Fall 2013 Midterm Portfolio
An Introduction Into the Study of Design Carlos Ramirez Esquivel
TABLE OF CONTEXT Ice Breaker Exercise 4 Second Iteration 6 Narrative Story 8 Kit Of Parts 10 Third Iteration 13 Second Narrative Story 15 Second Kit of Parts + Sequence 16 Fourth Iteration 18 Third Narrative Storey 22 Fifth Iteration 23 Sixth Itteration 24
24 Sixth Itteration 26 Third Kit of Parts 27 Seventh Iteration 29 Response to Nature Powerpoint
Ice Breaker
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Exercise
Assignment: To Group 12 Items An 8 1/2” x 11” board able to carry the weight. Project Must not exceed 8 ½” Height. Project Successes: The Project was very diverse in its pieces. This allowed for a lot of future development and would allow for a variety of different paths from which to grow. The project also used the entire board, including the vertical spaces and also accented the limitations of the project. The final product was sturdy enough to be mounted if needed.
Project Failures/Oportunities: The project was very chaotic in it’s creation and was very poorly manufacture. The Items did not seem to be cohesive or have a similar pattern. The project also did not have a clear hierarchy or direction for the observer to follow.
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Second Iteration Project Successes: This project was a lot more organized. There was also more direction for the observer to follow. Also by making move to a highly similar building material, the connection between the pieces was more obvious. Also, the construction was of higher caliber and had a cleaner visual aspect. The Hierarchy of the project is beginning to also become more evident in the project and the dynamics between the different pieces arise.
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Project Failures/Oportunities: There is still a lack of communication between all pieces and an intertwining of the patters. There is still disconnect between each pieces significance to one another. This minimized version of the original lost some of the original complexities that gave the first versatility.
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Story Narrative
This is the store of a room that begins to move. You see the floor tiles begin to move and form benches, and the tiles begin to evolve on the ground. They soon transform from a simple pattern to a complex pattern of sharp corners that begins to move from the floor to the walls. Stretching out in an attempt to break through. The Center also beings to form complex structures. Growing. Evolving.
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Kit Of Parts This project is a systematic break down to the basic components to form a building set anyone is able to use. Thus, the break down must seem like that out of an IKEA catalogue. The Second Step in this Kit of Parts is to randomize the use of them and interlay them with each other using transparent paper. This allows use to create additional pieces not included in the kit to create and EVOLVE the design into something more sophisticated in its intent. The Final design in the sketches is a good example of the evolution, but the leaps between the traces are not leaps of great extent.
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Final Kit Of Parts Design
Third Iteration 13
Iteration Third
Analysis
Project Successes: This project is a very literal transition between paper and actual construction. While it contains a greater level of original ideas, intent, and design, it’s greatest is the use of repetition and pattern. It also contains hidden secrets that have to be observed at a closer proximity. Project Failures/Oportunities: The leap between the image and the physical iteration can be improved
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Story Second
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Narrative
volution means any process of formation or growth; development. It is also defined as a process of gradual, peaceful, progressive change or development. This resonates with the expression and form my work takes. The piece represents an evolution of past experiences and a new direction. It is a personal reflection of what I know, and where I am headed. The repetition of chaotic pedals beginning to take consistent direction. You
are drawn around the curvilinear path to the structure comprised of two entwined structures symbolizing the precipices of change. In my personal story, it is the decision to resign my current path and return to school. Abandoning familiar surroundings and familiar structure. This is symbolized in the last portion of the structure where you see a geometric design comprised of perfect right angles and repetitive rectangular shapes.
The shapes are either an addition to the underlay or a subtraction. Each following a set pattern and structure predesigned, similar to the strong formatted routine we each follow. The entire piece forms and grows through progressive design to construct a textual representation of evolution.
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This Kit of Parts was designed using both the Golden Ratio and the Fibonacci sequence in mind. Using these two, I attempted to create something that centrally looked symmetrical over all, but was not. Using these two ideas, I created
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a concept by sketching first to develop an overall strategy. The Idea was to create something that came from the previous project but become more deliberate in the execution and retained more structure than
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that had underlying hierarchy. The concept for the deprevious models. This would hopeful- sign was to create something that was ly create a greater over all consistency tallest in the center and repetition, but and also directed the viewer inward. allowed for more dynamic facades
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Fourth
Iteration 18
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Fourth
Iteration Analysis Containing the highest level of craftsmanship, this iteration is a strong example of deliberate intent. This Model contains not only a hierarchy in its design, but also contains a deliberate repletion and dynamic design between all parts in the model. The use of scale between the facades and the interior play a role that repeats and speaks with one another. Here the interior and the exterior play with each other’s expressions. You also notice that this piece has complexity in its perspectives as well, giving it macro and micro intricacies.
