HANS TURSACK DESIGN AND RESEARCH PORTFOLIO 2021 - 2022 - HANSTURSACK.COM
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TURSACKHANS_PORTFOLIO_2021 HANS TURSACK DESIGN AND RESEARCH PORTFOLIO 2021 - 2022 HANSTURSACK@GMAIL.COM HANSTURSACK.COM
TURSACKHANS_PORTFOLIO_2021
CAMPUS
A VIRTUAL EXHIBITION AT THE WEDGE GALLERY, WOODBURY
LOS ANGELES, CA
In the post-war architectural imaginary, campuses (as a compositional problem) are defined by collage,
fragmentation, overlay, and historical sampling. Carlo Aymonino’s “assembly of known buildings” for East
Rome, James Stirling’s autobiographical scatters for his office’s entry into the Roma Interrotta exhibition, and
Stan Allen’s generative exploration of “dissonance and disjunction” in Piranesi’s Campo Marzio plan all speak
to urban dispositions that privilege play, happenstance juxtapositions, and weak- or open-form over top down
composition. Inspired by these and other related urban studies, the Campus is a compositional problem seen
through the phenomenological lens of a video game user; forefronting real time discovery, accident, and visual
precarity. The project revisits analogous methods of urban collage with the aid of digital form-finding tools.
ANIMATION STILLS
ANIMATION STILLS ANIMATION STILLS
DESIGN
TURSACKHANS_PORTFOLIO_2021 MAYA FIRST PERSON ANIMATION (STILLS) MAYA PLAN ANIMATION TEACHING
TURSACKHANS_PORTFOLIO_2021
PRECARIOUS HOUSE
ART OMI: ARCHITECTURE RESIDENCY PROJECT
BOSTON, MA
This project is an ADU prototype, a four-level steel-and-glass prism detailed in the language of early British Hi-
Tech acts as a scaffolding for a time-based form generation process. Using the Maya platform, a digital physics
simulation determines the position of two furniture-scale cruciform objects, a long cylinder, and a kit-of-parts
linear spine. During the simulation, the objects are “frozen” in the process of falling through the floor plates,
ricocheting against structural members, and piercing the building’s glass elevations.
RENDERING DETAIL
AXONOMETRIC RENDERING PLAN RENDERNIG
DESIGN
TURSACKHANS_PORTFOLIO_2021 PRECARIOUS HOUSE FLOOR PLANS AXONOMETRIC DRAWING WITH SECTION CUT DESIGN
TURSACKHANS_PORTFOLIO_2021
GHENT HOUSE
ART OMI: ARCHITECTURE RESIDENCY PROJECT
GHENT, NY
This project is a proposal for a house to be located in Upstate New York in the town of Ghent. The massing
for this project was developed in part by using animation software to drop a suite of objects through the main
floorplates. In the project’s renderings primitives are haphazardly distributed in section and plan. The objects
are placed as a result of a form-generation animation that uses a virtual physics engine to drop the objects
through the structure
RENDERING DETAIL
AXONOMETRIC RENDERING AXONOMETRIC RENDERING DETAIL
DESIGN
TURSACKHANS_PORTFOLIO_2021 GHENT HOUSE PLANS SECTION DRAWING DESIGN
TURSACKHANS_PORTFOLIO_2021
PUBLIC ART PROPOSAL
FOR THE MIT COUNCIL OF ARTS AND SCIENCES
CAMBRIDGE, MA
The concept for the project is to design a geometric, abstract, sculpture whose form is derived from a
computer-generated simulation of a physical event. Viewers will read the piece as a frozen moment taken from
an animation of falling objects. In this sense, the piece will be an exercise in sculpture-as-arrested-motion.
While I take inspiration from the field of contemporary, experimental architecture’s interest in digital physics, 001 250 500
and the history of Post-Minimalist sculpture (Alice Ayock, Eva Hesse, and the early Richard Serra), viewers
will intuitively recognize the the presence of virtual physics that has become commonplace in everything from
video games, scientific simulations, motion graphics, and the special effects used in popular films.
