PORTFOLIO - aliciareszka.ucalgaryblogs.caaliciareszka.ucalgaryblogs.ca/files/2016/12/... · PORTFOLIO ALICIA RESZKA GRAPHICS I - FALL 2016. CONTENTS Project 1: Project 2: Project

P O R T F O L I O

ALICIA RESZKA

GRAPHICS I - FALL 2016

CONTENTSProject 1:Project 2:Project 3:Project 4:Project 5:Project 6:Project 7:Project 8:

Project 9a:Project 9b:Project 9c:

Orthographic ProjectionsPrecedent DrawingsTransformative ExplorationsMapping Immaterial FlowsImage ManipulationsGrasshopper IGrasshopper IIGrasshopper IIIMeasured ContextsArticulationsFabrication

0102040506070911121314

01

P1: ORTHOGRAPHIC PROJECTIONSPencil + Pen + Paper

Using an assigned object, a series of orthographic projections were drafted. Through a process of careful measurements and sketching, the assignment allowed for practicing an important ar-chitectural element in which an object is illustratively described to allow the viewer to compre-hensively understand the object’s qualities and characteristics.

1:1 Scale

Front Elevation

Section Sketch

Plan

Perspective Sketch 1

Section 1 Section 2

Perspective Sketch 2

Left Elevation

Axonometric

02 03

P2: PRECEDENT DRAWINGSHAND DRAWN

Pen + Paper

Using the Kings Road House by R. M. Schindler as a precedent, a series of scaled plan, section, and elevation drawings were produced to obtain a basic understanding of the various archi-tectural elements and objectives of the home. The hand drawings, specifically, allowed for an improved understanding of proportions, scale, and individual structural components.

1:96 Scale

P2: PRECEDENT DRAWINGSDIGITAL

Rhinoceros 5 + Adobe Illustrator

Working off of the hand drawings of the Kings Road House, scaled digital drawings were pro-duced.

1:96 Scale

SECTION B

WEST ELEVATION

SOUTH ELEVATION

GROUND FLOORPLAN

GROUND FLOORPLAN

SECOND FLOORPLAN

NORTH ELEVATION

SOUTH ELEVATION

WEST ELEVATION

EAST ELEVATION

SECTION A

SECTION B

04 05

P3: TRANSFORMATIVE EXPLORATIONSRhinoceros 5 + Adobe Illustrator + Photoshop

Using a portion (window and window frame) of the Kings Road House, a series of operations were specified and carried out in a digital space to explore the process of transformation. The assemblage was metamorphosed in a way that related to its underlying logic, ordering system, and geometric principles. Each manipulation was documented through digital drawings followed by creating a composite drawing of a rendering to give the image context.

The result of the manip-ulations is an installation created for a walkway in an alley in downtown Calgary. Many aspects of the Kings Road House were designed to break away from tradition in the way that space was used. This final object preserves the non-tra-ditional design in the precedent by being in-troduced into an alley to create a new communi-ty through beautification of an urban space.

TRA

NSF

ORM

AT

ION

S

Initial Section Plan Front Elevation Section A

BendBend

Stretch

Copy + Line

ar Arra

y

Copy + Line

ar Arra

y

P4: MAPPING IMMATERIAL FLOWSDigital Model: SketchUp + Rhinoceros 5 + PhotoshopPhysical Model: Foam Board + Yarn + Pins

The mapping of this site near Shaganappi Golf Course, which was prevalent throughout the se-mester in Graphics I and Studio I, was an exercise to gain a greater understanding of the imma-terial aspects of the site. Immaterial flows plays an important role in understanding how a space functions. Seed dispersal by means of human movement through seed patches was analyzed and interpreted to create digital and physical 3D models of these flows on the site. Human move-ment was observed at three different 30-minute time intervals on Thursday, October 13, 2016.

