The Design Process Jasmine Pettway Studio 1 Mid-term Portfolio Spring 2015 Jerry Lum
Expectations Coming into this class I was excited to dive back into the design learning process, but I was very nervous about the work. I was excited because I am learning with a new institution and instructors, meaning I would be gaining a new perspective on the subject and being taught much differently. I was nervous because my previous experience with studio classes 3 years ago has left me a little rough. I didn't want to be the student who didn't sleep all semester, or have nothing to show in class, and mostly I didn't want to drop the class in failed attempt. I learned a tremendous amount that year on design, model making, drafting, presentations, critiques, etc. and really valued what I took away. The fear was having a repeat of that year making the same mistakes and having the same issues. However, as my studies slowly progress, so does my knowledge of being a student. Sure I have not been in a studio class in 3 years, but that didn't mean I could not prepare. I knew what to expect work wise, 3 hours meant minimum 6 hours. I remembered and reminded myself constantly that it was better to bring something in than nothing at all, otherwise how can I learn? Most importantly I knew not to go in with any expectations other than to learn. Negative expectations are not helpful and would set me up for failure. Positive expectations can be a let down if original intent is not met or ignored.
Malevich Iteration #1
OBJECTIVE: The first assignment was to look at a piece by the artist Malevich, and choose a portion of the image to craft
as a 3d model I choose to the 4 arrows at the bottom because 1) I associate triangles with its mathematical meaning for change, 2) I liked the orientation of the arrows. They are WHAT: I immediately knew I rotated on an axis, slightly different was going to do 1 of 2 proportions in lengths, sections, where there are and the spaces between triangles them varied. CHALLENGES: How do I go from a 2d space to 3d space?
METHOD: I approached this by
making the arrows objects. I scaled the section the best I could into a floor plan, then based on the size of the arrows set heights. My materials were selected based on what I had which included foam core, chip board, mesh, wood, and plexi-glass. I choose the wood, foam core, and plexi-glass
WHY: I did not know where to
STRENGTHS
start! However, I needed something, so did the simplest of solutions making objects. I did have materials to chose from and intentionally choose "glass", wood, and foam core because they are highly contrasting elements
-Identifying patterns -Analyzing spatial relationships WEAKNESSES
-Used a base, not dynamic -Created objects not a space -Thinking building instead of space
Volum-izing Iteration #2
OBJECTIVE: Refine 3d model by analyzing emerging strengths and weaknesses. Generalizing space by specifying and
applying actions and dualities that are present or are intended. WHAT: I studied (more like
METHOD: The triangles will
stared at) my model trying to visualize the possibilities of how I could make my model dynamic from all angles, refine the pattern that was emerging, and mold it into a space.
keep heights, lengths, and widths, but will become volumes with 1" thickness. The intended empty/outdoor space, I crafted with plexiglass. Essentially, everything became volume.
CHALLENGES: Creating something new with previous knowledge while exploring new concepts
WHY: I was still
imagining the final product when I approached the 2nd iteration, but that was not going to aid me in creating a dynamic structure. So, I pulled from what I learned in my Studio 2 class from USF; the assignment was to define space with one word and make a model that conveyed that word with a 9x9x9 cube. Solution #1 was to turn my objects into volumes
At one point, my boyfriend asked me if my model was male or female as a joke, but it had some validity. It made me think what that meant in terms of how we receive and view space. Generally, we can describe 'female' as elegant and graceful, and 'male' as powerful and strategic. I wanted my design to have elements of both, to be powerful, methodical, and elegant. Solution #2 was to give my design some character.
