erik stratmeyer
Architecture 101 Midterm Learning Portfolio Fall 2011
inspiration...
When Professor Lum introduced this semester’s theme, I silently scoffed. Inspiration? You have to be kidding me. This initial reaction does not surprise me. I graduated with a B.S. in Biology in 2001 and never thought I would see the inside of classroom again. I have been bouncing around the coasts for ten years now with little direction. Since graduation I have worked in labs and restaurants, framed houses and sold my soul to the mortgage industry. My motto was, “I work to live, not live to work.� I found no lasting inspiration in these pursuits. My notion of inspiration was lost along the way. Maybe I am a victim of the times, but more likely just a victim of self. My initial reaction to the project was rooted in fear. I am thirty-six and all my friends and family have found their passion, I was alone on a seemingly endless quest. After about two days of contemplation, I finally chose surfing as my inspiration. Surfing is something that I have intermittently pursued throughout my adult life, it is my principal hobby, and has provided countless exceptional memories. Nothing came closer to inspiration than surfing. Surfing has provided me with a respite from the daily grind. There is nothing more relaxing than floating atop a surfboard, far from shore, waiting for your next 10-sec adrenaline rush. Time seems to stop, problems fade away and the only worry is that sometime this feeling has to end. I have traveled to seven different countries to surf, and those were some of the most memorable trips of my life. The rustic beauty of the environment and culture of these third-world surf destinations is something everyone should experience. I have amassed friends on both coasts and a few internationally through surfing. It is amazing how friends can silently (hopefully) share such a monumental experience. Friends also provide entertainment on those long drives looking for waves. Surfing is physically challenging, try paddling out at Ocean beach when it is double over-head. Surfing is mentally challenging, try paddling non-stop for 15 minutes and being closer to shore than when you started. Surfing is emotionally challenging, try paddling out on a summer weekend in Santa Cruz. These trials make those fleeting seconds pure bliss. As I delved further into my experience of surfing I came to realize that surfing was far more than just gracefully sliding down the face of a wave. It was an adventure. It has probably saved my life at times, as well as almost taken it more than a few. It became apparent that surfing is an extension of life. By that logic, inspiration can be found everywhere.
Intent:
Issues:
Insights:
• Discover the value of inspiration.
• The secondary groups are unevenly distributed along the internal red outline.
• Specificity is the cornerstone of the creative process. It allowed me to clarify my intent and express the value of my inspiration.
• Communicate the significant aspects and characteristics of surfing through the use of language, illustration and photographs. • Establish an organizational hierarchy of the elements of my inspiration through varied shapes, line weights, fonts, and grouping strategies.
• The penmanship of the tertiary characteristics is careless at times. • The use of a surfboard template for the primary structure is predictable.
icebreaker
• Developing a hierarchical organizational strategy, I discovered numerous shared qualities and characteristics of each aspect of my surfing experience. • By questioning and delving philosophically deeper into my experience of surfing, I realized that is surfing is much more than a hobby.
Intent:
Issues:
Insights:
• Express the intrinsic elements of movement and flow experienced through surfing in a small-scale abstract artifact.
• The model consists of a primary structure and a singular visual path. It lacks the complexity of a compelling design. Creating multiple visual paths and/or adding a secondary structure interupts the predictability.
• The use of repetition and displacement in design is important in setting up the logic of a design. Methodically expressing repetition results in the perception of rhythm and movement.
• Although the artifact is abstract, the literal interpretation of a wave strays from the original intent to convey the multifaceted experience of surfing. I need to express the emotions and visceral experience of surfing.
• Attaching the wooden discs vertically at oblique angles (versus horizontally stacking) created a more dynamic composition. This construction method allowed for space between the components and created visual tension.
• Not only express the physical characteristics of surfing in my design, but convey the ebb and flow of the tides, cyclical seasonal changes, the evolution of skills and personal relationships, and the “time machine” effect of surf travel. • Construct an organic curvilinear composition that communicates motion via experimentation with the design techniques of repetition, displacement and curvilinear forms.
• The base of the model is not thoroughly integrated into the design. The transition between base and design is incongruent. The model could have been constructed without a base.
• It was suggested that in my early iterations I should use less expensive materials (e.g. chip board, foam core). This will promote experimentation in my designs. The time will come when my designs are more refined and multiple materials will be essential executing my vision.
model iteration # 1
Intent:
Issues:
Insights:
• Communicate the continuous ebb and flow of ocean tides via the repetition of three wave forms, of varied scale, moving along a curvilinear path.
• The technique of repetition is not executed properly in this iteration. The cyclical flux of tides is not discernible. There are insufficient repeating elements to communicate motion.
• When utilizing repetition and rotation in design, sufficient expression of these techniques is essential in establishing the logic of the design.
• Integrate repetition, rotation and abstract curvilinear forms. • Experiment with new construction materials to promote creative play.
• The proximal relationships of the wave forms are disproportionately protracted relative to the scale of the model. The expression of repetition and rotation will be more effective if the space between the components is compressed. • The lack of substantial framework and poor choice of adhesives (superglue cauterizes foam) resulted in a fragile and unsophisticated structure.