1:750 Scale

06 07

P5: IMAGE MANIPULATIONSRhinoceros 5 + Adobe Illustrator + Photoshop

A series of non-deterministic outputs were produced by developing an algorithm (strategy or set of rules) for the manipulation of an image. Below is the process and product of those distortions.

P6: GRASSHOPPER IRhinoceros 5 + Grasshopper + Adobe Illustrator + Photoshop

A diagrammatic pseudo-code was developed by producing a graphic recipe (algorithm) that reduced complex geometries to a collection of points, vectors, and planes. This pseudo-code was used to build a parameterized Grasshopper definition that was capable of replicating and augmenting a residential building at the DONG site in Copenhagen (shown below), designed by the Bjarke Ingels Group.

PSEUDO-CODE:

PART A - VISUAL CODING

08 09

P6: GRASSHOPPER IPART B - ALGORITHMIC MANIPULATION

A curve is created with the ‘Control Point Curve’ tool(Degree = 3.19).

The curve is extruded along the z-axis using the ‘Extrude’ tool (Height = 70).

The surface is divided into equal sections using the ‘Divide Domain ’ function (number of segments in U direction = 5; number of segments in V direction = 19). This is followed by using the ‘Isotrim’ tool for separation into individual segments.

Boxes are created with the ‘Surface Box’ tool that extrudes the surface in the y direction (Height = 22).

2

Using the ‘Cul Index’ function, boxes that should behidden are speci�ed. The ‘List Item’ is usedto determine the box numbers.

5

4321

6

Steps 1 - 6 are repeated with minor di�erences to create the remaining segments. The curve is o�setbetween Steps 2 and 3 (Distance = 7). At Step 5, thethe surface is extruded along the y-axis at a height of 31. At Step 6, the previous boxes are hidden.

7

AUGMENTED PSEUDO-CODE

The two outputs are combined by usingthe ‘Merge Faces’ tool followed by groupingthe boxes and capping the �nal output.

The initial pseudo-code written in Part A of the assignment required revision as a result of realizing that certain steps could be further simpli�ed in Grasshopper, while a re-ordering of steps or additional steps were necessary to achieve the appearance of the building. Steps 1 - 3 in Part A could be combined to create a curve as shown in Part A, Step 4 or Part B, Step 1. Steps 6 and 7 in Part A could also be combined to automatically create a grid without manually connecting the dots with the result shown in Part A, Step 7 or Part B, Step 3. The extrusion along the y-axis was re-arranged to occur prior to the creation of the outputs seen in Steps 5 and 6 of Part B. This re-arrangement allowed for the creation of boxes earlier on in the process, which lead to the extra step of hiding boxes in the list item. The two outputs in Steps 5 and 6 of Part B were created separately to allow for o�setting and creation of two di�erent sizes of boxes as seen in Step 7 of Part B. The order in which the two outputs were created were switched because Grasshopper only allowed for o�setting in one direction (forward or positive direction). The augmented pseudo-code was much simpler to work with.

ITERATIONS

ITERATION 1: DEGREE OF CURVE

Degree of NURBS curve changed to a valueof 1.75.

ITERATION 2: DECREASED HEIGHT

The height along the z-axis is changed to a height of 25.

ITERATION 3: INCREASED HEIGHT

The height along the z-axis is changed to a height of 100.

ITERATION 4: GRID U AND V COUNT CHANGE

The number of boxes in the rows and columns are switched (U direction = 19; V direction = 5).

ITERATION 5: WIDTH CHANGE

The widths of the boxes are changed to 50 for theoutput in Step 5 and 10 for the output in Step 6.

PLAN, ELEVATION, AND SECTION OF RENDERED VIEW (ITERATION 5)

PLAN ELEVATION SECTION

ALGORITHMIC MANIPULATION -GRASSHOPPER AS A TOOL FOR

EXPLORING MANIPULATIONALICIA RESZKA

P7: GRASSHOPPER IIRhinoceros 5 + Grasshopper + Adobe Illustrator + Photoshop

Building on the definition created for the previous project (Grasshopper I), a surface of the prec-edent building was articulated through the use of “attractor points” and analysis of surfaces.

