N I N O E S T R A D A

A R C H 1 0 1 | C I T Y C O L L E G E O F S A N F R A N C I S C O

3 . 1 4 . 1 3

MIDTERM LEARNING PORTFOLIO

CONTENTS

• Introduction

• Icebreaker

• 2nd Icebreaker Iteration

• Kit of Parts

• 3rd Icebreaker Iteration

• Proportional Studies

• Matrix

• Spatial Experiences

• Critical Questions

• Conclusion

INTRODUCTION

The first day of coming to architecture design I was a bit nervous I never felt confident as a designer and didn’t know what to expect. After a few class sessions I knew I was way over my head, in class I'll be hearing lectures with these intense design terms that was pretty hard to follow. Hearing the lectures and the criteria’s I definitely felt a bit timid but decided to stick with it and yeah now I’m here showing my learning portfolio, enjoy.

ICEBREAKER

The first assignment was the icebreaker, where we created a model that represents an abstract personification that best describes ourselves. The assignment was difficult to narrow down to three qualities because I felt limited in just picking three. I think a person is more complicated and dense to pick a few quality traits to describe them which caused me to over think which qualities that best represents me. I settled on passionate, calm, and ambitious. Creating the model was a difficult experienced since I didn’t know where to begin. I wasn’t sure what materials we ought to used or which would or wouldn’t be appropriate or whether or not if we could use color. I decided to start off just by

doodling on my paper to see if I can spark an idea but that didn’t seemed to work. I then when off to do some research on shapes and colors. I wanted to know what certain colors or shapes symbolize and emotions they evoked to spark a light of inspiration. I also began looking at abstract paintings, models, and sculptures to get an idea of which direction I wanted to head towards. After my research I felt I had clearer idea on how I wanted to approach my icebreaker.

ICEBREAKER

I bought 50 sheets of white construction paper, glue and started my model. I knew from the beginning I wanted to incorporated color in my project and with my research on colors and certain emotions they evoke I had a clear understanding of which colors I wanted to best described me but was still confused on where to start. I dove into the assignment by spray painting multiple sheets of construction paper with colors such as pink (loving, caring, compassionate), red (passionate), blue (calm, relaxed, productive), grey (in between), black(private, serious), and purple (creative). I wanted the colors to mix with one another as a metaphor; humans don’t just feel one emotion at a time but multiples. After painting several sheets waiting for them to dry I began cutting them into spirals. I applied several spirals that connected to one another to create movement and rhythm to the composition; I wanted people to experience following the spiral to stimulate the notion of travel. The spirals are a metaphor of an ongoing journey and of growth which reflects back to me because I feel that I’m still growing as a person and figuring out who I am.

ICEBREAKER

I cut several spirals all different sizes and colors but didn’t feel content with solely the spirals connected amongst one another. The spirals felt chaotic and needed something to contrast it and bring meaning to them. I spend hours just thinking of ideas but felt frustrated and stuck, nothing seemed to work. Finally after taking out the recycling I noticed the coke can and noticed its organic shape when it’s crushed and felt intrigue by it. If you crushed a can slightly it creates a compressed shape that becomes difficult to recreate. I thought it was an interesting idea to combine the two shapes the spirals and the crushed can. I painted the can black to prevent people seeing it solely as a coca-cola brand and if I left it as is people wouldn’t attempt to find the deeper meaning behind it losing its abstract quality. The can represent my base, foundation, and where I’m from. The can is slightly crushed to present imperfection in my environment and in me. The spirals break out and go out to discovered but always seem to return back to the can which is a symbol of home, no matter what ventures I embark on I can always come back home. Working on this assignment I learned to apply my ideas, theories, and metaphors into my design. Prior to this class I never really created anything that applied design theories and notions so I learned to make a conscious effort to unite my ideas that connected with design concepts and translate it to my model.

ICEBREAKER

•Strengths •The composition has a rhythm and movement to it. •The colors catch the audience’s attention •The model is curvilinear creating an active composition

•Weaknesses •There is no hierarchy to the composition •The craft isn’t great

2ND ICEBREAKER ITERATION

My second iteration of my icebreaker was as difficult as the first one because I wasn’t sure if what I was doing was actually improving my model. The first icebreaker we were allowed to make mistakes and explore our ideas but for the second one we had to refine our concepts making it more intimidating if we failed.

