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    Doron Serban

    MASTEROFARCHITECTURE2008

    SyracuseUniversitySchoolofArchitecture

    BACHELOROFARTS;Music2001

    MinorofArts;HistoryUniversityofCalifornia,Riverside

    CONTACTINFO:

    3632TrintelCt.

    WalnutCreek,CA94598

    925.482.5256

    [email protected]

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    EDUCATION

    MASTEROFARCHITECTURE2008

    SyracuseUniversitySchoolofArchitecture

    ThesisAwardsJury:COUNTERPOINT:anArchitectureofAir

    BACHELOROFARTS;Music2001

    MinorofArts;History

    UniversityofCalifornia,Riverside

    PROFESSIONALEXPERIENCE

    ILLUSTRATOR 7.2005-5.2008

    Autodesk,Inc. SanRafael,CA

    ARCHITECTURALVISUALIZER 6.2006Current

    Freelance Syracuse,NY

    MUSICPRODUCTIONSERVICES 8.20026.2006

    Freelance Oakland,CA

    Filmscoring,commercialprojects,livetracking,sounddesign,compositions,visualsincludingcoverdesigns,animations,linergraphics

    JAZZPIANIST 3.2000Current

    Freelance Northern/SouthernCAExperiencedinsolojazzpiano,smallensembles,bigband

    DESIGN/BUILD: GHOSTARCHITECTURALLABORATORY 6.20077.2007

    IndependentStudy NovaScotia,Canada

    Design/buildofabarnontheMacKay-Lyonsfarm.

    VOLUNTEER

    HabitatforHumanity 5.20056.2005Laborer Buffalo,NY

    Assistedwithconstructionof5single-familyresidences

    CURRICULUMVITAE

    TechnicalPublishingDepartment:LayoutandgraphicsforNewFeaturescue-cardsforAutoCAD2009,3Darchi-

    tecturalcontentfortheBuildingYourWorld(AutoCAD2007);ContentcreationfortheNewFeaturesWorkshop

    (AutoCAD2007,AutoCAD2008);SampledrawingsandillustrationsforAutoCAD(2007-2010),samplecontentfor

    AutodeskImpression

    3Dmodeling,lighting,texturing,rendering(photoreal,npr),animations,compositing,imagingsolutions,portfoliode-

    sign,musiccomposition,musictracking;projectsincludevisualizationforinternationalcompetitionentries,renderings

    forpublication,renderingsforbuilt-workawardsubmissions,animationsfordesignproposals

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    ACADEMICEXPERIENCE

    TEACHINGASSISTANT

    SyracuseUniversitySchoolofArchitecture 1.2007-Current

    DESIGNCRITICSyracuseUniversitySchoolofArchitecture 3.2008

    MediaII(Prof.Sprecher)

    SyracuseUniversitySchoolofArchitecture 2.2008

    ArchitecturalDesignII(Prof.Tirone)

    PUBLICATIONSSyracuseUniversitySchoolofArchitecture 1.20065.2006

    GradSessionsConversationsWithGregLynn

    Flashsitedevelopment,animations,anddiscmasteringofthedesignprocessfortheSLavinHouse(GregLynn)

    BuildingYourWorld:ConceptualDesignandVisualizationwithAutoCAD, 2006

    Illustrations

    Autodesk,Inc.

    Intersight:JournaloftheSchoolofArchitectureandPlanningv8.05, 2005

    AssociateEditor

    BuffaloBook

    DesignDocumentationofWoodframeProjectIndexBuildings, 2003

    Illustrations

    CUREEPub.NOW-29

    SKILLS

    LANGUAGES

    French&Hebrew:fluent

    SOFTWARE

    FABRICATION

    CNCMilling,3DPrinting,LaserCutting

    InstructioninAutoCAD(2D/3D),3dsMax8/2009,Renderingconceptsandapplication,parametricmodeling,animation,

    Microsoftoffice,lighting,NextLimitRealFlow,AdobeCreativeSuite

    3dsMax,MentalRay,AutoCAD(2D/3D),Rhinoceros,RhinoScript,AutodeskImpression,MayaRealFlow,Cinema4D,AdobeIllustrator,

