Table of Contents: •  Introduction: •  Iteration 1 •  Iteration 2 •  Iteration 3 •  Iteration 4 •  Iteration 5 •  Iteration 6 •  Iteration 7 •  Iteration 8 •  Iteration 9 •  Iteration 10

Introduction:    During the first half of the semester, I’ve grudgingly come to the realization that design is a process. Meaning that what one believes they know or understand about design is irrelevant to such a process. A ”good” design is the product of rigorous training and practice. Some are born with a more keen ability to capacitate creativity, along with the intellect to elucidate it, while others are not. With that said, anybody with the determination, desire, and overall passion to become ”good” at design, will inevitably do so. During the process of design, designers attempt to draw connections between seemingly disparate ideas. They examine crucial data from various sources and make order of the chaotic mess of research. The connections formed between this synthesis period often lead to inspiration and innovation. The research can then be used as a platform for generative sketching, diagramming and model-making. Through this preliminary process, the designer can actively produce knowledge and meaning to any particular design. Constant production of work is crucial for success, along with any subsequent feedback.

Iteration  1  

Iteration 1 Objectives: The initial artifact of my choice was the Chrysler building in Manhattan, NY. My intention was to simply construct a pragmatic “bare-bones” model of the building using wood toothpicks and glue. In this iteration, I explored the overall proportions of the Chrysler building. I wanted to portray the structure in its most basic form, using one toothpick in each vertical rise and horizontal run of the model. Successes/Failures: During the design process/construction of iteration 1, I struggled with material selection and choice of glue for the connections. Though “E6000 multi-purpose glue” is very effective, it’s also very messy and hard to control. Toothpicks are a very cheap material for light-wood constructed models, but extremely rigid and ineffective for any type of structural stability. Reflections: After the construction of iteration 1 was complete, I immediately scoured my work for all possible solutions to the problems I faced. It occurred to me that “Loctite” super-glue is by far the cleanest and fastest drying glue available for any type of light-wood constructed models. I also realized that bass wood is extremely malleable and therefore incredibly easy to work with. Overall, I believe this iteration was a success in that it led to more efficient construction techniques.

Iteration  2     Iteration 3

Iterations 2 & 3 Objectives: During the research phase of iterations 2 & 3, it became rather obvious that perhaps the most significant and iconic features of the Chrysler Building are the arches that lead to the top of the spear-like spire. This Art Deco style of architecture inspired an entire generation of artists and designers. The arches of the skyscraper continued to capture my interest. An arch is a structure that spans a space and supports a load. The arch is significant because, in theory, it provides a structure which eliminates tensile stresses in spanning a great amount of open space. All the forces are resolved into compressive stresses. This is useful because several of the available building materials such as cast-iron, steel and concrete can strongly resist compression but are week when tension, sheer or torsional stress is applied to the. <<by utilizing the arch configuration, significant spans can be achieved. This is because all the compressive forces hold it together in a state of equilibrium. Being obsessed with ancient Greek and Roman architecture, I’m fascinated by the building systems they perfected long ago, such as the arch. Though the skyscraper did not incorporate arches for any structural reason, adding them to the design definitely increased the sense monumental power. In the subsequent design phase of the two iterations, I wanted to zone in on these specific features. The purpose of the deconstructed spire is simple; before the completion of the 125’ spire, the arches were the foremost significant aspect of the building. Being that I chose to zone in on the arches, I didn’t want to take anything away from them by constructing the spire.

Iteration 2 & 3 Materials: Iteration 2: 3/16” bass wood strips and Loctite super glue. Iteration 3: 3/16” white foam board, 3/16” bass wood strips, 1/8” bass wood rod and Loctite super glue.

Successes/Failures: From a design standpoint, I believe that iteration 2 was a complete failure. It shows insufficient meaning for what I was trying to portray. However, in constructing this iteration, I became cognizant of new materials for model-making. Though the concept for iteration 3 was very similar to iteration 2, it was far more expanded upon in all aspects.

Reflections: First, my choice of materials for iteration 3 was more effective for the concept. The use of foam board allowed me to build a realistic model of the arches themselves, enabling viewers to understand the sense of drama and beauty I wanted to present. Secondly, placing bass wood strips over the top side of the arches allowed each new tier of the arches to appear more setback than the previous, until eventually being led upward to a deconstructed spire. I believe that the end result of iteration 3 has met my objectives for iterations 2 & 3.    

