ANSH VAKIL Midterm

ANSH VAKIL

LEARNING PORTFOLIO

CCSF SPRING 2012 ARCHITECTURE 101 PROFESSOR: JERRY LUM

CONTENTS: • • • • • • • • • • • • •

INSPIRATION ITERATION 1 ITERATION 2 ITERATION 3 ITERATION 4 ITERATION 5 ITERATION 6 ITERATION 7 ITERATION 8 ITERATION 9 ITERATION 10 GESTURE DRAWING TRACING PAPER EXPLORATION

IN A CLASSIC RUBIK’S CUBE, EACH OF THE SIX FACES IS COVERED BY NINE STICKERS, EACH OF ONE OF SIX SOLID COLORS, (MAINLY WHITE, RED, BLUE, ORANGE, GREEN AND YELLOW). A PIVOT MECHANISM ENABLES EACH FACE TO TURN INDEPENDENTLY, THUS MAKING UP THE COLORS. EACH OF THESE INCLUDES A CONCEALED INWARD EXTENSION THAT INTERLOCKS WITH THE OTHER CUBES, WHILE PERMITTING THEM TO MOVE TO DIFFERENT LOCATIONS. HOWEVER, THE CENTRE CUBE OF EACH OF THE SIX FACES IS MERELY A SINGLE SQUARE FAÇADE; ALL SIX ARE AFFIXED TO THE CORE MECHANISM. THESE PROVIDE STRUCTURE FOR THE OTHER PIECES TO FIT INTO AND ROTATE AROUND.

ITERATION ONE

INTENTIONS: For the FIRST ITERATION I generated an idea, which focuses on the basic structure of the arNfact. The structure of the model personifies the existence of three layers, each of which have their own set of algorithms to follow. The main idea of the model was to capture the qualiNes and elements that I was most aXracted to. The qualiNes include the basic outer frame of the structure giving it support and balance, the mulNple perpendicular axis and the idea of it being a puzzle in the simplest form.

MISTAKES: The purpose of the Bare Bones exercise was to construct the naked framework and not just an idenNcal structure of the selected arNfact. The model lacked original thinking, conceptual organizaNon and art of the mind. The model lacked abstract thinking and criNcal reasoning.

LESSONS LEARNT: Portraying the literal and not embracing the abstract limits my thinking in this wonderful journey of exploraNon. The idea of the bare bones exercise referred to more than just what the eye could see and what the hand could feel. I should try to show the experience of a person, both physically and mentally, whilst struggling to solve this puzzle.

ITERATION ONE

ITERATION TWO

INTENSIONS: Since my first iteraNon was too literal I took up a more challenging perspecNve of the original arNfact. TwisNng each layer of the Rubik’s gave rise to a new dimension and reasoning. It made me realize why I was fascinated with the arNfact in the first place. Maintaining the original form of the arNfact, I tried to show fluidity and movement.

MISTAKES: The idea was well thought off but poorly presented. Addressing the different parts of fluidity And rigidity of movement was missing. The physical appearance of my work did not Compliment my newly acquired thinking process. The physical structure was sNll too literal And bared no difference from the original arNfact.

LESSONS LEARNT: My vehicle was sNll stuck in the liberal world and lacked abstract form. Doing research could help in bolstering my work. ExploraNon of materials could possibly lead me to come up with ideas for my next iteraNon. The model was simple and flat in one direcNon. I needed to explore more areas and relate energy, movement, structure and form more closely to my ideas.

ITERATION TWO

ITERATION THREE

INTENSIONS: I tried to adopt the same design and structure as the previous iteraNon but at the same Nme add uNlity to the work. I aXempted at creaNng a stand or mechanism, which would help in adhering to a dispensed surface. An aXempt at imbedding real life architecture into my model. To convey movement and specifics by embracing the twisNng feature of the arNfact and leaving the top of the model open for the viewers curiosity and intension to explore.

MISTAKES: The model lacked ideas promoNng my work and the representaNon of bare bones. I was heading deeper in the pool of literal with the idea of embracing uNlity. I was unable to explore the outcomes successfully so as to bring out the hidden abstract features of my model. My ideas lacked specific relaNonships, qualiNes, expressive aspects and responses.

LESSONS LEARNT: Thinking of the way the Rubik’s cube is used, the force acNng upon it and the direcNon of the force could lead to posiNve results. Improving the relaNon between what the mind thinks and the hand does leads to beXer cradsmanship. Playing around with the model and stumbling upon a discovery by accident helps the mind in developing ideas and training it to thinking criNcally.

ITERATION THREE

ITERATION FOUR

INTENSIONS: The model embraces the skeletal similarity to that of the original arNfact. I tried to convey a sense of rigidity, connecNon and organizaNon, which allows for certain transformaNons to occur while prevenNng others, by having pop sNcks extending outward. The outer surface is smooth but dented, due to the rough handling and emoNon brought out upon it. Therefore, I aXempted at showing animosity, fury, indignaNon, outrage and agitaNon by creaNng a concave or sagging top and rough, uneven layers. Although simple in it’s design the concept Is a challenge to one’s mind.

MISTAKES: The scale is redundant. The model’s sNll bared structural resemblance to the original arNfact, which was limiNng my scope for development. EmoNons were neither clearly shown nor understood. Materials were incongruous for desired purpose. The model was banal and passive.

LESSONS LEARNT: The variaNon in the shape is related to how each cube connects to the other and ulNmately adds to the whole composiNon. Constant change and permutaNon of the cube is a funcNon of the structure and organizaNon itself. Exploring aspects without fear of failure or judgment has shown posiNve results. Exploring different materials could help enhancing my hypotheNcal ideas. Feel free to sense the hypothesis, integrate my observaNons and take acNon to achieve the desired objecNves.

