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Kiernan Smith

ARC 101, Fall 2011Faculty: Nicholas Bruscia, Stephanie Davidson, Matt Hume

Teaching Assistant: Alison Adderly

ARC 102, Spring 2012Faculty: Georg Rafailidis, Chris Romano, Matt Hume

Teaching Assistant: Robert Gripko

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Table of ConTenTs: ARC101

4. Orthographic Projection 5. Motion Drawing 6. Vellum Model 7. Space, Body, Structure Studies 8. Space, Body, Structure 9. Space, Body, Structure 10. Final Project Study Models 11. Final Model and Drawings 12. Final Model and Drawings 13. Section Animation

ARC111 (Media 1)

14. Drawing and Scaffolding ARC102

16-17. One Word 20. Foam Model 21-22. Plaster Mold and Plaster Pieces 23. Paper Pulp Mache Study 24-27. Final model 28-33. Trace Paper Mache Group Project (KIRI) 34-37. Final Group Model

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ARC 101, Fall 2011Faculty: Nicholas Bruscia, Stephanie Davidson, Matt HumeTeaching Assistant: Alison Adderly

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Orthographic ProjectionThe first objective was to draw the chosen tool. I decided to draw my hinge half open with top and bottom views. Two auxiliary views are projected off at the angle of the baseplate to better convey the object.

Door Hinge ProjectionKiernan Smith 2011

Graphite on Stonehenge

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Motion DrawingTo keep with the ideas of the previous “orthographic projection,” new projections were created off of the baseplate this time at four distinct thirty degree angles. This created four different top views to better convey the drawn subject.

Motion Drawing ProjectionKiernan Smith 2011

Graphite on Stonehenge

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Vellum ModelThe rivets of the tool are essential to its operation. With this used points at the rivets and repeating edge lines to connect each of the four stills. Cut on solid lines and alternated folds on dotted line to connect back to the opening and closing of a hinge.

Photophop Overlay: Ink on Print

Vellum Model: Top View Vellum Model: Side View

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Space, Body, Structure studies:

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Space, Body, StructureSituated with the task of transforming the vellum models form into a space that not only is occupiable by the human body but also supported by it, a design was created that satisfied both of these objectives. The prevailing feature of the vellum model, the triangular shapes, was carried over by using ten right triangles with predetermined folds that collapses when the human body is absent from the space.

Space, Body, Structure DrawingKiernan Smith 2011

Graphite on Stonehenge

Chipboard ModelFront view with the body contacting the structure in three points. In the right knee and both hands.

Chipboard ModelRear view showing the contact points

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The body contacts the space in three distinct areas, the right knee, the right hand, and in the left hand. This creates anchor points for the stucture (the body) to meet the space.

Space, Body, Structure DrawingKiernan Smith 2011

Graphite on Stonehenge

Chipboard ModelsLeft: Birdseye view

Right: Collapsed/Support overlay

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Final Model StudiesStudy models consisted of equilateral triangular forms. The main goal was to find a way to incorporate opening and closing a door and window. Starting with string to pull the windows closed, the models migrated away from string to direct hand to model contact.

Chipboard/Bass Wood Flex ModelResearched flexible joints and ability to open a window

Chipboard/Basswood modelFirst model, string pulls triangular windows closed

Chipboard/Bass Wood ModelFirst model, front view in the closed position.

Chipboard/Bass Wood ModelStudy of stronger connections and isolating four panels as moving doors.

Chipboard/Bass Wood ModelFully enclosed model with two panels functioning as windows. Opened with

wooden rod.

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Final Model and DrawingsFinal model is evolved from previous study model forms. The occupant opens the doors on either side to enter or exit. When the doors are closed, the windows open to allow light and airflow to enter into the space.

Oblique DrawingKiernan Smith 2011 Graphite on Stonehenge

Projection DrawingKiernan Smith 2011

Graphite on Stondehenge

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Final Model Windows are located on the top front and on the lower rear.