PART A - VISUAL CODING

1 0

The front surface of the building from Assignment 6, Part B at Step 3. The section on the left was hidden using the ‘Cul Index’.

Deconstruction of surface into points using the ‘Deconstruct Brep’ component.

Joining of curves using the ‘Join Curves’ component. Creation of hexagons within each square by �rst evaluatingthe surface properties at a uv coordinate followed by using the ‘Polygon’ component.

Rotation of hexagons 11 degrees to the right.

5

4321

6

Creation of center points using the ‘Area’ componentfollowed by the creation of two attractor points using the ‘Distance’ component, which control the size of thehexagons through the ‘Scale’ component.

7


The hexagons were moved along the y axis a distance of 5. This was followed by lofting between the two curves and extruding.

Di�erences between the original and augmented code:

- The creation of center points was not necessary to make hexagons.

- The extra step of rotating the hexagons was required.

ITERATIONS

ITERATION 1: POLYGON SIZE

The size of hexagons was increasedfrom 5 to 8.

ITERATION 2: ROTATION ANGLE

The hexagons were rotated 17 degreesto the right rather of 11.

ITERATION 3: MOVEMENT ALONG Y AXIS

The hexagons were moved a distance of 15compared to the previous distance of 5.

ITERATION 4: MOVEMENT ALONG Y AXIS

The hexagons at a distance of 0.

ITERATION 5: LENGTH CHANGE

The length of the surface was changed from 5 to 1.

ALGORITHMIC MANIPULATION -GRASSHOPPER AS A TOOL FOR EXPLORING MANIPULATIONALICIA RESZKA

MIES NEUE GALLERY

P7: GRASSHOPPER IIPART B - ALGORITHMIC MANIPULATION

11

P8: GRASSHOPPER IIIRhinoceros 5 + Grasshopper + Adobe Illustrator + Photoshop

Data-driven assemblies were produced by mining an image for data, which was then used with-in Grasshopper to produce formal variations across a two-dimensional surface and three-di-mensional volume. The image used was of fire against a cool, blue-toned background because of its high color contrast, which has the potential to produce interesting results.

PART A - VISUAL CODING (IMAGE DRIVEN MAPPING) VISUAL CODING - IMAGE DRIVEN MAPPINGALICIA RESZKA

1

Select image and place inimage sampler

2

Create a rectangular gridon the image

3

Creation of hexagons on all points making up the grid.

4

Split the RGB values

2D to 3D: Take the pattern and use �ow-along surface

on a sphere

96

5

Manipulate the extrusion ofthe shape along the z axis

using red color values.

Blue color values control the size of the top shape.

7

Green color values control the size of the base.

8

Loft and cap the hexagonal pyramid.

VARIATION

- Height along the z axis

- Radius of the base shape

- Radius of the top shape

DATA DRIVEN ASSEMBLIES:GRASSHOPPER AS A TOOL FOR DESIGNING WITH DYNAMIC DATASETS


1 Insert image into‘Image Sampler’. Theoriginal image wascropped because enoughcolour contrast wasfound in this section ofthe picture.

2 Create a rectangulargrid on the image

(x=60; y=29).

3 Hexagons arecreated on all points making up the grid.

4 The RGB Valuesof the image are split using the ‘Split ARGB’Component.

5

The height (move component) is

manipulated using the red color value. Variation

is found here.

The base size (radius) is manipulated using

the green color value. Variation is

found here.

The top hexagonradius size is

controlled using the blue color value.

Variation is found here.

6

The shapes are then lofted and capped.

2-Dimensional to 3-Dimensional

Isocurves are created from the sphere onto which the pattern is placed. This is followed by using the ‘Flow Along Surface’ function to wrap the pattern around the sphere.