    AdobePhotoshop,AdobeInDesign,AdobePremiere,AdobeAfterEffects,SonyVegas,SonySoundForge,CakewalkSonar

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    COUNTERPOINT

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    dasdasdadasdfafda

    safdjafdsaskfsahfdsauhfewa;ofauhfafeah

    fewa hfea ofewahfeaufeahfea feauhfea

    ufewahfea feahfeahfeahuhfeahfceufah fea

    u fahfau fafahfa feauhfeahfewafewa few-

    aihfauf afhfeahufeahfeaiufea fa jufdhfda

    ueahreaueafIt,quat.At,volortisimaciblam

    quismodipisitwiscinutat, quissequamalit

    admingeriliquam,consectetueritalisalit,

    commynosessequat,veldoloremquietum

    exerseniam,quisaccumsandreminciliqui

    bla feu feuguer iustie eummolorem dolor-

    peratluptatvullaorsisnullutat.

    Unt dio et, cons nosto endiamconse vul-

    landiatisalit,consequipiscitetillafeufeuis

    exelismodolenimiureetamcommynosnos

    nos at, vulla commynullaautemagna at

    auguemagnit,verocommyniam,sustiood

    modmingexerat,quipeummodit,quat.Ud

    tat.Henisldoluptatet,quismodoloremzzril-

    laoremquam,sustodoconseaconveldole-

    nisseddelirildoloreroet,quisciduisautnibh

    endreminestrudmagnibhesseerilisnulla

    consacipisseddoloreminciblaorpersi.

    Andit, sim nonsecte feu faciliq uatisis eu-

    giam dolor ipit veratueril ut utpat nullum

    alisadipsusciduntulputetaugiametlobore

    tatisimalisseddolortieestionsecteduisam

    nosdiatumeummynostietetiritnismolore

    essimzzritdolenismodoodoloborperiuscilit

    alislutet,quatautpatiscilitiritdolorperaci-

    liseumiliquisciduntentwiscipisi.

    COUNTERPOINT

    COUNTERPOINTANARCHITECTUREOFAIR|BRUSSELS,BELGIUM

    EdgardVaresepositshisPoemeElectronique(forthePhilipsPavilionatthe1958

    WorldExpo)asthespatializationofsonicmassesmovingagainsteachother.As

    such,ittranscendstheaural.Itisamusicbeyondnotes.Thisresponsivearchitec-

    tureisanatmosphericdescriptionbymeansofapassagefromthatsong.Itisthe

    expressionofanarchitectureofair;apavilionexploringthespatialpotentialities,

    andthetectonicsinvolvedinfabricatingtheseexperiencesatmultiplescales.

    Ininvestigatingthecontrapuntalthroughthepolyphonyofmusicandarchitecture,

    mathematicsasaformallogic,acomputation,becamethelanguageoftransla-

    tionbetweenthetwo.Architectureandmusicseektomakeconcretedesire.An

    abstractionviamathematicallogicprovidesthepossibilityforanewness,manifest

    outthesynthesisofa question(thearts),a hypothesis(mathematics),andthe

    evaluationoftheexperience(thefeedbackloop).

    Thepolytope,constructedoutofareadingofThePhilipsPavilionsarchitect,Ian-

    nisXenakis,servesas theframeworkfor thisinvestigation. TheDigitaldomain

    propagatesanenvironmentwheremusicismore thansound,wherearchitec-

    ture transcends form. If virtualspace shiftsmusic, vis-a-visnotation, from the

    representationaltotheanalytical,intelligence,combininglogicalandintuitivedeci-

    sion processes,materializes. Apolytopeis composedthrough theinteraction

    ofarchitecturalandmusicalthoughtsandmeans.Counterpoint,asapolyphony

    ofindividualthreads,investigatesthemorphologyofinvariants(traditionalarchi-

    tecturaland musicalconstructs)andanamalgamofmusicalandarchitectural

    encounters.

