Arch101 midterm portfolio spring 2015 2 0

Arch 101 Midterm Learning Portfolio

City College of San Francisco

Spring 2015

By: Chima Chidi

Instructor: Jerry Lum

Table of Contents

I. IntroductionII. Week One ( Malevich

Reinterpreted into Tectonic)III. Week Two (Representation,

Drawn Representation and Design Elements and

Principles)IV. Week Three (Language,

Narrative, Scale, Site and Layered Emphasis/Hierarchy)

V. Week Four (Form, Scale, Proportions and Beauty)

VI. Week Five (Space, Experiential Space and

Sequential Experiences)VII. Week Six (Truth, Frame

Expressions, Surface Expressions and Structure)

VIII. Week Seven (Nature, Precedence and Responses to

Natural Forces)

Introduction

Prior to this semester I’d had minimal design or crafting experience. The first iteration I had to produce for Arch101 was probably the first thing I had hand-constructed/crafted in the last 16 or 17 years.So as you may imagine, it wasn’t the hottest thing at the first Arch101 critique, because it wasn’t. The evening after the first critique I wanted to be done with Arch101. But somewhere amongst the wallowing in my own embarrassment and envy of the other student’s craftsmanship, I realized I had to become better and bounce back because I love the mysterious thing that is Architecture. This presentation aims to highlight and explain the thought-process that went into the works I produced over the past 9 weeks. In each week I will showcase my work, highlight it’s strengths and weaknesses, give my opinion on design questions presented by Jerry and reflect on the week as a whole. I hope you enjoy!

Week 1: Malevich Reinterpreted into Tectonic

During the first week of Arch 101, we were presented with an artwork (The Suprematist Composition 2) by Kazimir Malevich and assigned the task of interpreting the painting’s elements as 3D forms that occupy 3D space.

Before I move forward, I’d like to give some background on Kazimir Malevich because I find his use of abstract geometries and color highly compelling and complex.

Kazimir Malevich was a Russian Painter, Decorative artist, printmaker and writer. He was also a founder of Suprematist art movement and one of the pioneers of Abstract art.

The purpose of this was to enable us to create a 3D sculptural piece. From an element of the Malevich composition that resonated with us. We were given the freedom to use any kind of material we wanted to construct the sculptural piece. We just weren’t allowed to exceed a volume of 8.5’’ wide x 11’’ tall and 6’’ deep.

The Suprematist Composition 2


Iteration 1

Week 1:Malevich Reinterpreted into Tectonic

My interpretation of the chosen element resulted in a central rectangular form with a sloping perpendicular hammer-like form occurring at the head of the form. In addition to this, there was also a shorter rectangular form protruding at a 135 degree angle from from the tail of the of the central rectangular form.

The reason I selected this element of the Malevich composition was due to it’s colossal scale and magnitude in comparison to the rest of the elements of the composition. I also liked it’s relative geometric simplicity in comparison to the rest of the composition’s elements as well as how the rest of the composition was more or less centered around it.`

The materials I used were cardboard and superglue. The tool I used was an X-acto knife box-cutter.


STRENGTHS

•I was able to get to my ideas out and express them in the model I constructed

•I was able to complete the task assigned within the given timeframe

•I kept my model within the given volume limitations

WEAKNESSES

•Materials used

•My craftsmanship. For example, in the larger central rectangular form the sloping perpendicular hammer-like form occurring at the head didn't’t exactly depict what was in the Malevich composition. Another example can be seen in the way I cut and assembled the model

OPPORTUNITIES

•Become a better crafter

•Be more aware of materials to be used

THREATS

•Selecting a rather simple element out of the Malevich composition

REFLECTIONS

Q: What is the value of repetition in design? What are the types of repetition?

A: To me, the value of repetition in design lies in its ability to establish order and create a sense of familiarity in the consumer. Some examples of repetition in architectural design, could be the repetition of form, space, color or materials.

Q: What is the relationship of one element of your composition to another and to the whole?

A: The larger central rectangular form with the sloping perpendicular hammer-like form occurring at the head, relates to the shorter and smaller rectangular form protruding out from it near the tail like a sort of older sibling figure. To me the smaller and shorter rectangular form represents a younger sibling who tries to latch onto the older sibling and emulate him/her but never completely does. In regards to the whole, the larger rectangular form is like the rock foundation that everything else is built upon or around.