750 1000 1250
SCREEN-CAPTURES OF PHYSICS SIMULATION SKETCH
MAIN RENDERING OF FINAL DESIGN 3D PRINTED PLA SCALE MODEL
DESIGN
TURSACKHANS_PORTFOLIO_2021 PUBLIC ART PROPOSAL_VERSION II FOR THE MIT COUNCIL OF ARTS AND SCIENCES CAMBRIDGE, MA Image-objects–a term used here to denote architectural forms wrapped in photographic source material and complex graphic designs–are frequently appearing in visual studies syllabi, experimental exhibition venues, and even as large scale built works. This project is the second iteration of a public art proposal for a university campus. The steel frames of the primary figures and base are designed to be pre-fabricated on a CNC laser tube cutter. The graphics for the project will be printed on a self-adhesive 3M Vinyl wrap to withstand outdoor display. RENDERING DETAILS UNROLLED SURFACE DRAWING + EXPLODED ASSEMBLY DIAGRAM DESIGN
TURSACKHANS_PORTFOLIO_2021
001 050 100
ACCENTS SECONDARY MAIN ACCENTS SECONDARY MAIN
150 200 250
ACCENTS SECONDARY MAIN ACCENTS SECONDARY MAIN
300 350 400
ACCENTS SECONDARY MAIN ACCENTS SECONDARY MAIN
CHROMATIC ITERATIONS CONSTRUCTION + ASSEMBLY ANIMATION SEQUENCE
DESIGNTURSACKHANS_PORTFOLIO_2021
PUBLIC ART PROPOSAL_VERSION II
FOR THE MIT COUNCIL OF ARTS AND SCIENCES
CAMBRIDGE, MA
*IN PROGRESS
Image-objects–a term used here to denote architectural forms wrapped in photographic source material and C-6 C-1
complex graphic designs–are frequently appearing in visual studies syllabi, experimental exhibition venues,
and even as large scale built works. This project is the second iteration of a public art proposal for a university
C-10 C-5
C-8 C-2
campus. The steel frames of the primary figures and base are designed to be pre-fabricated on a CNC laser
C-7
C-3
C-9
tube cutter. The graphics for the project will be printed on a self-adhesive 3M Vinyl wrap to withstand outdoor C-4
9'
display.
B-2
B-1
C-11
B-3
C-15
C-13 C-12
B-5
B-4 C-14
9'
B-6
B-7 B-9
B-10
B-11
D-1
B-12
B-8
B-13
B-14
B-16 B-15
B-17
B-18
B-19
D-2 A-3
A-2
B-20
A-1
A-6
A-5
D-4 A-11
B-21
A-4
A-10
B-22
A-9
A-8
A-14
A-7
9’
A-13
9’ A-12
D-3
RENDERING DETAILS UNROLLED SURFACE DRAWING + EXPLODED ASSEMBLY DIAGRAM
DESIGNTURSACKHANS_PORTFOLIO_2021
SUMMER HOUSE
PIETRO BELLUSCHI TEACHING FELLOW
CAMBRIDGE, MA
The Summer House reconciles a tectonic interest in systems that deploy prefabricated kits of parts, video game
environments, rigorous geometric compositional structures, and painterly graphic systems. This semester-
long research and design project draws from the history of British High-Tech architecture and the Neo-Geo
Art of the 1980s (especially the early sculptures of Ashley Bickerton). This house is the third in a series, and
was designed as part of my Pietro Belluschi teaching/research fellowship (2018 - 2020) at the MIT School of
Architecture + Planning.