STRENGTHS
-Refining patterns; translucent/opaque, displacement and alignment -Exploring what shapes space (boundaries) -Dynamic from all views
WEAKNESSES
-Craft quality should not distract from design -Crafted intended outdoor/open space with plexi; could this not have been expressed differently? Better use of boundaries
Representations Drawings + Photos
OBJECTIVE: To draw and photograph iterations 1&2 from at least 3 different views. WHAT: I chose to draw elevations and floor plans, and photograph the dynamic views. CHALLENGES: Drawing perspective. Although I took the ARCH 20 class, I could not remember how to construct
perspectives. When I free hand perspective drawings they take too much time. STRATEGY: Due to only having a day and a half to get the drawings done, and knowing how long I take to draw, I decided
drafting elevations, and sections was a good choice in term of time. I already had floor plans from creating the models and would need four more drawings. For the photos, I took as many as possible to have a good variety to choose from. I had to set up a space in my dimly lit home with my desk lamp and portfolio to take nice photos. STRENGTHS
-Analyzing emerging patterns -Exploring relationships between seen and unseen WEAKNESSES
-Drawings could have been done in better detail
Strategic Planning Iteration #3
OBJECTIVE: From drawings of iterations #1 and #2 make three major transformations that are emerging or lacking in previous work WHAT: Became focused on my developing pattern and how to refine it, integrate more asymmetry, and exaggerating my scales. CHALLENGES: Developing a pattern that was graceful and seamless. My goal was to have a simple pattern that appeared complex by highlighting the other two elements.
METHOD: Refine pattern through drawings to integrate my three elements, then build a model with foam core displaying the pattern.
My first idea was more complex, but I did not like what I envisioned to be the end result. To integrate asymmetry and refine my pattern, I was going to mirror my arrows to cross each other easily making spaces. I found that how I was trying to do it made it more symmetrical instead of asymmetrical.
Then I turned to just refining the pattern and using this to see where I can put in more scale changes and start adding and subtracting for asymmetry.
WHY: This weekend I was extremely busy. I was scheduled for three full 8.5 hour closing shifts (that are more like 9-10), one of which my store was hosting an event. I knew there would be no time to just starting building my model, so I took to paper. STRENGTHS: Discovered that my creation had a nice strategic layout, but that shouldn’t be the only focus. I learned how to analyze buildings from drawings which is great and love, but should not expect to have such talents jumping back into a studio class especially if trying to learn new things After settling on a less complicated pattern, I attempted to model it with foam core, layering it to visualize the pattern. I believe some people were able to see my analysis, but I was not happy that I spent so much time on just that aspect because I lost the time to analyze the other elements I was focusing on.
WEAKNESSES: Focused too much on the pattern and was not really able to explore how to add in more asymmetry and scale changes
Spatial Experiences Narrative & Iteration #4
OBJECTIVE: Construct a model to scale from a written narrative, or guiding story describing the spatial experience WHAT: Needed to focus on creating the space instead of analyzing and mapping it out. What would my space feel like walking through it? What are the exciting spaces? Where is there tension? How can I write this in a concise manner? CHALLENGES: Although I enjoy writing, I take it more seriously than any other work I produce. It was difficult just getting out how to describe the approach to the building because I wanted to put in everything from orientation, the scenery, foot traffic, time of day, relevancy to other buildings, etc. but I knew I would have a novel if I did the entire space like that and could not produce that in a day. METHOD: Just starting writing. I enjoy creative writing on my own, but do not do it as much as I use to. I figured just like with modeling, start writing and I’ll be able to see what I do and do not like. Then depending on how much I had done, I would start the model no matter what the next night, and could finish writing the morning of if I built something that wasn’t in the narrative. For the narrative I started with identifying what was happening in my design development using action words then thinking of what it would be like to physically approach this building and what it would be like.
WHY: I had an idea of where I wanted my design to go. It was going to be a modern, LEED double platinum community building equipped with a gym, dorms, labs, resources, and public space somewhere in the Financial District or Mission Bay possibly. I was still probably jumping the gun, but I decided to keep running with it and try to build off of it instead of developing into it.