I wanted my model to be subtle and clear on the surface but within it a complex and meaningful composition. I approached my second iteration similar to Ernest Hemingway’s writing style, simple straightforward but with a lot of implication. On my second iteration I decided to maintain the coca-cola can because it brought unity and balanced to my model and it symbolize my foundation and base of who I am. This time around I decided to add an extra texture and material to the model, a plastic water bottle, to create contrast with the aluminum can and to initiate interest to the design.

The model itself is consisting of three origami cubes each painted a different color. The cubes are all the same size but each one is situated at a different position. I decided to abandon the spirals because I felt limited to the spiral shape and thought I could only give one message with it whereas the cube I felt I could better expressed myself. Each cube was painted with the same methods as the first iteration, with spray paint and colors mixing with one another.

2ND ICEBREAKER ITERATION

I felt inclined to the geometry of the cube because it obtains lines not only vertical but horizontal and sharp as well that give off multiple feelings like strong, peaceful, and masculinity. Each face of the cube is a square that gives an essence of order, equality, but more importantly honesty that I believe resembles me. Each cube is contrived of six pieces that are synthesize and overlapped with one another to create the cube which causes a sense of depth. The cube isn’t see through or open but covered purposely to recreate my initial reaction when I meet people, when I first encounter people I keep my guard up and it takes time for them to get to know me. The first cube is black with spots of white on it which in a way looks like the universe. The black cube is where the whole project rests on which is meant to symbolize same as the can qualities of my personality that grow out to be more. The cube is black to represent aspects of my personality such as being a private person and not very expressive and the white is to create that sense of emptiness and detachment I feel sometimes with others. The cube is placed straightforward to present personal quality traits such as being efficient, practical, structural, and an organized individual.

2ND ICEBREAKER ITERATION

The next cube is a blend of two main colors blue and pink. The cube is positioned on top of the can but angle on one of its points. I decided to angle the cube in that manner to demonstrate my creative quality. The blue illustrates traits such as loyalty, integrity, and being active and the pink personifies compassionate, understanding, and caring. I choose to combine these two colors together because I liked the fashion in which the colors feed off this low key, calming and welcoming mood. The last cube is combination of both the first and second cube. The third cube is settled similar to the black cube facing forward but whereas the black cube is fixated on a flat surface the third cube is space halfway in the air and the other half on the rounded unsettled water bottle. The last cube symbolizes my inner child. Even though I’m in my twenties I still partake in activities I use to love to do as a kid such as watching Disney movies and cartoons, playing videogames, reading comics, eating Mickey Mouse pancakes, etc. thus I wanted the last cube to reflect that playful side of me. The colors for this cube are red, purple, blue, pink, and white which when mix together draws feelings of enthusiasm and excitement that tie back to the concept that this aspect of the model personifies my kid like qualities. The water bottle is attached to the can but floating in mid air to create contradiction within the model. The bottle is meant to express my view and perspective of the world. The bottle is clear to present how I keep an open mind however, it isn’t see through but dipped with different colors to represent how my experiences shape my views and perspective on life. Working of my second iteration I learned how to express my emotions through my composition. Even though my first iteration reflects me as well, I feel my second iteration is a lot more vulnerable and truthful. As a designer I improved in applying certain design theories like the use of contrast and I learned methods to make my model more aesthetically pleasing.

2ND ICEBREAKER ITERATION

•Improvements •The intentions are deeper and more profound •The model is more refined and clearer

•Strengths •The colors, materials, and cubes bring curiosity to the model •The model utilizes element of design such as color, texture, and shape

•Weaknesses •The model is static •There isn’t a clear connection on how each piece are related to one another •The composition lacks any acts of transformation

KIT OF PARTS

In class we were ask to take our second iteration and break it into parts to understand their relationship and how they are organized. We had the option to either freehand it or use Google Sketchup. I choose Sketchup since it seemed more efficient and clearer to understand. I’ve worked with Sketchup before in my orthographic drawing class about a year and half ago and last semester I took Auto Cad so I felt pretty confident to begin working with this software. While working on Sketchup I came across a couple problems. Since I took Auto Cad last semester I was attempting to manipulate the software similar to that program but realize that the software was too basic. While trying to recreate the crushed can of my first two iterations I wasn’t able

to form that same organic shape. I tried to draw a cylinder push pull it up and reshape it but couldn’t figure out a way to maneuver the software in my favor thus having to settled with a simple cylinder shape for both the can and the bottle. I also couldn’t find the copy command anywhere. The three cubes from my second iteration are each made up of six square shapes with two triangles that cause creases and holes that allow you combine them together to form the cube. Drawing the piece was pretty straightforward however I couldn’t copy it and since each cube is made of six of them all together would combine eighteen pieces to redraw. I had to redraw every single one of them which was tedious, laborious, and boring and it wasn’t until the next class session I realize that the copy command was the move command while holding the control command.

