Tables of Contents 1.  Portfolio cover 2.  Table of contents 3.  Iteration 1: Icebreaker iteration 4.  Iteration 2: Promoting the design process 5.  Analytical Tools : Drawings and photographs 6.  Iteration 3: Applying critical examination 7.  Narrative Introduced: Deepening Intention 8.  Iteration 4: Informed by narrative 9.  Iteration 5: Further development 10.  Iteration 6: New step 11.  Narrative Expanded 12.  Iteration 7: Lost in the Woods 13.  Iteration 8: Order and Placement 14.  Narrative Final 15.  Iteration 9: Form 16.  Iteration 10: Space 17.  Storyboard: Invoking intended experiences 18.  Iteration 11: Frame Only 19.  Iteration 12: Frame with Skin 20.  Conclusion

As an Ice Breaker Project I was tasked with transforming a portion of the 2D image into a 3D model design, Focusing on the possibilities of •  Form-making. •  Developing Design.

–  Focusing on designing in a Vertical –  and horizontal plane.

•  Exploring Abstract approaches

I chose to focus on the scale, execution, and adherence to criteria to first assess my work for this assignment. After choosing my 2D section, I imagined a strong design that could look dynamic in nature, while being interested in avoiding repetition. This first iteration lacked interesting defined space, and was too simple in execution. Inexperience with materials and lack of experimentation with the design were main issues with this icebreaker iteration.

 2D Inspired Construction

Examining Malevich’s “Suprematist Composition 2”    

Elements and Principles Promoting the design process

ITERATION  #2  A+er  cri0quing  the  first  itera0on  of  my  design,  I  no0ced  my  design  had  a  high  level  of  symmetry  and  very  few  interes0ng  defined  spaces.    I  looked  to  improve  the  design  by  assessing  the  value  of  the  organiza0on  and  symmetry  of  the  elements.  

I chose to focus on: •  Creating Space by creating negative voids •  Adding more asymmetry by adding more horizontal and angular elements.

Issues with design: •  Still a high level of symmetry present in design. •  Lack of interior space for viewers to actively participate in design, and in need of pathways and transitions.

Drawings and Photography: Analytical Tools

•  Using  the  drawings  and  photographs  as  tools,  it  allows  for  difference  to  viewed  in  a  simpler,  more  organized  manner.  

•  Closer  analysis,  shows  the  strengths  and  weaknesses  of  the  experiences  at  a  specific  loca0on  within  the  design.  –  Further exploration of the value of the parts, and of the design as a whole.

When developing iteration 3, I used my drawings and photographs of previous two iterations to inform my decisions. I decided to create more space, by repeating shapes and elevating the top platform. The separation of the two structures creates a dark corridor with both tension and release created by the walls.

No Dynamic elevation changes, lack of space, simple, a-b-a construction

In need of interior spaces, transitions and clear climax

Emerging Strengths and Weaknesses : Iteration 3

I found this iteration to be the first where I felt I was actually making some informed design decisions, implying design language, and promoting a cohesive composition. •  Tower connecting entrance courtyard to the second level deck way

creating tension. •  Pivoted smaller structure off of the taller back structure provides a

release as pushes off of one another

Deepening  Inten0ons  &  focusing  on  process  Applying    a  narra0ve  

Narrative Draft #1 As an audience approaches the structure, “lost in the woods”, they should feel a sense

of cohesion, coupled with a degree of choice in how they are going to experience this structure. The building is designed to sit in a secluded site with plenty of natural landscape, with thick vegetation or woods as you approach the southern face of the building, where the courtyard entrance is located, and a spacious setting facing the

northern side. The courtyard contains a tower that connects the two large structures together, and is meant to invoke a sense of support.

The tall sharp angles of the structure oppose nature, but draw the viewer to explore the edge of the structure and allow the different entrances to be discovered. On site there are two major rooms in the structure, the first a solely skylight lit room that is meant to focus the viewer on the interior of the room, and highlight what is displayed or what will be. The other room in the structure has the opposite intended purpose, the room is designed to have the viewer focus on what is on the outside, giving many angles and viewpoints to explore the surroundings. To allow for a simple transition in space, an open wedge is left between the two large rooms that allows for further exploration and a sense of finality as you walk away from the courtyard and entrances of the two large

rooms.