STRENGTHS: -Scale was addressed -Thinking holistically about building and site WEAKNESSES: -No spatial experience addressed, mostly focused on circulation -No climax
Iteration#4 Narrative Brainstorm What is my iteration(s)? How is it these things? Large- choose to create volumes that are progressively being elevated Spacious- because it is large volumes Shifting- displacement Hiding- solids Revealing- translucent Stacking- volumes are being raised and growing larger Cantilevering- some of the volume arms are extending past boundaries and are elevated as well
Contrasting- raised/lowered, opaque/translucent Transforming- scale, height, and materials are constantly changing
Serene, dominant, disciplined, powerful, opened, large, ordered My eyes are directed up to the growing scale of these volumes. They meet at a perfect 90 degree corners, zigzagging from the main focal point of the entrance like a wavering line, guiding you well into the sky. My eyes descend back down to the entrance of the space. I can see the volumes are alternating in many ways between transparent and opaque, wide and narrow. as they progress, they nearly double in height, but there is a negative space between the highest volume and midpoint. From the corners of each volume, the spaces reach out mimicking a similar displacement as it does vertically. There is space underneath as the volumes rise, I wonder if this space is habitable. I choose to enter through the smallest volume instead of directly underneath in the outdoor area. As I approach the others disappear, but i can still see the cantilevered areas to the left. Inside although small, is spacious and comfortable. There is the choice to go right or left, but There is not much to guide the curious eye here. So I proceed to the next area. Here, there are three spaces. The first is the center, then on the left narrow hall, and on the right is a wide concourse. the rectangular median between the two has two balconies into the next area which is raised two levels creating the entrance to the outdoor area. Nearly mirroring the repetition of 90 degree angles. To the right, where it is wider, there are multiple open layers that I can ascend, and look down to the bottom. It is an open layout, airy and free as you look up into the sky. To the left, it is more narrow, I feel slightly squeezed in from the length of the hall, but here too, you can ascend up to the different levels. Here, these levels are closed off. I move through to underneath the next space. it opens up to a larger outdoor area as well. The next area is where the space is raised leaving what's underneath open to the outside. The left reach does not appear as infinite as the right. Looking around I can see there is no access here to the space above. I turn around to see there is access above on either sides of the point through where I just came. Approaching the next area. . .
Experiencing a Space Narrative Help
OBJECTIVE: Go to a space and write a narrative on it highlighting 3 events WHAT: I considered many beloved places to visit in the city such as the Aids memorial garden in golden gate park, the Presidio cliffs facing the ocean, and Crissy field. I decided I should go to ocean beach near my parents house where I grew up. I used to go and sit on the sand dunes in a very particular spot, and depending on the weather walk in the water to a sewage outlet that you can climb on like an observation deck.
WHY: I chose to do my narrative on the beach because I feel like I get a lot of inspiration from being there. I used to go and sit in the sand dunes to smoke cigarettes in secret, but also to write, reflect, and ponder. It is a little unusual thinking of the beach as a space that can be dynamic and private, but in our area it is more rugged with nature instead of just flat, and the space as a whole is shaped by nature which as humans we often mimic and amplify for civil needs. It was a familiar space that I knew I would be able to articulate into words and pull inspiration from.
STRENGTHS: -Found a focus-> reflection -Emerging design influences of nature -Able to identify experiences instead of just describing the area WEAKNESSES: -Did not address 3 events -Very broad -Needed more analysis of space in narrative in relation to why what was happening was happening
Narrative
OceanBeach at the Avenues Visitors from all over the world to visit San Francisco. In the media, it is depicted as sunny and warm, so many also come looking to visit the beaches. The most known and popular beach to go sunbath, play sports, and jump in the water at is Ocean Beach, which sits on the Pacific Ocean and is a National Recreational area (at least some of it). What many don't realize is there are sort of two parts to the beach which runs almost the entire length of the city starting at Cabrillo street, maybe a mile away from the Golden Gate Bridge, to Sloat ave., right at the transition from The Sunset District to Daly City. From Cabrillo to Lincoln street is more dense in traffic. At Cabrillo street there is a Safeway, past Fulton street heading south is a nice restaurant called Beach Chalet which looks out at the beach, then at Lincoln street is a small gas station. The bus lines 31 Balboa and 5 Fulton run all the way from downtown to the beach. I've ridden these buses many times from bond fires at night, which are only allowed in this portion of the beach where recently pits were installed. It is easy to see why a larger amount of commuters would choose this portion of the beach to visit. It is easily accessible, there is ample parking, bathrooms and food are available from Safeway and Beach Chalet, and a gas station is near to fill the tank before departing home if needed. However, past Lincoln street Begins a more quite residential neighborhood, the Outer Sunset. The streets from Irving a block south of Lincoln, to Sloat ave. run in alphabetical order from I to W. there are three main streets where it is a bit more similar to Ocean Beach up North. Judah, Noriega, and Taraval streets all have a major train line or bus route that stop at most two blocks from the beach. They also have mini marts and small restaurants nearby. The beaches are less crowded, more residents come here to enjoy the scenery with friends and family or dogs, maybe take a run on the beach, or surf in less crowded waters. When it is actually hot enough to want to jump in the water the residents get first dibs. I grew up at 46th and Taraval streets where the L train turns south on 46th street to the San Francisco Zoo. When you get off the train there is a small restaurant to the right. Across the street is a diner called Bashful Bull Too. On the left side across the street you see a beauty spa store front, then a pizzeria, a mini market, and a bar. Directly ahead you can see the beach past a strip of green with two paths curving up making a semi-circle joining at the direct path to the beach. You have the choice to approach from the right or left, but I'm sure most people by default go on the right unless they stop by the pizzeria or market. I choose the right because this is where the sunshine falls and more often than not it is a little more breezy or colder than the rest of the city.