Q: What makes a composition of arranged objects static or dynamic in nature?

A: The size of the objects in relation to eachother, their proximity in relation to eachother, their coloring/materials and the type of space that they’re put into.

Week 2: Representation, Drawn Representation and Design Elements and Principles

In the second week we continued to study and dissect the Malevich composition. The assignments given for this week included, a second iteration of the element we chose from the Malevich composition that kept with the same volume limitations, photographs and hand-drawings of the 1st and 2nd iterations from at least 3 different views and the reading of chapter 1 in the course reader (Thinking about architecture, by Colin Davies), which was titled “Representation”.

In the passage “Representation” Davies writes “We can only build what is physically capable of being built, but we can also build what we can imagine, what we can represent to ourselves and others.” (pg.23) Reading this definitely helped me in my assignment endeavors during the week. It keep me optimistic.

.

“We can only build what is physically

capable of being built, but we can also build what we can imagine,

what we can represent to ourselves

and others.” (pg 23)

- Colin Davies


Iteration 2

Representation, Drawn Representation and Design Elements and Principles

In my 2nd iteration I added two more elements to the previously seen 1st iteration. I included the flat V-shaped form that appears to sit on top of the larger central rectangular form and parts of the thinner rectangular form that seems to stabs through the sides of the larger central rectangular form and the shorter smaller rectangular form that protrudes out from its tail end.

I selected these elements because they added onto the 1st iteration elements seamlessly and didn't visually overpower them. They also helped continued the simple geometry aesthetic I was trying to maintain, whilst adding some complexity.

I can’t remember the exact type of material I used but it was like a piece of 5/6 ply museum board. I also used popsicles sticks and superglue. The tool(s) I used were a X-acto knife box-cutter and a 12-inch Architects' scale.

Week 2: Representation, Drawn Representation and Design

Elements and Principles

Hand-drawings of my 1st iteration

Hand-drawings of my 2nd iteration


STRENGTHS

• I was able to get to my ideas out and express them in the model I constructed

• I was able to complete the task assigned within the given timeframe

• I kept my model within the given volume limitations

• I was able to overcome my doubt and create a 2nd iteration

• Craftsmanship improved

WEAKNESSES

• Material used. The thick museum board that was used was difficult to cult, even after scoring several times.

• My craftsmanship

OPPORTUNITIES

• Even though craft did improve work can still be done.

• Be more aware of materials to be used

THREATS

• N/A

REFLECTIONS

Q: What is the value of embracing vs. denying the expected norm in design?

A: The value in embracing the expected norm in design lies in the fact that you design based on ideas/concepts that have been previously tried and successful. Which allows your design process to be more clear straightforward and less stressful. The value in denying the expected norm in design lies in the fact that you design with a completely blank canvas. I believe that this allows the possibility of creating something innovative and successful.

Q: What is the difference between literal vs. abstract representation

A: A literal representation tries to represent in a logical and clear cut sense. Where as a abstract representation usually represents just an aspect of the chosen subject that is usually synonymous with other subjects.

Week 3:Language, Narrative, Scale, Site and Layered Emphasis/Hierarchy

In the third week, we began to move away from interpreting the Malevich composition verbatim and rather interpreted it in our respects.

In this week we were assigned the task of developing a narrative that had, a beginning and end that consisted of at least 3 different spatial experiences in our iteration. The purpose of this was to help us brainstorm how we would create our next iteration(s), which were to be predicated on the concept of a ¾ ‘’ person (representing a 6’0’’ person in reality) visiting and wandering through the insides of our constructions.

In addition we were to read Chapter 3, “Form”, in the course reader.