KIT OF PARTS

I found my experience with Sketchup very frustrating because I couldn’t achieve my initial intentions and had to settle a lot for many of the software’s limitations. Working on my kit of parts it helped me in having a clearer understanding of the separate parts of my model and how each fragment works and relates with one another which allows you to branch out and create something new and better. Using the same shapes and elements you can create a more intriguing and memorable design.

3RD ICEBREAKER ITERATION

While working on my Sketchup model, based on my studies of my kit of parts, I began to experiment with the possibilities of what I can do. The great thing about Sketchup is that you can build something with endless possibilities allowing your imagination to run free. I started my 3D model by writing a narrative to get a clear idea of the concepts I wanted to explore. I stumble across different directions of where I wanted to go but settled on the idea of transformation and growth. Even though the tale isn’t anything new I always find myself inspired by it. Stories that begin with the hero as weak and pathetic and flourishing into someone admirable and praiseworthy is encouraging and affects me emotionally, provoking me to better myself. I began the Sketchup model by recreating the cubes of my iteration, making them into components, and then copying them. I created multiple cubes and started stacking them on each other. I wanted to convey the message of growth by slowing transforming the cube into an organic shape. I attempted to achieve this message through slowly opening the cube and making the cube change from a single bland color to several.

3RD ICEBREAKER ITERATION

The long black cylinder shape is massive and sticks out from the rest of the composition. I meant to recreate the same logic from the crushed can into the cylinder that it’s my base and foundation but it also symbolizes what I strive to be. The cube begins small and elementary but exerts itself to be round and long like the black cylinder thus its evolving change but ends up becoming not only round and cylinder but something more profound, interesting and rich. I wanted the middle to represent chaos to create a feeling of distressed and bothersome. Every journey is never a pleasing one and it’s during

those hard times where you learned your true character. The pink cylinder, which dashes across the entire model, emphasizes the design concept of contrast but in addition it signifies support. Everybody has a group of support that helps ease their pain and push them to achieve their goals whether it is their parents, siblings, friends, or teachers they motivate and encourage them to continue on their path.

3RD ICEBREAKER ITERATION

•Improvements •The composition transforms •There is rhythm, repetition, and movement in the design

•Strengths •Complex and visually interesting •The model plays with the notion of linear vs. curvilinear •The model follows the ideas that are inspired from the narrative

•Weaknesses •Relationship between each shape seems arbitrary •The folded origami like forms don’t clearly relate to its connection with the whole structure

3RD ICEBREAKER ITERATION

While translating the 3D model into a real one I realize my model wasn’t physical possible thus haven’t to changed it. I decided to eliminate aspects of my model that I felt I could remove such as taking out both cylinders but maintaining the same ideas. I thought the idea of growth can be expressed with mainly the cubes by having the cube change from a small innocent cube to an abstract shape. The cubes start off small and a single color and slowly transform from a bigger cube and then to something completely different from where it started. The physical model consist of the same method of the last two iterations of using origami cubes, painting each construction paper with spray paint, and gluing them together with the hot glue gun. I wanted the model to build on the same ideas and intentions of my 3D iteration presenting a narrative but also maintaining the same ideas of my first two iterations which is reflection of my personality.

3RD ICEBREAKER ITERATION

Working on my 3rd iteration of my icebreaker I learned how to convey a story into my composition. I learned to utilize design concepts I learned earlier and apply them to work with my narrative. For example, in order to achieve this I incorporate the use of space and to play with the idea of linear vs. curvilinear. The model begins linear but becomes curvilinear that convey that message of change and it moves in a rhythmic manner. In addition, I also learned to use the idea of penetration by having the model penetrate outwards in the air which metaphorically signifies flying; when we attempt anything there are three possibilities one we can fail, two we don’t bother attempting it at all, and three sometimes we fly.

