Part of the advanced studio sequence at RISD (Computing Drawing: Similarly Different Lines), this studio explores computer programming as a design medium. In this course, programming (the creation and implementation of algorithms) was applied first though computing drawing via a pen plotter, emphasizing questions of line, composition, color, and mark making, rather than overt architectural conditions. Shifting between drawing and architecture, the course culminated in a building, but with the central pedagogical questions always revolving around representation: particularly those elements that make a drawing both “of” a particular subject matter and something that “is,” i.e. a work that exists on its own merit.
A parametric ellipse (left) was used to create voluptuousness, while a process of masking (right) created depth. Both investigations can be thought of as a tectonic in which the relationship of the lines on the paper begin to articulate an architectural language (a separate drawing inspired by this process: http://christophergbeck.com/masking/).
One corner was used as a vehicle for explorations in rendering, in this case with an intentional application of line to the surfaces that define the corer. The same corner viewed from multiple viewpoints renders different perception of surface, curvature, and depth.
The drawing above combines 12 distinct viewpoints; the blue lines representing the first and last view point. The corner becomes many corners and one corner through a blending of colors and distinct viewpoints. The drawings below implement a script that generates many more corners based on proximities of randomly generated lines in space. The lines are used to further generate both flat, extruded surfaces, as well as curved, twisted surfaces. The relationship between the two is the corner.
Final drawing, phase 2
This animation synthesizes the ideas from phases 1 and 2, depicting linkages between the language developed on paper and its translation to building. Below are the final drawings, which include no conventional orthographic drawings (initially orthographic drawings were used as an investigation, but were quickly abandoned).
A tectonic model (below) depicts the various planar relationships. In this final phase, the original program of the warehouse was transmuted using a tectonic of a rotated box (above, right).