Cinematography and Lighting – Photos

Class: Cinematography and Lighting | Professor: Jun Oshima

 

Coverage

Multiple types of shots.

 

Talking Heads

Shooting people as if being interviewed documentary style.

 

Portraits

Framing and properly exposing people.

 

Met Museum

Applying knowledge of colour balance and composition to photograph inanimate objects.

Disassembling The Eden Project

Class: Materials and Assembly | Professor: Jeremy Barbour

https://upload.wikimedia.org/wikipedia/commons/f/f2/Eden_Project_geodesic_domes_panorama.jpg

(Found on: https://upload.wikimedia.org/wikipedia/commons/f/f2/Eden_Project_geodesic_domes_panorama.jpg)

*Click any image to enlarge*

Quick Sketches

Plan and Section (w/ Ground plane / Topography):

First attempt at a plan:

 

Form Finding / Nets:

The Hex-Tri-Hex pattern:

Assembly Details:

 

 

Material Studies – Models and Drawings

Class: Materials and Assembly | Professor: Jeremy Barbour

*Click any image to enlarge*

Material Studies

    

Corresponding drawings

 

Making One of Them an Exterior Facade

 

 

The metal sheets, depicted with a heavier line weight, are the pieces that vary in order to grant either private or public spaces (as they place the wood on an angle, making the structure more dense).

The top bar marks the end or pause of the pattern. Perhaps this could be open completely where there is a window on the building, or simply when the top is reached.

Design Studio 2

Class: Design Studio 2 | Professors: Emily Moss, David Crandall

Fort Greene – Transit Map

*click any image to enlarge*

The Site – Plan and Sections at 1/8″ = 1′-0″

Site Plan

 

Short Section

 

Long Section

Study of View – A Site Based Installation

My initial models explored views into and out of the site. They distort views, obstruct views, allow views, and most importantly attract views. We first made models at a 1 inch = 20 foot scale.

The model on the RIGHT in the above photograph, blocks views from above, but allows views from eye level (as depicted below).

The model on the LEFT blocks views from eye level but allows views from higher-up. There is also a threshold for entrance, inside which you get a panoramic view of the entire sight (theoretically, at least, the scale is too large for that to actually happen). The model on the RIGHT completely blocks views through the structure, but you can still look into it and out of it. This is depicted in the photo below.

The model on the LEFT distorts views while the one on the RIGHT attracts views with its awkward form. You could even look through the structure at each other. When facing north, there is a library to the left of the site and an assessment center to the right, as well as a school towards north and NYCHA housing down south, so people from these sites, or others just passing by, are attracted to the peculiar installation, look through it and then are connected with each other.

The LEFT model depicts obstructed view points with one side facing the NYCHA housing (south) and the other facing the school (north).

This is the idea I ended up going forward with. The model features slabs on an angle in order to obscure views on every angle except for a certain point in which you may see through the structure. (See above photos LEFT and RIGHT). From this I make more iterations, but make the views created more purposeful.

I place the LEFT model (on both the pictures) on the site along with sketches of scale figures and annotations. These black and white photographs, below, summarise the views that I have managed to get with the LEFT model.

However, it turned out to be very clustered and didn’t seem purposeful, so I had to simplify it when going forward.

Above is my final model. I play with scale here by mimicking the height of the library (short) and gradually getting larger to the height of the assessment center (tall). Here, I am connecting the back doors of each of these buildings during the moments in which the views are not obscured.

First, here is how the structure looks with obscured views:

As you can see, the trees help with distorting the view.

Below, we have moments in which the back doors are connected; the location of these doors are marked with ink.

And below are some perspective drawings that depict the back doors with more clarity.

(this one, above, only looks at the library’s back door)

And finally, here is an sketched plan of my installation.

 

Outdoor Proscenium – A Larger Scale

An outdoor theatre at 1/8′ = 1′-0″ scale. Obstructing view at certain points, except for the entry which faces the stage.

Below are a few moments of view.

 

Massing Models – Defining Indoor and Outdoor Spaces

*Click on an image to view the gallery*

Process Drawings

*Click on an image to view the gallery*

Final Presentation

*Click on an image to view the gallery*

Measured Drawings

 

Models

Vignettes

Assembly in the Whitney (and others)

Class: Materials and Assembly | Professor: Jeremy Barbour

 
This concrete slab is screwed on with a large screw.