PARALLEL PROJECTION RENDERING
RENDERING DETAIL RENDERING DETAILS
DESIGNTURSACKHANS_PORTFOLIO_2021
AXONOMETRIC SECTION DRAWING
DESIGNTURSACKHANS_PORTFOLIO_2021 LED + VALCHROMAT LIGHTBOX INSTALLATION DETAILS INSTALLATION VIEW DESIGN
TURSACKHANS_PORTFOLIO_2021 ASSEMBLY AXONOMETRIC ASSEMBLY AXONOMETRIC ASSEMBLY AXONOMETRIC DESIGN
TURSACKHANS_PORTFOLIO_2021
TOWNHOUSE PROJECT
RESIDENCE
HUDSON, NY
The project is a house for an artist-in-residence at a small liberal arts college in the Midwest. The residence is
a self sustaining live-work space with a kitchen, full bath, bedroom and studio. The roof-deck provides views
of a nearby highway and an informal rock-garden enlivens the site.
Formally, the Townhouse is conceived as a conversation between a geometric lattice and a painterly elevational-
logic. The geometric program results from a play between a four-square elevation and a nine-square plan. A
constellation of graphic offsets, printed inlays and low-relief incisions populate a Hardie-board interior/exterior
panel system milled and painted by a local fabrication studio.
PARALLEL PROJECTION RENDERING
WEST ELEVATION RENDERING ELEVATION RENDERINGS (SOUTH, NORTH, WEST)
DESIGNTURSACKHANS_PORTFOLIO_2021 DESIGN
TURSACKHANS_PORTFOLIO_2021 DESIGN
TURSACKHANS_PORTFOLIO_2021
DESERT HOUSE
WILLARD A. OBERDICK FELLOWSHIP PROJECT
ANN ARBOR, MI
Using the foil of a design for a small house in the desert, this project interrogates the expressive capacities of
geometry, material logics and graphic surfaces. The formal thesis of the house begins with a cube conceptualized
as a flat, unfolded box, composed of six, two-dimensional surfaces. Each surface is structured with a grid, and
understood as a graphic problem. Taking a cue from Swiss design manuals, the surfaces of the box are cast as
improvisatory games where particulate elements are distributed within the bounds of a sixteen or nine-square
grid. Four drawings, nine elevation studies, two furniture elements and a short pamphlet construct a visual
narrative around the design at different scales and levels of resolution.
PARALLEL PROJECTION RENDERING
SOUTH ELEVATION MODEL DETAIL MODEL DETAIL
DESIGNTURSACKHANS_PORTFOLIO_2021
PARALLEL PROJECTION RENDERING
ELEVATION STUDIES ELEVATION RENDERING MODEL DETAIL
DESIGNTURSACKHANS_PORTFOLIO_2021
GRAPHIC FIELDS
PROJECT FOR BEGINNINGS OF A DIGITAL COMPLEX
M.ARCH THESIS, PRINCETON SCHOOL OF ARCHITECTURE
What is left for architectural formalism? Can disciplinary conventions of composition and analysis accommodate
the vast libraries of surface effects and complex geometries offered by digital representation? Or are we instead
in a moment of formal agnosticism, a post-compositional paradigm, in which cloudy notions of affect and
complexity promote obscurantist strategies alienating viewer, object and the process of production from one
another in turn?
This thesis posits a generative system - a grammar of surfaces and complementary geometric frameworks -
played out in a series of representational exercises which attempt to reconcile the speed and visual freeplay of
digital aesthetics with the historical language of architectural form-generation and its interpretive mechanisms.
A strategy is advanced through a series of objects, images and drawings setting surfaces and their underlying
structures (understood as two sets of analogous compositional data) into active, reciprocal relations. In COMPOSITION III COMPOSITION IV
this way, the conventional diagrammatic languages of a point-line-plane and solid-void are set against more
ephemeral “painterly” conditions; the various optical wrapping-paper treatments favored by the Po-Mo pop
set and later by the Light Construction movement.
