MINGXING YU
ARCH 101
Instructor Jerry Lum
Architecture Learning Portfolio
I did not grow up in English language environment and missed the early education in America; but I am so grateful this semester gives me equivalent amount of challenges and opportunities to catch everything up. --Frank Yu
Preface This is a learning portfolio recording me as a passionate architecture student who want to transfer to a professional architecture design school. At the begin of the spring semester, I have learned to think about the representation of an architecture, spacial and emotional experience, and the fabrication process of creating various architecture models. On the first half of this semester, I design and create my models based on the design principles and biases. On the second half, I have learned more advanced methods, such as folding, forming, sectioning, tessellating, and tensioning, etc. All these methods inspire me to create my ultimate final project models with previous first-half knowledge.
Content First Half 1. Iteration I : Icebreaker
6. Iteration Ⅵ: Storyboard
2. Iteration Ⅱ: Representation
7. Iteration VII: Form triggers emotion
3. Iteration Ⅲ: Refining Iteration 2
8. Iteration VⅢ: Skeleton and frame
4. Iteration Ⅳ: Narrative
9. Iteration VIIII: Revised skeleton
5. Iteration Ⅴ：Revision
10. Reflection(learning outcome) 11. Conclusion/goals for second half
Content Second Half 1. Iteration I : Sectioning and Generating ideas for the final project 2. Iteration Ⅱ: Tensile Structure Approach: Pros and Cons 3. Iteration Ⅲ: Folding and Tessellating Application to design & Real Site Analysis
4. Iteration Ⅳ: Collective Ideas and Forming Team: Teamwork 5. Iteration Ⅴ：Final Project ◦ Final Design ◦ Real Site Construction & Assembling ◦ Presentation & Reflection
6. Semester Reflection and Thoughts
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 F R O M T H E M A L E V I C H ’ S C O M P O S I T I O N , I C H O O S E T H E T H R E E B L O C K S T H AT I N T E R C R O S S E A C H OT H E R . F E R R Y B U I L D I N G A N D B AY B R I D G E , S F, A S I N S P I R AT I O N , I G AT H E R S O M E F E AT U R E S O F T H E V I E W S O F T H E E M B A R C A D E R O A N D D E S I G N M Y O W N M O D E L . I T E R AT I O N O N E .
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 modified the model I made and thought more carefully the relation between different spaces. In order to shape spaces to stimulate the senses and evoke memories to create series of 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
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(Completed) 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
End of the First Half
Preparation for Final Design In the early design stage, students start with their individual designs. All the designs will be at the courtyard outside Batmale Hall, either on the yard or on the countryside. I discuss the possible sites with a few classmates and friends. Finally, I narrow down the choices to three. One site is in the yard behind architecture department, where students and teachers hang out most. The another two sites are on the hillside: option one, people have most visuality from the campus and the site is exposed to the sun and wind most of the daytime; option two, people can see it from the soccer and football field, and the site is the transition between the flat area and the sloping surface. The second option was the original site I start my own design. (as left) It has sunlight and wind resources. I can use them to fulfill the theme of “Rendering Nature: the Invisible Perceivable�.
Iteration I
Sectioning and Generating ideas for the final project After the first-half semester, I did a small conversation to myself: “How to break my design limitation and mind fixation?” I have already drawn a conclusion for myself – always looks for the precedence and inspirations.
These two models were the first and second iteration. I finished browsing all the links that my instructor Jerry provided. I started making my model with tensile form to express my design ideas. The canopy parts might be interesting enough if I create the connection with nature.
Iteration Ⅱ:
Tensile Structure Approach: Pros and Cons Tensile structure: ◦ Pro: Nature is never perfect. I try to use curves instead of points and edges. Tensile structure has this advantage. It can stand up and keep its shape by the structure tension. ◦ Con: As for creating the tension, I find out the tensile part requires me to do a large amount of engineering calculation. Without the engineering knowledge, I might not be able to turn this idea into real structure. Alternative: Tessellation, folding, forming, sectioning
Iteration 3.1
Folding and Tessellating Application & Site Analysis After presenting my tensioning structure in class, I realize that calculating the engineering part of the structure can be very timeconsuming. Thus, I alter the form of presenting my ideas. I create a small scale model and play with it.