Informed by the Narrative: Iteration 4

I  created  an  interior  space  to  expand  the  experience,  and  started  to  try  and  set  up  the  emo0ons  a  viewer  would  feeling  when  in  

the  structure.  

Applying  the  narra0ve  to  my  fourth  itera0on  allowed  me  to  evolve  my  

design  process  by  looking  at  mul0ple  angles  and  choosing  favorable  experiences  and  by  giving  more  purpose  and  inten0on  to  the  

decisions  I  was  making.    

Further  Development:  Itera0on  5  

The challenges I faced when developing Iteration 5 was a lack of

inspiration to experience, I decided to try and transform the design by

focusing on scale and proportion. I added symmetrical windows on the

structure, surrounded by non proportional arches to try and create a

varied viewing experience

As  my  design  con0nues  to  develop  I  find  that  my  technique  for  crea0ng  the  models  is  evolving  and  I  am  star0ng  to  create  ways  to  save  0me  and  becoming  more  precise,  such  as  dra+ing  the  outlines  for  the  pieces,  and  crea0ng  score  lines  before  I  make  the  final  

cut.  I  enjoy  how  Arches  create  a  ver0cal  

transforma0on,  but  they  require  refinement  to  invoke  the  intended  response  of  tension.  

A Step In the Right Direction: Iteration 6

This  Itera0on  represented  a  change  in  the  direc0on  of  the  previous  building  itera0ons,  The  structures  become  connected  with  the  walkway  and  start  to  u0lize  the  various  levels  to  create  an  interes0ng  space  and  experience.  

Walkway connecting the structures and the exposed tower that facilitates the transition. Angular Ramps directly oppose the symmetrical windows.

Narrative Expanded

As you approach you see the structure from the “lost in the woods”, the feeling as you approach should be a comfortable inviting experience. Viewers should be curious of the opportunity perched on the cliff side, and want to explore on the opportunity for their outdoor adventure. the simple style entrance is easily found and allows for an effortless start. The first room entered guides the participant and at first only allows upward views of part of the room, much like the view of a sky through the forest. The next experience begins as the first corner is turned and benches to a low window allow for views of the lower levels of the forest, forcing a closer examination of the same woods that led them to this refuge. The next turn leads to the entrance of the tower and provides the first view of the previously restricted path that they just traveled, clarifying its simplicity. The tower leads to the elevated viewing platform which provides a view of the forest path that first led them to the structure, a further sense of clarity and realization of the levels that connect elements of the forest should be beginning to occur. Off the balcony another doorway leads into the third part of the structure. Inside the building the user is raised to the lower part of the canopy, the viewer should feel safe to examine, and a sense of cohesion with the surrounding forest. From the raised balcony a pathway down to the ground floor leads to another doorway, a final transition to an outdoor raised pathway, which provides a sense of adventure and fear, leads the viewer to the climax of the intended experience. A culmination of observations helps the viewer to now process what they are seeing. The forest on the mountain side from distance, Too far to see, but knowing the bark is there, the branches exist in the canopy, and the different elements that make up the forest.

Lower benches force viewers to view lower level of the surrounding landscape, with the intentions of

causing the viewer to reevaluate and look with new eyes.

View of side from room two.

View of back viewing platform from room three

Birds Eye

A Study On Symmetrical Design: Iteration 7 “Lost in the Woods”

Working to define the design intentions, I relied on the developing narrative that I was working on. It helped me look critically at the decisions I was making, on placement, space, and how I would create the viewer experiences I wanted. •  Building must be more dynamic, creating a more interesting

journey •  Designing True forms that represented the space the design was

intended to achieve

Order: Iteration 8 Order can be constituted in design in many ways, but can show itself in design by allowing for a flow between the various elements. Order can be a clear transition between elements, or in the case of this design the repetition of size and placement. The value of order is that it creates a clear framework to view and experience the design as a whole

Viewing  Deck  in  need  of  suppor0ng  structure.  