    AaronSprecher

    ScottRuffADVISORS

    MichaelPelken

    AlexanderEisenschmidt

    JURY

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    JuliaCzerniak

    PhuDongSTUDIO PROFESSORS

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    COUNTERPOINT

    Sonic Artifact

    software: Sound Forge, Excel

    Point cloud in Rhino

    Points as Structure

    Lofted Cross Sections Voronoi Tesselation

    Points as Space

    Sonic Mass

    Sonic Range

    Kill Point

    Programme PossibilityAesthetics

    PotentialsAleotoric

    Map

    Map

    Map

    (x,y,z) = (Time, 0, z)

    (x,y,z) = (Time, Mid Point, 0)

    determinent for vertical / horizontal shifts

    Poeme Electronique stereo

    recording

    Analysis

    Analysis

    Application Data Set

    Elements

    ARCHITECTURALSOUND

    EdgardVareseaspiredto createsoundas aspatial

    construct,. The first mode of inquiry looked at an

    abstraction to mathematical logics, an

    investigationcommencedtodevelopsaidworkspatially.

    The 480 piece is comprised of four

    segments: Exposition (0) , Development (2),

    Recapitulation (4) and Coda (6). The protocol for

    sonic mass is a means of understanding the

    compositionalmeritsofVarese,hisaspirations,anda

    wayoftakingadatasetfromoneart,andestablishing

    itasthegeneratorforanother.

    Sonic mass produces a number that computes

    multiple variables that Varese utilizes to attain a

    spatialityofsound.Ratherthanavisualizationofthe

    piece,itisacarefulanalysisofhowsound,time,and

    the analysisof aural phenomenon cangenerate an

    equation. It is derived to calculatemaximum sound

    protocol

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    waves,thefrequencyrangesaidwavesoccupyatanygiventime(totalrange)anda

    variablethatusesNfactorialtoaccountfortheaccumulationofsoundsovertime.

    Usingthisdataforatestonthefirst20secondsofthepiece,timewasmapped

    linearly,allowingforsonicmasstobecreatedintime.

    Movinginto3dimensions,thetotalrangewasusedtocreatethespreadofthe

    soundsatanygivenpoint.Systemswereinsertedduringtheanalysis.Onesuch

    systembecamethekillpoint.Understoodasa bottomlevelforafrequency,it

    allowedtoanalyzewheresoundscouldbeminimalenoughtowarrantnon-use.

    Thatpoint,relative totheoverallrangeinformedagroundplanemanipulation.

    Lastly,thekillpointsrelationtothefollowingpointdeterminedwhetherthecenter

    lineforthefollowingpointwouldbeinlineshiftedright(greaterthanprevious)

    orshiftedleft(lessthan).

    detail of mapping at initial condition (above), mapping across 8 seconds (below right)

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    COUNTERPOINT10

    PHASE1:EMPIRICALESSAYS

    Thefirstseriesofessaystesthowairbehaveswhenconfrontedwithan

    interface.UsingRealflow,gustsofairwerepropelledthroughaseriesof

    aperturesandanalyzed forshifts indensity,pressure,turbulence,and

    emergentform.

    Derivativesbecameamajorelementofthedesignprocess.Carewas

    giventonotcreateahegemonyforeitherthequantitativetoolsfound

    within RealFlow, nor through the qualitative capabilities embedded

    in the resultant animations - as evolving surfaces- when exported to

    visualizationtools(3dsMax).

    animation of 2 radius aperture conflict (above)axonometric and cross section of 2 radius Conflict (below)

    opposite:analysis of a 2 radius aperture resulting in form

    derivation

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    11

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    1

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    resultant form from angle derivations of ball oon conflict(above)

    animation (bottom)

    opposite:density reading of balloon conflict (left)

    pressures reading of balloon conflict (center)

    initial form generation of conflict (right)

    COUNTERPOINT1

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    1

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    COUNTERPOINT1

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    1

    PHASE2:SITESPECIFICITY

    Thesecondphasefocusedonapplyingsaidconflicts,asalexicon,totheoriginalsiteofthe1958WorldExpo.TheBrusselssitewaslocatedtocreateadidacticrelationshipbetweentheoriginalPhilips

    Pavilionandthisarchitecturalresponsetothemusicwhichformedthetripartite.Thepavilionseason(April-

    August)wasmappedthroughwindroses,andasiteprioriadjacenttotheoriginalPhilipslocation

    wasclaimed.

