Final portfolio Carlos Ramirez Esquivel
Shaping wonder Arch 101 Fall Semester 2013
Content
Project Overview 5 Site analysis 6 Research 10 First Iteration 12 Second Iteration 13 Third Iteration 14 Fourth Iteration 18 Fifth Iteration 20 Sixth Iteration 26
30 A Void In Cliche 34 Group Designs 38 Week Fourteen 40 Week Fifteen 42 Week Sixteen 44 Week Seventeen 52 Presentation 56 Closing Statements 57 Special Thanks
The landscape is a kind of text, a constructed ground of signification that inevitably speaks of the culture and the natural forces that made it. Specifically we tracked the ways in which landscape is formed through the natural forces of light, wind, and habitation... Tracking is a means of making a construction within a natural landscape in such a way that it actively engages that landscape. ––Victoria Meyers, principal at Hanrahan + Meyers
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Objective Create an environmental design, based on Sectioning, Tensioning,
Tessellating, or Folding, on the “Town� site that uniquely responds to the context of a chosen spot and reflect the narratives of the human condition through a spacial journey. an entrance that beckons the observer to Enter. Form pathways that intersect to create a journey that ties the entire structure together. Explore the use of path and Nodes to create accidental encounters and, vise versa, a place for quite individual reflection. These nodes can imbue Fleeting beauty, intimate catharsis of the ephemeral, the unexpected experience of contradiction or contrast, and the unfamiliarity of alluring intrigue that picks at your curiosity. Use the expected and the unexpected to design an installation that intentionally frames chosen views that turn the mundane into extraordinary. Lastly, design a non-permanent structure using high recyclability as an end result, leaving no footprint on the chosen site. Carlos Alberto Ramirez Esquivel 5
Site Analysis City College of San Francisco, Coordinates: 37.7257 째 N, 122.4502 째 W
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began by first analyzing where the
campus sat relative to the stellar body that is planet Earth and worked our way down toward specific site locations. This helps identify what general global climate would be like due to time of year and location relative to the Equator. The climate would begin to drop as we transitioned from Fall into Winter.
T
.... hen I moved down to an investigation into the region, identifying the types of weather that could be forecasted, in anticipation of the presentation date. A report published by City college of San Francisco in 2004, http://www.ccsf.edu/ MP/Docs/045AirQuality_DEIR.pdf, examining Air Quality for the area resulted in climate information, such as graphs that forecasted rain, sunlight, and wind directions.
Started From the Top...... T
his helped conclude that the weather would provide an alternative wind direction, i.e. while City College of San Francisco typically experiences westerly wind, during the months of November and December, the direction changes and redirects the wind from the south. This information also helped identify the types of precipitation that could be expected and designed for. This would also help assess which locations would be better suited for fending off the weather naturally.
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possible building locations
Moving into the relm of what is the “town� three locations were selected and further analyzed. Here we analyzed the amount of light, shelter, and existing support structures, among other variables. 8 Final Portfolio: Shaping Wonder
First Possibility -Dark Corner Receives little to no light -Has over hang above for support structure -Isn’t visible from inside classrooms or down corridor -Has little to no view extending beyond the building and campus other than up
Second Possibility -Has 3/4 inch bolt threading already built in. -Receives the most amount of light. -Has no overhang to protect from rain. -Has view past the soccer field. -Face sculpture can be pro or con
Third Possibility
-Receives the most amount of traffic -Doesn’t get as much light -Will get more wind as December approaches -Has the greatest views extending beyond the soccer field -Has the greatest amount of over hang -is highly visible from inside of classrooms
Decided to go with Option Three for its dynamic qualities Carlos Alberto Ramirez Esquivel 9
Research This portion of the project was on going. Research for this program also consisted of information gathered from multiple group members and became a collaborative compendium. While research for the project was done before and during the construction, it was not taken into consideration during the design process, as we did not want to limit our design to what was and what wasn’t plausible. This allowed for a freedom in creativity that was uninhibited. The beginning of the research was individually done, as we each attempted to gather a base of information from which to grow. Personally, this included trips to Home Depot and other hardware stores. Also, researching possible means to transport materials and tools. While the beginning research was less hands on, further research down the line lead to discovering intersections and connecting methods including para-cord and screws.