3RD ICEBREAKER ITERATION

•Improvements •The composition has clearer relation with each of its arrangement •The narrative is better translated

•Strengths •The model utilizes the use of dynamic space •The model applies displacement

•Weaknesses •The materials aren’t sturdy and is flimsy

•The colors don’t gradually evolve with the composition

NARRATIVE

• What are the most significant aspects and qualities of your constructed abstract

design?

• The most significant aspect of my design is in the middle where we see the transformation from a stable cube to organic shapes. The colors stress this transfiguration changing from a single color of white to a multiple of different colors ranging from red, blue, purple and pink.

• What will a first time viewer of your work see and experience?

• The viewers’ focal point would be the middle of the design where the organic shapes and colors are heighten and would try to understand how it fits in with the whole. Since each cube is connected with one another the viewer’s eye sight would be set in a motion with each cube as it slowly evolves to something completely different from what it started off with. They would also observe the use of space creating an experience of openness, approachable and welcoming. The audience would experience highs and lows and can placed their own experiences in attempting to establish meaning to it. The experience isn’t much in understanding the design but the process of trying to understand. A first time viewer would also be curious in the selection of cubes and how it relates to the whole design.

NARRATIVE

• What does your design primarily

represent?

• My design is a representation of progression. Any time you embark on something you start of small and slowly progress to more complex things. For example, when you start drawing you produce stick drawings until you progressed and start drawing objects. When you begin drawing faces it becomes difficult and you begin to feel emotions of anger, frustration and would want to give up but if you keep working on it and staying positive you set out to be something more. My design’s deeper meaning represents a coming of age where you discover who you are. You journey from an innocent and simple cube to more complex, strange, and sharp shapes to finally ending in an abstract cylinder combined with elements and experiences you endure to get there. You discover your true self when you undergo times of adversary whether you overcome or give up.

NARRATIVE

•What are the details of what your audience will see and experience as they engage your work and how these details relate to your metaphors? •The Audience will see the colors and how they constantly changed. The colors would cause curiosity and doubt to the cohesiveness with the whole. The colors represent how we change from a person and were continuously learning new things about ourselves, our lives, and environment and how it affects us.

• The viewer would also acknowledge how each shape is connected either through endpoint, midpoint or simply just connected. The connections is a metaphor on how each experience affects us whether good or bad and how it has an effect on our personally and how we perceived things. The design begins with a cube because it symbolizes the beginning of the journey. The cube is simple, true, honest, innocent, etc. and as the design continues on the shapes and colors start changing. The colors are meant to evoke different moods and emotions. For example, the big red cube is bold and authoritative and as the cube gradually unfolds the colors are more smoothing and calm as the cube becomes more organic in its form creating a pleasing and comforting feeling. In addition, each cube is cover with more than one color because when we experienced certain situations we don’t primary feel one quality but multiples.

PROPORTIONAL STUDIES

I begin studying the proportion scales with the method I thought was the most interesting in my opinion, the Fibonacci series. Out of all the series the Fibonacci series is the one that seemed informal. Every series adds from the previous number but what makes the Fibonacci series unique is that it begins with an odd number and each number that add on to it give an impression that they have no logic behind them. The other series you could draw a conclusion into how each are connected but with the Fibonacci series it looks as though you need to really understand the interworking of the series which intrigue me. I also admire the fact that there is another pattern within the numbers, the pattern changes from odd, odd, even and then repeats itself. At first I was excited to begin working on the series but got stuck on which shape to use in order to examine it. I didn’t know whether to experiment with triangles, circles, hexagons, or squares. I started off with triangles because I liked the fact that triangles give the impression of direction and wanted to play with that idea by rotating them however, while working on it I realized that I wasn’t satisfied with the image it was portraying. It seemed chaotic and didn’t appear to have balance to the composition. I tried circles but also felt dissatisfy. I wanted an image of a model that obtains shapes that connected with the previous shape and continually grew but I couldn’t figure out an interesting and animated fashion to achieve this with circles either. I settled with the square because I liked the appearance of squares connecting with one another and I liked how the shape gives an impression of a rugged and powerful appearance. I started by making a square measured one ft by one ft and push pulling it 1 ft. I copy it and made a second one to follow the series (1, 1, 2, 3...). The next square was two ft. by two ft. and push pulled by two ft. and I continue this pattern with the rest of the series. To create an asymmetrical appearance I drew lines on each cube that correspondent to its pattern. For example, the first cubes are one ft. thus drawing one diagonal line across it and push pulling half the cube back. For the cube that correlates to

FIBONACCI SERIES

two I drew one line but with two irregular points that connect to an end point and push pull it back. Push pulling aspects of the cube created interest and complexity to the composition. I continue on with the pattern of the series until thirteen and choose to copy it and repeat it and stack them against one another to apply the notion of repetition in the model and to bring more curiosity and meaning to the model. Each cube is connected following the series to stress the concepts of hierarchy and evolution but the manner in which they connect is random. The composition as it gets bigger has these giant rectangular cubes floating in space to bring irony to the structure and as each experiment with the series continues I began mirroring the model to create the battle of asymmetry and symmetry. The composition is asymmetrical but when I mirror aspects of the design it becomes symmetrical as well.

