Benjamin Remington
Midterm Learning Portfolio
Complexity
Home Analysis
Iterative Development V e r t i c a l i t y
“Magic Gel�
Asymmetry
Unity
Positions and Narrative
Transitions
Paths and Nodes Analysis
Paths and Nodes Construction
Clarity
Frame/ Skeleton
T e m p o r a li t y
Continuity
I began work on my construction by planning out exactly what the final product of my efforts would be. The details from the materials to the methods of construction were neatly arranged mentally long before I began to construct the object physically. As the project evolved, it began to look less and less like the original vision still shining in my head. The materials I had chosen were prickly and unyielding and my progress was slow. As my frustration grew, my desire to produce what I had envisioned grew with it. My construction was aimed to convey complexity and multi-layered meaning but, despite my intentions, the elements were disjointed and uninspiring. The intended message was lost in translation because there was no possibility for engagement by the viewer.
After relinquishing my desire to bypass the iterative process, I began to work with my materials instead of against them. The curvilinear shapes of my first iteration were difficult to create, and failed to evoke complexity. The interwoven rectilinear planes formed by my final iterations came naturally to the wire grid I had chosen to work with and also, unlike the generalized ideas halfformed in my head, created a readable visual complexity. More importantly, the viewer of my final iteration was actually able to engage with it. By turning the object and observing the ways that the different levels interacted with one another through rhythms, alignments, and tensions, the contextual complexity of the original image my object responded to was much better expressed.
In the home analysis assignment I began to explore my concepts of
what exactly home meant to me. I sought to answer questions about which areas I was drawn to, and why. Some of the conclusions I drew were carried on into my subsequent projects. Abundant light, tall vertical volumes, use of natural materials, and a sense of separation from the world were all aspects of my home that I found particularly desirable. I was also surprised to find the connection I found with the areas of my home where I had spent the most time or effort in renovating or redecorating. I discovered that a sense of ownership and investment were aspects of my relationship with my dwelling that had always existed in the places I stayed the longest and enjoyed the most.
In presenting the project to the class, I realized that another defining trait of my home was a sense of romance and drama. Important areas of the house were emphasized by brighter colors, increased light, or more lush textures. Without fully realizing what I had done, in my renovation and decoration of the house I had created set-like arrangements to showcase the activities and personalities of the inhabitants. Moving forward with my architectural education I hope to utilize these newly discovered skills in the structure of the places I create instead of only the dĂŠcor.
The paths and nodes analysis allowed me to view a
space I’m very familiar with in an unfamiliar way. Having given no prior thought to the two types of primary spaces that compose my home, it was interesting to determine what exactly creates them both. Some of the most heavily utilized nodes in my space initially appeared to me to be simply utilitarian in nature. I found the paths to be similarly one-dimensional. I realized however, that I had done a fair amount to create the paths and nodes in my home myself. While some were simply due to structures and fixtures, others had more to do with personal choice. When I picked a favorite node to ruminate on the subject further, a few interesting items began to crystallize.
I began to go back in my memory to recall why one room had become a bedroom and another a living area. The light was softer in the bedroom. The noise coming in through the windows of the living room would have made it harder to sleep. The computer was sheltered in an out of the way alcove where I could work uninterrupted and the bed was placed to face my favorite feature of the room. Similarly the paths were adorned with evocative objects that lent a set of unique experiences to them. Lush velvet curtains framed a portion of the hallway and changed the way the light enters the rooms at its terminus. Bronze dragons atop the newel posts of the curving stairs added height and emphasis to the pivotal points of their descending paths.
