Camerons Portfolio

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Cameron Buck

Design 1 Fall 2011


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Index

The Cube Room and GardenThe Matrix

Pages 1-4 Pages 9-12Pages 5-8


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I constructed my armature to envelope three distinct

spaces in the cube. I then used these three spaces to

construct my three interwoven moments of high density.

My rst moment shows a shift from small scale to large

scale linear and planar in order to incorporate itself

within the armature. This moment then uses this shift

to channel the attention into the other two momentsthrough a small forced opening. From there my second

moment is an example of expansion because it uses this

channel of dense space from the st model to begin to

open up into larger and larger spaces and uses tis expan-

sion to wrap around the armature. My nal moment

which also broke away from the original central moment

provides an example of tension and release for it creates

another area of high density within the already dense

movement but then uses the shape of the armature to

release it in to the rest of the model.

The CubeCameron BuckDesign 1 Fall 2011

Longitudinal Section


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Moment1

Mome

nt3

M

oment2


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The CubeCameron BuckDesign 1 Fall 2011

Linear System ArmaturePlanar System


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Section cuts


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The MatrixCameron BuckDesign 1 Fall 2011

The construction began with the use of the plexiglas

elements being used to construct a strict datum to show

the collision of two directional zones at different levels

at a central eld which acts vertically to mesh the

two zones together. Since the zones occur at different

planes and are connected vertically this also allows

for an assumption that the zones could continue pastthe central eld as well as act in a vertical manor. The

three ways to treat the plexi acted to reenforce these

principals by using the color at its darkest to show the

vertical movement and also the matte nish was used in

a few different manors being to show the direction of the

zones and also to symbolize how penetrable something

was by how dark it was applied. Once I had completed

my drawing I realized that in order to create this direc-

tion in the zones that I was looking for, I then utilized

the second system, the museum board to create very

small scale spaces within the plexiglas but still using

somewhat large planes to not only force the small com-

pressed space, but to also direct it. The planes within the

zones were constructed to act as if they are folding andinterweaving to enhance the complexity of the zones to

contrast the large territory in the middle.Following the

planes, the large linear helped show the direction of the

zones and also many vertical linears where utilized in

the eld to establish the vertical hinge. Small scale lin-

ears are used within the zones to accent the small spaces

and also within the eld to force the space upward

and also to ll the eld full of many different types of

systems (both large and small scale planer) to justify it

as the most complex moment in the model.


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Process


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The MatrixCameron BuckDesign 1 Fall 2011


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Occupation and Intervention into the Operative Field (Room and Garden)Cameron BuckDesign 1 Fall 2011

The construction of both the eld and the armature

of the Room and Garden model were inspired by the

relationship between the spectators and the performers

at an event such as the Fringe festival in Scottland.

When constructing the three stages for the perform-

ers that were harbored within the armature, I took intoaccount, the type of performance, the possibility of the

performer to momentarily dissapear from the audience,

as well as the entrance and exit to the stage that would

not distract from the show.Also the use of reected color

wasused to highlight the entries and exits of the stages

and also the main performance areas. The connections

between the stages were done primarily enclosed to hide

the performer from the audienceuntill they arrived at

the stages. Since the largest sixty person stage created a

vertical shift, I created a brief moment on the top for a

soloist to stand and attracta crowd from all over the fes-

tival. From there the last one person stage would stem

and the performer would perform to a raised, smaller

audience. The toned plexiglas showed the primary route

of the audience, the darkest places being of highest

concentration.


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Process


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Occupation and Intervention into the Operative Field (Room and Garden)Cameron BuckDesign 1 Fall 2011

Stage 1 Stage 3Stage 2


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Documents

Camerons Portfolio