FIBONACCI SERIES

•Strengths •The composition evolves into an intricate and complex structure •The design practices extruding and portrays irony •The use of space, mirroring, and repetition

•Weaknesses •The model isn’t aesthetically pleasing •The meaning behind it is a bit hard for the audience to interpret

MODULAR SERIES

My next proportional scale was the Modular scale. What fascinated me of the Modular scale is the fact that many interior and architect designers utilize this scale mostly with rectangular shapes so I try to follow that same approached. With the modular model I follow the same technique as with the Fibonacci series by drawing squares and push pulling them to the measurement that would follow the pattern. I began with two but I stopped at four and wanted to copy it and repeat the same pattern (2, 2, 4, 2, 2, 4…). I decided to stop at four because I didn’t want the model to get too big but also because I wanted to do something different than what I did previously with the Fibonacci series. With each attempt of the modular series I began experimenting by rotating them, placing each copy of the previous one in the middle, end, or top of the composition, etc. which emphasize the design approach of overlapping and displacement. Although I liked the way the first Modular model turned out I wasn’t pleased with the rest of the composition. I felt it became too disorganized and lost its meaning but I wasn’t sure how to fix it. I tried different methods but ultimately this was the best I could come up with.

MODULAR SERIES

•Strengths •The composition’s use of displacement and overlapping is intriguing •The model practices the idea of rotation •The notion of repetition is explore and emphasize

•Weaknesses •The model doesn’t really express any meaning to it

•The scale is a bit confusing to interpret

HARMONIC SERIES

The Harmonic scale was perhaps the study I found the most disinterest in. The Harmonic scale seemed so perfect and stale but as I begin working on it I learned to appreciate its beauty, balance, and harmony. Since the harmonic scale gives the impression of flawlessness, I wanted to play with that idea by following the scale and slowly dismantle it. For this study I wanted to work with circular shapes because circles feed of this presence of balance, wholeness, and harmony that I felt reflected with this scale. I drew circles ten feet radius, push pull it upwards thirty feet and copy five of them. Each cylinder shape decreases in size according to the scale. For example, the first cylinder is thirty feet, and then the next one is lower by ½’, and then the next cylinder is the same size of the last one but lowered even more by 1/3’ and so forth. At first I drew each cylinder twenty feet apart but saw that they felt detached so I drew triangles underneath them that connected, united, and creating movement to the composition. I also drew little circles on top of each cylinder and follow the same pattern of push pulling it up upwards but instead of the first cylinder being the tallest I reversed it. I then began playing with the composition and trying different things and it shows as the model slowly evolves.

HARMONIC SERIES

•Strengths •The composition utilizes the design notion of curvilinear vs. linear •The design has a hierarchy and pattern to it through its size and organization •The use of repeating and mirroring within the model

•Weaknesses • •The way the cylinders rotate seems arbitrary •There isn’t enough contrast to spark interest to the design

BEST PROPORTIONAL STUDY

Of all the proportional studies I worked on my first rendition of the Modular scale I further developed. Although I did six proportional studies on the Modular scale, what drew me to the first one was its simplicity. I wanted to create a pattern of simple to complex and then return back to simple and continue that pattern. The pattern goes two, two, four, and then repeats itself back to two. I didn’t want the composition to grow because I wanted to emphasize more on rhythm and pattern. I try to convey a complex arrangement by having the first three cubes face straightforward and leveled and the next three cubes randomly rotated. I sense that rotating them wasn’t enough to present complexity to the structure thus I drew unorthodox lines that correspondent to the cube and push pull aspects of the cube back. For example, the first two cubes represent the number two in the Modular pattern (2, 2, 4, 6…) thus being two ft. in height, length, etc. and I further added on two linear lines to show two halves of the cube. During the complex aspect of the composition I drew indirect, unorganized lines that also created two halves of the cube but in a disarray fashion. The patterned of simple to complex plays with the notion of symmetry vs. asymmetry and emphasizes the contrast amongst the two. To characterize hierarchy to the model I had each cube connected to one another in a peaking chain. The back of the model doesn’t embrace the same delineation as the front because I wanted to demonstrate that even in this intricate form there is an order to the chaos. Working on this assignment I learned to utilize proportions and scales and applied them with design concepts. For instance, to promote hierarchy I can express this by slowly increasing my composition by following a series. Also proportions and scales allow you to create designs with a sense of harmony to the whole composition since everything has a purpose to it which brings forth meaning and unity to your design.

