ARCH 102 Learning Portfolio

ARCH 102 architecture design studio I I

a second design studio course in a sequence that expands upon fundamental archi tectural pr inciples and concepts wi th in Archi tecture and Design. Students explore topics related to design process, s i te, program, place, order, space within s imple archi tectural problems.

learning portfol iocor i gunderson

toothpick model

I believe that architecture is, at its simplest, the organization of space.

Architecture is the built environment which surrounds us and is also an

organic, natural process which occurs without the help of mankind. The center

of a sunflower is designed to fit the maximum amount of seeds using a very

precise pattern, a sacred geometry which aids in the survival of the flower. In

most cases, architecture aims to provide maximum efficiency or to serve a

function in some way, shape, or form. Humans and animals alike create

architecture in order to provide shelter for themselves and others. It is a

spacial art form which has a direct influence on the environment and society.

Architecture is the intentional design of space.

Julius Shulman referred to architecture as a kind of visual acoustics. Because

Shulman was a dedicated architectural photographer, I think he meant to

preserve architecture as a pristine form of art. His poetic definition explains his

intention to capture the beauty of a work of architecture in a single

photograph. However, the act of physically experiencing a work of architecture

adheres to the dimension of time which is also inherent in music. As time

elapses, a work of architecture provides a choreographed arrangement of

visual stimuli which replaces the sounds of instruments. This is what Shulman

meant by “visual acoustics.”

A r c h i t e c t u r e I s . . .

first assignments

Assignment : To choose and communicate an emot ion using 500 toothpicks

Emotion : Anxiety

Process : The feel ing of anxiety is the strongest in the stomach and the throat. Therefore, the base of the model twists t ight ly as i f one ʼs stomach is t ied in a knot. By reaching upward and narrowing towards the top, the model reenacts the intense sensat ion of anxiety spreading through the body. The sharp edges and leaning tension also contr ibute to th is feel ing.

8.18

architectural education study

EEEeducation

b.arch150+ credit hours of academic coursework

m.arch168+ credit hours, 30 of which are at grad level

d.archrequires undergrad or 120+ undergrad credit hours and 90+ grad level hours

experience

idpt h e i n t e r n d e v e l o p m e n t program is a comprehensive training program created in the 1970s to ensure that interns in the architecture profession gain t h e k n o w l e d g e a n d s k i l l s required for the independent practice of architecture.

examination

ncarbt h e n a t i o n a l c o u n s e l o f architectural registration boards is a federation of 55 licensing boards, including all fifty states and five additional jurisdictions

assignment :

1. ident i fy models of archi tectural educat ion2. l is t the assumptions of archi tectural educat ion3. what works? what doesn ʼ t?

process : th is project is based heavi ly on research, specifical ly wi th in the boundar ies of archi tectural educat ion as we have come to understand. the systems of educat ion ( the models) had a pr imary influence in the research. these are also the methods students use to achieve the goal of becoming an archi tect . focusing on the current system of archi tectural educat ion, new quest ions have surfaced in an at tempt to grasp an understanding of why i t is th is way.

(understanding the purpose of archi tectural educat ion and how i t is appl ied today is cr i t ical to begin to t ransform and determine the future of th is industry. th is assignment acts as a catalyst for our semester- long project , probing us to quest ion our current models of educat ion and ant ic ipate finding solut ions.)

students enroll in architecture programs to become architects

graduation from an architectural program leads to licensure and registration / earning the title 'architect'

architectural education teaches students how to build buildings

students graduate without being prepared for experience in the field

students graduate with fundamental construction, administrative, and financial knowledge.

licensure degree

Architectural education focuses on design studio, underlining creativity and critical thinking as e s s e n t i a l t o s t u d y i n g architecture. It is extremely important for students to be taught how to look past the obvious in a constant search for i n n o v a t i v e s o l u t i o n s . A r c h i t e c t u r a l e d u c a t i o n e n c o u r a g e s d i v e r s i t y , interdisciplinary studies, and the fact that everything is connected to each other.

Accreditation is intended to v e r i f y t h a t a c c r e d i t e d architecture programs achieve education standards established by NAAB in collaboration with 4 collateral organizations: AIA, A IAS, ACSA, NCARB. Th is method promotes a range of d i f fe rent v iew po in ts and includes student representatives.