The picture(left) is the third iteration by using the folding techniques. I was inspired by Ron Resch who is known for his work involving folding paper. After that, I turn it into a larger model to study the form and continue to explore more possibility.
Iteration 3.2
Folding and Tessellating Application
①
②
③ Creating special experience: Three paths and three spaces.
Iteration 3.3
Folding and Tessellating Application
Iteration 3.1-3.3 After making a few models, I am confident enough to exchange my ideas to my fellow classmates. In the meantime, I also look for people who have similar designs or ideas, so that I will be able to find some potential teammates before we actually form our teams.
Every move in architecture studio is the best representation of ourselves.
Iteration Ⅳ
Collective Ideas and Forming Team: Teamwork I volunteer to be a team leader, and recruit four people into my team! They are Samia, Gaby, Randy, and Shen! The first team discussion is Site Selecting：We vote on where we will construct and Country 2 wins.
Iteration ⅤFinal Project Final Design 1. Country Site Analysis
Wind: San Francisco's climate is further modified by the location of the City on the northern end of a peninsula, surrounded on three sides by the relatively cool waters of the Pacific Ocean and San Francisco Bay. In May, the dominant wind is mostly from the west, and usually is one of the strongest months in a year. In addition, our site has special location that less buildings can block out wind. The Chosen Site
Site Analysis Sunlight: In the morning or evening, the sunlight comes directly from the sun. In the morning or evening, the sunlight comes directly from the sun. The entry is designed to open toward the west. On the other side, the lattice can let the light from northeast penetrate. In the southeast, the canopy ends up on a high end. The time between this two period the sun should be above the tree. The tree provides shade and comfortable atmosphere. The light sources usually are indirect light from the sun. The design has gradual pattern on the lattice, so when the light comes through, the shade pattern will be casted on the ground to create an interesting image.
Framed view, “part of a whole”
Drop (gravity) Emotional reaction (fear)
Iteration Ⅴ：Final Project Final Design The final design adopts my design of the canopy and the “foundation” my teammates contribute. I uses repeatedly simple pattern to mimic the extension root of the tree. The triangulate canopy has multiple anchors touch the ground or other supports. My teammates decided to use the vertical support to divide the construction area into three parts. Consequently, they focus more on creating the spacial experience for viewers.
Inspired by Akihisa Hirata “I wished to create a pavilion that resembled a single tree.”
Trees have a symbolic shape. Simultaneously they produce shade while providing an ideal space for mankind. I wondered what would happen if the walls were to keep growing upwards and present an uneven surface like ‘pleats’. Pleats resemble a tree in the way that they spread out and capture the sun and I felt that they would produce a bright, impressive exterior. I also thought that the space beneath this surface would present a relaxed atmosphere, similar to that of tree shade that would be an ideal quality for an exhibition space. The pleated surface was created using an extremely simple technique. It consists entirely of combinations of isosceles triangles in what is called a hyplane structure, producing a continuous curved, pleated surface. This basic structure can be repeated in a simple fashion to construct an organic whole. It is similar to the way in which a tree branches repeatedly in a simple form that assists efficient photosynthesis. What does nature or simplicity mean in architecture? This small pavilion poses an important question for the future.