BEST PROPORTIONAL STUDY

•Strengths •The model has a sense of hierarchy •The composition utilizes the use of rotation

•Weaknesses •No color •The scale doesn’t increase •The intent of making the composition simple to complex doesn’t communicate clearly to audience

MATRIX

The matrix was a bit confusing and it took me awhile to figure it out. I follow the generic matrix that was posted on the group website. Starting the 2D composition of the matrix I was confused whether or not certain shapes can intertwine with one another or if it had to solely stick with that shape. For instance, for a matrix that is L shape linear and elevated can you have over planes or can you add parallel planes or can you have depressed planes, etc. I was overwhelmed with confusion.

The 3D model of our matrix was the first time where we got to develop a space. The assignment was a little intimidating and exciting since it was the first time where we develop an actual space where people can interact which felt like the first big step in becoming

a designer. The same problems I faced in the 2D model lingered on into the 3D model because it was nearly impossible to have certain matrixes not cross. At first the matrixes were manageable to assemble since I had many ideas that I felt like I could work with to make the space more interesting but as the assignment continue onwards I found myself creatively exhausted and burned out. My ideas continue to repeat themselves and I couldn’t figure a way to maintain original.

MATRIX

Strengths The use of extruding in the compositions that creates density Incorporate the use of figure scale Use of the proportional scales such as Modular and Fibonacci

Weaknesses Lack of field, there is no built environment No indication how people will interact within the site Many of the designs are very static

SPATIAL EXPERIENCES

The next aspect of our matrix was to develop one of the typologies of space even further by incorporating a journey from welcoming and comfortable, awesome and monumental, and intimate and tranquil. This assignment was definitely the toughest one yet. I design the spaces separately with a conscious effort to smoothly blend them together. I approached the design by imagining a site where I would want to go to and that I can in vision actually being constructed in real life.

I started working on the intimate and tranquil space first because I felt I had a good idea of where I wanted to go. In my opinion a space that is intimate and tranquil is a place where you can interact with others, relax, and forget about the world around you and live in that moment. One of my favorite places to relax and unwind is hiking trails. I enjoy walking with my dog on trails that consists of trees, wild animals, scents of nature, etc. because there I can really meditate and appreciate life. Approaching the design I wanted to create a space that played with the idea of open and close space while incorporating nature. I arranged an L shape layout and placed vertical walls on the edge to establish privacy with the outside but didn’t enclose the walls because I wanted the natural sunlight to provide light to the structure. I also created a U shape enclose area within the space where people can interact and planned to place a fireplace so the space becomes functional as it helps to block out the air for the fire. The rest of the space doesn’t contain walls but instead are replaced with trees to create shade, bring forth the scent of nature, and as an added place to rest underneath the tree against the trunk.

SPATIAL EXPERIENCES

Afterwards I started working on the awesome and monumental aspect of my design. My initial reaction when I imagined something monumental I think of something bigger and grander than me which stands, represents, or symbolizes an entity that is significant and overwhelming. Monuments where I feel awe-inspired are structures which attain balanced, harmony, and order such as government buildings, Greek and Roman architecture. Planning this aspect of the design I knew I wanted to incorporate a feature of Roman architecture and maintain this part of the design all white to give the impression of pure and perfection. I decided to embody the round arch because this element brings in shade and sunlight, span a large area for people to walk underneath, and is aesthetically appealing. It intrigue me the fact that arches are self supporting while holding a great amount of weight on them which I feel metaphorically can represent people. The layout of the space is long and rectangular similar to a pathway and the arches are placed on the edge of the rectangle, length wise. I planned for the arches to function as windows looking outwards to nature. In my Google Sketchup model I placed another set of arches that connect with the two arches on the side of the rectangle to create an awesome experience by playing with the shade and light.