Transi0onal  room  from  final  experience  to  exit.  

Final Narrative Approaching the site, the structure sits in a clearing, perched upon a Cliffside. A strong central tower and uprising posture created by the central tower leaves the audience feeling comfortable and creates an approachable experience. The viewers should feel curious of their found opportunity to expand the outdoor adventure with this buildings design. At first glance the entrance is easily found, allowing for an effortless start. The first room entered guides the participant to a hallway with a low window and benches, the angle forces the observer to only view the lowest level of the forest. The viewer is left with the feeling of strength and support for the understanding of the foundation of the forest, the foundation that has brought them to this refuge they are now in. As the journey continues after the low window, the next turn leads to the entrance of the tower and provides the first step towards increasing their journey towards the top of the canopy, viewers should start to feel a sense of clarity and a realization of the levels that connect the elements in the forest. As they now enter the first deck and gaze at the forest that brought them to this building, they should feel inquisitive of the new nature of the forest after taking a closer look, and exciting for the next stage of examination. Off the balcony another doorway leads into the third part of the structure. Inside this room the audience is raised to the lower part of the lower canopy, including the branches and lowest sets of crowns. Focusing their attention is a narrow window angled upwards to focus attention. The viewer should feel safe to examine this raised part of the forest, focusing their attention is a narrow window angled upwards to focus attention, and a further sense of cohesion with the surrounding forest. From the raised balcony another opening leads to the final stage in the journey, a raised covered deck grows from the third building and set the audience over the Cliffside, a small uncovered plank allows for the daring to take a more unprotected view of the far away forest. This final pathway provokes a sense of adventure and fear, it is intended to be the climax of the experience, A culmination of the observations helps the viewer now process what they are now seeing. The forest on the mountain side, too far to see, but knowing the bark is there, the branches in the canopy exist, all different elements that make up the forest. From the furthest part of the platform the viewer can come around and exit the structure, arriving back into the forest. The audience now is coming full circle and finishing their journey, back into the forest from which they came but now able to greater understand the elements that make up the forest.

Finding the Form: Iteration 9

Embracing the expect norms of design has the value of giving the viewers vision or feelings a comfortable, expected representation of form. It allows for the viewer to be immediately familiar or feel at home. To achieve this I created rooms that are honest representations of their space, creating the first level on the ground floor, a tower for transition, and an upper level that represents the highest platform for the viewer to experience the structure. -A main challenge I faced in this iteration was transforming the form to shape the space inside the structure in a way that created my intended experience. An experience of guided views, and a progression of viewing from the ground to the sky. - Structure in need of added support on cantilevers.

Embracing the denial of norms can allow for exciting, new, ways to view design, and force a viewer to question what should be, or what is possible in a new way.

Shaping The Space: Iteration 10

The benefits of trying to design outside the norm is creating interesting forms and experiences, I enjoyed the transitions in this iteration, but am concerned with lack of some structural trusses on the cantilevers, additions of angular support from tower to room three should be explored. Angular building cutaways provide clear preview of experience to viewer.

Storyboard Invoking Intended Experiences

1. Approaching from forest, seeing structure perched on a Cliffside forest clearing. Simple entrance easily spotted 2. As viewer enters the first room they are inquisitive as they look through the low window and examines the forest floor, forcing a reexamination.

3. Viewer transitions from first room through the tower to the first viewing platform. 4. Viewer looks at the forest they brought them to this structure, trying to understand the forests complexity.

5. Viewer transitions into the second room and is now forced to examine the forests canopy, having a closer than usual view, but being safely confined in the room. 6. The climax, the viewer is now on a platform extending from the back viewing platform, seeing a distant forest with new eyes.

Example of possible site for climax, the structure perched on the Cliffside, and the viewer able to view the far off forest.