“The readers of architecture—clients, building users, passersby—are co-responsible with the architects for the creation of architectural meaning.” (pg 35)

- Colin Davies


The concept for my 3rd

iteration sketched out

Iteration 3


The concept for my 4th

iteration was created using SketchUp

Iteration 4


In my 3rd iteration I decided to reinterpret the smaller rectangular form that protruded at an angle from the larger central rectangular form as a less volumetric piece that cantilevered off of the tail end portion of the central forms roof. With the focus of my iteration being the central, larger rectangular form, I decided to add more complexity to it. To enhance its complexity I added 8 thin rectangular wooden panels to the inside of the rectangular form and had some of them jut out on either side of it. I also orientated them so that they stood upright and were rotated at angles within the form. The 8 panels also served to support the roof of the form, create triangular spaces within and create a pathway through the form from tail to head. Through the way the panels are orientated they span across the form from side to side and end at the sides of the form, where they meet differently angled panel that heads off in the opposite direction, sort of creating a slightly off perpendicular connection. As you travel up from the entry way at the tail of the form to the head where the hammer-like form occurs through you encounter 3 colonnades that run straight down the center of the form and pierce through a rectangular sky space in the roof. After passing the 3rd colonnade near the head of the form where the hammer-like form occurs, you enter a space that is decorated with 5 semi-oval shaped forms of varying heights that are surrounded by several colonnades and some wooden panels. The materials I used included: poster board, wooden boards, Popsicle sticks, super glue and a x-acto box cutter.


In my 4th iteration I decided to take the sloping hammer like form occurring at the head of the central rectangular form and use its form to shape it. So I decided to extrude the hammer-like form horizontally and replicate it 5 more times in addition to the original and orient them around the central rectangular form like the original. The result of doing so produced a form similar to that of a Christmas tree. I decided to use the Christmas tree form produced as the form of my constriction. After deciding on that I then glued popsicle sticks (~2 inches) to the base of the form to raise it up off the ground and have it hammer like form represent the roof of my construction. The central portion of my 4th iteration represented a passageway that made travelling from the tail of the form to its head possible. The 6 hammer-like forms that were orientated around the central rectangular form represented different wings of the construction that were similar in spatial qualities. The materials I used included: Popsicle sticks, a very, very thick type of poster board, superglue and an x-acto knife box cutter.


One day whilst roaming through downtown San Francisco I came across this essentially rectangular form, but there was something slightly different about it’s form that didn’t make it a traditional rectangle. As I neared closer to the entryway I noticed that there was a slight hammer-like form that jutted out the rectangular form which distanced it from you’re traditional rectangle. In addition to this there were these thin rectangular wooden wall panels that about the height of the structure that jutted out of it’s sides like wings. As I approached the entryway of the structure I was immediately taken back by the monumental height and slenderness ofthe doorway. But I was really intrigued by the way the doorway was positioned at angle and slighted recessed from the building. It was a different experience from your traditional door on the face of a building. It was neat experience entering through the recessed doorway, because you knew that you were under the shelter of the building but not completely inside yet. As I made my way in through the doorway I entered a rectangular room, which had a central pathway that led though rooms of similar space likeness. The path was flanked on either side by these rectangular wooden wall panels that were angled in a certain fashion thatallowed me o see through all three rooms to the back of the structure. Although the rectangular wooden wall panels allowed viewsto back of the structure, they only allowed selective framed views and this created a certain mysterious bout what was going on behind them on either side. This aspect of the structure made me curious and prompted me to move through the structure towards the back. As I entered the final room of the structure the layout changed from the previous triangular shape to something more of a trapezoid. The walls of the room took the forms columns and more or less surrounded entirely. The room was a differentexperience in respect to the rest of the building, it was more open and my vision was free to travel without being impaired at certain points in the room. There were also these 5 semi-oval shaped sculptures of varying heights lined up next to each other down the certain of the room. It was fun and humorous to walk amongst and between them. After walking amongst the semi-oval shaped sculptures I left through the entry way that was in the room. As I was leaving I thought to myself ‘I can’t wait to go back there’.

Narrative for 3rd iteration


STRENGTHS

• Able to redefine my chosen element of the Malevich composition twice

• Able to complete the task assigned within the given timeframe

• Craftsmanship improved on 3rd iteration

• Able to create a narrative with 3 different spatial experiences

WEAKNESSES

• Colonnades through the middle of the structure along the centralized pathway in 3rd iteration

• Craftsman ship declined in 4th iteration

• No narrative or different spatial experiences for 4th

iteration

OPPORTUNITIES

• Revision of narrative

• Create different spatial experiences from the 3 already created

THREATS

• Colonnades through the middle of the structure along the centralized pathway

• The sky opening penetrated by the 3 colonnades

REFLECTIONS

Q: Of what value are intentionally interjecting ambiguity, complexity, and contradiction into our designs? How about intentionally challenging expectations or creating architectural irony by delivering the opposite of what is expected? (Collisions, juxtapositions, fragments, distortions, randomly occurring aspects)

A: The value lies in the fact that you design something that is able to evoke an array of different emotions and memories within a person.