PART B - DATA DRIVEN ASSEMBLIES

12

P9a: MEASURED CONTEXTSAutoCAD

Working collaboratively in a group of four students, the upstairs (fourth floor) studio space in the EVDS building was documented through careful measurements and production of drawings. The purpose of this assignment was to become aware and familiar with important architectural elements that may not be immediately obvious.

MEASUREMENT NOTES

FINAL DOCUMENT

13

P9b: ARTICULATIONSRhinoceros 5 + Grasshopper + Photoshop + Adobe Illustrator

An articulated surface to be situated within one section of the metal sub-structure in the upstairs studio space was designed, categorized by one of Antoine Picone’s three features of contempo-rary ornament (texture, pattern, and topology). The feature chosen for this project was pattern. The surface was then digitally modelled as a thickened solid.ARTICULATIONS

MATRIX OF PROCESS

A curve is created, which is divided into 11 points. A hexagon and a fielddue to a point charge is createdaround each point. The collection offields are merged.

Each hexagon is divided into 20 points.

Each field line is divided into5 points. This is followed by interpolating a curve through the set of points.A field line is computed through each point.

Each curve is extruded along the z-axis (value = 5) and x-axis(value = 2).

TOP VIEW

FRONT VIEW FRONT VIEW

TOP VIEW

The articulated surface modelled between a section of the metal sub-structure in the upstairs studio space is categorized by one of Antoine Picon’s features of contemporary ornament - pattern. The pattern was created through an additive process to explore the invisible forces of magnetic fields and gravity based on a group of curves.

14

P9c: FABRICATIONDigital Model: Rhinoceros 5 + Grasshopper + PhotoshopDocumentation: AutoCADPhysical Model: Wood + Plexiglass + Sheet Metal

Working in a group of four people, the project from the previous exercise was drawn in a more detailed fashion to show the given assembly in relationship to the existing structure using architectural conventions of plan and section. The details of the drawings give dimensions to the specific components required to build a model that entirely fills one of the bays in the studio.

Below is the documentation for construction of the ceiling installation followed by pictures show-ing the building process of the physical model.

EVDS Graphics I:Assignment 9C

Cody Beaudry Bushra HashimAlicia Reszka Joshua Schellenberg

Sheet:

A1Date: December 5, 2016

Assignment 9C: Fossilized

Index: ArchitecturalA1. TitleA2. IndexA3. Reflected Ceiling PlanA4. Section - AA5. Section - BA6. Jig Coordinates, Page 1A7. Jig Coordinates, Page 2A8. Assembly, Page 1A9. Assembly, Page 2A10. Assembly, Page 3



Sheet:


A A

B

B

25'-11 3/4"

7'-6

"

21'-0 1/8"

CEILING PLAN1/2" = 1-0'

5'-2 1/4"

PERFORATED METAL BASE PLATE

2MM ALUMINUM SHEETSADDITION OF 4 CROSS RAILS TO FRAME



Sheet:


Reflected C

eiling Plan

A A

B

B

25'-11 3/4"

7'-6

"

21'-0 1/8"


5'-2 1/4"



1 5

1 6



Sheet:


Section-A

A A

B

B

25'-11 3/4"

7'-6

"

21'-0 1/8"


5'-2 1/4"



0'-1

"0'

-3 5

/8"

6'-5

3/8

"

5'-5

1/4

"7'

-6 1

/2"

16'-9 1/8"

25'-11 3/4"

25'-9 1/2"

4'-11 5/8"

SECTION A1/2" = 1-0'A



Sheet:


Hole Dimensions (Nodes), Radius = 7.295"

Hole Number Position of Center Point (x,y)

N1 3'-4 3/8", 20'-4 1/2"

N2 3'-11 13/16", 16'-6 15/16"

N3 3'-4 15/16", 13'-0 9/16"

N4 3'-5 1/16", 9'-2 7/16"

N5 5'-3 1/2", 3'-7 3/8"