 

 

 

 

 

The rope is inserted (and bound, but I really don’t know how; I have some ideas as to how, but I’m not sure how exactly the architects do it). To a piece that is fastened to the bottom and screwed in place on both sides.

 

 

 

 

 

 

 

The rope is threaded through two ‘C’ shaped holders that are screwed together. The final piece is then attached to the glass with a certain adhesive.

 

 

 

 

This pillar is driven right into the ground (I’m assuming it goes VERY far into the ground) for structural purposes.

 

 

Rubber adhesive binds two glass planes together. It also creates insulation.

 

 

 

A metal rod goes through the thin metal slabs that are places into the crevices of the ceiling (again, could be done in many ways, but I am not able to see exactly how). Then, two glass pieces are held together by joints and then screwed to the piece attached to the ceiling.

 

The column is nailed down with multiple nails circling it and the ‘X’ bracket is joined to the floor with a claw-like joint and a very large screw. These add support to the building. (In this instance they are connected, but that is not always the case).

 

 

 

 

 

These railings are screwed and cemented to the ground; there is a piece protruding off the bottom piece which the posts of the railing are screwed into on both sides.

 

These ropes are inserted to the cylindrical joints but I have no idea how they are fasteIned or tightened. Sometimes the cylinders are hollow and other times there is an extra bit protruding outwards. I want to open it and see how it works.

Final thoughts for the Whitney: Many of these connections are exposed in the Whitney. In addition to that, the ‘X’ bracket is on the inside of the building. It doesn’t shy away from displaying these connections (this is emphasised by the glass facade); there is definitely a certain beauty to them. It is also fitting for an art museum as the connections displayed serve to make the building function and are not embellished or adorned in any way. This simplistic and exposing style is a work of art itself, alongside the pieces that are inside the building.

IAC Building:

This building uses internal columns as well as the Whitney, but how the glass protruding from the entrance is supported is quite different.

100 11th Avenue building: This building exposes structure, like the other two. Some of these joints are rabbet joints with a 3 by 3 grid (nine in total).

 

 

Design Studio 1

Class: Design Studio 1 | Professor: Jeremy Barbour

Click this link:

[https://drive.google.com/file/d/0B91ciAg8qMtPZmg3T0pob1VKMHM/view]

To download all of my Design Studio 1 files.

(I am unable to upload individual files to this page because of the 50 MB limit.)

 

 

Glove Assignment

Class: Integrative Studio 2: Constructed Environments | Instructor: Madeline Schwartzman

My initial ideas

Sliced up construction glove:

3e551a643044a955609a3b8d34c2bdd2b79ca9d4 IMG_20160405_165911_HDR

Triangular glove:

IMG_20160410_171922_HDR IMG_20160410_171938_HDR

My final idea

I thought these were too simplified and so I took it to another level with my next idea. Despite how complicated it may be, I still retain the glove aspect and the feeling of the hand.

I kept building upon it slowly one step at a time, and here is what I have come up with:

glove 1

glove2

These are a multitude of pieces that combine to form a habitable space. This can be displayed at The New School University Centre.

Here is an image of it in the space:

Capture

(scans of the plan and section drawing are currently unavailable; To my professor: but if it helps you remember, you liked them and said they were child-like)

 

 

 

Iterative Pattern Assignment

Class: Integrative Studio: 2 | Instructor: Madeline Shwartzman

Initial photographs and etchings for potential iterative pattern (click the images to open their respective PDF file):

thumbnail for photographs2thumbnail for photographs2tracings thumbnail

 

A slideshow of my drawings of more potential iterative patterns:

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Now, iterating a few of them:

window thumbnail sticker thumbnail mark thumbnail cone thumbnail cat thumbnail

I ended up expanding upon the cone pattern. I was intrigued by the way they came together and the negative space created.

I was also inspired by Erwin Hauer’s inside and outside patterns:

I combined my two interests and got:

DSCN3964 DSCN3967 DSCN3970

It functions as a wearable “scarf attachment” (term coined by me).

DSCN3953 DSCN3956