The Wire Frame construction allowed insight into the design of the building by revealing the internal skeleton, It allowed for alignment errors to be easily recognized and forced a look into the truth of the design. The skeleton highlighted the need for further support and bracing to hold up the structures extended elements.

By minimize waste in the structure I intended to create a simple, honest, efficient frame.

Frame Only: Iteration 11

Frame With Skin: Iteration 12

For this final iteration of the design I added trussing between the framework in areas in need, as well as angular supports for the second room, which cantilevers off of the tower. The addition of the skin to the structure was down in two ways, I chose to partial skin the design in order to highlight certain areas. The skin on the tower highlighted the weakness in its design, I feel a different form would connect the elements of the design more appropriately

The skin on the first room was used to highlight the form, which shapes the space and ultimately invokes the intended experience for the viewer. Having the viewer forced to view the forest floor, in a restricted manner in order to examine it in a new way. When applying the skin I discovered areas which needed additional framing in order to apply the skin in the intended manner.

•  I believe that the tools that I learned throughout the iterations are valuable, and helped evolve and inform my design decisions.

•  Apply tools such as photographs and drawings to help analyze a design are good ways to see possibilities that could otherwise go unnoticed .

•  The use of a narrative to help define the intended experience of the design, and create a clear framework to help establish the form and space required to achieve this.

•  Apply the intended experiences and creating a storyboard that maps the journey through the design.

•  Creating design models of the iteration using various techniques to help understand the benefits and drawbacks of different elements present.

Conclusion

Journey Back To Discovery

Team  Squat  Trust  Arch  101  Final  Project  

Kody  Burke  Basia  Carroll  Kelly  Doyle  

Hassna  Abourraja  Natalya  Pavlova  

Finding A Place  As  a  group  we  agreed  that  going  

back  to  some  of  the  things  that  helped  make  childhood  so  magical  would  be  a  great  way  to  accomplish  this  goal.  We  chose  to  focus  the  childhood  experience  in  three  ways,  explora0on,  expression,  and  observa0on.    I  chose  to  work  closely  with  the  experiences  of  explora0on  and  expression.    This  por[olio  explores  the  reflec0ons  of  those  two  experiences.    

       

     

First Draft    

       

     When  placing  the  

experiences  it  decided  that  the  explora0on  would  take  place  alongside  the  sandbox,  and  the  sandbox  would  be  used  to  create  the  expression  experience.  

Sectioning            

 This  was  my  first  a]empt  at  designing  a  structure  that  would  allow  par0cipants  to  expressive  themselves  within  the  larger  design.    

   I  first  thought  of  a  structure  that  would  spin,  taking  advantage  of  sec0oning  to  form  similar  parts  with  different  sizes  with  the  inten0on  that  it  would  drag  various  pa]erns  into  sand  when  rotated.    

 -­‐This  model  was  created  with  a  central  post  which  supports  the  top  component  and  allows  the  array  to  rotate.  Support  posts  and  pla[orms  are  then  used  to  create  the  rest  of  the  structure.        -­‐  Would  create  a  predictable  experience  -­‐  Be]er  suited  as  an  ins0lla0on  that  would  take  advantage  of  wind.      

Movement  This  second  a]empt  at  crea0ng  an  expressive  experience  within  the  ins0lla0on  is  two  different  itera0ons  of  a  hand-­‐powered  spinning  array.    

 They  would  have  weights  on  strings  which  would  allow  them  to  drag  in  the  sand,  and  with  decreasing  or  increasing  the  rate  which  they  were  spun  different  pa]erns  and  interac0ons  could  be  made.    -­‐S0ll  too  predictable  of  an  experience.    -­‐  Benefit  is  having  a  simple  design  and  construc0on.                

     

Interaction through participation  The  third  a]empt  at  designing  an  expressive  

experience  was  construc0ng  a  device  similar  to  an    Etch-­‐a-­‐Sketch  which  would  be  built  to  fit  inside  the  sandbox,  and  be  operated  by  handles  which  would  extend  up  to  the  stage.  