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volution can be defined in a variety of ways, all of which are true from that given perspective. The Way I choose to define it agrees with the one of the various definitions found on Merriam-Webster.com; a process in which the whole Universe is a progression of interrelated phenomena. This is the Driving fore behind my design and my personal story of progression. We are first drawn to the center of the object. This is the primary object, as it symbolizes the precipice of current progress. You notice the staggering peaks giving the impression of a vertically growing mountain, each representing forward leaps that we as individuals take. In my person experience they represent me quitting my job to return to school, quitting smoking, reducing my spending habits, become a vegetarian, all of which have come one after another. As you continue to explore the centerpiece, you notice that there are openings from all sides and you begin to explore each one. Each one is a window into a different moment in the
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development of the decisions and steps we take, each one giving a different perspective. You watch the light and shadows, and you notice the tiers with in the structure. As you explore the center you being to catch glimpses of the structures that surround the object. Your eyes are now drawn to the secondary object, the black floor that seems shaky and is held up with wood columns. You begin to explore and you notice that it is not as unstable as it first seemed, and that there seems to be some organization to the missing tiles on the floor. This level represents one side of the past. It is the structure and orientation of our pre-conceived notions of direction or organization. It is ridged and makes us sometimes feel forced into a metaphoric box. This represents my past; here I developed my education, my deductive reasoning, and my logic. You explore the object and find that some of the cut
Story
Third
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Narrative
outs follow a pattern: 1,1, 2, 3, 5, 8, and 13. The pattern repeats in certain areas and you notice the floor itself seems to have the same pattern. You now recede back to observe the entire structure and notice that you have missed a section. You come across the tertiary structure constructed of curves and waves. This structure is much more organic and natural. This represents the natural learning that we develop outside of the normal constructs. In my life, I have learned that not everything follows order and time can sometimes become meaningless. I learned that regardless of the ridged structure of he Educational institutions or the confines of work, people will always continue to learn and grown and develop. Sometimes, it’s the only way to grow, to force yourself to mature, and to
enjoy things you’ve done before in a new fashion. I have learned to appreciate school, to appreciate days off, and to appreciate isolation and meditation. This too is a vital step to evolve, and without one or the other we cannot evolve. You finally step back and observe the entire object and you peer over the top of it and notice that the aerial view provides you with a whole new perspective. Suddenly all the pieces come together and make sense. This is the journey I have lived and the journey that I hope you have experienced while stepping into the world I’ve created.
Fifth
Iteration 23
Iteration Sixth
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Kit of Parts
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Seventh
Iteration 27
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The Brower Center
Response to Nature Analysis
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Occupies 48,000 sq. ft.
Leadership in Energy and Environmental Design (LEED) Platinum
Designed by Daniel Solomon principal of WRT-Solomon E.T.C. firm
Said to be a home for environmental action
Photovoltai panels, which double as sun shade devices Water system to collect and reuse rainwater for irrigation and toilet flushing; uses about 40% less water. Uses radiant heating and cooling within the building’s concrete structural slabs. Solar shading devices on all south-facing windows. High eficiency lighting with automatic controls to limit use when adequate daylight is available; also dual mode occupancy sensors (IR and ultrasonic) so lights shut off when not in use. Concrete created using “Slag” to significantly reduce CO2 and cement content. Operable windows and low pressure ventilation via raised floor systems to maximize indoor quality. Constructed using 53% recycled materials
To respond to sunlight and maximize use of natural light the building is designed using narrow offices (about 27-feet-deep) and oriented East to West. Also, all South and East elevations use lightselves to reflect light into the building without allowing heat gain and glare to penetrate the building. This allows for 100% daylight of all office areas.
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The curvature is also a response to the structures adjacent to it. Narrowness is a response at an attempt to create an environment illuminated by natural light. The building also uses columns created out of concrete to produce the feeling of importance
What natural responses do we find in the building that help the building blend into the environment and move people to find the building more natural to the environment around it. How are the spaces designed and the building designed to create an environment that creates natural inspiration. The end is curved to continue the natural path and breaking the hard corner of the intersection.
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