Q: How do we imbue our designs with multiple meanings?

A: I believe one way to do this is to incorporate elements from different things into your design that are synonymous with the overall design concept.

Week 4:Form, Scale, Proportions and Beauty

In the 4th week we continued to refine our narratives for the purpose of creating and defining subsequent iterations. In this week we were assigned the tasks of developing a complete narrative that described the qualities of experiences to be evoked along a journey to, within, and from our developing composition of form defining spaces, Identifying the aspects of our design language that are associated with specific qualities of spaces described in our narrative, creating more formal and conditional transformations in the lateral and vertical design cycles of our iteration, creating a series of scale and proportional transformations that alter the size and dimensional relationship of our design elements that tighten the correspondence between our written narrative and our constructed design. In addition we were to read chapter 3, “Form”, in the course reader.The concept for my 5th

iteration modeled in SketchUp

“Perspective and architecture form a mechanism which reveals the true nature of reality and mans place in it.” (pg 56)

- Colin Davies


Iteration 5


In my 5th iteration I decided to use the idea of lateral and vertical transformations to help kick start my design process. So I reverted back to the original central rectangular form with the one sloping hammer-like form occurring at the head as my foundation to work off of. I also gathered some inspiration from the many Victorian and Edwardian houses here in San Francisco. From there I decided that I would use the central rectangular form as the 2nd floor in a 3 story construction. The ground floor was simply the layout of the central rectangular form of the 2nd floor before the sloping hammer occurs. In addition to this, it was slightly extruded horizontally past the edges of its original template on the 2nd floor. It consisted of 2 rooms/spaces of similar spatial qualities. The 2nd floor consisted of 4 different spaces— 3 of a triangular floor plan and 1 with a hexagonal floor plan— near the tail of the central rectangular form, a horizontal corridor in the middle of the form and a patio at the head of the form. The 3rd floor consisted of one large rectangular space/room with similar length dimensions as the ground floor of the construction—which created a slight cantilever over the 2nd floor. In addition to the large rectangular space/room that was also a balcony that took the layout of the sloping hammer-like form located at the head of the central rectangular form. The materials I used included: poster board, Popsicle sticks, super glue and a x-acto box cutter.


Whilst roaming through the presidio I passed by this 3-story building that was abandoned. It’s all white exterior and off center entrance aroused my curiosity, so I decided to enter. Upon entering I found myself in a white room with a hexagonal floor plan that echoed strong ideas of tranquility, symmetry and equal spacing. In this hexagonal room there were 3 doorways, one leading towards the front of the house and two others leading towards the back of the house. I decided to first venture into the doorway that led towards the front of the house because there was something about that room so near the entrance that sparked my curiosity. Upon entering the triangular shaped room I immediately felt more confined in this space due to its smaller size. There were also three similar sized windows that filled the room with sunlight and allowed for different elevated views of the other houses in front of it. The sunlight that passed into the room allowed for the space to seem a bit more comfortable than its original close quarters. After experiencing the confined triangular room I ventured towards the back of the house. Upon passing through one of the two other doors that led to the back of house, I noticed that they both converged and led to the same passageway. Upon reaching the passageway I was confronted with an exciting red wall that threw me off guard. It was completely unexpected considering all previous walls had been white. After crossing the red wall’s threshold I noticed stairs to my right that went up, and stairs to my left that went down. So I decided to go left and head downstairs. Upon arriving downstairs I was greeted by a tranquil well-lit setting, the walls comprised of a two-tone paint job between off-white and a dark-mustard yellow There was a long narrow room to my right, and a narrow corridor in front of me with a similar long narrow room at the end of it. There was a large rectangular window in the corridor, which opened to the back of the house. This window allowed for carefully framed views of the presidio forest, which in turn promoted this idea of cleanliness inside of me. After taking in the view I wandered into the room on the right. As I entered time seemed to slow down and my footsteps felt shorter. Light poured in through the long rectangular windows adjacent to me and as I approached the window to take its framed view, a hidden treasure was revealed. In the outdoor space between the two rooms there was a quaint garden that contained lush green shrubs and a small man-made stream. This space created an outdoorsy essence within the house and it felt refreshing. In this part of the house I felt safe, refreshed and at peace. After exploring downstairs I headed back upstairs and ventured up the staircase on the right to the 3rd floor. Upon arriving on the third floor I was greeted by a spacious rectangular red room. The room had large rectangular windows on the ceiling and in the front that framed views of the sky above and of other houses and the Pacific Ocean in front. The room was non-constrictive and promoted ideas of transcendence and hierarchy through its red coloring and the rectangular sky window. At the back of the room was a doorway that led out onto a balcony that again overlooked the presidio forest. When outside smells of sea salt, eucalyptus and pine flooded the senses and made me feel restored as if I was some kind wild animal actually living in a forest. After taking in the views I decided to head back inside and back downstairs to finish viewing the rest of the house. When I got downstairs I carried on through the passageway and entered a well-spaced room with a trapezoidal floor plan. This room seemed to get wider from one side to the other. In this room I felt uncertain and anticipatory. This space promoted ideas of transformation and hierarchy. After this room I ventured out towards the back of house onto the patio. Once outside I noticed these 4 semi-circular sculptures of varying heights facing out into the presidio forest. The sculptures seemed as if they were ready and itching to venture out into the forest and As I stood amongst them I began to yearn for the forest myself. So since they couldn’t go out and explore it I did.