Mat Board/Bass Wood ModelSide view in the open position

Mat Board/Bass wood ModelFront view in the open position

Mat Board/Bass Wood ModelOblique picture overlay. Rail added to keep sliding panel in place

Mat Board/Bass Wood ModelFront view in the half open position.

Mat Board/Bass Wood ModelTop view overlay

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ARC111 (Media 1)Over the semester we drew a cube in several different ways and techniques. This included projections and shadows. I then created speculative drawing and scaffold based off of the original drafting task. This resulted in the explosion drawing at the top of the central tower becaming a literal 3D explosion and the rest of the drafts built off the side of the central tower.

Cubes DrawingKiernan Smith 2011Graphite on Stonehenge

Media ScaffoldPiano wire, bass wood, and graphite on stonehenge.

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ARC 102, Spring 2012Faculty: Georg Rafailidis, Chris Ro-mano, Matt HumeTeaching Assistant: Robert Gripko

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One WordThe first half of the spring semester we had to select a space in the city of Buffalo. The space had to be described by one word that showed how we fully experienced the space. I choose the alcove at St. Joeseph’s University Parish just off the University at Buffalo south campus.

Humble

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The whole church is this ornate structure with lots of terra-cotta and stained glass everywhere. The structure itself is mainly imitation granite and yet when you enter the church through the vestibule, you can see the only spot in the entire church that brick and mortar is present. It is a humbling experience for me, the occupant.

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Foam ModelFrom the space I found. I made a 1/2 scale model of the alcove. The foam model was of the negative area that the space enveloped and would later be casted in plaster.

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Foam Model Drawings

Exploded AxonometricKiernan Smith 2012Graphite on Stonehenge

Plans and SectionsKiernan Smith 2012Graphite on Stonehenge

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Plaster Cast ProcessThe process of pouring the plaster molds was done through the use of codleboards and clay dams. They were done in five different pieces that would come apart. These pieces were ment to all be different in order to better show the complexities of space.

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Plaster Mold and Plaster Pieces

Exploded AxonometricKiernan Smith 2012Graphite on Stonehenge

Mold Piece Shaded PerspectiveKiernan Smith 2012Graphite on Stonehenge

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Plaster Pieces

Plaster Piece PerspectiveKiernan Smith 2012Graphite on Stonehenge

Plaster Piece Two-Point PerspectiveKiernan Smith 2012Graphite on Stonehenge

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Plaster ArrangementsThe new task after the molding was to arrange my five pieces into a way that fullfiled a circulation pattern. I choose to focus on loop circulation although I experimented with other types of circulation as well. As I refined my arrangement I had to start to also incorporate my original foam model.

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Paper Pulp Mache StudyA study model was created using toilet paper pulp and Elmers glue. The two are mixed during the process and ap-plied carefully in order to come off cleanly. The objective is to capture the space created by putting all the pieces in a pre-configured arrangement.

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Final modelAfter numerous investigations, the best arrangment was realized. It provided loop circulation with central meeting areas and a courtyard-like exterior space. The exterior space can be viewed from multiple angles provided through the cutting and folding of the paper pulp mache shell.

Circulation AxonometricKiernan Smith 2012Graphite on Stonehenge

Shaded PerspectiveKiernan Smith 2012Graphite on Stonehenge

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Final Model Floor PlanKiernan Smith 2012Graphite on Stonehenge

Exterior Axonometric OverlayKiernan Smith 2012AutoCAD

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Paper Trace Mache Group Project (KIRIE)The last half of the semester was spent trying to fulfill the task of enclosing an 8’ x 8’ box with trace and paper mache glue. The challenge evolved into being able to free span 25’. This was the first recorded attempt of trace paper mache spanning ever recorded.