Materials and Costs ●
Cost: a. Personal: $62.68/person b. Personal price limit: $100/person c. Total: $553.99
Kit of Parts:
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51 small 45° triangles
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18 large 45° triangles
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1 diamond doorway
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4 bowed vertical supports
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1 30ft lattice
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8 2x4 bases
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6 straight 2x3 vertical supports 12 45° 1ft support brace
Materials and Costs Materials: ●
Wood ●
2x4
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2x3
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2x2
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2x1
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1x .25
● ● ● ● ● ● ● ● ●
soda cans metal sheeting thread nylon webbing white, translucent cloth 3” long screws 1.5” long screws metal stakes small string/thick rope
Iteration Ⅴ：Final Project Real Site Construction & Assembling
Base Construction 105°
We spend the first week measuring the site and ensuring every angle we design will be doable. We first flatten the site area and lay down 2x4 on the ground. We use several pieces of wood to approximate the radial edge. The radius of the site is about 16 feet. Therefore, we can just lay down two piece of 2x4 and connect them. In the front, distance from the tree to the edge is greater than the radius. It measures 19 feet. We also lay down two pieces of 2x4, so the rest of distance becomes the width of the entrance. According to the width of the entrance from the real site, we cut 2x3 and set them up in 105 degree. It becomes a diamond shape but without one corner. The highest point of the entrance is 6’ 2”. When we construct our base, we predict the wind will be working against our whole structure. It will challenge the stability and integrity.
Vertical Support After finish laying down all the 2x4 on the ground. We measure the total length of the curve and calculate the equal length of interval. Then, we mark out the distance which we will leave between vertical support. All the vertical support are 2x3 and 8 feet high, except those are cut in an angle and reattach together, those support in the front is 7’1� high. During this period, we got a lot of help from other group students. We quickly finish the vertical support. The support was strong enough to survive through the entire period of construction. We set up the front in an angle so that the wind does not push directly on the surface once we wrap our construction by cloth. The advantage of setting this angle is also to prevent the wind from lifting up the construction.
Canopy: Triangle Assembling I Making triangles was one of the most interesting part of the entire construction. I need to calculate correctly what angle will fit each other, and how long it should be. Shen and I create our own formula to make this triangles fast. We count from the canopy plan drawing, we will have at least 54 small triangles(26x26x31) and 16 large triangles(31x31x43). The miter saw has mirror systemic errors which means we are not getting all the perfect angle. But, most of them are under the tolerable adjustment range.
Canopy: Triangle Assembling II Second Panel Section
④
Third Panel Section
③
① ②
We divide the canopy into four section. The oil pen mark are larger or smaller triangles we will use. We work on each panel. In the end, we connect them as soon as we put up the canopy. We connect our panel in the air.
Canopy: Inter-Connection I use hand drawing to demonstrate my idea. I suggest we use vertical support at the bottom and also hang on the tree branches. We agree on doing that. In my drawing, we will cut a 4”x4” block out from the 2x4. And then, we cut wood block into two pieces from the middle. We can drill a hole in the center of the block, mainly for letting the string come through. We call this “wood washer”. We will have at least six of the wood washers which will be all attached to the tree branches. In fact, we use eight wood washers. And the size, we finally switch to 3 x1- ½ wood block that we find from the reusable wood area
By using the vertical support and hanging on the wood washers on the tree branches, the canopy has better wind resistance and stability. Wood washer distribution plan as left.
Iteration Ⅴ：Final Project Real Site Construction & Assembling From design to construction, everything is fine so far. We distribute the work according to everyone’s ideas in the design. Canopy Section: Frank, Shen Foundation Section: Randy, Samia, Gaby
In fact, we always meet our project process percentage. 1. 25% Complete the Structure Base and figure out how to assemble the triangles for canopy 2. 50% Erect the Vertical Support and finish up all the triangles assembling 3. 75% Cover the structure and the triangles by wrapping cloth, Connect separate pieces of small triangles 4. 100% Put the canopy and foundation together
Strengths in Each Experience Path 1: Entrance (Tension)
Tree N
Space 1: Socialization Area (Release) ① ② ③
Path 2: Curved Edge (The Drop: trigger the fear emotion) Space 2: Relaxing Area (Wind Chimes) Path 3: Narrow Opening (Tension)
Entrance
Space 3: Personal Area: Intimacy and Security *We hand make the wind chimes by reusing metal from our daily lives. We place them in space 2 and the personal area. The intension is to bring peaceful feeling by the harmonic sound while outside the structure is windy.