Narrative for 5th iteration


STRENGTHS

• Able to redefine my chosen element of the Malevich composition again

• Able to incorporate lateral and vertical transformation




WEAKNESSES

• Craftsman ship declined in 4th iteration

• No walls to denote inside from outside

• No staircase leading to the entrance

• Craftsmanship

OPPORTUNITIES


• Create different spatial experiences from the 3 already created

THREATS

• Use of sharpie marker on the exterior wall of the 3rd floor

REFLECTIONS

Q: What is the value of injecting harmonic, golden (nature’s ratio), or Fibonacci/modular proportions into your design?

A: I believe the value lies in the fact that you design something this well-proportioned and visually appealing.

Q: How can the quality of character of material used to construct expand and deepen the meaning of your design?

A: For example, the fact that certain materials have different bending qualities and cutting abilitiy will allow you to explore different types of forms, organic and geometric.

Week 5: Space, Experiential Space and Sequential Experiences

In the 5th week we more or less focused on how storyboarding can influence the design process. The assignments given for this week included, subsequent iterations—with one being scaled up and centered around expressing hierarchical diverse and expressive spaces within our construction— and a storyboard that that illustrated a sequence of intended experiences to be evoked upon arriving/departing and within our constructed iteration. In addition to this we were to read Chapter 4, “Space”, in the course reader .

. “The space inside a room has specific

qualities that universal space lacks, qualities

like enclosure, direction, orientation

and scale.” (pg 66)

- Colin Davies


Iteration 6


In my 6th iteration I used the idea of rotation to help kick start my design process. In addition to the idea of rotation, I used the original central rectangular form with the one sloping hammer-like form occurring at the head as my foundation to work off of. I also gathered inspiration from the Tokyo Apartments done by Sou Fujimoto Architects. After taking in all the different stimuli I decided that I wanted to create a structure comprised entirely of the same form where the similar forms would be orientated and scaled differently. Essentially I wanted to use the same form to create different spaces that would evoke different feelings. From there I decided that my construction would comprise of 4 rectangular forms with hammer-like forms occurring at each head. The four forms would be joined together to form one mass, with each one being rotated and orientated differently amongst each other. This construction was to consist of 3 different floors, where the 3rd floor would represent a sort of observation tower that permitted views more or less over the entire construction, the form in the middle of the mass that more or less connects everything together would consist of 2 floors. Throughout the construction a theme of rectangular windows, some big and others small was emphasized. The materials I used included: 3-ply museum board, super glue and a x-acto box cutter.

