MINGXING YU
ARCH 101
Instructor Jerry Lum
Architecture Learning Portfolio
Preface This is a learning portfolio recording me as a passionate architecture student to be transferred into a beginner designer who start to think about the representation of an architecture, spacial and emotional experience, and the fabrication process of creating various architecture models. This portfolio also contains my model iterations inspired by Malevich’s icebreaker from the first week.
Content Preface Iteration One:Icebreaker Iteration Ⅱ: Representation Iteration Ⅲ: Refinition Iteration Ⅳ: Narrative Iteration Ⅴ ： Revision Iteration Ⅵ: Storyboard Iteration VII:Form triggers emotion Iteration VⅢ:Skeleton and frame Iteration VIIII:Revised skeleton Reflection(learning outcome) Conclusion and goals
Malevich’s Reinterpreted
Kazimir Malevich (1879-1935), Russian painter, art theoretician He was a pioneer of geometric abstract art and the originator supremacists movement.
Supremacist Composition 2
into Tectonic Form —Week one Malevich’s Supremacist Composition 2 basically consists of various two-dimensional geometric patterns. There are symmetry and asymmetry, simplicity and complexity, displacement and rotations. After Carefully studying Malevich’s composition, especially for the possible ways in which the elements and sets of elements can be interpreted as three-dimensional form and occupy threedimensional space as an abstract sculptural piece, I was inspired and visualized the possibility of different compositions. I chose the bottom part composition and fabricated the design with mostly card board and foam.
Photo by Catherine Sellergren
Inspiration FROM THE MALEVICH’S COMPOSITION, I CHOOSE THE THREE BLOCKS THAT INTERCROSS EACH OTHER. FERRY BUILDING AND BAY BRIDGE, SF, AS INSPIRATION, I GATHER SOME FEATURES OF THE VIEWS OF THE EMBARCADERO AND DESIGN MY OWN MODEL. ITERATION ONE.
Ferry Building
(Photographed by Bruce Tuner)
Repetition visually such as line, color, shape, texture, value or image tends to unify the total effect of a work of art as well as create rhythm. Repetition can take the form of an exact duplication (pattern), a near duplication, or duplication with variety.
Iteration I
Week One: Representation, Regularity, Asymmetry & Symmetry
Strength: Use Sketch-up to build the blocks and observe the groups of structure blocks from different possible angles.
Weakness: Different blocks do not connect to or intercross each other or have any relation to the space.
Opportunity: Get rid of the base and use better connection to joint different parts of the structure
Threat: There is a base for the architecture which restricts and limits the form on the vertical axis.
Week Two: Design with biases. Get more conscious about the aesthetic values by using different forms.
Iteration II
Correspond to the design biases and evolve to a new iteration: 1. 2. 3. 4.
Based on the iteration one, iteration two has already got rid of the base and irrelevant components. With more experience, parts are made more precise and measurements are took more exact. Iteration two can be read from different angles. The multi-layer side of the model is designed to respond to asymmetry and symmetry. In this generation, it has vertical and horizontal hierarchy (Photos to the left) From the top to the bottom, photo one has some oblique layers; photo two is about the vertical hierarch; photo three shows the horizontal layout.
Iteration II
GAIN & LOSS Gain (COMPARE TO ITERATION 1)
Loss
Displacement
Get rid of the base
Rotation
Comparison from the large value/scale
Hierarchy
Contrast in scale
Unity
Horizontal Hierarchy
Vertical Hierarchy
Displacement
Rotation
Presentation Day
Getting into a new iteration From my iteration two, I received some constructive feedbacks from peers and instructor. The previous model body has arbitrary openings, and the interior is boring. The sketch up image is actually the prospective shape of my third generation. Strength: I take advantage of communicating with peers and instructor, identify the weakness from iteration2. Weakness: Due to the time issue, a complicated interior has become more time-consuming. Opportunity: To improve my efficiency, use familiar material and get used the scale which can fit in people. Threat: Focusing on interior instead of exterior, this model lost the interesting parts of the exterior.
ITERATION III
This iteration utilize both size of the material, the brown side and the white side.
Is the space large enough for people to walk through? Is it large enough to give people a sense of security? In attempt to increase the size/scale, I triple the previous iteration’s height and length. I also used rotation and repetition on the columns. But I also added variations when I duplicated the columns. Variation one(Brown) is semi-open with complexity on one side, while the close side is just simply flat surface. Variation two(White) is all open space. With an angle of 135 degree slotting into variation one’s body. In order to keep the distance between two white blocks, I glue some columns support it.