ROBERT MORRIS, STUPA CUPID, 1989 JAMES TURRELL, OBSERVATORY, 1977
COMPOSITION VI COMPOSITION VII
PHENOMENOLOGICAL GROUNDING VS. DEMATERIALIZED OPTICALITY THEMATIC STRUCTURES IN POST-WAR FORMALISM
DESIGNTURSACKHANS_PORTFOLIO_2021 COMPOSITION VIII COMPOSITION V DESIGN
TURSACKHANS_PORTFOLIO_2021 SIGNLIGHT INKJET PRINT IN LIGHTBOX 3D MODEL DETAILS COMPOSITION IV PLAN DIAGRAM DESIGN
TURSACKHANS_PORTFOLIO_2021 SIGNLIGHT INKJET PRINT IN LIGHTBOX 3D MODEL DETAILS COMPOSITION V PLAN DIAGRAM DESIGN
TURSACKHANS_PORTFOLIO_2021 SIGNLIGHT INKJET PRINT IN LIGHTBOX 3D MODEL DETAILS COMPOSITION VI PLAN DIAGRAM DESIGN
TURSACKHANS_PORTFOLIO_2021
COMPOSITION V
MUSEUM BOARD, MDF, AIRBRUSHED ACRYLIC PAINT, LASER-CUT COMPONENTS
PHYSICAL MODEL DETAIL COMPOSITION V
MUSEUM BOARD, MDF, AIRBRUSHED ACRYLIC PAINT, LASER-CUT COMPONENTS
DESIGNTURSACKHANS_PORTFOLIO_2021
COMPOSITION V
MUSEUM BOARD, MDF, AIRBRUSHED ACRYLIC PAINT, LASER-CUT COMPONENTS
PHYSICAL MODEL DETAIL COMPOSITION VII
MUSEUM BOARD, MDF, AIRBRUSHED ACRYLIC PAINT, LASER-CUT COMPONENTS
DESIGNTURSACKHANS_PORTFOLIO_2021 THICK SKIN W. VIOLA AGO A+D MUSEUM COURTYARD INSTALLATION LOS ANGELES, CA In the contemporary aesthetic landscape, image and architecture are closer than ever before. As a young collaborative, our practice engages the slippage between graphic issues (image, surface, painterly and printerly problems) and received definitions of form. Older theoretical models imagined the phenomenological encounter between viewer and material artifact as a moment of spatial and corporeal awareness (self- realization or epiphany). We believe however, that the modern, urban subject’s perception of the world is always already mediated by digital images and information. PRIMARY MASSING GRAPHIC INSTALLATION VIEW AT A+D MUSEUM, LA DESIGN/FABRICATION
TURSACKHANS_PORTFOLIO_2021 THICK SKIN W. VIOLA AGO A+D MUSEUM COURTYARD INSTALLATION Thick Skin is an exercise in the perception of image and volume (a primal confrontation of subject and sculptural object) using advanced fabrication and imaging technologies. Our design is a large, monolithic object, that takes inspiration from the Earth Artist Michael Heizer’s lifelong interest in the marriage of photographs of the natural landscape and the material presence of massive geological fragments. Our installation would be sited in the A+D courtyard; a large visual intervention in the post industrial fabric of the Arts District. During the day the graphic panels of the object would cue viewers into a juxtaposition between the rapidly developing, hyper- urban condition of downtown LA and the material realities of the inhuman landscapes that surround it. At night the object will radiate artificial light and accentuate the geometric and otherworldly nature of a work that is somewhere between an installation, sculpture and a post-human monument. STRUCTURAL DETAIL EXPLODED PARALLEL PROJECTION DESIGN/FABRICATION
TURSACKHANS_PORTFOLIO_2021 INSTALLATION VIEW (UNDER CONSTRUCTION) INSTALLATION VIEWS DESIGN/FABRICATION