Tokyo apartments bySou Fujimoto Architects


One day whilst roaming through the hills of Glen Canyon Park I saw this 3 story house on top of the canyon that perplexed my mind. The house seemed to comprise of 4 of the exact same forms that had been rotated and orientated in different positions around each other. There was something incredibly complex yet simple about this constructed composition that blew my mind. So I ventured up to the top of the canyon to get a better look at it. Upon arrival I noticed that the house was empty and had just about finished construction completion, so I decided to venture in. I entered on the ground level and was greeted by two vast open spaces. The one vast space went in one direction along the 0’ degree axis. Whereas the other vast space had a level above it and had been rotated 45’ degrees from the 0’ degree axis and went along that axis. These vast open spaces exuded grandeur and propelled me to move around and explore. The space along the 0’ degree had two large windows at opposite ends of the room. The window closest to the door was in the form of a large square that looked out to the canyon space adjacent to the house. The size and form of this window created an airy feel and made it seem as if the lush canyon outside was almost inside with me. At the other end of the room was a rectangular window of large scale but not to the extent of the square window near the entrance. The size and form of this window framed a cinematic view of the canyon adjacent to the house. As I looked out of this rectangular window I felt as if was looking out at a live painting. The careful shaping of this window cropped out certain elements of the canyon and created a breathtaking framed view. After taking in the views of these two windows I ventured into the other space rotated 45’ degrees from the 0’. In this vast space there were two levels, one above each other. This space also echoed ideas of grandeur and propelled me to move around. On the ground level of this space I was greeted by another rectangular window, this one must larger than the one from the previous room, possibly more than doubled in length. Although this window recreated cinematic and picturesque views like the first window near the entrance this window was different, because as you traveled across it taking in the canyon views of the back of the house you were interrupted by two half inch squares next to each other, one above at the top of the window and another below at the bottom of the window to the right of it. The placement of these squares cut the rectangular window in half and created a different and interesting framed view. The framed view created by the square created a more focused and cropped view of the canyon views to the back of house. It caused me to fixate my viewing experience to a smaller space which allowed me to notice the finer details of the canyon views to the back of house. Such as specific rock formations and shrubberies contained to certain areas. After taking in these views I walked up the staircase to the right of me to the second level of the main body of the house. Upon arriving on the second floor I immediately noticed the similar floor plan as downstairs, although the spaces were similar the second level of the house incorporated more large rectangular windows. There was a large rectangular window directly above the one downstairs that wasn’t interrupted by two half inch squares next to each other. This window also recreated cinematic and picturesque views but offered a different elevation of the canyon views facing the back of the house. Everything that had been in a perspective view from downstairs was below me and enabled me to see to see into the canyon which was flooded by a sea of lush green pine trees. After soaking up the incredibly green view I looked to my right and noticed a smaller vertically orientated rectangular window about 1/8th the size of the one I had just been looking out of. As I peered through this window I noticed that I didn’t directly open up to views of the outside but rather to views of another wing of the house. The entrance to this wing was directly below me downstairs, so I went back downstairs and made my way into the wing. Upon arriving in the wing I felt something different. At first I wasn’t entirely sure what it was that had puzzled my sense of orientation. After some careful thought I eventually realized that the room I was in was the exact room I had been in previously, except it had been rotated 90’ degrees, so essentially I was walking on the wall that had held the door that allowed me to get from the previous room to this one. In this room there was another large rectangular window that rose from the floor to the ceiling, it was essentially double the length of the window that had been interrupted by two half-inch squares next to each other. There was also a clear glass window that allowed light to pour in from above. When I followed this incredibly large window up the wall, it took me from glorious canyon views to sky views only. The optical journey was something like looking up from planet Earth to Heaven.

Incomplete narrative for 6th iteration


Storyboard used to formulate hierarchical and diverse space within 6th

iteration:

Clockwise in order of sequence

The 5 images above were taken from different exhibitions and installations done by artist James Turrell, who was the inspiration to what kind of space I wanted I wanted to create within my climate space 7th iteration.


Iteration 7: Climatic Space

The concept for my 7th

iteration was created using SketchUp


In my 7th iteration I used the wing of my 6th iteration to be the climatic space of my construction. The reason I selected this area was due to the immense verticality of the space as well as the large rectangular window that more or less equated the verticality of the space. Within the space there are 2 walls with similar partitions in the middle that span the length of the space and the width of the doorway. Beyond and aligned with the partitions lies a sunken pit that is outfitted with a bench that allows visitors to sit and take in the views offered by the window. Above the sunken pit lay 5 balconies one above each other. The balconies allow visitors to take in views offered by the window at different levels. The materials I used included: 3-ply museum board, Popsicle sticks, super glue and a x-acto box cutter.