Origami has crept itsway not only intopopular culture, butmore importantly intothe realm of design.From chairs to entire buildings, theart style has beenutilized for itsstrength and intriguing shape.Combine the aesthetics ofResch’s origamipattern with anunconventionalstructural shapelike the cantileveredtruss, and you will truly have a distinguishable design.

PRECEDENTS

Origami - Paris, 2012

Orvieto Hangars - Italy, 1935 Old City Jerusalem Cantilever - Las Angeles, 2008 Universiade Centre - China, 2011

Mintegia y Bilbao - Spain, 2004

Infosys Mysore Development Center - India, 1996

Library Concept - Baton Rouge Origami Inspired Chairs

Origami is the traditional Japanese art of paper folding which has evolved into a modern art form. Paper cutting and glueing is not considered origami, and is instead deemed kirigami. This derivative of origami is significantly less recognized, yet yieldsseveral oppurtunities that traditionalorigami folding patterns do not allow for. Ron Resch is a visionary mathematicianand designer who was the first to explore the architectural potential of 3D tesselated structures in the 1960s and 70s. His findings paired with designs by Buckminster Fuller and various other architects and designers have paved the way for this new age repeated geometry.

ORIGAMIKIRIGAMIRESCH&FULLER

Ron Resch with his Origami

Resch’s Pattern - Full Scale

Resch’s Pattern - Full Scale Resch’s Pattern - Tight Fold Resch’s Pattern - Flexibility Resch’s Pattern - Light

Richard Buckminster Fuller

1967 Montreal BiosphereResch’s Folding Schematic

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ProcessWe investigated the different ways of making paper structural. Eventually we came to our best answer of an Kirigami folding pattern meshed with compressed rolls of trace.

APPLICATIONTo generate the material needed for our spanning structure, a series of steps is necessary to form not only the correct rigidity, but also the ideal amount of transparency.

Step 1: Cut Step 2: Glue Step 3: Vaseline Step 4: Application

DRYINGCuring the trace paper is just as important as its application. Without a smooth dry, the trace tendsto warp and wrinkle in unpredictaple ways that will inherently limit its structural capacity.

Step 1: On-Wall Dry Step 2: Removal Step 3: Flattening Step 4: Adjustments

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Cross Hatched Trace Pyramid Tesselation Model 1/72 Scale Paper Models of Bay 2 Tace Pyramid Test

Resch Origami Pattern Test - 3 Layers

Shoe-Print in Trace - 5 Layers Rolled Full Scale 22 Layer Model Worm’s Eye of Full Scale Test Bird’s Eye of Full Scale Test

Double Roll of Full Scale Model - 22 Layers Cross Hatched

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ORIGAMIBy folding the layered trace, we can immediately instill rigidity into the otherwise frail plane. Generatingthis particular pattern is time consuming, frustrating, and requires lots of hands.

Step 1: Draft Step 2: Fold Step 3: Origami Step 4: Glue

ROLLINGForming the vital structural aspect of the project takes not only a firm hand, but also a diligentmindset to correctly construct the rolls.

Step 1: Draft Step 2: Cut Step 3: Roll Step 4: Glue

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Contrary to ReasonTitle: Rigidity Test-StandoutsScale: 3”-1’

5 Layers

20 Layers

10 Layers

Contrary to ReasonTitle: Origami DiagramsScale: 1”-1’

Unfolded

Folded-Top Elevation

Folded-Side Elevation Folded-Axonometric

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Final Model Proposal

KIRIETitle: Fold DiagramScale: 1/4”-1’

N

Unfolded Room Layout Marked Unfolded Room Layout Folded Plan

Bay 3 Bay 1

KIRIETitle: Cut AScale: 1”-1’

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N

KIRIETitle: PlanScale: 1/2”-1’

A

B

KIRIETitle: Cut AScale: 1”-1’

N

Kirigami a variation of origami that includes cutting of the paper (from Japanese “kiru” = to cut, “kami” = paper)

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KIRIETitle: Cut BScale: 1”-1’

Bay 3 Bay 1

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