8.25

2012 Architectural Education Summit: Determining a Future Generation of Architects

Discussion Series: Representatives from organizations, classrooms, and offices will reflect on their ideas about the current mode and future of Architectural Education, while analyzing and addressing pivotal topics.

Student Portfolio and Lecture Series: Displayed works by students from a wide range of california colleges, including community colleges, public universities, and private institutions.

9:00 am

9:30

10:00

11:00

11:30

12:30

1:15

2:15

2:45

3:00

3:30

4:30 pm

Arrival

Introduction

Discussion:The Future of Architecture?

Student Portfolio

Discussion:A Flawed System?

Break (45 min)

Discussion:The Fate of a New Generation?

Student Portfolio

Break (15 min)

Public Forum

Closing Remarks

End

Coffee and Sign-In

Welcome to the 2012 Architectural Education Summit

“Sustaining Sustainability”“Curing an Economic Hangover”“The Digital Age”

Undergraduate Programs“Title” by Representative“Title” by Representative

“Business 101”“Teaching Out”“Un-Constructed Knowledge”

Lunch

“Re-Defining Architecture”“Interdisciplinary Action”“Common Ground”

Graduate Programs“Title” by Representative“Title” byRepresentative

Coffee and Refreshments

Guest and audience members will have the opportunity during this time to make comments and ask questions regarding the discussion boards, lectures, or student works.

Conclusions and Summaries:The Future of Architecture?A Flawed System?The Fate of a New Generation?

Thank You!

WELCOME! ! ! ! ! ! ! ! ! ! ! 9:30 - 10:00

Coffee and Registrat ion / Opening Speech by the Summit Director

INFORM! ! ! ! ! ! ! ! ! ! ! 10:00 - 1:00

Lecture Ser ies:Students, Educators, and Archi tects wi l l lead the lecture ser ies, present ing the current t rends, issues, and concerns of modern day Archi tectural Educat ion. These key topics wi l l inform the col laborat ion port ion of the Summit , in which selected representat ives wi l l d iscuss the future of Archi tectural Educat ion.

LUNCH! ! ! ! ! ! ! ! ! ! ! 1:00 - 1:45

Student Undergraduate and Graduate Work wi l l be on display throughout the coarse of the day. Feel f ree to explore and observe these works as you please.

COLLABORATE! ! ! ! ! ! ! ! ! ! 1:45 - 2:45

Dialogue:The Summit Director wi l l lead a mult i - faceted discussion addressing key issues, including those featured in the lecture ser ies. Representat ives f rom organizat ions, c lassrooms, educat ional boards, firms, and state administrat ions wi l l take part in th is dialogue to communicate their ideas and determine the future of Archi tectural Educat ion.

BREAK! ! ! ! ! ! ! ! ! ! ! 2:45 - 3:00

REPORT! ! ! ! ! ! ! ! ! ! ! 3:00 - 4:45

Each representat ive wi l l br iefly summarize findings and conclusions f rom the discussion and propose solut ions as to how issues may be direct ly pursued. This por t ion o f the Summit w i l l a l low groups and organ izat ions to present the i r hypotheses as an immediate resul t of col laborat ion.

CODA!! ! ! ! ! ! ! ! ! ! ! 4:45 - 5:00

Closing Remarks:The Summit Director wi l l g ive a synopsis of the day, beginning with an overview of topics discussed and ending with plans of act ion. Thank you to al l the voices of the 2012 Archi tectural Educat ion Summit .

ARCHITECTURALEDUCATIONSUMMIT2012

designing the day 8.30assignment : wr i te an agenda for the 2012 archi tectural educat ion summit .

‣direct ion‣focus‣topic‣content of conversat ions

purpose of summit :to define the future of archi tectural educat ion as i t appl ied to the next generat ion of archi tects.

how can i fit a l l the important issues into one day?

focus on :‣in forming - lectures given by representat ives / people voic ing their concerns

‣col laborat ing - engaging in discussion and creat ing dialogue

‣report ing - coming to some sort of conclusion / moving the conversat ion towards a solut ion

learning outcomes :the design of an event is crucial to i ts purpose and success. an agenda should be very careful ly thought out and planned. i t a lso forces one to focus on the most important aspects or ideas of an event.

t iny gesture modelsassignment :create three gesture models wi th 1”,2”, and 4” cube l imi ts, and no direct ions/or ientat ions

learning outcomes :construct ing at such a smal l scale forced me to th ink about my intent in the purest , s implest way. i t provided emphasis wi thout sacr ificing complexi ty.

