT SPACES
SPACES LINKED BY A COMMON SPACE
SPACE WITHIN A SPACE
INTERLOCKING SPACES
Amanda Clay Arch 10B Mr GrithSpatial Relationships
CIRCULATION
ADJACENT SPACES
SPACES LINKED BY A COMMON SPACE
SPACE WITHIN A SPACE
INTERLOCKING SPACES
Amanda Clay Arch 10B Mr GrithSpatial Relationships
CIRCULATION
ADJACENT SPACES
SPACES LINKED BY A COMMON SPACE
SPACE WITHIN A SPACE
INTERLOCKING SPACES
Amanda Clay Arch 10B Mr GrithSpatial Relationships
CIRCULATION
ADJACENT SPACES
SPACES LINKED BY A COMMON SPACE
SPACE WITHIN A SPACE
INTERLOCKING SPACES
Amanda Clay Arch 10B Mr GrithSpatial Relationships
CIRCULATION
INTERLOCKING SPACES SPACES LINKED BY A COMMON SPACE
ADJACENT SPACESSPACE WITHIN A SPACE
CIRCULATION
Amanda Clay Arch 10B Mr GrithSpatial Relationships
INTERLOCKING SPACES SPACES LINKED BY A COMMON SPACE
ADJACENT SPACESSPACE WITHIN A SPACE
CIRCULATION
Amanda Clay Arch 10B Mr GrithSpatial Relationships
INTERLOCKING SPACES SPACES LINKED BY A COMMON SPACE
ADJACENT SPACESSPACE WITHIN A SPACE
CIRCULATION
Amanda Clay Arch 10B Mr GrithSpatial Relationships
INTERLOCKING SPACES SPACES LINKED BY A COMMON SPACE
ADJACENT SPACESSPACE WITHIN A SPACE
CIRCULATION
Amanda Clay Arch 10B Mr GrithSpatial Relationships
exit main public Room exteRioR balcony hallway to pRivate Rooms pRivate spaces
elevation of la baita lodge