STRENGTHS

• Able to create new iteration

• Able find and create a climatic space within my construction




WEAKNESSES

• Craftsmanship

• No narrative for 7th iteration

• Incomplete narrative for 6th iteration

OPPORTUNITIES


• Improve craftsmanship

• Take photos of models right after completion

THREATS

• Failure to take photos of 6th and 7th iterations after completion allowed them to become slightly damaged over

REFLECTIONS

Q: Why should functional space that accommodates activity be more than merely pragmatic?

A: It should more than merely pragmatic because I believe that people should be treated to different experiences when they go to places to take part in an activity, whether it be mundane or out of the ordinary.

Q: How do you shape space to stimulate the senses and evoke memories to create experiences?

A: I believe the manipulation of form, lighting, scale and texture are just some possible solution to the question.

Q: Can space be so flexible that anything can happen there? How do you achieve this?

A: Yes. I believe one way of achieving this is to design the space to accommodate the activities it’s built for and the complete opposite of the activities it’s built for.

Week 6: Truth—Frame Expressions, Surface Expressions and Structure

In the 6th week we more or less focused on expressing our previous iteration as a frame only. The ideas behind expressing our construction as frame were mainly based achieving compelling levels of hierarchical complexity, visual interest and multi-layered meaning. In addition to creating the frame we were to read Chapter 5, “Truth”, in the course reader .

.“The building’s most important

characteristic is its complete almost

puritanical honesty.” (pg 87)

- Colin Davies


Iteration 8: Bones/Frame of the structure


STRENGTHS

• Able to replicate the structural character of my construction as a frame

• Able to complete the task in the given time frame

WEAKNESSES

• Craftsmanship

• Certain areas that needed structural support lacked it

OPPORTUNITIES

• Recreate frame and apply structural support to the certain areas that lacked it

THREATS

• N/A

REFLECTIONS

Q: How do you distinguish between design by nature and design by humans?

A: I think it’s pretty hard to tell difference between the two, because both have the ability to follow order and not follow order. Also both usually have an intention behind the presented design whether it be visually pleasing or functionally helpful. But I think human design usually tends to follow order/structure. Where as natures design tends to usually be more free flowing, unordered and chaotic.

Q: What constitutes ornament? What part, if any, does ornament in architecture play in terms of meaning and expression

A: To me, things like door handles constitute ornament. I believe ornament in architecture allows architects to really push their expressive capabilities to the max because it allows them to break away from a strict building concept really have fun with their ideas.

Week 7: Nature, Precedence and Responses to Natural Forces

In the 7th week we still more or less focused on expressing our iteration as a frame only. But this time we were also required to apply tracing paper to the frame so it could be expressed as the skin for our construction. In addition to frame and skin we also focused on how frames and surfaces respond to natural forces. Furthermore we were to read Chapter 6, “Nature”, in the course reader .

. “Most fundamentally, perhaps, organic

architecture looks to nature rather than

history for its inspiration—not just

what nature looks like, but the way nature

works.” (pg 108)

- Colin Davies


Iteration 8: The bones and skin of the structure—the spaces left skinless represent window openings


STRENGTHS

• Redefined the frame of my construction by adding more structural support (i.e: trusses) to certain areas in need

• Able to complete the assigned task in the given time frame

WEAKNESSES

• Application of tracing paper skin

OPPORTUNITIES

• Learn to better apply skin to the frame of my construction

THREATS

• N/A

REFLECTIONS

Q: ‘Design to resemble nature’ or ‘design with nature’, which do you prefer and why?

A: I prefer designing to resemble nature, because with this concept you could pretty much design anything you want—combining and subtracting elements—due to natures vast array of elements.

Although I would have liked to have more iterations before the midterm I’ pleased with what I’ve managed to accomplish so far. Because prior to this semester I had no design experience and had never really crafted anything before. These 8 weeks have definitely changed the way I look at architecture, art and everything in between. I’m naturally an inquisitive individual but I believe I’ve become more inquisitive than before. I look forward to the road ahead leading into the close of the semester.

Conclusion

Date post:	08-Apr-2016
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