 -­‐Allows  user  to  create  a  completely  unique  and  self-­‐expressive  design  

 -­‐  allows  for  users  to  interact  with  previous  designs  le+  from  previous  par0cipants  

 -­‐  U0lizes  a  fairly  simply  design  to  create  a  complex  experience.  

Combining the Concepts  A+er  approaching  the  expression  

experience,  I  decided  that  a  raised  pla[orm  would  allow  the  user  to  be  raised  above  the  sandbox  to  promote  interac0on,  and  combine  with  the  Explora0on  experience.  

 The  design  was  chosen  to  create  a  pla[orm  with  a  designated  entrance  and  exit,  and  integrate  the  chosen  material  of  0res  into  the  design.  

 The  0res  were  used  as  support  for  the  tread  of  the  pla[orm,  and  the  exit  was  extended  to  create  a  longer  journey  into  the  final  area  of  the  projects  experiences.    

         

     

Building on Site  When  building  the  full  size  0re  and  stage  

structure,  it  was  force  to  be  slightly  adapted  to  fit  the  the  constraints  of  the  materials.  The  0res  had  to  be  posi0oned  very  specifically  and  with  matched  sets  on  the  various  levels  so  that  the  treads  would  be  at  similar  heights.  

 -­‐  The  construc0on  was  simple  and  because  of  the  materials  the  treads  would  shi+  when  walked  above  and  create  just  enough  instability  to  create  an  interes0ng  experience.  

 -­‐Provided  the  necessary  points  to  interact  with  rest  of  design.  

Attempting the Build  To  build  the  full  size  expression  device  inspired  by  the  

etch-­‐a-­‐sketch.  Used  in  construc0on  was  12  feet  of  threaded-­‐rod,  4  feet  of  slightly  larger  steel  piping,  and  nuts,  washers  and  4  2x4s  for  the  frame  and  assembly.  

 The  device  required  hardware  that  would  have  some  pulleys  which  would  rotate  freely,  while  some  had  to  be  solid  to  be  able  to  control  the  rota0on  of  the  drawing  arm.  This  was  accomplished  by  using  lock-­‐nuts  to  0ghten  or  leave  room  for  rota0on  on  either  side  of  the  piping.  

 -­‐This  project  was  uncompleted  because  lack  of  proper  materials,  the  cordage  required  to  wrap  around  the  pulleys  needed  to  be  strong  yet  s0ll  have  elas0c  quali0es.  Rubber  cord,  Bike  tubing,  and,  Rubber  housing  all  seem  to  be  materials  to  explore.  

Conclusion  we  as  a  group  learned  a  lot  in  the  construc0on  of  this  project.    When  

star0ng    we  were  all  very  op0mis0c  about  the  poten0al,  together  we  had  agreed  on  building  an  interac0ve  experience.  

 -­‐A  set  of  walls,  one  moveable,  that  contained  colors  and  pa]erns.    -­‐Hanging  mirrors  to  cast  light  onto  the  planter  box.    -­‐Etch-­‐a-­‐sketch  to  interact  with  the  sand.    -­‐Exterior  walls  that  would  encase  the  whole  structure.  

     As  the  deadline  approached,  it  became  apparent  that  combining  all  of  

these  elements  into  a  single  project  with  our  0meline  was  no  going  to  happen  as  planned.  We  chose  to  adapt  our  designs,  element  certain  elements  such  as  the  mirrors  and  exterior  walls  to  allow  for  a  certain  level  of  desired  comple0on.  

 Problems  arising  with  the  moving  wall,  and  lack  of  0me  gathering  proper  materials  for  the  etch-­‐a-­‐sketch  let  to  the  technical  aspects  of  our  project  would  need  longer  than  we  had  to  work  out.      All  in  all,  lessons  such  as  0me  management,  working  with  teams,  and  proper  building  plans  were  very  much  appreciated  and  apparent  in  the  experience.  

Journey Back To Discovery, May 2015 Sun through Tile Array