SPATIAL EXPERIENCES

The last space, the welcoming and comfortable, was a bit tricky to portray. I wasn’t sure what exactly made a space welcoming and look up different buildings and spaces and each had about the same design not giving me anything to work with. I decided to make the space a rectangular box but with a huge opening and have aspects of it pop in and out. The disfiguration of the box made it welcoming because it wasn’t perfect and ideal making it approachable and pleasing. The space is enclosed but obtains a huge rectangular opening to welcome in intruders and bring forth curiosity due to the interior’s irregular walls. Also inside the space are seating areas where people can sit comfortably.

SPATIAL EXPERIENCES

To create my 3D model into a physical model I wasn’t certain what materials to use. In the past I mainly use cardboard paper but I knew that this type of material wouldn’t translate well to my design. I began looking up architecture models on Google and YouTube and try to figure out what materials they use and notice that most models were constructed with foam core, and wood. I had to buy the materials at Michaels and while I was there I also picked up a few poster boards and pre-made trees. I bought autumn trees because I liked the warm colors and the cozy feeling it feed off that I felt match the mood I wanted my entire composition to feel. Transforming my spatial composition from 3D to reality forced me to remove certain aspects of my design. I try to reproduce my welcoming and comfortable aspect first but knew it wouldn’t be possible. I attempted different techniques to recreate the in and out feature of it but couldn’t achieved it thus I delay this part of my design and started working on the tranquil and intimate component.

SPATIAL EXPERIENCES

The tranquil and intimate feature was manageable to form since it consists of a lot of open space with a few walls here and there for privacy. Working with foam core for the first time was a difficult and laborious experience. My layout is pretty precise so I needed to calculate the measurements on scratch paper transfer those measurements to the foam core and cut it. Cutting the foam core freehand is quite hard so I had to use a T-square ruler but even working with the T-square was hard. I used an e-xacto knife to cut the foam core which became tedious and exhausting since it took multiple cuts to finally tear it apart, and it was hard to make clean straight cuts. The base of the intimate and tranquil area is L shape which was feasible to cut and each of the walls measured four by four. I glued the walls with the hot glue gun. I intended the composition to blend with the environment so I placed trees around the site.

SPATIAL EXPERIENCES

The awesome and monumental feature of the composition was more complicated to create. The 3D model contains arches on the sides and an enclosed tunnel that creates a hallway similar to hallways you encounter in buildings. However, I couldn’t recreate that same effect with the foam core so I settle on solely obtaining arches on the sides that stand on their own. I felt the arches would still create a monumental effect because as you walk past them you witness this gigantic arches that stand on their own and it causes you to admire it individually rather than a whole and yet the freestanding arches are all connected as a whole. To build the arches was very tedious since each arch had to be identical I needed to estimate the measurements on scratch paper attempt it and then recalculate the

measurements because the earlier measurements wouldn’t work. I cut four by four foam cores and was able to calculate the round aspect of the arch with a compass. Cutting the roundness of the arch was hard because I couldn’t use the T-square to get a precise cut thus haven’t to cut freehand with the e-xacto knife which took a while to do for all six. I also added the railing for people to not fall of but also

to encourage people to look out on the sides and have a support.

SPATIAL EXPERIENCES

Reentering the welcoming and comfortable aspect of the design was very stressful. Since I had to abandon my original intent I needed to redesign this feature that fit the criteria as well as being physically possible. I came up with a few designs but when I attempted to form it it wouldn’t be possible. This section of the project was continuously trial and error which drove my anxiety and stress levels high knowing I only had a few days to solve it. The final version of the feature was created just by doing. I wasn’t sure what to do and through working I came up with ideas that I felt could work. I knew I wanted the base to be rectangular and facing horizontally so I began with that and slowly started added things to it that ended up being in the final rendition. I added four walls that measured four by four ft. but I arrange them irregular to project the concept of asymmetry and to play with what the walls allow you to see. The walls block aspect of the design that creates a playful and mysterious experience with the people interacting within the site. In addition, by blocking aspects of the design it created a more dramatic effect when people reach the monumental and awesome section because they travel from a dark area to sunlight. I enclosed the top of the welcoming and comfortable portion of the site but didn’t enclosed the sides, rather I left a frame that allows light to come in that makes it approachable because it is exposed and also the frame creates dramatic and intriguing shadows. The frames on the side are connected to each other but people aren’t able to see it until they walk into the site. I wanted the frame to be exposed from within the composition to create a truthful and vulnerable feeling that allows people walk in and feel comfortable.

