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The first challenge is to design an artifact that
represents the most significant aspects and qualities of me.
First and foremost, I brainstormed a list of adjectives that
describe my personality, and then I prioritized them in order
of significance. Within all the adjectives, the word
“persistent” represents the most important quality of me.
Once I set up a goal, I would spend numerous times and
efforts to reach my target. Meanwhile, as crucial as my
persistence, my intense emotions lead me to either love or
hate something. There is no “gray zone” in my world.
In my following iterations, I tried to keep these two qualities
as my major objectives.
Introduction “Architecture is a Sculptural Biography”
Wh
o
am
I
Persistent
Extreme Emotion
on Joy and Hate
Truthful
Friendly
Helpful
Shy
Sensitive
Insights:
•The first thing I did is to find materials
to represents my “Intense emotion”.
Black and white papers effectively
express my mental world in which there
is no “gray zone” within.
•The square s forms the frame shape
which represents my persistence. Like
the frame, I demand myself to stick into
one thing until I reach it.
Issues:
•Less abstraction
•Two of my qualities are not express
equally. One weights over the other.
Need to emphasis more on the quality of
persistent.
During the design process of iteration 2, I faced a
common difficult for which most of the designers have
already experienced. I was running out of creativity, and
I constructed some models which I considered those as
unvalued. In result, I didn’t keep my second iteration. I
admit I am a perfectionist, and I always try to keep
everything looks well. However, I realized every design
process is equally important for me. Each iteration shows
a learning process and development which is valuable for
a learner.
Creativity “Have no fear of perfection, you’ll never reach it” – Salvador Dali
Insight: • In response to iteration 1 ,
I began to put in new elements into iteration 3
• Tried to create a three dimension model that
has multiple aspects.
•At the same time, I avoided to create base for
the model, so it would be dynamic.
Issues: • The simplicity of the form makes it less
entertaining for viewer.
•Using the technique of repetition would increase
the density for itself, and enrich the whole model.
•On the other hand, the connection between each
frame is randomly stick together. For a better
advancement, It requires a precise and logical
method to connect the edges of the frames.
Through narrative, it conveys meanings and tells
stories with others. In result, people would provide
feedbacks and suggestions which might be helpful for
designers to achieve advancement in their design
process.
How does the narrative inform our design process and solutions?
Discoveries:
• In response to iteration 3, this iteration is successful to avoid the simplicity of
the forms by using the technique of intersection of frames.
•Each frame is connect with each other by penetrate through at certain points.
Issues:
• It fails to keep the balance to express both of my qualities. The “persistent”
quality seems to be more outstanding in this iteration.
Insights: • In order to recycle the idea from iteration 4, I kept
the frame part in the new model.
•However, I wanted some breakthrough to enrich my
new work; I changed the shape of my frames.
•In the design process, I gained inspiration from the
picture on the left.
Design Language: •The linear forms create boxes to keep all the circles
insides. It called “Box of persistence”
•Meanwhile, the linear forms become the tangents of the
circles.
•Furthermore, the radii of the circles form implied
equilateral triangles.
Issue: • Need to explore a deeper meaning for circles.
•How do circles represent “intense emotion” between joy
and hate?
•Ho w does persistent and emotional communicate with
each other.
Design language: •In response to iteration 5, I kept
the frames and rotated them to
create three dimensional aspects.
• The new iteration has parallel
and perpendicular linear forms.
• The square frame rotates 90
degrees from the parallel
quadrilateral.
• There is a curvilinear stripe
connects the edges of both frames.
•The size of the model and the
distance of each piece create
density.
Feedback: •Keep the logic and ideas of this
iteration and use it in the new
model
•Need to emphasis on the joy and
hate feeling.
•Try to think about any body
movements or objects that can
effectively express those feelings.
Working on Snap shot, it gave me
a chance to play around for the
proportion and ratio for the designs.
Meanwhile, it created different
perspectives for the iterations by
changing the angles, directions and
shapes. Without doubt, the practice of
Snap shot provided opportunity to raise
creativity.
What are the ways in which proportions explored through drawing can inform and
enhance your design?
Through drawing, designers can use harmonic
proportion, Golden ratio , Fibonacci series, etc to
create various possibilities to design and
organize the forms.
Inspiration:
In response to iteration 5 and 6, I began to
concern about objects and body movements
that can express my extreme feeling between
joy and hate. In result, I found out the dancing
position (see above) gives people a sense of
joyful and relaxation. The ballet dancer rises
up her hands, and it seems like she is trying to
embrace the thing or person she loves. On the
other hand, I found out the shape of whistle
and thorn can represents my hate. It is sharp
and dangerous; just like I hate something or
someone; it can hurt others and me.
Design Language:
• Using a group of triangles to create a sharp feeling.