Hole Dimensions (B), Radius = 0.750"

Hole Number Position of Center Point (x,y)

B1 3'-2 1/16", 23'-4 1/4"

B2 3'-8 7/8", 23'-1 3/16"

B3 4'-3 3/4", 22'-8 1/4"

B4 4'-8 7/16", 22'-1"

B5 5'-0 1/8", 21'-2"

B5' 4'-2 7/16", 20'-5 1/16"

B6 5', 20'-3 1/8"

B6' 4'-3 3/16", 19'-9 7/8"

B7 4'-3 1/16", 19'-1 5/8"

B7' 3'-9 3/16", 19'-3 3/8"

B8 4'-5 1/4", 19'

B8' 4'-2 1/2", 18'-8 1/4"

B9 4'-8 1/16", 18'-6 7/8"

B10 5'-2 1/2", 18'-2 3/8"

B11 5'-6", 17'-5 15/16"

B12 5'-5 1/16", 16'-6 11/16"

B13 5'-3 5/8", 15'-9 9/16"

B14 4'-10 7/8", 15'-2 5/8"

B15 4'-6 1/8", 14'-8 3/4"

B16 4', 15'-1 7/16"

B17 4'-6 3/16", 14'-2 3/4"

B18 4'-9 9/16", 13'-6 1/2"

B19 4'- 11 7/16", 12'-9 5/8"

B20 4'-8 1/16", 12'-2 3/16"

B21 4'-3 11/16", 11'-8 1/8"

B22 4'-11 1/2", 11'-0 15/16"

B22' 3'-9", 11'-5 5/8"

B23 4'-2 1/8", 10'-11 5/16"

B24 4'-6 7/8", 10'-4 5/8"

B25 4'-9 15/16", 9'-8 3/8"

B26 4'-10 9/16", 8'-10 1/8"

B27 4'-6 1/4", 8'-4 1/2"

B28 4'-9 13/16", 7'-3 13/16"

B28' 4'-4", 7'-8 13/16"

B29 4'-4 9/16", 6'-11 5/8"

B30 4'-8 1/8", 6'-4 3/4"

B31 4'-6 13/16", 5'-8 7/16"

B32 5'-0 15/16", 4'-3 1/4"

B33 4'-9 1/16", 3'-5 1/16"

B34 4'-2 5/8", 2'-10 1/16"

B35 3'-9 7/16", 2'-8 1/16"

B36 3'-2 1/4", 2'-9 1/8"

B37 2'-7 7/16", 3'-1 11/16"

B38 2'-2 3/4", 3'-10 1/16"

B39 2'-4 7/8", 5'-3 1/2"

B40 2'-2 13/16", 6'-0 13/16"

B41 2'-8 5/8", 6'-10 1/16"

B42 2'-8 11/16", 7'-6 1/2"

B43 2'-4", 8'-1 15/16"

B44 1'-11 1/16", 8'-7 7/16"

B45 2'-2 3/4", 9'-5 5/16"

B46 2'-2 3/8", 10'-2"

B47 2'-6 1/8", 10'-10 1/16"

B48 2'-10 15/16", 11'-1 1/16"

B49 1'-4 1/8", 11'-3 15/16"

B49' 2'-8 1/8", 11'-6 1/4"

B50 2'-3 1/16", 12'-0 5/8"

B51 1'-11 1/2", 12'-8 5/8"

B52 1'-10 15/16", 13'-5 1/4"

B53 2'-1 3/16", 14'-2 1/8"

B54 2'-6 3/8", 14'-9 3/4"

B55 2'-11 1/8", 15'-2 3/4"

B56 3'-0 7/16", 15'-7 7/8"

B57 2'-10 1/8", 16'-3 13/16"

B58 2'-6 7/8", 17'-0 3/16"

B59 2'-0 13/16", 18'

B59' 2'-10 5/8", 17'-7"

B60 2'-11 9/16", 18'-4 1/4"