ITERATION FOUR

ITERATION FIVE

ITERATION SIX

INTENTIONS: I incorporated explosiveness, distorPon, turbulence, forcefulness and graciousness in order to show change, movement and direcPon. I visualized the way the cube was used, the force acPng upon it, the direcPon of the force and tried interprePng it with the use of copper wire in an unrestrained manner. IteraPon 5 addresses the constant change, permutaPons and combinaPons being a funcPon of the cube. IteraPon 6, in addiPon to iteraPon 5, as a whole is designed to show different aspects of life. During childhood ones mind is filled with thoughts and ideas that makes their mind a mesh. During adulthood one begins to reason and sPck to his beliefs, therefore giving rise to a very narrow and straigh_orward outlook to life. As one ages you let go of certain principles and beliefs and enjoy what liale is leb thus giving rise to free and independent thinking.

MISTAKES: The construcPon needed development in visible line weight, emphasis on primary vision, and the relaPonship to iniPal reading. In order to mime out what I was trying to express I needed to idenPfy gestural qualiPes THAT I was induced by. The construcPon lacked a specific direcPon or path to follow.

LESSONS LEARNT: The exploraPon with materials proved to be helpful in embracing a virgin dimension.

PresenPng memory as a funcPon of experience gave birth to innovaPve ideas. Making my intensions specific and ferPle helped in direcPng my designing process into a new depth.

ITERATION FIVE AND SIX

ITERATION SEVEN

INTENTIONS: I emphasized on the visibility of line weight and it’s structure. The addiPon of wooden support gives rise to a framework of events. The main intenPon was to create complexity and a dense network so as to build a relaPonship between the visible enPPes. The model adds structure to the story expressed in iteraPon 5 and 6 by means of an organized mesh. I tried showing the different stages of struggle and urge to concede that an individual experiences while solving the Rubik’s cube.

MISTAKES: The model lacked mapping of players’ acPons and thoughts. The Iteration had a paucity of perspecPve and possibility of mulPple viewpoints. Although the intenPons were visibly clear, the IteraPon seemed bland in terms of exploraPon of paaerns of space.

LESSONS LEARNT: Analyzing and idenPfying emerging paaerns of form and organizaPon is crucial in design.

Exploring different possibiliPes within the same form could yield an intriguing outcome.

Responsive interacPon in form and design is an important element of the abstract composiPon.

ITERATION SEVEN

ITERATION EIGHT

INTENTIONS: In addiPon to my main story line, which talks about the experiences of a player aaempPng to solve the Rubik’s cube, I wanted to explore hierarchy and the contrast to it’s surrounding by adding a base. With a variety in form and order the model appears to be doing much more than just telling a story. Proximity, change in scale, closeness and repePPon creates an implied relaPon between conversaPons. IncorporaPon of density brings forth the dimension of confusion, bewilderment, commoPon and perplexity.

MISTAKES: The theme seemed redundant and lacked the curiosity of exploring different aspects of the original ArPfact. Although the model possessed qualiPes of hierarchy; it lacked clear visibility. The IteraPon was not perceivable to other gestural qualiPes. The base brought out a complimentary language rather than one of contradicPon. LESSONS LEARNT: Elements and materials must be carefully selected to prevent distorPon of concept. The use of a base refrains the view from the boaom and limits the possible perspecPves. Introducing the percepPon of conversaPons and variety helped me with my design.

ITERATION EIGHT

ITERATION NINE

INTENTIONS: As a follow-­‐up to the previous iteraPons, this model addresses variaPon and idenPfies SpaPal arrangements and related feelings. The way the construcPon appears to be uPlizing Space within a small area is most intriguing. The main element of this construcPon is the Feature of constant change and movement. It almost looks like it is in moPon; closely resembling the movement of the Rubik’s cube. The model idenPfies simplicity and conical vision.

MISTAKES: Elements of the IteraPon loose its composiPon if aaempted to be libed off the ground. The Overall design failed to be arouse interest. The construcPon lacked a clear hierarchy. The ConstrucPon needs development in portability as a whole.

LESSONS LEARNT: Portability is a crucial element of a design. Each element must compliment or contradict the Other and not just lie idle. Exploring a new way of using wood helped me in my tracing paper Drawings. Carrying out research closely related to the concept of my construcPon helped in CreaPng an abstract design.

ITERATION NINE

ITERATION

TEN

INTENTIONS: The construcPon balances simplicity and complexity and creates a design that is visually Obtrusive. The proporPon differs showing the extent or depth of thought. It is small in scale And spherical in shape, which generates mystery. The perplexity makes the viewer want to pick it up and view the different perspecPves it has to offer. The model conveys the message Of isolaPon and concentraPon in an abstract way. The iteraPon creates a unique paaern by exhibiPng parallel and perpendicular relaPonships.

MISTAKES: The volume of the elements in this construcPon were rather monotonous. The construcPon Lacked explosive, chaoPc and violent distorPons, which if incorporated would have Supported my claims in a much beaer manner. It seemed like it almost had a uniform Paaern with an excepPon in certain places.

LESSONS LEARNT: Sharp edges, angles, linearity and strength help idenPfying a gender of the model. Feelings And emoPons are directly related to scale, proporPons, complexity and density. Uniformity, RelaPonships and connecPons play a vital role in complimenPng a design. Curiosity and Care-­‐free exploraPon results in posiPve energies towards a design.

ITERATION TEN

GESTURE DRAWING