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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
AUGMENTED PSEUDO-CODE
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
AUGMENTED PSEUDO-CODE
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
EVDS Graphics I:Assignment 9C
Cody Beaudry Bushra HashimAlicia Reszka Joshua Schellenberg
Sheet:
A2Date: December 5, 2016
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
EVDS Graphics I:Assignment 9C
Cody Beaudry Bushra HashimAlicia Reszka Joshua Schellenberg
Sheet:
A3Date: December 5, 2016
Reflected C
eiling Plan
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
1 5
1 6
EVDS Graphics I:Assignment 9C
Cody Beaudry Bushra HashimAlicia Reszka Joshua Schellenberg
Sheet:
A4Date: December 5, 2016
Section-A
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
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
EVDS Graphics I:Assignment 9C
Cody Beaudry Bushra HashimAlicia Reszka Joshua Schellenberg
Sheet:
A6Date: December 5, 2016
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
EVDS Graphics I:Assignment 9C
Cody Beaudry Bushra HashimAlicia Reszka Joshua Schellenberg
Sheet:
A7Date: December 5, 2016
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"
CEILING PLAN1/2" = 1-0'
5'-2 1/4"
PERFORATED METAL BASE PLATE
2MM ALUMINUM SHEETSADDITION OF 4 CROSS RAILS TO FRAME
EVDS Graphics I:Assignment 9C
Cody Beaudry Bushra HashimAlicia Reszka Joshua Schellenberg
Sheet:
A5Date: December 5, 2016
Section-B
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
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