TURSACKHANS_PORTFOLIO_2021 TRANSFERS W. VIOLA AGO ART OMI GHENT, NY *CURRENTLY ON VIEW OCTOBER 2018 - 2021 Transfers” was installed as part of the Art Omi: Architecture Field 01 2-Year exhibition titled “Shelters” curated by Warren James. The installation is free and open to the public. Transfers is the second iteration of the project, which was first installed in downtown Los Angeles at the A+D Museum from March through May 2018. In this second iteration installed at Art Omi: Architecture, the piece has been be stripped down to its aluminum scaffolding, and re-clad with a set of custom CNC-cut Dupont Corian solid surface panels. Each panel has been printed with an abstracted image responding to the Art Omi: Architecture curated “Shelters” theme, and the concept of vertical and sculpturally formed dwellings using a modern material. PRIMARY MASSING GRAPHIC INSTALLATION VIEWS AT ARCHITECTURE OMI. GHENT, NY. DESIGN/FABRICATION
TURSACKHANS_PORTFOLIO_2021 PRIMARY MASSING GRAPHIC INSTALLATION VIEWS AT ARCHITECTURE OMI. GHENT, NY. DESIGN/FABRICATION
TURSACKHANS_PORTFOLIO_2021 UNDERSTOREY W. VIOLA AGO EXHIBIT COLUMBUS 2019 COLUMBUS, IN The pavilion design, titled “Understorey,” is a large open-air vivarium built from a combination of off-the- shelf agricultural products, and custom, digitally fabricated structural elements. Their build site is a lawn designed by the modernist landscape architect Dan Kiley in front of Eero Saarinen’s North Christian Church building (1964). Visitors to this summer’s Exhibit Columbus will approach Saarinen’s iconic piece (a 192 ft. tall building + spire) and traverse Kiley’s landscape to arrive at the pavilion. Upon arrival, visitors will move around and through the pavilion, which will showcase a cross-section of geological specimens taken from the town of Columbus and surrounding quarries, forests, and urban sites. In this, the pavilion will serve as both an exercise in architectural expression and an ecological education center. PRIMARY MASSING GRAPHIC INSTALLATION VIEWS AT ARCHITECTURE OMI. GHENT, NY. DESIGN/FABRICATION
TURSACKHANS_PORTFOLIO_2021 PRIMARY MASSING GRAPHIC INSTALLATION VIEWS AT ARCHITECTURE OMI. GHENT, NY. DESIGN/FABRICATION
TURSACKHANS_PORTFOLIO_2021 HANS TURSACK TEACHING: RISD, MIT, TAUBMAN COLLEGE 2021 - 2022 HANSTURSACK@GMAIL.COM HANSTURSACK.COM
TURSACKHANS_PORTFOLIO_2021
WINTERSESSION STUDIO SPECIAL TOPIC: FABRICATION
W. VIOLA AGO
RHODE ISLAND SCHOOL OF DESIGN
Our Wintersession course Printing Form: Architectural Geometry, Graphics, + Material Interference explored
visual territory between sculpture and painting, graphic and industrial design, printmaking and architecture. At
the end of the term, our students designed, fabricated, and constructed a full-scale sculpture that is currently
on view to the public in Market Square, downtown Providence, RI. Our workshop was generously sponsored by
the Richlite Company in Tacoma, WA.
INSTALLATION VIEW
FINAL SCULPTURAL INSTALLATION IN MARKET SQUARE. DOWNTOWN PROVIDENCE, RI PRELIMINARY GRAPHIC STUDIES
TEACHINGTURSACKHANS_PORTFOLIO_2021
INSTALLATION VIEW
INSTALLATION VIEW FABRICATION
TEACHINGTURSACKHANS_PORTFOLIO_2021
FORM DESIGN STUDIO (FALL 2017)
1ST YEAR 3G INTRODUCTORY GRADUATE DESIGN STUDIO
THE UNIVERSITY OF MICHIGAN TAUBMAN COLLEGE OF
ARCHITECTURE
Students on the three-year M.Arch track are required to take FORM as their first design studio at Taubman
College. The studio is designed to teach the fundamentals of composition (point-line-plane and solid-void
logics) and form-generation procedures. Students develop proposals through geometric and visual principles
in the absence of significant site and program restrictions.
In the fall of 2017, the FORM syllabus was reengineered to incorporate graphics and imagery into each exercise.