B61 2'-6 5/8", 18'-9 1/8"

B62 2'-2 7/16", 19'-4 11/16"

B63 2'-3 3/4", 20'-1 5/8"

B64 2'-1 1/4", 21'-3"

B65 2'-4 7/8", 21'-11"

B66 2'-9 5/16", 22'-9 1/2"

Prime = Second hole along curve closest to center

Hole Number

A1

A2

A3

A4

A5

A6

A7

A8

A9

A10

A11

A12

A13

A14

A15

A16

A17

A18

A19

A20

A21

A22

A23

A24

A25

A26

A27

A28

A29

A30

A31

A32

A33

A34

A35

A36

A37

A38

A39

A40

A41

A42

A43

A44

A45

A46

A47

A48

A49

A50

A51

A52

A53

A54

A55

A56

A57

A58

A59

A60

A61

A62

A63

A64

A65

A66

Hole Dimensions (A), Radius = 1.500"

Position of Center Point (x,y)

3'-1 1/8", 25'-10 3/8"

4'-0 7/8", 25'-7"

5', 24'-11 11/16"

5'-7 3/8", 23'-10 13/16"

6', 22'-6 3/16"

6'-0 3/4", 21'-4 3/8"

5'-8 15/16", 20'-2 13/16"

4'-6 9/16", 19'-2 7/16"

6'-0 5/8", 19'-11 3/16"

6'-6 3/4", 19'-2 15/16"

6'-9 15/16", 18'-3 1/8"

6'-11 5/16", 16'-10 3/4"

6'-10 3/16", 15'-9 1/8"

6'-5 1/2", 14'-9 1/6"

4'-11 7/8", 14'-2 15/16"

4'-1 5/16", 15'-4 3/4"

6'-1 1/4", 14'-3 3/4"

6'-4 1/4", 13'-6 9/16"

6'-5 5/16", 12'-7 1/8"

6'-3 5/8", 11'-10 1/4"

5'-11 3/8", 11'-3 1/4"

6'-3 13/16", 10'-11 9/16"

5'-10", 10'-11 1/4"

6'-2 15/16", 10'-3 11/16"

6'-4 13/16", 9'-6"

6'-5 1/8", 8'-5 13/16"

6'-3 1/8", 7'-8 1/16"

5'-9 7/8", 7'-0 15/16"

5'-11 13/16", 6'-9 7/8"

6'-4 13/16", 5'-9 3/4"

6'-5 5/16", 4'-7 9/16"

6'-1 7/16", 2'-11 9/16"

5'-7 1/8", 1'-8 3/4"

4'-8 5/8", 9 1/8"

3'-9 5/16", 2 1/4"

2'-10 1/16", 5 11/16"

1'-10 7/8", 1'-2 1/4"

1'-3 5/16", 2'-3 3/8"

11 3/16", 3'-9 3/8"

10 9/16", 4'-11 7/8"

1'-1 11/16", 6'-1"

1'-2 1/8", 6'-6 1/2"

8 11/16", 7'-0 7/16"

6", 7'-10 11/16"

4 3/4", 9'-0 11/16"

5 13/16", 10'-0 3/16"

8 15/16", 10'-9 1/2"

9 9/16", 11'-1 1/2"

11 1/16", 11'-4 1/8"

6 5/8", 11'-10 7/16"

4 15/16", 12'-8 1/2"

4 1/2", 13'-10 3/8"

6 1/8", 14'-9 15/16"

11 3/8", 15'-8 1/16"

1'-6 13/16", 16'-2 7/16"

2'-5 11/16", 15'-7 7/16"

1'-0 9/16", 16'-8 11/16"

1'-0 3/16", 17'-6 3/4"

1'-1 7/8", 18'-2 1/16"

1'-5 11/16", 18'-5 7/8"

11 5/16", 18'-11 3/16"

6 3/4", 20'

5 15/16", 21'-3 3/16"

9 13/16", 22'-11 1/8"

1'-3 7/8", 24'-2 3/4"

2'-1 7/8", 25'-3 3/16"

A2 + B2 = 2Etc.