As you walk down the two blocks, you notice most of the houses on the street are units, but where are all of the people? There may be a few passing by on the first block where the retail businesses and food are, but not as many to the number of homes. These units don't get too large, three stories at the most, so there is no oddness in this space. It is comfortable and friendly like the peaches, creams, blues, and greens of the house. You might find yourself wondering if you want to put your toes in for a little bit scavenging for rocks and shells or just enjoy the view on a sand dune with a book. As you approach the path to the beach, there is a road you cross, the last barrier. The Great Highway is an express road from Lincoln to Sloat. 90% of the time the traffic lights are off. A small heard of cars will pass in either direction, then it will be empty for the next dew blocks allowing time to casually cross. Here is where you can make your first decision. There is a rockier cliff to the right that turns into sand dunes and just sand dunes to the left. I go left because it has more private areas to sit, smaller sand dunes for one or two people to sit off the path that runs along the top. There is a sense of relief when you find a spot for yourself. This land is yours for however long you need. I come here for many reasons. Most of the time to be alone with my thoughts. There is something about the vastness of the beach from one end to the other even though you can see them. The water disappearing into the sky seems to open up the mind, putting it at easy with the beauty of the landscape which is often changing from the tides and winds. It is like the world can enter your thoughts especially if you do not spend too much time in the neighborhood even if it does take an hour to leave it from anywhere on public transportation. There is a huge contrast to the beach, isolated and intimate, and downtown or even the mission district where it is more dense with people and buildings, so it sort of also puts things in perspective sometimes being away from the chaos. If it is a troubling thought, the view can help distract me enough to forget it just for a moment and enjoy life in all its grandness. Then comes the time to leave weather I need to or decide I have to get back to reality. I usually leave feeling at easy and calmer. Sometimes I leave unsatisfied, but satisfied I took the time to sit and escape the never ending tasks and responsibilities. It makes them a little more worth doing knowing there is a relaxing space that is nearby away from the home to ground you again, help you sort out struggles and issues, and prepare you better for the next ones.
Organizing Complexity Iteration #5
OBJECTIVE: Revise model and narrative. Create narrative from model and use practice narrative to write new narrative. WHAT: Integrating more complexity to interior to create nodes, climaxes, and transitions. The interior designer in me really wanted to embellished, but the architecture student in me said focus on the building. CHALLENGES: Keeping a theme that connected the various floors, openings, and pathways. METHOD: I began with thinking of how I could add and subtract from my previous model which were just ginormous blocks. Where can I put layers and openings, what would the circulation look like, etc. I decided there were going to be four main components of the building, and that the translucency and opaque surfaces should slowly begin intertwining with one another to progress to (almost) completely translucent materials. With addition, subtraction, openings in mind, and feed back on the practice narrative, I began deciding on spaces and exploring hierarchy and transformations. WHY: Some of the feed back from the practice narrative was analyzing why the experience was happening, or what was making that experience occur. I mentioned how a public space could feel like a private space because of a buffer zone, or an area/barrier that separates the public and private such as a level change or hedges.
Narrative Revision You are enjoying a stroll in the morning, walking down geary to the beach. As you reach the peak of the small incline before you can see the cliff house, you notice a new building. Has it been so long since you've had a day to wander? It looks small at first, like they put another restaurant or gift shop in the parking lot. As you approach, the building becomes larger looming high above the cliff, the glass blending with the ocean. You cross the last street and slow your steps, observing the buildings exterior. It is monolithic like the cliffs themselves, but the amount of glass takes some of the threat away making it appear a little more fragile and delicate. As you travel along the transverse axis, you can see the separate sections of the building, cascading upward to the tower which gleams in the sunlight. The first portion is made of glass, almost completely empty except for the balconies that are hinged to the thin wall.
