Theoremas

Tuesday, March 12, 2013

T4T LAB. Studio Advance 4.2

Tim Durbin, Wendy Weatherly, Misael Gonzalez, Kyle Haws.

T4T LAB. Digital Decadence. Texas A&M University. Department of Architecture. Spring 2013.
Critics: Eric Goldemberg, Niccolo Casas, Gabriel Esquivel.

T4T LAB. Studio Advance 4.3

Dylan Weiser - Jeff Lemley

Erin Templeton - Drew Busmire

T4T LAB. Digital Decadence. Texas A&M University. Department of Architecture. Spring 2013.
Critics: Eric Goldemberg, Niccolo Casas, Gabriel Esquivel.

Meredith Monroe, Katie Parker, Hannah Smith, Matt Michalak, Mike Koernig

T4T LAB. Digital Decadence. Texas A&M University. Department of Architecture. Spring 2013.
Critics: Eric Goldemberg, Niccolo Casas, Gabriel Esquivel.

T4T LAB. Studio Advance 4.5

Hugo Ocho, Carlos Garza, Callie Freisenhan, Melissa Lewis. Starla Shore

T4T LAB. Digital Decadence. Texas A&M University. Department of Architecture. Spring 2013.
Critics: Eric Goldemberg, Niccolo Casas, Gabriel Esquivel.

T4T LAB. Studio Advance. 4.6

Chris Hackery, Ashley, Feyes, Ryan Samadh,

T4T LAB. Digital Decadence. Texas A&M University. Department of Architecture. Spring 2013.
Critics: Eric Goldemberg, Niccolo Casas, Gabriel Esquivel.

Thursday, March 7, 2013

The Birth and Reverberation of an Acoustic Object

ZBrush Pattern Study

REVERBERATIONS

Transformation from the original object (Shell) from a Papekura 2D unfold, maya interpretations and correction with papekura physical model.

Transformation from 2D to 3D.

Papekura Model

Object Iterations

Texas A&M University. Spring 2013. Graduate Thesis. Mid-Term. Shane Bearrow.
Music Venues. Austin, Texas.
Adviser: Gabriel Esquivel.

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Final Study Description, Object and Drawing Craft.

This final study is an in depth analysis of forgotten design practices including drawing, modeling, and misreading reverberations. The images subject to these trials were obtained through a fragmentation using paperkura to break the 3D object into a 2d plane, generating a new strange object that exhibits qualities of alternative fields while retaining its autonomy.

While he used the literal form of the conch shell as a starting point due to its inherent acoustic qualities, its ontology is stripped through drawing and craft, creating an indexical chasm. Oscillations between 2 and 3 dimensions were merged through an analysis of the original through craft rather than shallow, biomimetic or Boolean strategies, as is common-place.

Architecture is not the primitive arrangement of dimensioned boxes to obtain the perfect relationship between the lobby and the café. Nor is it the pursuit of setting the enduringly unbalanced world in equilibrium through the use of solar panels and recycled materials.

While Shane agrees and utilizes principles of painting, sculpture, music and painting, the motivation of this assembly is architectural. His process thus far has been towards the evolution of architecture through the vehicle that is the strange object. An object that could not have been manufactured had it not been for the examination of sound and architecture through craft. Similar to Jason Payne’s analysis of the disco ball and the moon phobos, my building, while showing traces of its roots, will not bring about playful beach nostalgia. Shane’s object is both a shell that doesn’t require an ocean view and a visual labyrinth that strikes a vague though unsettling chord.