9.1intent : to communicate a dialogue that wi l l take place at the archi tectural educat ion summit .

‣two separate pieces speak to each other by c i rc l ing around and enveloping issues‣the dialogue br idges through the center in a ser ies of cr iss-crossing l ines, represent ing connect iv i ty and quant i ty of topics‣white/ t ransparent mater ia ls communicate open-mindedness and pur i ty‣an at tempt to th ink about the agendas in an abstract way, whi le demonstrat ing craf t and thoughtfulness

experimenting with gestureassignment :create two di fferent 4” gesture models in response to important issues, keeping in mind the program document.

intent : to explore di fferent ways of communicat ing the same idea/dialogue.

learning outcomes : an idea can be expressed in many di fferent ways, and by explor ing those di fferences, i was able to expand my opt ions and choose the most effect ive solut ions.

9.8

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l-|Wa?t'.*21 e€?r).-/rE+JTCenter for the 2012 Architectural Education Summit Fall

- Tve,PasF 'A-ut4- 6ex\9f(LAJl\Lf< \.eq-- P:LJ)AI;L ( ffs-"r"r oNe waY],The AIA California Council (A|A/CC) is seeking proposals for a new center tosupport the annual Architectural Education Summit. The intent of the 2012summit is to continue the ongoing dialogue begun in 2011 regarding the future ofthe architectural profession and its relationship to the architectural educationalprocess. When not being used, the center will be available for other groups forevents and such but the design will respond specifically to the needs and desiresof the AIA/CC event.

The 2012 event is.being visualized a more intimate event, meaning that fewerthan the 2011 CCSF event will attend. Invitees will represent a full range ofstakeholders that reflect the range of attendees in the 2011 event.

Overall requirements for the facility:1. The AIA/CC requires that the structure be designed to allow attendees to

connect and be part of the natural environment. The suiroundingenvironment is quiel.and isolated and will not interfere with activities of asmall groyp. Therefore" the client wishes for activities to occur undershade -bdt open air when possible.

2. The spaces and structures should be responsive to the major site features3. The structure should reflect the highest design sensibilities of the. profession. The AIA/CC is seeking a design rooted in ideas and tectonics.4. Attendees will be hiking to the Center after parking 2 miles away.

Activities:1. A gathering place for all attendees, who shall number 30.

a. Attendees need to be arranged to facilitate dialogue and interactionb. 800-1OGquare feet

2. Two break-out discussion places for more intimate discussions between 6a. Size to be determinedb These may or may not be covered areasc. They need to be far enough away so that discussions will not

interfere with each other but close enough to be convenientPrivate contemplation: The client wishes to provide 3 personal places forindividual mediation or thought which may be used by any attendee at any. time of the day.

4. Restrooms: 2 unisex restrooms: 30 square feet each -- qlrz-*;ref #aoo?5. Storage room: 100 square feet, f[ully enclosed and secure

a. Chairs, supplies , etc.

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Journey 1 (Sun)

Northern Path Areas

- Shaded pathways provide shelter and comfort f rom the desert sun.

- Provides views of the r iver below and the geologic condit ions (str iat ions/ sedimentary layers) of the opposing side of the ravine.

- Al lows users t ime to cool off whi le approaching the Site.

Southern Path Area

- Provides warmth from the sun for a port ion of the journey. (The heat wi l l be mi lder in the mornings and evenings, so this area is fa i r ly long).

- Offers breathtaking views of the landscape from a bird’s eye view.

- From here, users wi l l be able to see the parking lot , the pathways, the br idges, and the Site, and can ref lect on their journey or foresee where i t wi l l take them.

Cori Gunderson

Journey 2 (River)

Meandering Path- This path mimics the winding mot ion of the r iver and compl iments the exist ing environmental condi t ions

- Where the r iver widens the path also widens, s lowing down the movement of the user.

- The widened spaces offer more casual , f ree-flowing movements as opposed to the narrow paths which provide a more forward and direct mot ion.

- The major i ty of the course takes place in the shade, comfortable and le isurely, whi le the last port ion of the path, leading up to the Si te, is subject to the warmth of the sun and the bird ʼs eye view of the landscape.

Cori Gunderson

the site / the journey 9.20assignment :design the journey that at tendees wi l l t ravel to get to the si te f rom the parking lot .

learning outcomes : embrace al l aspects of the project as i t contr ibutes to and can enhance the design

intent : to create a journey that embraces the character ist ics of the s i te and the natural landscape as wel l as provide users wi th an enl ightening service.