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Items Researched and Some Findings Material Options Structural Approaches -Tessellating Rasmus Svingel: Model a’La Experiment -Tensioning Specialty Fabrics -Sectioning Dunescape by SHoP Architects -Folding Research Pavillion by Students at University of Stuttgat
These are only one of the many
Connection Options
-Turn Buckles -Screws -Nails (so long as they are removed) -Hinges -Hook & Eye -Bolts(3/4’’ for wall insets)/ Washers/Nuts -PVC Connections -Grommets -Rope -Custom connections
-Wood -Wire -PVC Pipes -Canvas -Tarps -Fabric -Steel Pipes -Netting -Rope -Mylar -Paint (eco-friendly)
Tools Needed
-Sewing Machine -Drill & Bits -Saws(Jiggs, Circular, Table, etc) -Levels -Hammer/Mallets -Tape Measure -goggles -Gloves -Wrenches -Vises -Clamps -Pipe Cutter & Bender
Resources
-Youtube -Urban Ore -Building Resources -Piedmont Fabric -Fabric Discounters -Ace Hardware -Craigslist.org -Tool Library -San Francisco Main -Berkeley Main -Home Depot -Lowes -Scraps SF -Cole Hardware -Dollar Store -Tap Plastics -Recology -Soko Hardware -City Clean, SF -Discount builders -Osh -Zip Car -U-Haul -Plumbers Supply
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Inspiration
I was initial inspired by the Research Pavilion created by the Students at the University of Stuttgat, where they created a space by tessellating similar shapes over and over to create space.
Analysis of First Iteration The first iteration was very basic. It was an exploration into the use of repetition to create something 3-dimensional. I began by selecting a basic shape; in this case i used the triangle, and started to create identical pieces. I wanted to see what shapes would come out and play with the angles to see if there were opportunities I could explore. Then I also tried adding paper as Representation for tensioning. Evaluating the success of this project I was able to see that the added paper was completely disconnected from the tessellating structure, this lead me to drop the paper. I also discovered that the angles for connecting the triangles could very so long as you had more than three. The structure unfortunately did not encapsulate enough area to create a space. It also lacked a certain entrance from which to approach or a journey one could follow.
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Second
Iteration I wanted to open up the structure and allow for the tessellation to create a space by contorting and repeating directions. There was no initial direction to the structure so that you could place the object in any of 6 sides and get a new structure. Unfortunately, only two sides would actually hold the structure up without help, and only one was structured enough to create a space and journey.
Analysis of second Iteration The turning and contortion of the structure added higher levels of dynamic perspectives. This also created a general direction in which to take the tessellation, which could be expanded upon further. Unfortunatelly this project, Still, did not create well difined space. It also failed to have a hierarchy in shape and size and the structure. The use of two similar entrances did not create direction for the journey, and a more defined entrance would make the structure guiding.
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third
Iteration
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Kit of Parts
Narrative: Canopies
The idea is to respond to the combination of both the natural tree and the artificial structure around it by extending the natural branches of the tree to create a responsive structure. The structure uses a hierarchy base on Le Corbusier’s Le Modular, but instead of using a 6 ft. man I use a 5 ½ ft man (All measurements have been adjusted accordingly, i.e. naval height and man with upwardly extended arm). Using the ratios in repletion the structure grows vertically similarly to that of the tree’s natural vertical stretch over time. Tensioning the Tessellating triangular shapes to cover the opening, which allow me to create
artificial canopies and protect residents from potential rain that are typical of the exhibition date. Also due to the lack of sun during that time in the year, the canopies created by tensioning must be semi-translucent to allow for high degrees of light to penetrate and illuminate the interior space. The space created must therefore draw the inhabitant into the dwelling area and allow him to experience a space that is similar to that of the wide openness of the courtyard, but intimate like that of the classroom. This space is therefore an intermediate between the two. To distinguish this space from the other two, a door way must be created, similar to the doors that lead someone into and out of the building. The structure has a low entrance that disconnect you using high tension areas, and similar to the experience after crossing the doorway to the courtyard, this entrances is immediately followed by a relief, allowing you to relax and re-experience the space you thought u knew. This is the first area that you Carlos Alberto Ramirez Esquivel 15
experience where openings in the walls give you a clear view of the tree and you feel as if you are entering the truck of what might be a giant pine. As you continue forward you enter the center of the structure, which is an area that allows for group interaction and allows for random collisions to occur. This epicenter also has a mass window that frames the classrooms and allows inhabitants to reconnect with the world inside the building. The opening is large and the back of the structure is small to create a feeling of larger than life similar to being in an open spaced courtyard. The opening facing the classroom allows the view to remain connected with the intimate world of the inner building activities. This is a reflection of the intimate world of the trees natural canopies. The last and final area is that of the upper platform that moves the viewer from the center to the exterior by elevating the viewer to a higher platform. This is another aspect of the canopies that allow animals to perch and view great distances or take in light. Here we follow a series tessellating steps that wind their way up in what seems like a chaotic path but is actually similar to the path of the growth of trees. From here you are able to see clearly where you are and what lies around you, as if climbing to the highest branch on a tree.