Students were encouraged to develop procedural operations setting flat, graphic issues and stereotomic,
volumetric transformations into reciprocal logics. In this way images and color/pattern/flat shapes were
understood as formal protagonists from the outset. Slidetalks, lectures and discussions supplemented design
exercises. Students were encouraged to engage precedents from post-war sculpture, painting, graphic and
industrial design in their presentations. Conceptual topics covered in lectures and discussions included:
-Form as a diagram of forces
-Color, graphic shape, and image as tools of form-generation
-Stereotomic massing logics
-Unrolled surface drawings
-Form vs. shape in art and architecture
*Co-taught with Adam fure (coordinator) and Erik Herrmann
"TOP" LAYER
"BACK" LAYER
"RIGHT" LAYER
"LEFT" LAYER "FRONT" LAYER
ADD IMAGES TO BOUNDING BOX
DIAGRAMS FROM FORM “WARMUP #1” WORKSHEET (HANS TURSACK)
FIVE VRAY RENDERS (PROCESSED)
-COLOR
TEACHINGTURSACKHANS_PORTFOLIO_2021
THESIS STUDIO (FALL 2017-SPRING 2018)
TURSACK ADVISOR
THE UNIVERSITY OF MICHIGAN TAUBMAN COLLEGE OF ARCHITECTURE
Our thesis section, “The Graphic Impulse” explored form-generation techniques that began with veneers,
laminates, color fields and decals. Students were asked to derive geometric concepts (massing strategies,
tectonic systems) from flat, two dimensional organizations; designing from the outside-in. Precedents studies
from postwar painting, sculpture and swiss graphic design were studied in studio exercises and discussions.
INTERIOR. DETROIT LIGHT RAIL TRANSPORTATION HUB. DELAMINATED GRAPHIC DIAGRAM. VINYL DRAWING.
(INTERIOR RENDERING) (INSTALLATION VIEW)
PHYSICAL MODEL OF TRANSPORTATION CENTER (1 OF 3) DELAMINATED GRAPHIC DIAGRAM
TEACHINGTURSACKHANS_PORTFOLIO_2021
M.ARCH INTRO STUDIO (SUMMER 2018)
TURSACK COORDINATOR
THE UNIVERSITY OF MICHIGAN TAUBMAN COLLEGE OF ARCHITECTURE
STUDENT: AIMEE WOLF
PHYSICAL MODEL OF LOOKOUT STATION SHOWING INTERACTIONS RENDERING OF LOOKOUT STATION
BETWEEN GRAPHIC AND TECTONIC SYSTEMS
PHYSICAL MODEL OF LOOKOUT STATION SHOWING INTERACTIONS BETWEEN GRAPHIC AND TECTONIC PHYSICAL MODEL OF LOOKOUT STATION SHOWING INTERACTIONS BETWEEN GRAPHIC AND TECTONIC
SYSTEMS SYSTEMS
TEACHINGTURSACKHANS_PORTFOLIO_2021
EMERALD NECKLACE PARK BOSTON, MA (FALL 2019)
M.ARCH FOUNDATION STUDIO
MIT SCHOOL OF ARCHITECTURE + PLANNING
Students in this foundation-level studio at the MIT SA+P studied a 16 acre site on Boston’s Frederick Law
Olmsted-designed Emerald Necklace Park. The program for the studio called for a field of follies to serve as a
background for an event to be staged in the park one day a year.
From the brief: “At various points in the history of architecture, landscape design, and monumental sculpture,
analogies have been suggested between the horizontal ground plane and hard-edge, abstract painting. Earth
Artists such as Alice Aycock, Mary Miss, and Richard Fleischner for example have understood this kind of
geometricization of landscape as a form of place-making; the demarcation of a zone that is used to produce
a phenomenologically charged visual experience. For this exercise, you will imagine a plan-based, graphic,
landscape-scale composition in the process of becoming.”
