Final Learning Portfolio Alex Still

Architectural Design Studio 101 Instructor: Jerry Lum

Final Project:

The Wall Transfigured: Memories resurrected, reconfigured,

and propagated

This project dominated the last half of the semester. We worked in teams of four to six students to design and build a full

scale installation to inhabit the courtyard adjacent to our classrooms. The project began with an overview of the criteria

and restrictions.

Site and Program We were presented with the site and program requirements, both of which we were required to take into account as we completed this project. First, the site was presented as the, “…the Courtyard Wall outside Batmale 245 & 246…” The wall was to be divided into three sections, and we were to use our given

section of the wall to support and affix our structures. It is concrete, curvilinear, and imbedded with both threaded and non-threaded holes evenly spaced throughout. We were to take into account the “compass orientation, sun exposure, shade and shadow, views, adjacent existing conditions, and

human activities that can be experienced in this location.”

Site and Program The program requirements outlined the parameters with which our structures

were to comply. They were to adhere to this year’s theme: “The Wall Transfigured: memories resurrected, reconfigured, and propagated.” Our

structures were to be three dimensional applications of tectonic language and were to evoke intentional, expressive experiences in our audience.

Additionally, they were to respond to the context of the site, provoke others to appreciate everyday aspects of the courtyard that are often overlooked, reflect

a narrative of the human condition, support unintended encounters and activities, and be visually readable with organized logic and clear construction.

Sectioning We began, however, in a much smaller way. Building upon the

basic design principles and strategies we learned in the first half, we began exploring new means of expression, namely

sectioning and folding.

My first iteration played with the ample opportunities for

evolution present in the sectioning method. The result felt very anthropomorphized.

Sectioning

I began to incorporate a primitive wall in my next iterations, playing with how my structure would interact. I began the iteration with a simple silhouette of a chair and let the structure evolve and open into a structure to provide shade. I

also began to explore seating ideas.

Sectioning

Next, I explored possibilities for a sectioned bench with ample evolutions. Again, the result was anthropomorphic, feeling very spider-

like. It was intriguing to watch simple pieces of cardboard take life depending on the configurations I put them in.

Sectioning

After another iteration of a potential structure to interact with the wall, this time beginning from a closed, door-like section and evolving from there, I decided to move away from sections made of thin, straight pieces attached end-to-end, and explore the possibilities of planes. I made two squares with parallel slots cut into

them, and then inserted rectangular planes of varying proportions in varying configurations.

Sectioning

I continued this process, looking for interesting configurations. Ultimately, I found more freedom in the previous thread of iterations, and, ultimately,

it was from those iterations that our group embarked.

Folding

We soon moved on to the method of folding. I began

slowly, evaluating the method in simple,

straightforward expressions. As my understanding

deepened, I was able to begin to integrate the program requirements.

Beginning with isosceles triangles of equal measure, I explored the

possibilities of simple attachments.

Folding

By expanding the variety of sizes of triangles, I began to configure them into more complex shapes.

Folding This variety of size and

proportion enabled me to begin to explore the program

requirements, namely the inclusion of seating to enable and encourage

human encounters and activities. With these geometrically simple building blocks, it felt

natural to create symmetrical forms.

Three seats, each made of five triangles connected on their lateral

edges.

Folding

Leaving the confines of symmetrical representation, I cut a variety of kinds and sizes of triangles. By laying each component flat on my work surface, I could easily configure and reconfigure

them until I had settled on a straightforward but complex

shape.

Pieces laid flat on the table, allowing for reconfiguration

Folding

I then attached the individual triangles at angles and began to replicate this basic shape in order to create more complex

attachments and compositions.

Folding

Two sets of identical forms, to be used as building blocks for more complicated forms.

Folding

Attaching the components to each other, I experimented with creating

seating options, further exploring the program requirements.

Folding

I continued my exploration of folding by creating whole structures comprised of individually attached triangles, forgoing

the creation of preliminary building blocks.

Folding

Two separate forms created with this freer process of attachments.

Folding

Folding This further inspired me to create more complex folded

structures using the same set of rules: all constituent parts were

triangles, though the kind (acute, obtuse, equilateral) and size varied. Each triangle was

attached on the lateral edges to only one other triangle. As I continued, I began to allow

openings to occur where they naturally fit. These triangular

voids began to appear throughout the folded surface.