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Analysis of Third Iteration Jagged edges create interesting spaces, but an excess of them make the structure appear too chaotic, even if there is actual order. Using larger pieces on the upper level of the structure can give a monumental feeling and can also be used to give a sense of security. Adding a floor to the design make the structure seem more like a pod rather than a structure. It almost becomes the inside of perhaps a boat or ship. Leaving openings for the tree to penetrate brings the “out� into the interior.
Things to think about.... How to transition the different areas so that they appear more natural. If I am tryng to get the tessellation to come accross as if it were falling apart and turning into frame work that would become sectioning and repetition, how can the transition be made obvious. Natural Order vs. Synthetic order Why we connect with one another and how
Path Analysis Although I ultimately decided not to go in the direction of the final path, I did gain a deeper understanding of how people would interact should I decide to give my structure two opennings versus one. This work more as a tangent to the direction I wanted to head
Before beginning the next iteration, I wanted to figure out which paths I wanted my inhabitants to experience, and how many nodes they had. I wanted to divide the space so that the qualification for the project were met.
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Fourth
Iteration
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This was thrown together to create something that was more sponta-
neous and less dictated by structure, unlike previous models. I gave myself about 30 minutes to an hour to construct something that would stay in line with what I had created in the past but lost the order and structure that was narrowing my field of vision. What I liked about this model is that it brought to light aspects , like a staircase that is unusable, that in the others were so literal. It also seemed to have more playfulness to the triangles, an the variation in the sizes created a hierarchy that is visually enjoyable to observe. The chaos and random-ness of this structure is too unruly distracting from some of the success. The rhythm of the structure is all over the place and as such is hard to follow. There is no consistant language that is repeated to create a base line for the model.
Things to think about....
Analysis of Fourth Iteration
Try to keep the spontinuity in the design that makes the project successful while creating order in the chaos that undermines the intent. What would happen if we were to make this to a set scale How can you add a clear language How would this project look if you tried to add translucent skin rather then solid walls. Carlos Alberto Ramirez Esquivel 19
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Fifth
Iteration
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Analysis of Fifth Iteration THis is the most successful model created at this point. It contains visible tectonic language that can be observed and followed. THere is also a Hierarchy in shapes that begin as regulated triangles well defined and then break up as they tessellate upward onto the roof structure, which becomes semi-translucent. There is also spontinuity that the previous model had, which it retained, and also brought the scale down to a size that was more consistant with the 1/4 ‘‘ scale. THere is also internal complexity in the center column that holds the structure together. . The semi-translucent roof also adds complexity in the external light that enters the structure. While this model has many positive qualities, there is room for improvement in the use of internal space and creating a more visible entrance. Also, a connection with the cantopies that it
Things to think about.... Think about creating a consistent language with the roof pieces and perhaps having shapes that are identical to create more emphasis on the contrast between the walls and the roof. Is there a way to add a clear defined hierarcy in the use of different materials. How can you make the model project the word Canopie further?
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Inspiration
Credit for the images goes to the following websites: http://specialtyfabricsreview.com/repository/1/7520/large_0610_mk_2.jpg http://i.images.cdn.fotopedia.com/flickr-2427054901-hd/Great_Architects_of_the_ World/by_architectural_movements/High-Tech_Architecture/Madrid_canopy.jpg http://changeobserver.designobserver.com/media/images/Medillin_1.jpg http://www.detail-online.com/daily/wp-content/uploads/2012/10/01-distant-canopy.jpg http://www.soil-net.com/album/Plants/Woods_Forest/Deciduous%20woodland/slides/ Tree%20canopy.jpg http://us.123rf.com/400wm/400/400/georgeburba/georgeburba0906/georgeburba090600012/4965792-beautiful-kalapana-road-with-tree-canopy-and-bikers.jpg http://topnews.in/usa/files/Green-Canopy-Leaves.JPG http://static.panoramio.com/photos/large/21269164.jpg http://i276.photobucket.com/albums/kk20/lokilady/Panama%202010/PANAMAAPR2010084. jpg
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As we continue to move forward and look for inspiration in natu created by trees visually create t ing to instilin my project. I also tects which help me reflect on m dens of Medellin, Columbia also which helped re-energize my desi
d with the design, I move back ure. The natural canopie that are the randomized order I am lookexplore work by other archimy own work. The botanical Garecho a larger scale of my ideas, ign process.