    Thestrongestcurrentonsiteinformedthefirstconflict. Anarchitecturally-appropriateexpres-

    sionofthefunnelmorphologyasaninsertionintothelandscapebeginsanewdialogue.Themodel

    whenbroughtbackintoRealflow,createsanewreadingwhenactivatedatamuchlargerscale.

    September conflict in motion (above)

    opposite:(clockwise from left) time-lapse of pressures at October Conflict,

    Perspective of September conflict in motion,October wind rose at site.

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    COUNTERPOINT1

    Whatemergesisafourdimensionalreadingofanambiguousarchitecture.Theevocativenature

    ofrenderingsproduceenvironmentswhichblurthedistinctionbetweentherealandthevirtual.

    Thearchitecturebecomesboththespatializedmappingofairinterfacingwiththelandscapes,as

    wellastheinsituarchitecturesevokingaRichardSerrareadingofobjectsinthelandscape.As

    Derivativesforvariousmonthsaregraftedontothefirstconflict,creatinganewcounterpointof

    individualconflictswhichworkinharmony.

    Theambiguityinthearchitecturesopensup apotential fordestabilizingthedefinitivemoment.

    Thearchitecturecanbereadasanimage,anobject,evenananimation.Itceasestoberealor

    virtual, butbegstobeboth.Thelackofanyscalarsignifiers,eveninthematerialdelineations

    hintsatmanyscales,fromtheminutetothemonumental.Thearchitectureceasestobeanything

    otherthanitself.Itisdevelopedthroughahistorical,analytical,andphenomenalsensitivitybuttruly

    autonomousasaformalexpression.

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    1

    June Conflict in motion (above, below),opposite: June Conflict detail

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    COUNTERPOINT0

    final model, 1/116 (right)

    opposite:East Entrance looking into Exhibition Pavilion

    PHASE3:PROGRAMMED

    The essays were further developed into a

    proposal for a programmed space., cel-

    ebrating the planned 50th anniversary of

    theoriginalPhilipsPavilion. Programmatic,

    tectonic, topological and typological re-

    quirements were analyzed through mul-

    tiple conflicts to create a hybrid conflict.

    Toemphasize theephemeralandethereal

    nature of air, the skin was developed as

    theprimarysystem.Ratherthan createa

    mimetic architecture vis-a-vis the second

    phaseessays,animpossiblesurfaceispro-

    posedwhich requiresan impossible struc-

    ture.Thebuiltartifactquestionstherolethe

    grotesqueinarchitecture.

    Thetraditionalseparationofapavilionfrom

    thelandscapeviaaplinthisinterpretedtobe

    anautonomoushorizontalcreaturesituated

    onacompoundslopedlandscape.Thepavil-

    ionsgroundplaneimpregnatesitselfintothe

    Eastern opening, but cantilevers on the

    Westernfacade,signifyingitsindependence

    from the landscape. This is further articu-

    latedwith thebrakingdownofthe skin as

    acontinuoussurfaceonthenorthernface,

    blurringinteriorityandexteriority.

    Theproposalisthusbothintrinsictoitscon-

    textinthedesignprocess,butissimultane-

    ouslyreadasanautonomousfigureonthe

    landscape.Itquestionstheroleofprocess

    andproduct,ofwhetherthedidacticreading

    referstotheaudience,ortoitscomposer.

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    1

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    COUNTERPOINT

    -32

    -26

    +0

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    +0

    ExhibitionPhilipsPav

    Forum

    Projected

    sound:PE

    Experiential

    Wall

    ExhibitionTBD

    exploded axonometric (above),plan (top right),

    interior (bottom right),

    opposite:opening of the Western facade

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    COUNTERPOINT

    ATHOUGHT

    Itishardtowriteabeautifulsong.Itishardertowriteseveralindividuallybeautifulsongsthat,whensungsimultaneously,soundasamore

    beautifulpolyphonicwhole.Theinternalstructuresthatcreateeachofthevoices,separatelymustcontributetotheemergentstructureof

    thepolyphony,whichinturnmustreinforceandcommentonthestructuresoftheindividualvoices.Thewaythatisaccomplishedindetail

    is... counterpoint JohnRahm

    West elevation with skin removed (top),

    opposite:final model on site, 1/16

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    saduhfsa diuhf aef iuhfeaf ewafeahfdahufd fdsahfea uhfeafe

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    N.PRK

    N PRK

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    N.PRKTAYLORYARDS_PARK_NOPARK_UNPACK_UNPARK|GRADUATESTUDIO|FALL00

    DissonanceisourwayoflifeinAmerica.Wearesomethingapart,yetanintegralpart

    -DukeEllington

    TaylorYardsisdissonance.Whatwasonceatraindepot;whatwasonceanindustrialsite;what

    wasonce.Itis ina constantstateofchange:seasonally,demographically,financially,politically.