• It is visually confusing when the proximal relationship of components are not proportional to the scale of the composition. • My creative process needs to be refined. My designs lack sophistication. I need to investigate the use of multiple groups (i.e. primary, secondary, tertiary elements), structural relationships, and multiple visual paths.
model iteration # 2
Intent:
Issues:
Insights:
• Conceptualize the sensation of the graceful motion experienced when surfing.
• The contrast of the voluminous primary structure and the delicate radiating linear elements is disproportionate. Balancing the spatial relationship of the primary and secondary elements is a possible solution.
• In class we discussed the technique of physically acting out the characteristics we want to express. This was a creative breakthrough for me. The technique helped clarify my intent.
• The primary structure visually reads heavy. Increasing the intervals of space between the graduated planes and creating a tunnel through the primary structure addresses the density issue.
• The incorporation of multiple axes gave the design diverse visual paths. The perceived motion (achieved through repetition, multi-axis rotation and displacement) of the primary structure is echoed by the curvilinear visual path created by the outline of the radiating linear elements
• Refine my design language by drawing on the successful use of repetition and displacement in the first iteration. Incorporate a secondary structure and radial array to dramatically increase the level of complexity. • Revisit the level of craft established in my first iteration. The results of my last model left me disconcerted.
• The use of a singular material seems to diminish the sophistication of the design. Applying a different material for the radiating linear elements is a resolution.
• The successful realization of these design techniques increases the sophistication of this design. This was my most successful iteration to date.
model iteration # 3
Intent:
Issues:
Insights:
• Design a structure that captures the successful features of the third iteration (protruding linear structures, curvilinear paths, repetition and multiple structural elements.
• This model is way too big! There is nothing small-scale about this artifact. I need to be cognizant of the size and limitations of the materials.
• Address the lack of sophistication of the 3rd iteration by increasing the number of materials used and developing a framework that does not rely on adhesives for structural support.
• The use of Fibonacci numbers/sequence is not identifiable in the design. The intentional pattern is not realized. More expressions of Fibonacci numbers might unify the intended logic.
• The emergence of a rudimentary tectonic framework is a pivotal development. Framing is absent in all previous iterations. I intend to explore and refine the fundamental elements of this framework.
• Develop a recognizable pattern through the use of Fibonacci numbers. The dimensions of the skin plane, linear structural elements and spatial intervals match the Fibonacci numbers and sequence.
• Visually, it is difficult to read the vertical progression of my designs. Using specific elements of previous compositions and incorporating those into the current design will resolve this dilemma.
• The evolution of more refined connection methods are applied in this model. This is the first iteration where glue is not used. • The curvilinear forms created at the top of the model are visually compelling, but they read more sculptural than architectural.
model iteration # 4
Intent:
Issues:
Insights:
• Revisit the techniques of rotation and displacement successfully executed in past iterations.
• I neglected to incorporate framing in my design.
• I feel that I have hit another creative block. My designs are not progressing. Something needs to change in my process. Serious consideration of intent needs to occur during the planning stages of my designs.
• Juxtapose the static perception of orthogonal shapes with a curvilinear visual path. • Scale down the size of the model.
• The singular path of the of the orthogonal elements is predictable. Adding secondary/tertiary elements will generate layers of visual paths and complexity. • Due to the lack of framework, I used adhesives to construct the model. I need incorporate the use of mechanical attachments.
• The goal of increasing the sophistication of each successive iteration is not addressed. My designs can not move forward without the use of framework and skin. • The lack of multiple elements and a singular visual path needs to be addressed in the future. Predictability within my designs is problematic.
model iteration # 5
Intent:
Issues:
Insights:
• Create a visually compelling, sophisiticated, tectonically constructed model that integrates the use of framework, skin and repetitive elements from previous iterations.
• The overall composition is somewhat symmetrical. This can be improved by asymmetrically layering scaled versions of the framework and skin, off the primary structure.
• This iteration was a pivotal milestone in my design process. It conveys a hint of elegance. The introduction of hierarchical elements in my construction is vital in developing more sophistication in my designs.
• The use of wire to attach the skin to the framework requires refinement. This can be accomplished by developing a mechanical component that receives the wire.
• The perceived tearing of the primary structure interrupted the predictable logic found in all previous iterations. The penetration of the secondary structure through the primary framework proved compelling as did the contrast of concave/convex relationship of the primary and secondary structures. These effects and techniques will be incorporated into my design repertoire.
• Develop hierarchical visual paths that breakthe pattern of predictable logic found in previous models. • Investigate the possibility of constructing without adhesives and the introduction of mechanical connections in my design language.
• Although the base is integrated into the design, it is disproportionately large relative to the scale of the composition. Reducing the size of the base will increase the cohesion with the structure.
• The integration of the distorted orthogonal shapes found in the framework of this iteration were adapted from shapes and forms found in my two previous iterations. This iteration is the first appearance of a graduated evolution in my designs.
model iteration # 6
Intent:
Issues:
Insights:
• Use collage to explore new design possibilities. Compose from photographic images of our previous model iterations.
• The design has only trace elements of perspective. The lack of perspective reads flat. The application of one, two, or three-point perspective will infuse more dynamism into the collage.