Iteration 4

Gesture Drawing

Iteration 5

Gesture Drawing

Iterations 4 & 5 A brief history… When I imagine the era of which the Chrysler Building was designed and built, I can’t help but think of the absurd wealth and arrogance of the upper-class, as well as the extreme poverty of the lower/middle-class. Conceived in a time when America seemed more powerful than ever, the skyscraper embodied the vision of 20th century capitalism. Completed in 1930, the Chrysler Building was caught in the quest to become the world’s tallest building, which it briefly achieved for 11 months, until being surpassed by the Empire State Building. It began as a collaboration between architect William Van Alen and contractor William H. Reynolds. The over-priced design and lease eventually fell into the hands of the overly arrogant industrialist Walter P. Chrysler. Chrysler saw an opportunity to revive to once glamorous East 42nd Street area. The building shifted it aesthetic to represent the Chrysler automobile and the machine age of the 1920s. Eagles and gargoyles ornamented as if they’re guarding the building’s grand status. The intention to become the world’s tallest building came directly from Walter P. Chrysler’s hubris. In his mind, it was a huge monument to himself. Chrysler was to have an office suite and apartment with an exquisite dining room at the top; he ordered the builders to make sure his toilet was the highest in Manhattan, so he could ”look down and shit on Henry Ford and the rest of the world”.

Iterations 4 & 5 Objectives: The following two iterations (4 & 5), are based on one primary concept. In my research phase, I wanted to explore a deeper meaning of WHY the Chrysler Building is what it is and how the design of the project transformed over time. In iteration 4, I was compelled to capture the personalities involved in the process of design. I had the idea to construct a large monumental type of structure that would tower over anything around it, literally or figuratively. If you were at the top of the structure, you would see tiny specs of the structures below. The primary purpose of iteration 4 was to elucidate the extreme arrogance of Walter P. Chrysler. In iteration 5, I took it a step further by placing the structure on a platform, with large scale steps protruding downward, cut off half way. My intent was to demonstrate how Chrysler only thought he was above everyone. I wanted to construct what seems to be a large scale monument, until you look closer and see the stairs leading downward are at a noticeably larger scale. The purpose of iteration 5 was not only to demonstrate the audacious personality of Chrysler, but to show that this type of isolated self-righteousness is in fact unhealthy and unfounded.

Iterations 4 & 5 Materials: Iteration 4: 1/8” bass wood rod, 1/8” thick bass wood sheet, wood toothpick and Loctite super glue. Iteration 5: 1/4” bass wood rod, 1/8” bass wood rod, 1/8” bass wood sheet, wood toothpicks and Loctite super glue. Successes/Failures: In my opinion, both iterations were extremely successful according to my objectives. However, I now believe that my objectives were skewed. At the time, I was leaning too heavily on the initial artifact (the Chrysler Building). So for this reason, I can’t really say that the iterations were a true success or failure. Reflections: One positive concept I can take from iterations 4 & 5 is the fact that a designer must clearly define their objectives and determine whether or not they’re valid before actual process of design. In conclusion of iterations 4 & 5, I refined my own train of thought and decided to go in a completely different direction in hopes of taking my focus off the initial artifact.

Iteration 6

Gesture Drawing

Iteration 6 Objectives: My intention for iteration 6 was to physically show an ever-changing form which inevitably converges into a simple geometric shape. Though my intention was to create an ever-changing form, I wanted to construct what it might resemble if it were captured in movement. One moment the form could be gathered at one central focus point, whereas the next, it may be spread out over infinite space. I chose to construct the form with various sizes of bass wood, the purpose being to demonstrate inconformity and inconsistency. The result was a chaotic snap shot of a cluster of materials, viewable for only a fraction of a second.

Materials: 4” diameter Styrofoam sphere, various bass wood widths and Loctite super glue. Successes/Failures: One success of iteration 6 was my ability to communicate precisely what I initially conceived in form. I believe my design demonstrates inconformity and inconsistency, however, it clearly lacks integrity of design.

Reflections: When I look back on the HOURS spent on iteration 6, I believe it wasn’t all for nothing. I feel that constructing a model that requires such dedication allowed me to value the importance of craft as well as the premise of the design itself. While it’s extremely well executed in craft, the form has no ”real” quality of design. I believe it’s perhaps too simple to convey the complex nature of my thoughts. I feel rather unwilling, but nonetheless compelled to admit my failures on this iteration.

Iteration 7

Iteration 7

Gesture Drawing

Iteration 7 Objectives: During the data gathering phase of iteration 7, I really wanted to further expand my ideas and thoughts of iteration 6, in hopes it would help me express the meaning, thus leading to a more effective design. In iteration 6, my intent was to show an ever-changing form viewed during a particular moment of its convergence into one central focus point. I found this very hard to model without a narrative description. For iteration 7, I wanted to present an ever-changing bio-mechanical design. Because of its constant movement, the design cannot be defined by any specific space, time or form. While the design has a fairly recognizable organic shape, it has obvious mechanical features that strongly suggest movement. My primary intention for this iteration was to design and construct a metamorphic bio-mechanical entity that is in constant movement, thus unable to be defined by any formal specificities.