    75yearsof(ab)usehasleftthesitewithanidentity:thelackofone.LikeLosAngelesitself,n.pRk

    organizesthroughsimultaneity.WhereLAsvariousentitiesremainautonomouswhileinforming

    thewhole,n.pRkclaimsaseriesofindependentexperiences(entities),indifferenttoeachother,

    informingeachother;intrinsicallyformingagreaterwhole:adissonanceofexperience.

    DISSONANCE_FREEJAZZ

    Theemancipationofdissonanceproclaimsthateachentityachievesitsownstateofconsonance.

    Carriedthroughfreejazz,wherestructuralsystemsareimplied,looselyutilizedorabandoned,

    dissonanceisusedasapointofdepartureinorganizingthesite.WiththeMilesDavisQuintetas

    acasestudy,FlamencoSketchesismappedinrelationto(tonal)formand(rhythmic)structure.

    Eachmemberofthequintetsolosoverthesameseriesof fivemodes,whilethedurationeach

    soloistplayswithinsaidmodesisdependentonhisownlogic.Thesameformallanguageisused

    byeach,butthroughpersonalization,itisexpressedatdifferentscales,Thoughnoformaltonal

    norrhythmicmelodyexists,onecanreverseengineeratheme,aseachmemberbuildsuponthe

    previoussoloists.

    DISSONANCE_SOLO

    n.pRkisorganizedthroughaseriesofentitiesorfixedpoints:Thebuiltcomplex;thesportcourtsat

    thechannel;thedepressedathleticfield;thedogpark.Alltheseentitiescarrytheirownepicenters.

    Theformulationofeachentity,directedviatheprecedenceofthepriorformulation(s)informsan

    improvisatorylandscape;autonomousand intrinsicallylinked.Thebuiltcomplexstorquedform

    Reflections along the LA River (top, above)Section across pool (below),

    opposite:Double Hinge Ideagram

    JuliaCzerniak

    PhuDong

    STUDIO PROFESSORS

    connects to Los Angeles and to Taylor Yards specifically. The chaotic

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    connects toLosAngelesand toTaylorYards specifically.Thechaotic

    rotationsof planesin theverticalandhorizontal-overlapping,ignoring

    andinforming-reflectLAsstreetgrids.Thesite,atraindepotatone

    pointinitsseventyfiveyearhistoryre-emergesthroughaknucklecondi-

    tion.Virtuallyeveryaxialrotationwithintheparksentitiescanbetraced

    tothisloci.

    DISSONANCE_HARMONY

    Sounds from different entitiespermeatethe site. Barkingat thedog

    park,tennisballsandbasketballsatthesportcourts,skateboard/inline

    wheelsatthepoolandattheconcretespreadingground,swimmersand

    diversallhavedifferentrhythmicandauralcadencesbutevokeanurban

    harmony.Appropriation isamajorcomponent ofn.pRk. Theconcrete

    spreadinggroundsdrawinspirationfromLAsskateboardcultureofthe1970s,andaredesignedtoallowskatersasafehaven.Thedepressed

    athleticfieldservesasathreetieredemergencyfloodbasin.Thesteps

    alongtheriverbank,repeatedatvariousscalesthroughoutthesitearea

    pointofinteraction,andregisterwaterlevels.Theformedamphitheater

    istheprimaryspreadinggroundforthesite.

    DISSONANCE_COUNTERPOINT

    TreesareplantedthroughoutthesitetoreinforcetheCypressstreetdirectionality.Indoingso,theycreateadissonancewiththedominant

    N.PRK

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    street,SanFernando,whichrunsparallelto thesite.Theentitiesreflecttheimmediateaswell

    asthelocal.FollowingthefivemajorgreenspacessurroundingTaylorYards-ElysianPark,Cy-

    pressPark,SilverLakeRecreationCenter,ElyriaCanyonParkandErnestDebsRegParkthe

    entitiesaredevelopedwithacommonlanguageandpartofthelocalframeworkofthecity,yet

    autonomousthroughappropriationandenvironment,propagatingmultipleuser-site&user-user

    experiences.