Folding

Taking the site and program requirements into deeper consideration, I envisioned these as shade structures, perhaps with the capacity to incorporate seating within them, while the openings easily allowed for framed views of the

surrounding landscape.

Collaboration The build was soon upon us and it was imperative for our class

to be divided into teams. It was a difficult process, as no one wanted to judge their classmates harshly. We eventually voted

between three different possible groupings, and I was placed in a group of six. The responsibilities were divided amongst us as

follows:

Sean: Lead Designer Brittney: Bookkeeper

Alex: Team Manager Ganod: Hand as needed

Marley: Site Manager Charlie: Photographer

Collaboration Within the first week of working as a team, I compiled a Power Point of all our members’ individual contributions. By having these images

at our disposal, we were able to choose what designs we wanted to draw from as we created a new, collaborative design.

Collaboration We decided to work from a sectioned iteration that included a

structure arranged flush to the wall which included seating areas and shade from the sun, as well as the possibility for interesting

shadow patterns.

Sean, as Lead Designer, took what we had discussed as a group and made a SketchUp model of a new design.

Collaboration

The SketchUp model was edited, and evolved into what became our final design. Though we made decisions and changes throughout the building process, our installation closely followed the shape and measure of the

SketchUp model.

Collaboration

Collaboration

Final Design Site and Program Requirements

•  Our design responded to the concrete stairs present on the north side of the wall in the northeastern section. By reflecting the height of the first landing and the steps’ treads in our vertical attachments to the wall, we created a design that was integral to to its location.

•  The shape of our structure, as well as its placement along the wall, was intended to extend the natural line of the hillside beyond the retaining wall. By bringing the hill to a natural conclusion (as opposed to the blunt cut made by the retaining wall) we hoped to raise questions in the viewer regarding the place of nature within human construction. Whether we are overtaking nature with our man-made structure, or we are finding a place to exist within the natural landscape of the hillside must be determined by the viewer.

•  By creating an inhabitable structure with southern facing seating, we provided a refuge from which to look out onto Batmale Hall, the courtyard itself, and the cityscape beyond. Due to the lack of permanent seating in the courtyard, these views are often passed by without thought. We hope to change the experience of people traversing the courtyard, to encourage them to take a moment to sit and look at the environment surrounding them.

Final Design Site and Program Requirements, cont.

The organizational logic we decided upon was, quite obviously, sectioning. The

entrance to the structure began with two straight beams attached to each other at

nearly a ninety degree angle, and attached to the wall at the height of the landing beyond. By varying the lengths of each piece of the

section, as well as the number of pieces within one section, we were able to create the

illusion of growth and movement as one scanned the structure visually or traversed it

physically.

Construction After constructing the vertical sections that sat flush to the wall, we created a system of measuring, cutting, organizing, connecting, and

placing the individual sections, of which there were twenty-three. This process of manufacturing the kit of parts from which our structure was built made it easy for team members to rotate it and out of the

building schedule according to their schedules and kept everyone on a clear and defined path.

Construction

The first days of the build process ran smoothly due to the precision of the scale model. We were able to take measurements directly from SketchUp and

cut and manufacture accordingly.

Construction

Construction

As we constructed more sections, we realized that the curvilinear nature of the wall was working against us. Since each vertical beam was attached flush to the

wall they were arrayed along the angle of the wall. The sections of our structure, however, were intended to stay parallel with each other, and not to follow the

curve of the wall. We realized very early that in order to achieve this, we would need some sort of cross bracing. Scraps of 2x4s fulfilled the need initially but were eventually replaced with knotted rope. The rope served the purpose of keeping the

sections evenly aligned, though in a tensile, rather than expansive, manner. This difference created a steep learning curve as we added the rope rather late in the

process. Ultimately we were able to achieve the intended arrangement.

Construction

The seating structure, though conceptualized from the start, was not concretely

designed until later in the process. In keeping with the logic of the form, we used sectioning only, rather than

including a horizontal board or slab to establish a seat.

We eventually incorporated the rope in order to make the

bench more comfortable.

Construction

In designing the bench, it was important that it follow

the same logic as the structure. The height of the oblique, vertically oriented parts of each section of the

bench align with the proportional heights of the top joints of the structure,

giving the bench a context in which to exist.