A1 + B1 = 1

North

0,0

B2B1

B3

A50

B4

A49

A47

B6

B5

B7'

A46

B8' B9B10

B11

B12

B14B15B17

B18

A38

B19

A35

B20B21B22'

B23B24

B25

B26

A62

B27

A61

B28'

B29

B30

B31

B33

B34B35B36

B37

B39

B40

B41

B42

A60

B43

A59

B44

B45

B46B47B48

A58

B49'

A57

B50

A56

B51

B52

B53B54

B55

A55B56A54

B57

A53

B58

B59

A52

B60

A51

B61

A48

B62

A45

B63

A44

B64

A43

B65

A42

B66

A41

A40

A39

A36 A34

A33

A32

A31

A30

A29A28

A27

A26

A25

A24A23

A22A21

A20

A19

A18

A16

A15

A13

A12

A11

A8

A63

A64

A7

A66

A65

A17A14

A10

A9

A6

A5

A4

A3

A2A1

B59'

B49

B28

B22

B8

A37

B5'

B6'

B38B32

B16

B13

B7

N3

N2

N1

N4

N5

Jig Cordinates. Page 1

150°

170°

169°144°

87°

150°170°

169°

87°

150°

170°

169°

144°87°

150°170°

169°

144°87°

150°

170°

169°144°

87°

150°

170°

169°144°

87°

1 5/8"

1"1 1/8"

0 15/16"

1 7/16" 1 5/8"

1"

1 1/8"0 15/16"

1 7/16"

1 5/8"

1"

1 1/8"

0 15/16"

1 7/16" 1 5/8"

1"

1 1/8"

0 15/16"

1 7/16"

1 5/8"

1"1 1/8"

0 15/16"

1 7/16" 1 5/8"

1"

1"0 15/16"

1 7/16"

N1

150°

170°

169°

144°87°

150°170°

169°

144°87°

1 5/8"

1"

1 1/8"

0 15/16"

1 7/16" 1 5/8"

1"

1 1/8"

0 15/16"

1 7/16"

150°

170°

169°144°

87°

150°

170°

169°144°

87°1 5/8"

1"1 1/8"

0 15/16"

1 7/16" 1 5/8"

1"

1"0 15/16"

1 7/16"

N2

N3

N4

N5

1 7



Sheet:


Jig Cordinates. Page 2

1

3

4

5

6

7

89

10

11

12

13

1415

16

171819

2021

2223 24

25

26

2728

29

30

31

32

33

34

3536

37

38

39

40

4142

43

44

45

4647

48 4950

51

52

53

54 5556

57

5859 6061

62

63

64

65

66

12 3 4 5 6 7 8 9 10 11

12 13 14 15 16 17 18 19 20 21 22

23 24 25 26 27 28 29 30 31 32 33

34 35 36 37 38 39 40 41 42 43 44

45 46 47 48 49 50 51 52 53 54 55

56 57 58 59 60 61 62 63 64 65 66

2

3'-5 11/16"3'-3"3'-2 3/8" 3'-5 13/16"4'-3 1/8"4'-10 5/8"5'-3 3/8"

3"

3'-1" 2'-10 11/16" 2'-10 1/2"

1'-8 7/8" 3'-6 11/16" 3'-5 3/8" 3'-2 1/16" 2'-11 1/16" 2'-11 3/8" 3'-2 3/16" 3'-5 1/4" 3'-10 3/8" 3'-3 5/8" 3'-0 13/16"

2'-11 3/8" 3'-1 11/16" 3'-5 5/8" 3'-8 3/16" 3'-4 11/16" 3'-3 3/4" 3'-5 1/8" 4'-0 7/16" 4'-7 3/4" 5'-1 3/16" 5'-3 5/8"