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Sixth
Iteration
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Narrative: Canopies Re-experienced You are drawn to this capsule extruding from the side of the building. It seems almost natural in portions of the exterior, and yet at the same time, it seems to be a piece of the building to which it lays juxtaposed. You search for an entrance and find yourself on the East side of the structure entering a barely tall enough entrance. The entrance comprised of in-organic tessellating triangles open like a crevasse in a canyon allowing you to wiggle your way through. As you enter you see the repetition break and a relief of vertical height gives you room to breath; you have experience your first conversation with the structure and are drawn further in as you peer through the internal mayhem and your curiosity emerges. You look around and find the entire structure of cozy human proportions, and on your right you notice that you are not the only one inside the structure. The tree adjacent to the structure has also extended its branches in and is joining you, almost as if the building came from the tree. Here you walk and notice the ridged structure of the tessellation fold and transform into its elements. It begins to breakdown into sections of wood that begin to climb upward. You follow, as you are lead down a splitting path that rejoins itself. Further in, you are perplexed. What you thought was an ending wall is actually a continuation of the structure leading you to a level of isolation. Here you are able to relax and enjoy the structure on you own. Now you see the roof form and create the structure, and you realize, you are standing on a level of this Canopy. Carlos Alberto Ramirez Esquivel 27
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Analysis of Sixth Iteration This model displays a higher quality of manufacturing and a greater level of detail. There is an attempt at using wood and integrating it with the existing white board and tracing paper from the previous model. The roof structure looks more like the natural canopy of a tree. The structure also looks in-organic in its base which creates the connection between the building and nature. Here you see more diversity in tectonic language. Unfortunately, the over organization and use of a third material underminded the spontaneous flow of the previous model. There is also less dynamic qualities with the walls of the structure because the angle of the structure is now into itself versus previously they were pointed outward. Also the entrance has became so close to human scale that it is beginning to disapear all together.
Things to think about.... Try taking a look back at all the models and see if you can brake away from the small jumps and take greater risks. Does a tranquility node need to be completely cut off from people in order to experience an intimate personal moment of reflection?
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A Void in Cliche
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And then there were Six... Carlos Alberto Ramirez Esquivel 31
Group Roles
Project Manager: Co-Design Director Co-Design Director Bookkeeper Site Coordinator Photographer
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Carlos Esquivel Rue Critchfield Tiare Schiller Betty Carbajal Brett Stone Siamak Saadati
WE began by deciding the roles we each would play. This lead us to create a templet for us to follow and would allow all of us to have an Idea of when and where we would meet. This would also work as a tool to keeps us in line. Along with this, we also created a google group that we would use to send each other information and contact each other. A budget was also created to keep us from spending pointlessly. From here all we needed was a design to stand behind, and we’d be off......Or so we thought.
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Group Design Deciding on the site between the building and the bush;WE all began with parts, and started putting them together.....Ultimately it was rue, with the help of tiare, who designed the initial model we would use as a base. We would all make alterations and eventually during the construction would change features due to stability issues. The design process would take us working late sunday nights at Rue’s Home.
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Design and build researched connections
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While we did our best to model and create everyconnect we thought we would use, we couldn’t anticipate the difficulty in not using brackets. Most of the connections arose out of a need to solve an obsticle. For instance, instead of creating a bracket using a nut and bolt, we would drill a hole and use rope. OUr reasoning for using only rope and screws was for simplicity reasoning, and also it allowed for a consistancy with our idea of recyclability. While in theory this seemed all good and well, during construction we ended find it to be much more difficult, considering that we decided to go with the cheapest wood we could find. Luckily, we didn’t break most of the connections. As a matter of fact, we broke less than a handful of actual connections AND pieces of wood. The simplicy of the connections also reflected our desire to blend the compressive and the elastic forces for structure, and worked as a metaphore for our project,; our project being one that combines the wold of the organic and in-organic, the inside and the outside. The unconventional connection thus became the embodyment of the natural world around us that naturally finds a way to survive, no matter how unconventional. Some of these connections we had previously researched, and even gained ideas from our instructor about possible solutions. Sometimes, we had so many, we just had to try them to find out which would work and which wouldn’t.