Construction

There were ideas we were unable to fully explore due

to the time constraints, namely the inclusion of a designated seating area on the ground. We felt that we

had an area to stand, an area to sit, and we would have

liked to include an area to sit or lay down. Though we laid

out and cut the wood, we didn’t have time to follow through with the details of

fabrication.

Completion

In the end, we completed our project on time and on budget, with all egos and

interpersonal relationships in tact. The result was an

installation that successfully accomplished what we had

set out to achieve, complying with the site and program

requirements.

Completion

Critique

At the conclusion of the six week build period, we prepared

a presentation for our jury including notes on our

narrative, our design and construction processes, and our

individual contributions.

One of the criticisms of our presentation was our title,

which we did not give ample time to. In the future, we will be

certain to look at our visual presentations with the eyes of a new viewer before finalizing the

design.

Critique Many of the criticisms of our structure were the strengths of it as well. The

sectioning approach was strong in its intentions and actualization, however the overall effect was one-dimensional, lacking a secondary or tertiary language. The

rope could have functioned as a secondary conversation, but our lack of explorative time relegated it to structural stability only. Additionally, the mechanics of our

attachments, though structurally sound and

logical, were not aesthetically designed. It was

pointed out that this was a lost opportunity for a secondary language.

Critique

Additionally, our attention to the planter box was seemingly lacking. Though we took it into account in our design and tried to integrate it with our structure, it ultimately appeared to barrel

over it without regard. A suggestion was to use the earth to cantilever part or our structure, by which giving the plantar box a unique designation and responsibility within the form. I found this very intriguing, and regretted not realizing the opportunity

we had let pass.

Conclusion The Challenges of the Group

Ultimately, this final project felt like a success. Going into this new experience of such a large scale design, construction, and group work, I was overly worried about group dynamics and

individual contributions, though I was very pleased not to encounter issues regarding either of my fears. Our group, though we encountered challenges, generally worked well

together, and it felt that every member was eager and willing to complete this project to a high standard.

Conclusion Design and Creativity

Because this project fully consumed the last half of the semester, it wasn’t until the final critique that I realized how much I had missed the constant

design process of the first half. As the build period progressed, I found myself bogged down creatively in preference to the practical.

Understandably so, perhaps, because of the constraints and requirements of the project at hand. However, when new ideas, concepts, and forms were being suggested during the critique, I found the spark to explore

reignited.

At the end of this process, I feel more grounded in my understandings of what is realistically buildable, and my intuition and creativity have been honed and excited. At a certain point in the build process, I didn’t want any more new ideas; it was time to focus and accomplish the goals at

hand. I moved forward hurriedly because of the magnitude of the project, and my fear of not completing it. Now, on the other side of having

accomplished such a task, I know I will have more confidence during the next project to keep the creativity flowing throughout. Though I do

understand the importance of, at some point, pushing ahead with the design, perhaps some of the best solutions were overlooked due to fear of moving too far away from our agreed upon design. In the future, I will be

sure to move forward with more open eyes.

Conclusion Full Semester

It is undeniable that there has been improvement in our work since the first week of the semester. At the beginning of the

semester, I was frightened and intimidated to jump in creatively, though I quickly realized the only way forward was through,

and that if I committed proper time and effort into my work, I would be rewarded with improvement.

The first projects we worked on resulted in tentative executions.

Conclusion Full Semester

As the semester progressed, my

worked improved in both concept and

execution as I learned to better

manage my time and my efforts.

I recognize that I did my best work when I committed proper effort to it, and that I did subpar work when I did not stretch myself creatively. It is only with dedication that the free flow of creativity comes. It is this attention and

recognition of my own working patterns that I will most carry forward with me. By recognizing my shortcomings, I hope to hone them as I move forward.

As with many other aspects of this course, I realize how much design and my other passion, ballet, have in common. In questioning myself about what I have

gained and learned through this course this semester, a statement made by Mikhail Baryshnikov came to mind. I believe this is the essence of what we have been learning throughout this class, and it is with this insight that I strive to move

ahead in my own creative career:

“To respect the work, the everyday routine, sometimes boring and exhausting, that’s the secret. To be a master of your own work, doesn’t matter who is coaching you or teaching you, you must be a man of your own mind.”

Conclusion Full Semester