4'-10 15/16" 4'-3 13/16" 3'-8 1/8" 3'-3 1/16" 3'-3 3/8" 3'-5" 3'-5" 3'-2 11/16" 3'-0 1/8" 2'-11 5/8" 3'-2"

3'-4 5/8" 4'-3 3/4" 3'-4 9/16" 3'-1 1/2" 2'-10 13/16" 2'-10 3/4" 3'-0 1/4" 2'-1" 2'-6 1/4" 3'-4" 3'-0 5/8"

2'-10 7/8" 3'-1 3/4" 3'-6 7/8" 3'-10 7/8" 2'-6 1/4" 3'-5 1/4" 3'-5 3/8" 3'-6 1/2" 4'-1 3/8" 4'-8 1/2" 5'-1 5/16"

2 13/16"

All slits are spaced

equally unless otherwise

annotated

2 3/4"

0 1/8" 1 5/16"1 5/8" 2 3/8" 2 11/16" 1" 1 11/16" 1 1/2"

2 7/8" 0 11/16" 2 1/16" 2 1/16" 2 3/8" 2 3/16" 2 1/4" 1 3/8" 0 5/8" 0 13/16"

2 3/8" 1 11/16" 2 5/8" 2 3/16" 1 11/16" 0 3/4" 2 1/8" 0 3/16" 1 3/4" 1 3/16" 0 5/8"

1 15/16" 2 1/8" 3 1/16" 0 3/8" 2" 2" 2 11/16" 2 3/4" 2 5/8" 2"

1 5/8" 0 3/4" 1 9/16" 1 1/2" 1 13/16" 1 3/4" 0 3/16" 1" 0 1/4" 1" 0 5/8"

1 7/8" 1 3/4" 0 7/8" 1 7/8" 0 1/4" 2 1/4" 2 3/8" 0 1/2" 1 3/8" 2 1/2" 1 5/16"

2'-6"6"

2'-0"Same with for Ribbon #35

3'-7 5/16"

A A

B

B

25'-11 3/4"

7'-6

"

21'-0 1/8"


5'-2 1/4"





Sheet:


Section-B

A A

B

B

25'-11 3/4"

7'-6

"

21'-0 1/8"


5'-2 1/4"



16'-9

1/8

"

1'-1

1 7/

8"

STRUCTURAL CEILING

FINISHED CEILING PANELS

ELECTRICAL GRID OVERHANG

FINISHED FLOOR

1'-4

7/8

"4'

-11

5/8"

7'-6

1/2

"

13'-1

1"

8'-5

3/4

"

7'-6"

3'-2

1/4

"

0'-1

5/8

"

0'-4

1/4

"

5'-4

3/4

"

4'-1

1 1/

4"

6'-5 1/2"SECTION B1/2" = 1-0'B

1 8

x5

TACK

(TYP)

Assemble centroid prism

Secure centroid prisms in place according to provided locations.

Temporariliy secure jigs to determine fin bend and orientation

As fins are formed around jigs, weld along centroid, and along baseplate

A.

B.

C.

D.

Assem

bly. Page 1

A8

Fold Direction

Remove jigs as weldsare completed. Fold over tabs once fins

as jigs are removedE. F.

G.A

ssembly. Page 2

A9

Assem

bly. Page 3H.

I.

Turn over

Mount crossframes to HSS-subframe as shown in architectural drawings

Complete

x5

A10

1 9

BUILDING PROCESS OF PHYSICAL MODEL

ALICIA RESZKA

UNIVERSITY OF CALGARYMASTER OF ARCHITECTURE

GRAPHICS IFALL 2016

20

COMPLETED PHYSICAL MODEL

PORTFOLIO - aliciareszka.ucalgaryblogs.caaliciareszka.ucalgaryblogs.ca/files/2016/12/... · PORTFOLIO ALICIA RESZKA GRAPHICS I - FALL 2016. CONTENTS Project 1: Project 2: Project

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