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Week fourteen Ready to build and take off running
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We had everything at this point, we were ready to build. So we started talking about what we were going to do First.......
and then we we Talked some more... And Talked some more... And Talked some more...
and built a little......
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Week fifteen well....we drew with chalk
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But there was still talking...luckily, there was also work
...though it was slow, it was progress so we were happy
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Week Sixteen NO MORE TALKING ALLOWED
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And it really picked up and we began to face construction issues, such as having to work after hours, in the dark, in the cold, and even in the rain! we looked to each other for solutions, and most work was productive. WE also re-vised the structure to an evolved version of our model that would hold the weight and would also echo the initial design without losing value. The connections we created to solve issues started to look more and more like actual joints done by professionals. Carlos Alberto Ramirez Esquivel 43
Week Seventeen LAST PUSH!
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The last week was the most challenging weeks. This is where tensions were running high. Group decisions became essential, and we worked until 1 am the night before our presentation. At some point in every project, you have to say it is finish dispite your wanting to perfect it. With the night complete we found ourselves exhausted and ready to sleep....as the night drew to an end for the building, there was still the poster for the presentation. The last push would have us working through the night, but some how we got through it all...
and then we had this.... Carlos Alberto Ramirez Esquivel 45
Project Narrative: The design for this project is based on the abstract forms extracted fr and the juxtaposed natural world of the organic tree. It is a repetitive asymmetrical spa using Fibonacci proportions, which are derived from the nature, and is design to guide
the ideas of the class room where you find rectilinear shapes that define the space, and linear shapes, but both becoming blended with contrary ideas to exists as the in betwee
rom the interpretation of the Brutalist inorganic forms of the mechanical classroom ace that frames the viewer into an implied interim of both the inside and the outside e the inhabitants to either group or isolate. The ideas of the grouping area are similar to
in contrast the isolated space follows the guides found in the natural world of curvien space. A hierarchy in space also directs the audience to experience the space as
designed by the group. The entrance is designed homogenously to force the viewer to b a sacred arena. This high-tension entrance is immediately relieved upon entering by ve rithm of the floor keeps the journey moving. Here you are able to peer into the classroo
ing each other, the vertically growing tessellation accents the sectioning on the floor an plexity.
bow; a metaphor reflecting the spirituality found in nature transforming the space into ertically extending the roof to the maximum height of the overhang. And the algoom next to the design to mimic the space of a gathering or living room. Complement-
nd journey the viewer forward to discover the intricate design filled with spacial com-
Presentation
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Judge’s Assesment While we had a late start and my introduction was a little nerve wreacking, the judges, and the audience, were kept enticed by our presentation. There were some areas of improvement in our poster, such as; we could have shown greater progression though our images, yet it was 54 Final Portfolio: Shaping Wonder
still well presented. We had great dialogue with each and gave the audience the experience of looking into our fish bowl while we discussed our creation casually, or so it seemed. The occasional humor left the audience open, while we sneeked in our intent. This allowed our audience to unknowingly begin to ponder our design, shaping their wonder.... Carlos Alberto Ramirez Esquivel 55
Concluding Statements This project has pushed each and every one of us to the point of breaking, and yet it is a testament to what we are able to accomplish if we put our minds together and work hard. This has been a highly rewarding semester for me personally and it has shown me where I am able to succeed despite lack of knowledge; it has shown me to trust my instincts and to not allow my success to depend on any one variable. The long hours and the hard work pay off. It has shown me that even being in good standings and attaining decent grades is not enough. I look back at the students that went before me and I see where I have to go. I push myself to exceed them, and strive to attain the unattainable. I also look at the ones yet to come, and I give these words of wisdom. Do not wait, do not halt, and do not ponder for too long. Success, like time, is fleeting and does not wait for anyone. If you are as talented as you believe yourself to be, then push yourself to be better. I have learned that as good as I thought I was, I only truly knew my caliber and worth until I put my will to the test. Adversity makes you stronger, and cons are always pros before determination molds them.
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special thanks to all of those who stayed late every day,worked in the rain, in the cold, and the dark, without complaining or allowing it to stop you. Special thanks to Siamak for chronologically photographing. This wouldn’t have been possible without you, being as how 90 percent of the images used come from him, along with the sketch up model of the court yard.
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