    DISSONANCE_TEMPO

    The site can be experienced at different speeds. Direct routes between the entities are an

    analogue to the mapping of the surrounding parks. Every entity accommodates an autono-

    mous interaction, and the user can roam through the park, losing oneself within thismicro-

    cosm of LA. Points within these circulation paths delineate speeds. Athletic stations at ev-

    eryquartermile throughout amajorityof thepaths (the active segment) balance thehidden

    pleasures- paths thatleadtomeditativepoints.On a largerscale, vehicularpaths donot loop

    aroundthepark.Thetworoadsonlyserveasaccesspoints.Pedestrianbridgesacrosstheriver

    connectthecommunities,butn.pRkservesasabuffer.Reststationsworkatmultiplescales.In

    theimmediate,theyformasparkbenches;forover-nighters(LAs80000homelesspeople)they

    transformtosleepingplatform.

    (from top to bottom):section at public bathroom

    section at half pipesection at pool complexSuperimposition Ideagram

    opposite:plan (left,)Dissonance mapping of pianist Keith Jarrett (bottom right)

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    0

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    1

    ENVISIONINGPOTENTIALS|FREELANCE

    ENVISIONINGPOTENTIALS|FREELANCE

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    VISIONS

    photos under construction (above top), shading/skinning studies (right, opposite)

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    GHOST 09NovaScotiaBrianMacKay-LyonsARCHITECT

    skinning/lightingstudies,competitionrenderings

    WORKCOMMISSIONED

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    VISIONS

    LANDESGARTENSCHAU 2010Hemer,Germany

    MichaelPelken+MarkusHermann(energydesignlab)

    ARCHITECT

    competitionrenderings

    WORKCOMMISSIONED

    JoshCabot(additional3Dmodeling)

    PROJECTCOLLABORATOR

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    VISIONS

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    QUEENS PLAZA BICYCLEAND PEDESTRIAN

    IMPROVEMENT PROJECTLongIslandCity,NYMarpilleroPollackArchitectsARCHITECT

    animation

    WORKCOMMISSIONED

    BruceDavison(3Dmodeling)ElizabethTweedale(photoshopcompositing)

    PROJECTCOLLABORATORS

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    COMMUNICATIONSCHURCHOFTHELIGHT | ANALYTICALCONSTRUCTS

    DanielDadoyan

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    0

    |

    PROGRAMUsingacombinationoftwo-andthree-

    dimensional paraline views,

    assemblea spatial sequencethrough

    the precedent. Analysis of spatial

    logic is crucial The medium is ink

    ona 30 x40 sheetofDuralar.Any

    combination of scales ranging from

    1/16=1to=1isacceptable.

    CONCEPT

    Direct light is traced through

    the church. Light projections are

    orthographically mapped onto walls,

    thereafter deconstructed to form

    a continuous band of light traveling

    through the composition. The resul-

    tant form begins to read as a play

    betweenanaxonometricandaplanned

    shadow.Thefinalrendering,produced

    with Rapidograph pens on the front,

    incorporatesareverse-sidespraypaint

    underlay. The result (detail below)

    allowslighttobounceoffthedrawing.

    BUILDING VIEWS

    Communications exploressystems of architectural representation as

    intellectualand analyticaltools,by introducing (precedent) analysisas

    aspeculativeandcreativemodeofinquiryinarchitecture.UsingTadao

    AndosChurchwiththeLight(ChurchoftheLight)aaseriesofseven

    Exercises-DrawingBuilding,BuildingViews,BuildingPerspectives,Build-

    ingProjections,BuildingSections,BuildingDrawings,andPortfolio-aims

    toproduceabodyofanalyticalworkthatnotonlyexploresusesofdigital

    toolsintheproductionoftwo-dimensionalandthree-dimensional,physi-

    calconstructions,butfamiliarizeskeyexamplesof20thcenturyarchi-

    tecture.