SPATIAL EXPERIENCES

Working on my interpretation of a site with spatial experiences I learned to consciously think how people would interact within the site. Before I would apply design concepts that aesthetically pleased me but now I was obligated and compel to choose design notions that not only work with the composition but benefitted people interacting within the site. For instance, making a structure that is welcoming for people to approach the site as well as providing them a place to socialize and seat, etc. I couldn’t randomly design something but now have a purpose and meaning behind it.

•Strengths •The model has a unity and rhythm to it •The opening has a radical form of space

•Weaknesses •The level of craft isn’t refined •The structure is too linear and symmetrical •The model has no sense of hierarchy •The monumental and awesome aspect of the design doesn’t increase in height causing this section to not feel very monumental •The tranquil and intimate area doesn’t have any seating

CRITICAL QUESTIONS

Why does design (tectonic) language have both syntactic (grammar) and semantic (meaning) aspects? Design language applies both syntactic and semantic aspects because it reflects back on the manner in which we think. Our brain is composed of two halves the left and the right with each halve addressing certain qualities. The left brain focuses on logic, reasoning, and language while the right focuses on creativity, meaning, intuition, etc. when delineating a design we processed both aspects. During designing we utilize organizational skills in forming repeated schemes and patterns to create balance and unity, while also creating something unique and personal.

What are the differences between literal vs. an abstract representation? Literal representation is meant to present the object or image it’s displaying while abstract representation is meant to be non objective and non representational which expresses multiple meanings. A literal representation is attempting to capture a flawless, accurate portrait of which ever object is representing with no message or meaning being that representation. An abstract representation is not resembling any physical object but portraying symbols and metaphors through its shapes, colors, sizes, etc. Abstract representation is a lot more difficult to understand because one must look beyond what it resembles and try to understand the mood or feeling behind it. For example, a literal representation of a bird is meant to portray a bird however, an abstract representation of a bird isn’t depicted a bird because of what it is but what it represents. A bird can be a symbol of freedom, flying, future, supernatural, etc. or a bird with no wings can present being stuck, trapped, non functional, etc.

CRITICAL QUESTIONS

How does the narrative inform our design process and solutions? A narrative gives a clear direction of what the designer is attempting to achieve by analyzing his intentions. Developing a narrative allows a designer to assemble his objective, aim, and desires as well as create a story. The narrative highlights our beliefs, perspective, and mood which accommodate an organized form to our creative process. Creating narrative forces designers to analyze and critique their artistic intentions which allows them to be able to conclude their conception and well as explore new ideas and possibilities. The process of unifying your creative ideas opens the door for the promising possibility of developing into something more redefined. A narrative is a structure where a designer’s symbols and metaphors are applied, revealing and expressing a part of who they are with their interplay with their surroundings.

What is the value of injecting harmonic, golden (nature’s ratio), or Fibonacci/Modular proportions into your design? The value of applying proportions into your design is attaining a social unity that isn’t apparent in irrational, accustomed, or detached designs. Proportions are mindful, monumental dimensions that assist in creating significant meaning and build a form of logic to our design. Incorporating proportions creates a pattern, movement, and rhythm with a clear consensus on how each piece is connected causing a kinship to the design.

CRITICAL QUESTIONS

Design to resemble nature’ or ‘design with nature’, which do you prefer and why? Design with nature because it evokes a rhythmical and compatible connection with man and land. This approached of design acknowledges it’s surrounding and attempts to unified nature to the composition that reflect well to each other. Although designs that resemble nature are aesthetically pleasing and intricate, design with nature induces a more thoughtful balance. This practice of design creates a natural flow that flourishes smoothly out of the site attempting to blend with the environment rather than sticking out.

CONCLUSION

This is definitely the most intense and demanding class I’ve taken. Each assignment takes hours to accomplish but if you stay around it’s definitely beneficial. It’s never easy to hear to hear your work getting critique by the class but if you’re not receiving constructive criticism than you’re not doing anything at all. I feel I learned a lot from this class, learning design concepts and approaches and applying them into my work. The class cause me to critical analyze my designs and to put meaning behind my choices rather than arbitrary do it. Halfway between the semester it’s been an interesting and difficult ride but I guess I’m preparing for what the second half has to offer.