• A pivotal discovery about visual complexity is revealed through collage. Editing some of the components made the composition less visually confusing. An editorial eye improves my chances of achieving a sophisticated design.
• Experiment with radial array, scale, repetition and tension to demonstrate tectonic design
• The collage lacks a secondary and tertiary structure. Integrating more elements is necessary to create a compositional conversation. • The pattern of array is not implemented methodically. The proximal relationship of the radial elements on the left side of the composition does not follow the logic established on the right side. The use of trace to establish axis lines before finalizing the image placement will solve this issue.
• The black background provided a visually striking contrast with the lighter linear elements of the digital images. This is an effective technique to use when you want to draw attention to a specific aspect or the entire composition.
collage iteration # 1
Intent:
Issues:
Insights:
• Increase the visual complexity through the application of one-point perspective.
• The alignment of the structures in one-point perspective is not accurate. Neither the proximal relationships of the structures or the alignment of points within the structure obey the rules of perspective. I need to use trace to align the structures along guidelines.
• Perspective is not intuitive. I need to use trace, guidelines and other methods to properly calculate the alignment of structures in perspective.
• Further develop the use of framework to create structures in the collage. • Express repetition, scale and array in the composition.
• The composition reads cluttered and slightly chaotic. Addressing the proximal relationship of the structures and decreasing the amount of primary components will solve this problem. • The forms and components are too homogenous and the composition is predictable due to symmetry. There is a simple solution, add more images from other models and break the symmetry.
• I need to introduce more elements and forms into my designs. Using framework and perspective have been beneficial, but lack of secondary and tertiary structures is impeding my design potential. • Originally, the majority of the visual weight was on the bottom half of the collage. Turning the collage upside down created tension in the composition.
collage iteration # 2
Intent:
Issues:
Insights:
• My goal is to design tectonically, I want the viewer to appreciate the aesthetics of the design and clearly comprehend my construction process.
• The intricate linear elements found in the previous collage iterations are absent in this design. Incorporating those elements as a tertiary structure will resolve this issue.
• Address the lack of sophistication in the previous collage iterations through the incorporation of a secondary structure and multiple visual paths.
• The contrast of the visual weight of the primary structure to the secondary components is unbalanced. Decreasing the mass of the organic structures is a possible solution
• The secondary components echoing the curvilinear primary path sets up the compositional logic. This logic is distorted by the penetration of the secondary elements through the primary structure. The disruption of logic breaks the familiarity of the composition.
• Break the predictability of my design by interrupting the established logic in the design.
• The use of perspective was refined in this collage. This created depth and a more interactive experience between viewer and design. • The conversation created by multiple groups and warping the familiar will be investigated and employed in future iterations.
collage iteration # 3
Intent:
Issues:
Insights:
• Incorporate a tertiary connection network and implement the techniques of rotation, displacement and multiple visual paths.
• The relationship of the primary structure to the secondary and tertiary elements is unbalanced. The organic primary structure is not complimentary to the linear elements in the composition. A transformation of the primary structure is needed.
• The emergence of a tertiary structure and the tectonic representation of mechanical connections provided the complexity missing in previous iterations. The intricacies of the connections, and their relationship to other structures should be expanded upon in the next iteration.
• Develop layers of logic by creating the illusion that structures are being torn apart and penetrating through each other. • Use trace to designate design strategies employed in this collage. Discover issues and new design possibilities for the future.
• There is not sufficient expression of repetition to establish the logic of the composition. I attempted to add more repetitive elements but the composition became cluttered. The solution is to use small scaled elements, or crop the composition to create a detailed design of one aspect of the collage. • The proximal relationship of a secondary elements (framing) to a tertiary element (orthogonal shape) was disproportionate. Tracing out the compositional strategies before construction will correct this issue.
• The incompatible relationship of the organic primary structure and linear elements that comprise the secondary and tertiary structures, needs to be addressed. I need to be conscious of the relationship of the shapes and structures in my designs • The illustration of layered compositional logic and numerous visual paths augmented the design’s sophistication.
collage iteration # 4
Intent:
Issues:
Insights:
• Address the incongruous organic forms and linear elements of previous iterations.
• The diverse layers of logic and visual paths established in the previous iteration is not as pronounced in this design. Increasing the amount of primary/secondary/tertiary elements will allow for more opportunities to establish visual paths and interrupt the compositional logic.
• Transforming the organic primary form found in previous iterations creates a balanced and unified composition. The primary, secondary and tertiary elements are a Attention to form/shape relationships in design is crucial.
• Integrate the primary, secondary and tertiary elements used in collage # 4. • Further develop the expression of penetration and logic disruption.
• Sufficient expression of repeating primary and secondary components is missing. Decreasing the scale of the primary and secondary structure will allow for more repeating elements. • The level of craft suffered due to illness.
• Methodically aligned linear components create an open, elegant structure. This resolved the issue of the voluminous mass of the organic primary form found in previous iterations. • Pivoting the visual path of the tertiary elements back into the the primary and secondary structure visually leads the viewer back into the composition. This disrupted the predictability of the tertiary path.
collage iteration # 5