I went to Stanford University, Palo Alto, CA. I recognize the corridors everywhere just looks the same. When I walk closer, it actually give me another feelings. In fact, they are different as I get closer to them. I take this photo at a building across from the library. The long corridor vanishes to a point where also connects to other corridors. The strong light come from the west in the afternoon seems inviting me to visit the courtyard on the left hand side.
Exploring Places‌
Photo two is a courtyard in Stanford. Coming out from the shade of the building, people can breath in fresh and talk about their study. The courtyard behind the corridor which is across the library is relaxing. If the ambient surrounding the library is supposed to be quiet, here people can talk, socialize.
After our presentation in class, I look this photo up from the internet. From this angle, I am more curious about what’s behind the corridor. The view actually can trigger people’s curiosity to explore.
Golden Gate Park, SF Several paths converges at the statue with a female figure. People can sit around the statue and take a break after walking for a long time.
ITERATION IV Week 3: Narrative, storyboard, space
Before writing a narrative, I think the narrative could only guide me to make a model. But it also makes me start think about how to trigger people’s emotions and their previous experience. Here is my narrative: Long time ago, there were a fisherman. One day, he rowed his boat along a stream, unaware of how far he had gone when all of a sudden, he found himself in the midst of a wood full of peach blossoms. The wood extended several hundred footsteps along both banks of the stream. There were no trees of other kinds. The lush grass was fresh and beautiful and peach petals fell in riotous profusion. The fisherman was so curious that he rowed on, in hopes of discovering where the trees ended. At the end of the wood was the fountainhead of the stream. The fisherman beheld a hill, with a small opening from which issued a glimmer of light. He stepped ashore to explore the crevice. His first steps took him into a passage that accommodated only the width of one person. After he progressed about scores of paces, it suddenly widened into an open field. The land was flat and spacious. There were houses arranged in good order with fertile fields, beautiful ponds, bamboo groves, mulberry trees and paths crisscrossing the fields in all directions. The crowing of cocks and the barking of dogs were within everyone's earshot. In the fields the villagers were busy with farm work.
Reflection about iteration four From iteration three to four, I bring back the complexity from the second generation. Besides. I try to use the ideas of tension and relieve to make my model look more exciting. Strength: With a narrative supporting, it is easier to tell which part is more exciting and which part is more relaxing. From the front view(photo to the bottom left), it is just simply an entrance. On the other side(photo on top), it looks more dangerous and has more tensions. Weakness: Poor accessibility. The experience for people stays on the structure’s surface. When people are in the building, there is no windows, doors, or stairs. Opportunity: Improve the accessibility and add transitions, paths between two spaces Threat: The model does not have the first floor. The only flat surface is at the height of the second floor (See photo on top)
ITERATION V Narrative, language, signifier
In the book “Thinking about architecture”, Davies Colin says, “Architectural steps don’t look anything like human feet but their treads and risers have the dimensions of human feet and match human physical capabilities. They therefore resemble or picture the activity of walking. In other words they signify it in an iconic way.”
Narrative My intension is to make the space with a balance of tension and relieves. When people are walking slowly towards the unknown carve hole, they felt sort of scared and curious. Until one of the people take the first step to get into the carve, they discover a different world. All the blocks pointing to one end where is also the entrance of the building. As people walking, the more they discover. And the roof is also open to the air, so that the lighting and the air can come through easily.
After this approach, people might step up to the next level to see another kinds of view from the building. Alternatively, people can also climb up to stairs and walk up towards the climatic space. After that, there also an option that people could take the same route back or choose the exit which is to the another side of the building. However, this iteration continues to evolve, since this one haven’t reached the poetic or emotional level. And the next iteration will have a great change‌‌.
ITERATION VI — Week four Experience triggers emotions and leads to climatic place ◦ The intention of iteration 6 is to focus on creating a space which can give people both physical but also emotional experience. Designing this generation, I consider how important a building should transitions, such as paths, stairs, approaches, sloping, and turnings. Besides, openings do not necessary always act as transitions. From iteration 5, I keep the void blocks instead of enclosed boxes. I realize my building should have some translucency and transparency in order to reveal the interior. Crafting openings on the models makes me think about how to utilize the sunlight and which direction the building is facing. ◦ The dominant “L” shape column acts as roof and also joint which connects to other part of the model. In contrast, the smaller blocks are like bones and tissues connecting to the body. ◦ Weakness: My initial purpose to create a harmonious, secured place (relieves). I set the climatic place on the lowest floor under the big “L”. However, the space makes people feel vulnerable because I didn’t think about the proportion of a human-size figure verse the total height of the building.