Iteration 7 Materials: 1/16” galvanized metal wire, 28 gauge steel wire and various widths of aluminum. Successes/Failures: Despite the apparent ambiguity of iteration 7’s design, I believe it was a success in that it completely liberated me from my initial artifact! I no longer look to the Chrysler Building for any guidance in my design process. I feel that this iteration appears as a mess of materials and parts, but it was actually planned to have those characteristics. In my own humble opinion, I believe this iteration follows a well planned design process that leads to the objective itself. The successes of iteration 7 out-weigh the failures. Reflections: In retrospect, iteration 7 was ground-breaking for my abstract design process and way of thinking. It liberated me from my initial artifact and led way to the use of various materials all incorporated into one model.

Iteration 8

 

Iteration 8 Objectives: For iteration 8, I searched for different ways of how to demonstrate physical movement using still objects. I decided to construct a platform underneath my design to simply try and show the form moving away from the center of the platform; it also gives the design a further sense of asymmetry. For the actual iteration, I wanted to design and construct two bio-mechanical entities, progressing and regressing to and from one another. I wasn’t quite sure how to show this in model form, so I basically left that part to interpretation.

Materials: 28 gauge galvanized sheet metal & 1/8” 3mm aluminum pop-rivets. Successes/Failures: I believe this iteration is constructed very well, however, I feel as though I failed to capture any specific movement. I found it extremely challenging to demonstrate an ever-changing form without using actual moving mechanical parts. Reflections: In my opinion, the idea of utilizing a platform seemed like a solid plan, however, the result was not. Perhaps if I had built another set of arms protruding from the platform, reaching out over and looking down at the other two sets of arms, it would’ve been more dynamic visually.

Iteration 9

Iteration 9 Objectives: In this iteration, I spent many hours struggling to develop a deeper sense of abstract thought in regards to my process of design. Subsequently, I developed a concept to construct three forms that extrude from one single plane; all similar but unique in their own right. First, I imagined a single horizontal plane made of different overlapping perpendicular materials. Secondly, I envisioned three separate forms extruding from said plane. After several quick sketches, I began to visualize what the forms might look like in 3D-perspective. I came to the conclusion that a form extruding from one flat ground plane at slightly different intervals, would appear uneven, with peaks set at various elevations. The form itself would consist of three slightly oblong shapes, growing in an upward direction, each altering in directional placement. There would be no implied axis or any type of central focal point. Each form would emerge as an extension of the previous.

Iteration 9 Materials: 1/8” steel rod & 28 gauge galvanized sheet metal. Successes/Failures: In my opinion, this iteration was a true success; from conception of the design, to the craftsmanship, all the way to the end result. The materials selected allowed me to construct the design with no actual “connections”; I was able to fold the sheet metal over the steel rod to join the two materials cleanly. Aside from craftsmanship, the result of my design matched all the criteria specified in my objectives. Reflections: I feel this iteration opened a new door in my creative process of abstract design. As a result I find myself becoming more cognizant in regards to crucial aspects of abstract design that I previously found incomprehensible.

Iteration 10

Gesture Drawing

Iteration 10 Objectives: My primary intention of iteration 10 was to construct a design that integrated surfaces into my framework, to help shape diverse spatial experiences within the model. I really wanted to incorporate iteration 9 into the conceptual design of iteration 10. I basically followed my list of objectives from the previous iteration, while integrating surfaces into the new design. The design process led to the reconfigurations of the forms into an implied rotation of the elements. This iteration evolved the oblong shapes into geometric forms. In my opinion, simplifying the oblong shapes into isosceles triangles would actually give the form a sense of hierarchy. Beginning with the smallest triangle starring directly at the viewer, it would then rotate slightly upward, leading to the middle triangle, finally ending at the largest triangle that is positioned 90° upward from the ground plane. My foremost objective was to convey a sense of definite implied movement (upward rotation).

Iteration 10 Materials: 1/8” steel rod, 28 gauge galvanized sheet metal & 1/8” aluminum pop-rivets. Successes/Failures: Much like iteration 9, I feel as though iteration 10 was perhaps my best work ye, thus rendering it a huge success. The craftsmanship was on point as well as the execution of the concept. Reflections: In conclusion of the first half of our semester, I believe my overall craftsmanship has dramatically improved from the beginning of the course. Though the process of design is in constant evolution, I feel as though I’m honing in on my strong points, as well as identifying my weaknesses. Being that iteration 10 is perhaps my most compelling work yet, I definitely feel as if I’m headed in the right direction. I look forward to refining my design skills not only in the second half of our course, but throughout my entire life.