Giving an illusion to people for which they might
get hurt if they touch the vertices of triangles.
•All the triangles are right triangles with 30, 60, 90
degrees.
•The curvilinear stripes imitate the body movement
of dancing. It gives people hope and joy.
Issues:
•I forgot to put my quality of persistent into this
iteration.
•Not three dimensional. It only looks interesting in
the front view.
•In response to iteration 7, I
put my persistent quality
back into the new model.
•This model composes by
three parts: the bottom
(frames), the middle
(chipboards), and the
side(curvilinear stripes)
•Once again, I use frames to
represent my persistence.
•Those three parts are
equally important. There is
no specific part stand out
from the others.
Insights
Transforming my previous
model into frames is a new
challenge for me. At first, I was
confusing because I worried the
technique of framing would lessen
the intension and focus on the
chipboard part. However, the
result turned out to be better than
my expectation. All three parts of
the model are balanced well with
each others. They all carry a
certain traits and style to express
my qualities.
.
In iteration 10, we were asking to use
sectioning approach to construct our
models. During the design process, I was
struggling on how to apply sectioning in my
new model. My previous iterations were all
about forms and planes. They do not have
defined volumes and shell forms. In order to
breakthrough from the confusion, I tried to
experiment the sectioning approach using
papers. Papers are good tool to work on
sectioning because of their flexibility.
Design Language: •In iteration 11,I increased
and decreased the size of
triangles to satisfy the
sectioning approach.
•Creating the illusion of
dynamic by having a group
of triangles rotate in different
angles.
•Some triangles are
horizontal and others are
vertical.
Issues: •Have to define the purpose
of the feather-like forms on
the top .
•Need to create a bigger
space in the center.
Insights: •In response to iteration 11, I tried to enlarge
the size and scale to create greater space for the
model.
• Using the technique of slotting to connect
individual pieces of triangles
• Using the papers to create patterns in order to
replace the feather –like forms.
Issues: •Need to figure out how to sectioning the paper
part in a better way.
This was my last iteration, and we were
asking to create spaces for the model. I
created spaces between the triangles and the
curvilinear shapes. Air can go through the
model from left to right, right to left, or
bottom to the top. Spaces within the model
can be various.
In the modern worldview, space considers
to be everywhere. Through the expansion in
all directions, designers can create greater and
more flexible spaces in their models.
Can space be so flexible that anything can happen there? How do you achieve this?
Conclusion Reflection of the learning process
In conclude, there are many positive outcomes come along
with the learning process. First, I have a new definition for the
word “Creativity”. In fact, creativity comes from our daily
interactions with ideas and achievement of other people. In every
class period, I have chance to talk about my work with others.
Through discussion, I often inspire by others’ work. To generate a
better iteration from the initial inspiration, I would first figure out
the strengths of others’ work and would try to apply those qualities
in my model. The second thing I have learned is that quantities
lead to quality. By continuously making new iteration, I have
developed a set of logical thinking on how to group different
elements together; how to organize them concerning with the
hierarchy. Through the making process and experience, I am
gradually developing my language of design.
0 1 2 3 0 4
ARCH 101: MIDTERM & FINAL GRADE ASSESSMENT of STUDENT LEARNING OUTCOMES
(for both student and instructor use)
X = instructor; 0 = student
Student Name: On Kei Kwok
Semester: Fall 2012
Midterm/Final Grade:
Design Process Development (4: Mind and Hand are in charge of Ideas; Modes of Individual Process leads to Evolution of Refined Work vs. 0
: No effort to think and do on one’s own, no individual design process is employed)
0 1 2 3 0 4
Architectural Concept Development (4: Consistently defined, explored, questioned and effectively developed with rare lapses
into weak intentions vs. 0: vague or unreasoned with no definition, exploration, questioning, and development, intentions are weak or non-existent)
0 1 2 0 3 4
Body of Work: Quantity Leads to Quality (4: Quantity of Work demonstrates a commitment to thoughtful effort accompanied by well-crafted
work with rare lapses in to weak production vs. 0: Fails to show effort; work illustrates a lack of craft with a sustained absence of and/or
weakness in production)
0 1 2 0 3 4
Creative Content: Avoiding the Obvious and Familiar (4: Consistently well reasoned with high levels of intellectual and expressive excellence;
embodies scholarly creative content vs. 0: Infrequently reasoned with little thought or expression; creative content is lacking)
COMMENTS:
Midterm:
Instructor:
Student: On Kei Kwok
Final:
0 1 2 3 0 4
Successful Representation Skills (4: Writing, Drawing, Diagramming, Constructing, and Verbally Presenting are employed effectively to identify,
analyze, explore, decide, and communicate vs. 0: tools of design are rarely used fully and in timely ways within an iterative design process)