‣looking at the sun and the r iver as inspir ing aspects of the s i te, providing both l ight and shade, and the guidance of movement.

PLAN SOUTH ELEVATION EAST ELEVATION NORTH ELEVATION WEST ELEVATION

responding to the sitetransformation from iterative gesture models:‣focuses on a spacial d ia logue between two di fferent mater ia ls‣emphasizes compat ib i l i ty and accommodat ion despi te contrast‣embraces openness and considers l ight

designed as a response to physical characteristics of the site:‣hor izontal layers/str iat ions found on canyons and cl i ff faces‣natural mater ia ls such as wood and stone‣geometr ic, mult i faceted shape of c l i ffs and rocks

also responds to l i fe and plant forms found in site:‣hard edges—mimicking desert p lants, rept i les, and insects‣“crawl ing” over the edge of the c l i ff‣ long, bending st icks represent ing arms/ l imbs

9.22

responds to the site with an amplified gesture:‣reaching over, out , and down the cl i ff ʼs edge‣expanding outward‣growing out of and root ing into the cl i ff‣enveloping and wrapping around the edge‣grabbing the c l i ff

transformation from first site model i teration:‣denser and more complex by introducing more mater ia l‣exaggerated gesture—creat ing more movement‣inspired by desert p lants

amplifying gesture


9.27learning outcomes : the process of creat ing a gesture model is highly intui t ive, and i found that by l imi t ing my focus on craf t , i was able to achieve greater success in exaggerat ing my gesture and better communicat ing my intent.

2d interpretations


9.29transformation :shi f t ing focus onto the “ f rame” of the modelintroducing a gestural language to the f rameenhancing a direct ion and or ientat ion, the f rame aims outward and downward and creates tension with the opposing side of the ravine.

assignment : draw a plan view and sect ion/elevat ion of the model as wireframe or x ray.

intent :to start working in di fferent ways and using di fferent tools. by working in 2d, we can begin to v isual ize in 3d.

learning outcomes : a di fferent perspect ive can be gained from drawing in 2d from a 3d model. by l imi t ing the point of v iew, i could see aspects of the model that i d idn ʼ t not ice before. especial ly in the sect ion v iew, i could begin to see the potent ia l for creat ing and occupying space.

charcoal drawings 10.1

learning outcomes :‣drawing with charcoals heightens the gestural awareness of the model by using exaggerated strokes ‣charcoal forces one to not ice densi ty in a 2d drawing and creates opportuni ty to interpret that densi ty in a var iety of ways‣proves or disproves the intent of the gesture by highl ight ing the most obvious aspects

reevaluating use of space


10.6transformation :‣inspired by the charcoal assignment, th is model a imed to take advantage of the space created and highl ighted in the drawings

‣in tegrates a new mater ia l , t ry ing to emphasize the di fferences of densi ty wi th in the model

‣beginning to test excavat ion

learning outcomes :b lurr ing the l ine between making a gesture model and making archi tecture, th is i terat ion proved to be very scattered in regards to intent. i would say that th is model moreover embraced explorat ion of medium and form

integrating structure / clarifying intent


10.11intent :my model is an explorat ion of grounding into the earth, becoming part of the earth, and expanding outward, mimicking the surrounding ecosystem. i t a ims to integrate and embrace the sel f -sustaining nature of the earth, whi le providing inspirat ion for the future

‣concentrat ing on structure, th is model was transformed by envis ioning a f ramework, rather than an exter ior surface

‣th is was a major step and probably the most dramat ic shi f t in the project

‣at the same t ime, whi le c lar i fy ing my intent, i was able to deeply consider my mot ives for the 2012 archi tectural educat ion summit : i f the future of archi tectural educat ion is guided and influenced by the need for sustainabi l i ty, then the focus of educat ion should be grounded into the earth i tsel f , embracing the many ways in which th is planet sustains l i fe

‣the untouched landscape separated by the ravine represents the future as a blank canvas. the project ʼs locat ion on the higher elevat ion of the ravine al lows for a perspect ive that is both inside the earth and looking down on the earth f rom above

frame and skeleton 10.13


‣focuses on enhancing and developing framework in an abstract language, t ry ing to create a “skeleton” construct ion

‣begins to look at potent ia l spaces to serve as programmatic elements, such as entrances

