When looking at the floor plan of the Kaufmann Desert House by Richard Neutra, the first thing that was drawn to my attention was all the similar geometry, specifically the L shaped geometries. They were all different shapes and sizes, and were facing all different directions, There was a sense of repetition embedded within the floor plan. A central axis stood out, and it was obvious that all the L shaped geometries were rotated around this central axis, and then shifted off of it. Diagram one is all about identify the geometric properties that make up the structure. So for diagram one, I decided to identify all of the L shaped geometries that were visible or partly visible in the floor plan. They overlapped each other and were embedded in
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There were around 5 main geometries that together made up the entire floor plan. They were all obviously following a circular rotation and were resting one side on either the X or Y axis. And then I noticed two of the main geometries seemed to have presided on the axises originally, but seemed to have shifted off of it due to the momentum of the rotation, as if the pinwheel had spun so fast they were detached from central axis and shifted away. i depicted this through line weight, heaver lines showing where the shapes were currently or where they had landed after the rotation, and lighter lines were where they had originated before any action had taken place. In the end, my diagram two was a representation of the actions made by the identified geometries of diagram one.
For my final diagram, I thought of all the different ways i could transgress the original diagram and ideas of Richard Neutra. The first thing that I decided to evolve was moving from a central axis that all the shapes reacted to, to a central point where all the shapes could …show more content…
This original idea was transgressed from a flat design made up of multiple L shaped geometries in all different directions to one those same L shaped geometries that have been revolved around a central point and now reside on multiple different levels. I wanted the depth to be visible in both my ZD diagram and a 3D model. Line weight is how diagram three reveals the hierarchy of the geometries. | created the line weights so its very obvious the L shaped structures are continuously building on each other and growing in an upward direction. Also, the original plan has all the L shaped geometries facing in different directions, with no obvious method or reasoning. And while I believe Richard Neurtra had a reasoning as to why they are placed in the direction and location they are, I wanted to make it very obvious in my diagram of transgression. So when it came to the circular rotation of my L shaped geometries, I wanted them all the be facing the same way in the pinwheel rotation, except for one. I chose to one have one in the opposite direction to make it more pronounced and obvious that it was meant to be prominent, whereas Neutra went with a more subtle approach to his reasoning behind his direction choice. The one opposite facing L shaped geometry is pulled farther from the tightly knit circular rotation and does not overlap with any of the other geometries. This is done on purpose, it is done to draw attention to the difference as well as draw
There were around 5 main geometries that together made up the entire floor plan. They were all obviously following a circular rotation and were resting one side on either the X or Y axis. And then I noticed two of the main geometries seemed to have presided on the axises originally, but seemed to have shifted off of it due to the momentum of the rotation, as if the pinwheel had spun so fast they were detached from central axis and shifted away. i depicted this through line weight, heaver lines showing where the shapes were currently or where they had landed after the rotation, and lighter lines were where they had originated before any action had taken place. In the end, my diagram two was a representation of the actions made by the identified geometries of diagram one.
For my final diagram, I thought of all the different ways i could transgress the original diagram and ideas of Richard Neutra. The first thing that I decided to evolve was moving from a central axis that all the shapes reacted to, to a central point where all the shapes could …show more content…
This original idea was transgressed from a flat design made up of multiple L shaped geometries in all different directions to one those same L shaped geometries that have been revolved around a central point and now reside on multiple different levels. I wanted the depth to be visible in both my ZD diagram and a 3D model. Line weight is how diagram three reveals the hierarchy of the geometries. | created the line weights so its very obvious the L shaped structures are continuously building on each other and growing in an upward direction. Also, the original plan has all the L shaped geometries facing in different directions, with no obvious method or reasoning. And while I believe Richard Neurtra had a reasoning as to why they are placed in the direction and location they are, I wanted to make it very obvious in my diagram of transgression. So when it came to the circular rotation of my L shaped geometries, I wanted them all the be facing the same way in the pinwheel rotation, except for one. I chose to one have one in the opposite direction to make it more pronounced and obvious that it was meant to be prominent, whereas Neutra went with a more subtle approach to his reasoning behind his direction choice. The one opposite facing L shaped geometry is pulled farther from the tightly knit circular rotation and does not overlap with any of the other geometries. This is done on purpose, it is done to draw attention to the difference as well as draw