erik stratmeyer final portfolio arch 101 fall 2011
picking up where we left off...
insights:
issues:
• When constructing this model I started to view it as a monument or architectural public art - this initiated the process of designing with intent vs. intuition • I am attempting to create curvilinear visual outlines with rectilinear shapes in this design - intended to create a layered logic • For the first time I am attempting to develop a narrative for my work - “How do I create a design that invites the viewer to experience the construction not as an object but as architecture?”
• the structure is static due to perceived symmetry - perceived symmetry is still symmetry • there is not a discernible tertiary expression - the wooden fuselage is not representative of a tertiary expression • the primary and secondary elements are incongruous - both size and form • the overall design reads heavy - I need to create opportunities for light and space within the design
model iteration # 6 (cont.)
design prompt:
insights:
“A Well-Considered & Well-Crafted Thing of Beauty”
• for the first time, my design produces a spatial experience versus only occupying space - the design creates a pathway of directional cues and light to draw the view- • Construct an abstract and small-scaled artifact er in and lead them through the design that reflects qualities of a specific source of inspiration through its expressive design lan• finally, an expression of three discernible levels guage. of design language • An iterative process will be used to develop - primary, secondary and tertiary your design concepts, your design language, and the refinement of your artifact. • this is the first evidence of a cohesive design • Through the evolution of your thinking and language and refinement through my iterative making, the ambiguous will become defined; process your intentions will become clear and com- there is an obvious visual unity of the de- municative to others; messes will evolve into sign elements between this model and beauty; chaos into order; and haphazard craft model #6 into refined craft. -Professor Jerry Lum
final model iteration
design prompt: • Explore, challenge, and construct the idea of a ‘mobile’ • Respond fully to the site • Express something(s) unseen and unexpressed about the student designer. sculpture video : http://youtu.be/XqaUBZ9Ga9c *special thanks to the amazing public artist Peter Richards and professor extraordinaire Jerry Lum for their guidance, patience and support throughout this amazing journey...
kinetic wind sculpture
insights:
issues:
• this was my initial experiment to represent the external self of the sculpture’s composition - playful and dynamic • I used varied forms to experiment with shadows - the purple square (main picture, middle row/far right) created an amazing, dynamic shadow pattern when an object passed in front of it’s direct light • the movement of the tags were aided by the addition of an individual axle attached to each tag • the inspiration for this kinetic study was from the beautiful designs of Bay Area public artist Ned Kahn
• as a standalone design it reads uninteresting - it needs to be an element within my design to be compelling • the choice of colors does not convey the possibilities for elegance within the design - a critique from classmates said it was remi- niscent of “Romper Room” • the materials used for the tags (paper paint swatches) will not withstand the forces of nature - deteriorate with rain - fade with the sunlight • the use of staples to attach the tags to the axle needs to be refined
kinetic study #1
insights:
issues:
• I developed the composition through gestural studies and trace - orthogonal shapes are representative of logic - the radiating horizontal elements of the armature signify the chaotic order found at times in the internal self • the choice of the triangular form of the armature was for structural stability • the placement of the pendulum blocks created perpendicular swing paths - creates the possibility for collision of swing paths (symbolic of internal con- flicts)
• the movement of the pendulums sails is restricted - friction due to lack of an axle in the wood blocks - the placement of the axle is too high above the balance point • the pendulum blocks need more surface area (sails) to catch the wind • the pendulum rods need weight to create a pendulum’s elegant swing • visually the composition reads heavy - the viewers line of sight is obstructed by the pendulum blocks
kinetic study #2
insights:
issues:
• the composition was opened up by cutting holes in the pendulum blocks - unblocked views through out the struc- ture • the addition of sails increases the opportunity for the pendulums sails to catch wind • a metal axle was inserted into the orthogonal box to decrease the friction between the armature and pendulums’ sails • the axle position was lowered closer to the balance point of the pendulums’ sails • weights were added to the pendulums’ rods creating the opportunity for increased swing
• the surface area of the sails are still not enough to move the pendulum sails in a compelling manner • the number of pendulum sails on the armature needs to be edited - the composition reads too chaotic • the swing paths of the pendulum sails are limited by the composition of the armature • the weight of the pendulum sail becomes unbalanced with the attachment of the sail to only one side of the pendulum
kinetic study #3
insights:
issues:
• the surface area of the sails was dramatically increased - a light breeze moves the pendulum sails • the position of the axle was lowered to just above the balance point of the pendulum frames - increased swing • the number of pendulum sails was edited to create a less crowded composition and increased swing paths • the shadows created by this model add a beautiful element to the design
• the increased sail size blocks compositional views - investigate use of transparent/translucent material for sails • the placement of the pendulum sail’s axle needs to be on the balance point or slightly above for maximum movement • even with the restructuring of the armature the swing patterns of the pendulum sails is still limited • the pendulum sails’ weights need to be adjustable to tune the frequency of the swing
kinetic study #4
insights:
issues:
• with moderate to high winds the metal tags • in this study I revise and refine the issues get disorganized and hung-up on the welded found in kinetic study #1 - the tags will withstand the forces of nature metal fabric - the use of hog rings for the connection - a stop needs to be engineered to keep the allow for a full range of motion tags in place - applied repetitiously the expression is re- fined and elegant • attaching the tags is time consuming and imprecise with available tools • the orthogonal metal tags are cohesive with - to save time I need to purchase a set of hog the final sculpture’s design language ring pliers • the reflective qualities of the aluminum create • a connection for the attachment of the welded a compelling visual effect metal fabric to the armature needs to be engi neered on site • a delicate sound is created when the tags come into contact with the welded metal fabric
kinetic study #5
insights:
issues:
• SketchUp was invaluable in helping me work- • SketchUp is time consuming. You can become completely consumed in the process and deout and determine the final design of the armature and pendulum sails tails • I discovered the orthogonal shapes of the sec- • I am a bit reserved in my use of gestural drawondary elements and the arcing curvilinear ings and trace due to my lack of confidence in my ability to draw forms found on the final sculpture through gestural drawings • SketchUp does not have the ability to demon• Developing a design tool arsenal is an integral strate movement/motion in your designs aspect of successful design
design tools
insights:
issues:
• I can not stress enough the importance of working on site - over half of my design was finalized on site • I spent over 100 hours working on site, initially I thought I would do the majority of the construction at home - completely unrealistic expectation • familiarity with the site provided countless opportunities to create a conversation between my design and the site • issues that I encountered moving from prototyping to full scale construction created opportunities for design refinement • I love creating and working with my hands
• the use of multiple trade materials (plumbing, electrical, carpentry) made connections between material types complicated - each connection required a material spe cific solution • the most frustrating aspect of the build was making the armature plumb • full scale construction was incredibly difficult with only one set of hands • each day of the build provided more opportunities for design refinement, no matter how much I achieved before deadline, the design would never be finished *note: these issues were incredibly rewarding
the build
commentary:
design notes:
• primary structure visually directs the viewer to • the site receives beautiful afternoon lightand the middle of the tree and toward the school spotlight from the campus lights at night - representative new beginnings - something magical about the transforma- tion from day to night • wind is symbolic of the uncontrollable forces that comprise the human experience • the sculpture is hidden in the shadow of the - can be smooth and cooperative or harsh tree until the afternoon awakens the site and contrary • the site is exposed to exceptional winds • the ledge behind the sculpture is symbolic of - one of the most exposed sites available the past - at times precarious • the scale of the site is large - dramatic effect of the hill, tree and skyline
the site
commentary:
• front view / participants visual perspective is asymmetrical - can be construed as illogical and at times enigmatic without a deep and calculating examination - others’ perception of my logic • top view is ordered and symmetrical -radiating linear elements intersect in the center of the primary structure -when looking down from above , the com- position is ordered and logical • the structural posts transform from rectilinear to arcing curvilinear expressions reaching for and fusing with the tree - symbolic of a new life and goals
design notes: • as the curvilinear elements approach the tree they decrease in scale to demonstrate an acknowledgement of the tree and the connection • the yolk were crafted from wood to honor the connection of the metal armature and living tree • the rocks at the base of the vertical post celebrate the transition from earth to sculpture • hierarchal structure of the armature - main support 1”, vertical support 3/4”, 1/2” horizontal support)
primary structure
commentary:
design notes:
• the pendulum sails are symbolic of the layered • the orthogonal shapes of the pendulum sails express logic and order logic of my internal life (intellectual, spiritual, - the boxes were constructed so the emotional) viewer can see through the entire composi- - placement on three varied levels of the armature tion without the line of sight being blocked - “picture frames” for the sculptural ele- - three distinct scales of pendulum sails ments and the environment • the path of the pendulum swings are perpendicular to each other, the motion can be or• the plastic sails were chosen due to their translucent and reflective qualities derly and elegant or interrupted and colliding - reflection of the environment or viewer dependent on the wind can be seen in the sails - the sails are beautiful when illuminated • the placement on the armature exhibits a logical balance but the composition can be conby the sun strued as chaotic • the weights on the pendulum can be easily adjusted to calibrate the frequency of the swing
secondary elements
commentary:
design notes:
• symbolic of characteristics of my external life, • the orthogonal metallic tags and stainless steel metal fabric were chosen to keep a cohesive a representation of my inclination to move in a design language with the secondary elements multitude of directions on a whim - capricious, impulsive actions (negative) • the metallic tags shimmer and create a beauti - dynamic, playful aspects (positive) ful chatter in the wind, drawing attention to the sculpture representative of the desire of • compositionally these read as energetic spurts the external self to be acknowledged emanating in varied directional paths from the more logical and ordered internal framework • the metal fabric was formed in curvilinear planes to exhibit the dynamic nature of the • as these elements approach the tree along the tertiary expression arcing primary path, the expression diminishes in scale, symbolic of my willingness to change the past to achieve future goals
tertiary expression