‣fur ther excavation embraces addi t ion as wel l as subtract ion. creates a “ski-s lope” coming off the s ide of the c l i ff ; the gestural language support ing not ions of inspiration and desire to get to the other s ide of the ravine

opening up 10.18


‣in th is i terat ion, the goal was to real ly open th ings up. each of the previous i terat ions contained a f rame which had qual i t ies of enclosure

‣th is new frame juts out f rom a central point of tension on the cl i ff , reaching toward the ravine and the opposing side

‣also resembles a nest, which has many connotat ions in i tsel f , and supports ear ly ideas inspired by sustaining l i fe in the desert and residing on the cl i ff .

plans + moment sketches 10.20

‣start ing to look at interior space , these moment sketches capture some of the specific experiences f rom inside the model

‣f rom here, i started to look at the purpose of the f rame as serving views of the landscape. i t could support the construct ion whi le also creat ing gaps and openings for v iews.

‣the charcoal p lans helped me to see mult ip le points of tension and direction in the model. i began envis ioning specific spaces and levels as wel l as entrances and pathways.

sections 10.25

‣sectional v iews were more helpful than the plans in determining spaces due to the vert ical nature of the project . i used these drawings to exper iment wi th the placement of the main gather ing space in relat ion to the ravine and the opposing cl i ff face. because the v iew of the untouched landscape is extremely important to my purpose, i t r ied to create tension wi th the edge of the c l i ff and looked closely at the s lope created from excavat ion

planning spaces 10.27

‣fur ther ing the development of spaces in plan view

‣explor ing depth and overlapping of spaces whi le consider ing the demands of the program document

‣these drawings were made to scale , so that square footage could be taken into account. lucki ly, i was wel l in range of the s ize restr ict ions, and started to look at arrangement and organizat ion

sectional spaces 10.27

‣as an explorat ion of the relat ionships between programmatic spaces, these sect ional drawings began the process of implement ing floors into the model

‣looking back at p lan v iews, i star t ing to exper iment wi th circulation and placement of the indiv idual meditat ion spaces. these pr ivate spaces are located closer to the ravine, which would al low for a higher volume of acoust ics and a feel ing of int imacy with nature

‣each space is placed at varying levels which would become a journey for users, providing di fferent v iews of the landscape and other spaces. for example, users in the upper levels near the entrance can look down upon the main gather ing space

floors 11.3

‣the process of integrat ing floors into the moved proved qui te di fficul t and overwhelming to the rest of the model

‣whi le the floors would have to come out, i was able to develop circulation in the project , composed of a ramp system that curved along the c l i ff ʼs face

‣th is system would serve as a pathway to each indiv idual space as wel l as connect users wi th the exposed earth provided by excavat ion

integration through folding 11.10


main gather ing space

indiv idual meditat ion

entrance / lobbyraised plat form

break-off area

restrooms / storage

‣i opted to use the same mater ia l for both the floors and the roof structures, at tempt ing to integrate these elements in a more seamless way

‣the faceted, angular panels which serve as roof cover ings are reminiscent of ear l ier gestures which looked at the geometry of rocks

‣fur ther excavat ion of the s i te creates wal ls and spaces which assist the organizat ion and circulat ion of the project . th is is also a sustainable method of using the earth as a part of the construct ion

‣storage and restroom areas are placed beneath the main gather ing space to be discretely and efficient ly tucked away, whi le also being easi ly accessible

final developments 11.15


main gather ing space

lobby

entrance

break-off area

break-off area

indiv idual meditat ion

rest rooms / storage

‣the t ranslucent character ist ics of p last ic represents the fil ter ing of natural sunl ight which would aid in reducing electr ical needs. i t a lso br ings a luminescent qual i ty and myst ical beauty to the man-made construct ion

‣flat, p lanar floors have developed into 3-dimensional forms which fold into consequent roof cover ings for other spaces

‣th inner f rame elements are beginning to be integrated to add detai l

ear ly i terat ions explor ing s i te-specific gestures

final presentation 11.17

pre-si te models / introduct ion of s i te and program

final model

ear ly charcoal drawings

models and drawings which focused on the developing tectonic language, c lar i fy ing the intent of the project , and creat ing moment exper iences

models and drawings which began to look at the organizat ion of spaces and programmatic requirements such as gather ing spaces and floors

end

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ARCH 102 Learning Portfolio

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