My initial assignment in constructing a set of paths and
nodes was to create a series a spaces that presented vignettes or stage sets that were monochromatic, yet dramatic in nature. My enthusiasm for the assignment, though in the end seeming against my own best interests, served my local art supply store well. I began the project by purchasing whatever interesting white materials I could procure. The end result of my efforts to construct something with them was sprawling and disconnected. While I did manage to create a series of paths and nodes with interesting spatial characteristics, there was little to connect them beyond their color and proximity. Also lacking was any sort of discernable narrative. The guidance I received in critique during class led me to try to unify the disparate elements of my composition in some cohesive way. In my second iteration of the paths and nodes construction I cut back on the number of materials I employed to reduce the confusion created by the juxtaposition of so many elements. Also, to provide a better transition from the biomorphic trellis-like area at the beginning of my path to the rectilinear space of the adjacent corner, I changed the material which formed the tunnel between the two. Using card stock instead of regular paper to form the tunnel gave the tunnel’s structure greater weight. Also, to make the transition more gradual, I cut the shapes that formed the tunnel to morph from circular to square as the tunnel approached its end. I added roofs to the two rectilinear sections of the path to control the light entering them and to provide more unity between their initially differing materials. Finally I created a spiral of flame or grass-like shapes that curled into a bower with a small arched doorway for an exit. The graceful biomorphic shapes glaringly contrasted with the rigid and literal blocks they were adjacent to. Clearly another iteration was needed.
In my fourth iteration of the paths and nodes project, I attempted to allow the viewer access to the vertical spaces of the monumental structure I had created. I carved a circular opening onto one side of the space which revealed a dais set in the center and accessible only by a curved staircase. Though the design achieved its aim of providing a sacred space which was separate and protected from the outside world, the overall composition was still closed and provided little connection between the two elements that formed it.
My third iteration of the paths and nodes project saw me whittling down
my main design elements to only the most successful of the previous iteration. I chose to keep the vine-like structures that had created the initial entrance to the previous construction and also the curving planar shapes of the bower near the opposite end of the path. I found the spiral of the previous iteration created a sense of enclosure and protection. I chose to carry this forward with an enclosed space of concentric circles that formed a sort of domed ziggurat. Reflected below this form was a similar shape of reduced vertical proportions. I added openings aligned with the cardinal directions at various heights which were visible from the North facing door. The openings would allow light to penetrate the space at varying angles and intensities corresponding to the time of day and seasons and thus provide a connection to nature from within. In addition to the geometric planar shape of the interior structure I created a second structure of vine-like elements which enclosed and surrounded it. Though the outer structure surrounded the inner one, I attempted to create tension by never allowing the two structures to touch one another.
The fifth iteration of my structure further developed the idea
of a meditative, centering space. By using the analogy of a magic gel filling the space and remaining when the structure itself was removed, I began to think more of the interior volume I was creating. I chose to employ the shape of a sphere to evoke feelings of wholeness and continuity. Also I increased the vertical scale of the space to evoke a connection with the divine. Though a sphere is not a shape particularly given to emphasis of any one particular direction I also employed another design element in an attempt to create a sense of verticality. By allowing the planar shapes of the construction’s walls to remain vertically oriented and the concentric rings of the structure’s floor to remain horizontally oriented, the only unobstructed views from the center of the space were directed upwards, reinforcing a sense of connection to the divine. In addition to the emphasis provided by the vertical structural supports and arcs of the walls, the verticality of the space is further emphasized by the multiple staircases which carry the viewer through a full three hundred and sixty degree arc before arriving at the central platform. This inward spiral shape evokes a centering and inner focus that enhances the meditative qualities of the space. The spiral shape is also echoed in the spiral formed by the vertically aligned arcs of material that converge in an upward facing oculus at the top of the sphere. The vertical spiral is also echoed in the oblique paths of the vine-like structures. They are now incorporated into the outer shell of the sphere in the spaces between the planar arcs of paper and the structural supports. Though this iteration was successful in many respects, the composition lacks energy and motion because of its closed and symmetrical nature. Also, though the two primary elements of the structure are more closely related, the overall complexity of design ideas employed has decreased.
“In my structure I employed a number of elements to create a calm and meditative space. The primary design aspect of the structure is its spherical shape. The open spherical space evokes a sense of wholeness, continuity and balance. The scale of the structure is roughly seven times the height of the viewer. This monumental scale evokes a sense of awe and wonder . The many openings allow natural light to penetrate the entire structure in a dappled pattern creating a sense of warmth and security. This sense of warmth is further reinforced by the natural biomorphic appearance of the vine-like elements woven throughout the structure. These vine-like elements, coupled with the similarly biomorphic netting spread across them, also create a sense of connection with nature and create a pleasing contrast between planar geometric shapes and natural chaotic ones. At the same time these more natural structures contribute to the diffusion of light entering the interior.