    PROFESSOR

    COMMUNICATIONS

    BUILDING SECTIONS

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    1

    PROGRAM

    Sectioninghasbeenusedasatoolto

    analyzeandtostudybuildingsandbuild-

    ing details. With the introduction ofMagnetic Resonance Imaging, repeti-

    tive virtual sections through thebody

    havebeenutilized to reconstruct the

    entirehumananatomy.Inthisexercise,

    exploration equivalent to the MRI in

    architecturewill be explored.Digitally

    reconstruct theentire building as an

    assemblyofsections,each1/8thick,whichwillbelasercutin1/8acrylic,

    and assembled together. Consider-

    ationforthemethodofassemblyisof

    utmostimportance.

    CONCEPT

    The role of mathematics and the

    universal has an important con-

    sideration in the church. Andos

    sketches reveal three cubes,

    representingtheTrinity,astheorganiz-

    ingprinciple.Ifoneunderstandsperfec-

    tiontoexistinboththecubeandsphere

    (visavispuregeometries),thesphere

    isrealizedthroughthesectioningofthis

    diagrammaticrealizationofthebuild-

    ing.Duetoacombinationofthe15de-

    greecuttingwallandthestepswithin

    thechurch,eachspherehasaunique

    relationship to the building. The first

    sphere is ingrained within thecutting

    wall.Thesecondsphere,ispartiallycut

    viathecuttingwall,witha loose base

    andtop,andthelastsphere,closestto

    thecross,iscompletelyremovable.

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    BUILDING PROJECTIONS

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    PROGRAM

    Toconstructtheperspectiveviews,the

    rules of two-dimensional perspective

    construction were applied. The con-struction lines of perspective projec-

    tion define nonetheless a three-di-

    mensional space from which a flat

    perspective image is derived. Using

    fine wire and solder, construct the

    projection lines emanating from the

    stationpointsdefinedintheprevious

    drawing,choosingthreeofthesevenperspective projections. Propose an

    alternative picture plane(s) that will

    literally intersect the projection sys-

    tems.

    CONCEPT

    Lightthroughthegridcreatedoutof

    solderedpointsinformsanewarchi-

    tecturevis-a-vistheBuildingPerspec-

    tives exercise, creating a multi-level

    form which interacts with the shad-

    owedprojections,Thefoam-coresur-

    face references the churchs glass

    likeconcretefinish,diffusingthelight

    evenly.Photographyintroducesanoth-

    erlayerofcomplexity(throughsimplic-

    ity).Theshootinganglecreatesspatial

    hierarchies,furtherreferencedinthe

    documentation.

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    TYPOLOGY

    TYPOLOGYCONSTRUCTINGTHEIMAGE|PHOTOESSAY

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    Thestudyapproachestheroleofsubjectandobject.Thefacesareaskedtoposeinfrontofthecamera,andtoactnaturally.Perversionofowner-

    ship canbe readas asocialexperiment,wherebyinitial resistance to

    being includedin thephoto-essayis replacedwithaninnatedesireto

    controloneownsfacepresentedtotheworld.Inevitably,eachsubject

    requiredphotoapprovalandbecamebothsubjectandphotographer/

    director,refusingtosettleonanythinglessthanhisorheridealizedself.

    Thatidealizedselfreflectsthesubjectsassumedpersonality.Howeach

    subjectdefinestheidealizedself,ispresentedinasterile,decontextual-

    izedcollage,wheregestures,textures,orabstractionsrevealsanintensi-

    ficationoftheroleofrepresentation.

    MarissaTirone

    PROFESSOR

    FOUNDATIONS

    focuses on foundations, or earth-

    works, as both form and con-

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    ,

    cept, and on the process and

    spatialramificationsofcastingthroughthe

    useofhydrocal.Craftandaneconomyof

    meansareofextremeimportance.

    FRAMEWORK

    continues the investigation into

    space making through tectonic

    frameworks. Concentrating on

    interpretationsoflightframeconstructiontechniqueasameansoftranslatingspa-

    tial logic of the foundation into framed

    spaces.