Thinking about iteration 6+7 Opportunity: Option one is to revise the narrative and justify the reason for being the climax. Option two is to keep the thought but revise the form. In terms of architecture, we should be always satisfying other people’s expectations but not ours. Therefore, on the iteration 6, I would claim that the climax is not at the bottom. It is somewhere else. Reflection of iteration 6: The size is quite important and can help me visualize. The body of this iteration is chaotic, and need more careful thoughts to reshape the model for the next one. Due to the time issues, I only improved my iteration over the older version, and the picture shows the after work.
ITERATION 8+9 Week Five: Experiential Space, sequential experience, storyboard, evokes emotion
Iteration 8+9 Narrative: Wondering in the foggy woods, I can still see the weak sunlight coming down from the sky. I lost in the woods since the trees look the same everywhere. While I am still confused and busy thinking how to get out of the woods. I accidentally discover a tree which looks totally different to the other.
As I approach the tree, I saw the tree trunk laying in a special order,. Therefore, I am trying to get into the empty tree trunk. I saw the tree trunk divided by a piece of wood. The opening on that piece of wood just looks like a door. Maybe this is a place some people used to get trapped in the woods and have to stay here. I assert this is a tree house.
I follow the track and prove that I guess it right. It is a tree house! There is an opening above myself. However, I did not see any stairs next to me. I decided to climb along the vine and get up to it.
Here in the thick woods, sunlight means hope. I carried my curiosity and finally I reached the edge of the opening. The opening was sheltered by a big piece of leave. That convinced me someone must be staying here before. I believe the more is waiting for me.
After I got to the roof, I found I just got into a different world. Sunlight, water, bird tweeting, wind is mild. There was a path to higher level, I need to go to there. Wow. It was actually dangerous, the path stuck out in the air. If careless, I would fall back the woods anytime.
Eventually, I went through the dangerous paths, and landed to an open area. I feel a sense of relieve and forget about the fact that I got lost for a moment. I breath in the fresh air, taste the sweet water, eat the nuts from the tree. Then, I heard the wind coming from somewhere. I was excited. Because it might be the exit and provide me some cues to leave here.
Iteration 8+9 I found a slide, but it seems very deep to me. As people used to stay hear before, I assumed that the slide should be safe. And this is the exit of the tree house.
I took the advantages of storyboard. In this process, I went to modify the model I made and thought more carefully the relation between different areas. In order to shape space to stimulate the senses and evoke memories to create experiences, I used a human figure to go through the sections I set up. I found somewhere made sense, but there are also reluctant places which can’t really evoke the feelings at all. This will become the opportunity for the next iteration.
What a real tree house looks like and this one is very close to what I think. Photo by Peter Bahouth Â
ITERATION 10 Reinterpreting design into frame expression, sectioning, framing, skin
Reinterpreting design into frame expression ——Week 6&7
Material Choose: Balsa wood, foam board sticks, cardboard
Some materials are cut from the whole board into sticks. In order to make the skeleton firm, I use many columns to support the main body. Besides, I use some cardboard to provide the tension to keep the balsa wood stick straight.
ITERATION 11(FRAG-)
This is a part that I changed from the iteration 10. In 10, the horizontal column seems not enough mechanical. In the real world, the columns would not stand like that unless people use light weight materials. I redid the part and made it functionable but also aesthetically beautiful.
ITERATION 11
(COMP- Version) Reinterpreting design into frame expression actually requires physics and I have to think about the force imposing on the structure. Since it only has skeleton, some parts do not look like the previous anymore. Besides, I had to avoid some unrealistic forms and make my iteration more reasonable (photo to the left) After this iteration, I have more confidence and have better ways to make a skeleton model.
Conclusion From iteration one to iteration ten, I started from nothing to now that I can analyze and evaluate an architecture and thinking of the value of building in terms of the architectonic terms. Based upon the design biases, I can utilize random ideas to fabricate most of the architectures which are worth studying. Architecture 101 gave me a thorough idea that efficiency and creativity are essentially significant in architecture study, for it will save a lot of time.
Progress in a learning portfolio While making the portfolio, I also learned something. I learned to how to use my work to represent myself. I learned to respect to my work and other people’s work, too. I referred materials and did research to articulate my writing, Hope that would cause too much confusion! My iterations has many possibility, I need to grow up to a higher level on the second half. Thank you for your patience and time.
Conclusion In this learning portfolio, I have witnessed my progress being made over time. Not only the crafting skills, but I built up my confidence in ARCH 101. It is a designing class, and also a class of using the architecture work to represent myself. After the first half semester, I will be working harder and utilize time better to do everything week. Again, thank you!
MINGXING YU
ARCH 101
Instructor Jerry Lum
NOT FOR SALE