PHYSICAL MODEL PHOTOGRAPHS
PHYSICAL MODEL PHOTOGRAPHS SITE CIRCULATION DIAGRAM
TEACHINGTURSACKHANS_PORTFOLIO_2021 INSTITUTE-CAMPUS/OBJECTS IN A FIELD (FALL 2019) M.ARCH/B.ARCH ADVANCED STUDIO RHODE ISLAND SCHOOL OF DESIGN Students in this advanced studio are tasked with designing a campus—an institute for Analytical Psychology— in upstate, New York just north of the town of Hudson. The institute must include residencies, seminar rooms, a large lecture hall, a public exhibition space, scenic overlook towers, a semi-public sculpture park, and outdoor meditation spaces and other minor programs. The formal process for the studio begins with Maya animations using MASH Dynamics as an anti-compositional method for generating fields of volumes and particles. Students use these Warm-Up animations to create plans and pavilions for their campuses. DIAGRAM SHOWING HOW TO ARCHITECTURALIZE PARTICLE SCATTERS INTO LANDSCAPE ELEMENTS, PAVILIONS, FOLLIES, AND CAMPUS DIAGRAM SHOWING SIMPLE ANIMATION STUDY USED TO GENERATE CAMPUS PLAN. FRAMES SHOW GEOMETRIC ELEMENTS KEYFRAMED AND BUILDINGS (DIAGRAM HANS TURSACK) SIMULATED USING THE MAYA MASH PHYSICS ENGINE (DIAGRAM HANS TURSACK) TEACHING
TURSACKHANS_PORTFOLIO_2021
INSTITUTE-CAMPUS/OBJECTS IN A FIELD (FALL 2019)
M.ARCH/B.ARCH ADVANCED STUDIO
RHODE ISLAND SCHOOL OF DESIGN
001 150
Students in this advanced studio are tasked with designing a campus—an institute for Analytical Psychology—
in upstate, New York just north of the town of Hudson. The institute must include residencies, seminar rooms, a
large lecture hall, a public exhibition space, scenic overlook towers, a semi-public sculpture park, and outdoor
meditation spaces and other minor programs.
The formal process for the studio begins with Maya animations using MASH Dynamics as an anti-compositional
method for generating fields of volumes and particles. Students use these Warm-Up animations to create
plans and pavilions for their campuses.
Student: Tianbao Hu 300 450
600 750
FORM GENERATION ANIMATION SEQUENCE
PHYSICAL MODEL OF ANALYTICAL PSYCHOLOGY CAMPUS PHYSICAL MODEL OF ANALYTICAL PSYCHOLOGY CAMPUS
TEACHINGTURSACKHANS_PORTFOLIO_2021
ISLANDS AND ARCHIPELAGOS (FALL 2021)
M.ARCH/B.ARCH ADVANCED STUDIO
RHODE ISLAND SCHOOL OF DESIGN
In the post-war architectural imaginary, architectural campuses are defined by collage, fragmentation,
overlay, and historical sampling. Carlo Aymonino’s “assembly of known buildings” for East Rome, James
Stirling’s autobiographical scatters for his office’s entry into the Roma Interrotta exhibition, and Stan Allen’s
generative exploration of “dissonance and disjunction” in Piranesi’s Campo Marzio plan all speak to urban
compositional dispositions that privilege play, happenstance juxtapositions, and weak- or open-form over top
down composition. In this studio, we will revisit analogous methods of urban collage with the aid of digital
form-finding tools, animations, and interactive platforms (primarily through the Maya platform). The ability
to simulate urban composition with time-based media too often devolves into a postivisitic discourse about
efficiency and material patterns. Using the case studies outlined above, we will reimagine the architectural
micro-campus as a compositional problem through the phenomenological lens of a video game user;
forefronting real time discovery, accident, and visual precarity.