Space 1: Socialization Area (Release)
Journey Path 1: Entrance (Tension) Path 3: Narrow Opening (Tension)
Space 3: Personal Area: Intimacy and Security
Path 2: Curved Edge (The Drop: trigger the fear emotion)
Space 2: Relaxing Area (Wind Chimes)
Iteration Ⅴ：Final Project Crafting and Intensions The crafting issues were not obvious when we assembled the triangles. However, the wind was extremely strong for some days, it slightly changed the way our expected model was. We did not anticipate the wind could reach such strength. We continue to improve our design and try to use our structure to alter the local site wind direction. Inside the structure, people feel less wind and outside the structure, people will not be able to bear the harsh cold wind from ocean. We have to turn the threats into something that won’t be harmful for our structure. The gap between the triangle and cloth are design for the strong wind. The wind will not complete blow against the cloth surface, but the wind will be funneled out by the gaps. In this way, the triangles could stand still even though in windy days.
Name after this structure The structure focuses on the theme “Rendering Nature: Making the Invisible Perceivable”, we compose wind, sunlight, and gravity elements into our core of design. We have created a space that people will have different feeling from inside and outside. Responding to the wind, we use light materials, cloth and fabric for the surface and connections. People can see when the wind come in and out, the wall can “breath”.
Another natural element response, we build our construction along the edge of the driveway, which is about 12 feet height. We make a lattice to prevent people from looking down, but looking up to the “frame of view”. As for the sunlight, our design closely embraces the tree, the structure is under the shade of tree branches. The material wrapping around the canopy is translucent cloth. Therefore, the sunlight can penetrate through the cloth. Since the entire structure is either covered by cloth or hovered by triangle canopy, we named it after “Arch-immersed”. It means surrounding by something physically. More generally, it is surrounded by the nature, too.
Archimmersed
Semester Reflection and Thoughts In the design process, I might not consider “idea marriage� like my Archimmersed, because the ideas have not been really combined. I would consider to create a brand new model that is inspired by all team members’ ideas, not necessarily adopting parts or forms from everyone. Besides, I also want to talk about the site specific. This is one of the most common issues that students do not address their designs appropriately by providing convincing evidences. I will continue to figure out how to do that correctly. Another opportunity for me is to think multi-layer instead of single-layer thinking. Existence of something must fulfill at least three purposes.
Semester Reflection and Thoughts After making a real size of architecture model, I realize teamwork and time management will be the most important thing that I should work on. Although my English was limited, I am so glad that my teammates are still patient to me. I learned how to demonstrate my ideas to peers and class. In this ARCH 101, I really feel I am getting better day by day. I never scarify some much sleeping time on something, but as for architecture, it worth. Because I know every minute I spend now, the time will reward me in architecture double or triple in the future! I have a heavy unit load in this semester, 17 units of studies, but I never think about dropping my Arch 101. It now becomes one of my favorite classes. I hope my hard work will pay off and the result will give me enough confidence to walk in ARCH 102. In next semester, I will come back as a more professional architecture student, thinking multilayers rather than simple mind set, speaking articulately to express my ideas, and trying my best to absorb knowledge for my future career.
Thank you! Thank you, Jerry. I am so glad that you let me become one of the three group leaders which I take a lot pride in. I learn plenty of useful things in your class. When I walk out of the architecture department, I am able to speak for myself at ease. Thanks for being courageous and critical about my communication skills, too. I still remember you help me after class occasionally, when I was confused or need help. Your passion of teaching architecture gives me so much positive energy. Every time I walk in classroom feeling tired and sleepy after non-stop making model, I can hear your laughter and jokes. Again, thanks for being so helpful and such a great instructor in my first year in American college. Frank Yu
End of the Second Half