    SKIN

    sheathes basswood frameworks with

    acrylic/plasticmaterials,once again ex-

    tendingand refiningthespatial logic es-

    tablishedonsite.Theprojectmustutilize

    3 skins: transparent, translucent, and

    opaque.

    BUILDING | THINKING | MAKINGANALYTICALCONSTRUCTS

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    BasedonSemperstheory,astudyofKenneth

    FramptonsStudiesinTectonicCulture, sepa-

    ratesbuildingintostereotomic(foundation),tec-

    tonic(framework),andskin..Thisstudyfocuses

    on casting/mold making (hydrocal), tectonic

    construction (basswood), and skin/sheathing

    (plastics/acrylics).FramptonarguesthatSem-

    perstheoriesprecedemodernismandwerea

    harbingeroflaterargumentsaboutstructural

    expression, the separation of structure and

    cladding/skin,andeconomyofmeans.Through

    theintroductionofasimpleprogram,theproj-

    ectcallstomindpotentialsfortherelationships

    betweenspatialandmaterialsystems.

    -JeanlaMarche

    JeanLaMarche

    STUDIO PROFESSOR

    Architecture/Music

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    Posing of a question

    Intuitive reapplication

    Subsequent repetition

    Testing possible hypotheses

    Abstraction to systems (Sn)

    Mathematics Abstraction

    EmergenceComplexity

    S1 S2 S3 S4 Sn

    Organism

    POLYTOPES

    POLYTOPESTHESISPREP|SOFTWAREEXPLORATION

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    Polytopesaretheresultantsofamethodbywhichdisparateelementscancometogether.The

    fusionofnumerous(polys)spacesorlocations(topos)isawaytocombinetheauralandvisualinto

    anewart,aimedatdiscoveringa(nother)universal.Withinavirtualenvironment,spacecanbe

    dynamic,fluid;opportunitiesfordiscoveringnewtruths.

    Theprotocol fordeveloping these polytopesbeginswitha question.Whatmight provoke this

    questioncanbeintrinsic.Itcanbeextrinsic.Itframesthecontextinwhichthequestionisasked.

    Abstractionthroughmathematicsandcomputationarearationalwaytoinvestigatehypotheses,

    resultinginbothlogicalandemergentpossibilities.Thelogicalframework,usuallyinstigatedasa

    complexentityshouldbebrokendown.Thebreakingdownofcomplexityintocellularstructures

    isnecessary to gaina controloverthe processes.Without this control,chaoticbehavior,as

    uncheckedintuitionandemotion,reignsupreme.Itisinthebreakdownofcomplexitythatanewor-

    ganism,separateinfunction,butmutuallydependent,mightform,givingbirthtoanewart-system.

    Thisinturn,shouldinciteanewseriesofquestionsoremotions,startingthecycleanew.

    AaronSprecher

    ScottRuff

    THESIS PREP ADVISORS

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    0 POLYTOPES

    FOOTLOOSE

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    1

    A direct dialog between architecture

    andmusic is dangerous. Theobvious

    correlations-scale, colors of sound,

    timbre-are coincidences at best, and

    promote a superficial layering of the

    two disciplines. To test whether this

    is in fact fallacy, an experiment was

    derivedinwhichanaudiosignalcould

    effect a system, without becoming

    self-evident. It functions inthe same

    way a wind system might act on

    particles,derivedwithitsownlogic,butnot

    necessarilyapplicabletoitshost.

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    POLYTOPES

    What is the best way to control nature?

    CHASING AMY

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    Should it be controlled, or is the goal to

    record,orobservenature asan emergent

    process?Thisexperimentaimedtorecreate

    thenatural,abetwithinanorderedsystem.

    LebbeusWoods argues that architecture

    arises as a creative engagement with

    conflict. The exception, however, is when

    architecturemustbe introduced tocreate

    conflictwherenoneexists.Aparticlesystem

    becomesthe concretization of thissystem.

    Particlesemitfromarandompointwithinaplane(randomseed

    generator). A gravitational vortex conflicts

    the expulsion of the particles, creating a

    dialoguebetween attraction and repulsion.

    Loftingsaiddialoguecreatesanemergence

    condition, whereby minute (and not so

    minute) changes among any of a number

    of variables creates an immediate formanalysis.

    emmiter

    vortex min

    vortex max

    particle destructor

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