ZOOM IN AXONOMETRICS
CAMPUS PLAN FOR THE EUROPEAN GRADUATE SCHOOL ZOOM IN AXONOMETRICS
TEACHINGTURSACKHANS_PORTFOLIO_2021 MAYA FIRST PERSON ANIMATION (STILLS) ZOOM IN AXONOMETRICS TEACHING
TURSACKHANS_PORTFOLIO_2021
ISLANDS AND ARCHIPELAGOS (FALL 2021)
M.ARCH/B.ARCH ADVANCED STUDIO
RHODE ISLAND SCHOOL OF DESIGN
Students will create an architectural micro-campus—an american branch of the European Graduate School—
in institute for the study of Philosophy, the Visual Arts & Critical Theory. The site for the EGS satellite campus
will be an abandoned airfield in upstate New York just south of the downtown of Catskill New York (on the West
bank of the Hudson River).
ZOOM IN AXONOMETRICS
CAMPUS PLAN FOR THE EUROPEAN GRADUATE SCHOOL ZOOM IN AXONOMETRICS
TEACHINGTURSACKHANS_PORTFOLIO_2021 MAYA FIRST PERSON ANIMATION (STILLS) ZOOM IN AXONOMETRICS TEACHING
TURSACKHANS_PORTFOLIO_2021
ISLANDS AND ARCHIPELAGOS (FALL 2021)
M.ARCH/B.ARCH ADVANCED STUDIO
RHODE ISLAND SCHOOL OF DESIGN
The massing strategy for the (micro) campus, will be objects-in-a-field. You will create a library of forms, and
distribute them on a highly sculpted, completely artificial ground. Simulations and keyframed animations will
influence the shapes given to the individual units in your library, as well as their final arrangement on the field/
site. Consider the site as an earthwork; as an architectural ground-object. The ground should be a formal agent
in the composition of the campus (how do objects influence the ground in moments of “impact” for example?).
Buildings should be understood as particulate distributions. Even large object-buildings should interact with
the formal logic governing the ground/site/field.
ZOOM IN AXONOMETRICS
CAMPUS PLAN FOR THE EUROPEAN GRADUATE SCHOOL ZOOM IN AXONOMETRICS
TEACHINGTURSACKHANS_PORTFOLIO_2021 MAYA FIRST PERSON ANIMATION (STILLS) ZOOM IN AXONOMETRICS TEACHING
TURSACKHANS_PORTFOLIO_2021
PART-OBJECTS: PRECARIOUS STRUCTURES
DESIGN SEMINAR
MIT SCHOOL OF ARCHITECTURE + PLANNING
Conventional compositional theories have difficulty with the articulation and celebration of informality; that
liminal state just before a work resigns itself entirely to formlessness. When speaking of the visual nature of
architectural organizations, one rarely hears the words “haphazard” or “provisional” outside of contexts that
involve ruins, accidents, and material violence (decay, demolition, or erosion). What then, would a formalist TECTONIC + ASSEMBLY DIAGRAM OF PRESENTATION MODEL
theory of precarity look like? And how can one design a casual or improvised structure for a built work that
embraces (rather than resists) the “oppressive”, “entropic”, “downward momentum” of gravity?
TECTONIC + ASSEMBLY DIAGRAM OF PRESENTATION MODEL
PHYSICAL MODEL OF MAYA SIMULATION
PHYSICAL MODEL OF ANALYTICAL PSYCHOLOGY CAMPUS
TEACHINGTURSACKHANS_PORTFOLIO_2021
IMAGE OBJECTS
DESIGN SEMINAR
MIT SCHOOL OF ARCHITECTURE + PLANNING
In the seminar, we will study historical and contemporary examples of artists and designers who employ texture
mapping to generate graphic-skins for works with complex/irregular geometric scaffolds. Emphasis will be
placed on the technical processes used during the design phase (animation/character design platforms) and
the methods offices have invented to translate their designs onto material substrates (digitally printed fabrics,
UV sign printing, self-adhesive 3M vinyl wraps etc.).
MAYA ANIMATION (STILLS)
UNROLLED SURFACE DRAWING OF PHYSICAL MODEL PRESENTATION MODEL PHOTOS
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