As the viewer enters the space, they travel along an inward spiral and only arrive at the center of the sphere after traveling a complete 360 degrees. The circular spiral motif is echoed in the uppermost aspect of the structure and also in the concentric rings and arcs repeated throughout. These elements act to elicit an almost instinctual movement towards the center of the structure, which mimics the inner centering of the viewer as they become more calm and meditative. Also, though the structure is spherical in shape, there is a strong emphasis on the vertical throughout. Multiple stairways carry the viewer up towards a skyward pointing oculus while the main structural supports arc and taper upwards to their terminuses. Further, the planar arcs of the walls and ceiling are all oriented at 90 degrees to the ground plane above the central platform and parallel to the ground plane below. This creates a relatively unobstructed view in only one direction; upwards. This emphasis on the vertical encourages the viewer to ponder the nature of the divine and the totality of existence and to forget the mundane cares of the earth below by not just physically elevating the viewer, but by also elevating their thoughts.�
By creating the above narrative for the structure, I was able to evaluate the construction through the lens of the
additional element of time. Describing the experiences of the viewer as they traversed the spiral path towards the center of the central platform revealed that although certain aspects of the design were successful, overall there was little complexity or hierarchy to the elements employed. Also, there was little opportunity for interaction between the construction and the space it occupied. By imagining the spaces not just as their totality, but also as a series of experiences, the strengths and weaknesses of the design began to emerge, leading to a new set of questions and possibilities. How might the space interact differently with its surroundings instead of isolating the viewer from them? How might the spherical shape be altered to provide more energy and direction toward the vertical? What if the paths and nodes of the structure allowed more freedom of choice in the ways they were navigated? Were the vinelike structures necessary to evoke a connection with nature, or would other less literally organic shapes evoke the natural as well? Finally, what if the meditative progression to enlightenment suggested by the structure proceeded outward from an implied center rather than inward towards a definite central end point? These questions informed the next iterations of the piece and presented a leap forward in my design language.
As I developed the skeleton of the structure many relationships between the supports and the spaces they form became clearer. The thin supports attached to the crescent structures act to form a bulging conical shape which accentuates the graduations in size between the crescent shaped trusses. Similarly the exaggerated curve of the trusses forming the large vertical space also reference the arc of the arch at the entrance point to the construction. In this, the second iteration of the frame, I began to create paths and nodes that could be occupied by the viewer. The spaces lead progressively upwards to the vertex of the curved outer members where a flat plane faces towards the entrance of the construction. Future iterations will include a platform which will allow the viewer to reflect back on the path they have taken to reach their current vantage point.
In the next iteration of my project I explored the skeletal support structure of a new space. In this iteration I also explored my query concerning moving outward from the implied center of a circle rather than proceeding towards the dead end at the center of a literal one. I also explored using concentric crescents aligned obliquely to contribute energy to the verticality of the space. In this new iteration, the viewer moves from the center of the circle implied by the arch towards the larger vertical space beyond. The expansion of the angles created by the rectilinear truss supports and the convex surface of the arch create a feeling of expansion and growth. Also, theses elements lead the viewer instinctually from the lower compressed areas of the space to the more open and expansive ones.
As I look back across the history of my learning in Architecture 21
thus far I am pleased to discover a steady improvement in my tectonic language and in the design vocabulary I employ. One of the primary differences between my early work and later iterations is that, having arrived at this point in the class, I can now say definitively why I chose the elements that I did. In the early iterations of my work, my design choices were arbitrary and subjective and consequently were only readable to myself. I feel that my visual vocabulary has expanded to include a host of heretofore unknown components. Furthermore I’m better able to connect and integrate these differing design elements with one another in a much more coherent fashion to create a readable narrative. While there are still aspects of my designs thus far that have been serendipitous accidents, even in these lucky instances I am able to recognize how these aspects relate to the whole of the construction and how they are most likely to be visually read. As I’ve created this portfolio I’ve discovered the milestones along the path I have tread thus far. Looking back, I’m surprised at how far I have come, along with my classmates.
It is with renewed excitement that I look forward to the remainder of the course. Impressive things will come of this class; of this I am certain.