STRENGTHS: -Developing better complexity
-Identifying triangles as a theme WEAKNESSES: -No paths for traveling from level to level -No entrances to areas
Climax(es) Iteration #6
OBJECTIVE: Revise model and narrative. Create narrative from model and use practice narrative to write new narrative. WHAT: Integrating more complexity to interior to create nodes, climaxes, and transitions. The interior designer in me really wanted to embellished, but the architecture student in me said focus on the building. CHALLENGES: making sense of how to emphasize mountain with different views
METHOD: By forcing experiencer to observe the mountain from different perspectives first node, forced to look out at spread, 2nd node, forced to look up at mountain, 3rd node, forced to look down at base, 4th node gods view above mountain and all its glory WHY: Trying to think of astounding ways to view the site which was the focus. Approaching the site you see it collectively, the building, the mountains height and spread. Once inside you are forced to take in small bits of the mountain which will then come together when reaching the ultimate climax in the highest tower. However, I wanted there to be pauses in between which is why I had the idea of observation balconies, to look out and reflect on the scale of the site and the scale of the city, and the element of rock being hard and sturdy. I intended there to be a sense of security but a sense of a threat. Almost like being between a rock and a hard place, only it is fun and exciting.
STRENGTHS: -First climax! -Getting reconnected with the triangle helping with interior organization
WEAKNESSES: -Not finished -Craft quality getting better, but not great
Emphasizing Sequence Storyboard & Iteration #7
OBJECTIVE: create the beginning series of images that express nodes and climaxes, visual 'narrative' and craft your climax twice the size to analyze what is happening WHAT: Explore my climatic space by exaggerating it. What happens if it is more extreme? How about twisting? What if there were more balconies? CHALLENGES: Deciding how to exaggerate the balcony without changing building completely METHOD: Made the climatic space model 2 times larger than the original scale (1/4�=6’), and exaggerated the second balcony by sliding it off the glass wall half its length, and making it a larger. I then added another balcony above the original two WHY: : Jerry had voiced that it would be interesting to see what I could do with the 1st climatic space I created if I over exaggerated it. I agreed.
STRENGTHS:
WEAKNESSES:
Strengths:
-Craft at this scale needed to be neater esp. with plexi glass
-Solidifying themes and intent with triangles and mountains -Deciding on site characteristics and qualities -Sketching out the first two storyboard images made me realize a few things. The site and context was needed to draw storyboard images The buffer zone I spoke about for the narrative drawing, is part of the approach to the site and should be maybe water because it is not usual or easy to travel
I want my structure to reflect the mountain in any and every way possible which I planned on exploring both for the exterior and interior My structure was developing into a fullscale building that belongs in the Financial District, but I wanted it on a mountain. Why? Because mountains are majestic
-Approach needs to be extended to where the turn to the space is -No openings or paths; struggled with material lining up correctly with edges of balconies
Making Decisions Storyboard & Iteration #8
OBJECTIVE: Objective: Design a new iteration based on the storyboard WHAT: Wanted to know what my building looked like, but did not have the time to craft the whole thing nor did I know how. So I built my model in Sketch-Up, and used those images for my storyboard. METHOD: Use Sketch-up to get a better idea of layout, form, spatial sequences, and experience, and shape what I was developing from iterations 5 and 6 while exploring how to incorporate more of this mountain theme WHY: Using Sketch-up would allow me to digitally explore my space aiding how I was viewing my structure, and would also allow me to walk through it to some extent. I could also make more decisions and see them instead of choosing only one to do, that way I know I am making a decision for design purposes, instead of time purposes. I had also made some concrete decisions from the last review. My site was definitely going to be on a mountain, and I wanted all the focus to be on this element.
CHALLENGES: Remembering how to use sketch-up!
WEAKNESSES: -Scale might me off according to what I intend and what is happening. Yes the structure is large and suppose to be almost crushing to look at, however on the inside I wanted it to feel almost infinite either width wise or length wise. STRENGTHS:
A small person is marked to show scale, and they were right. My hall way did not look narrow or tall. So do I make it taller? Do I cut some of the floor area? Or do I implement another architectural element to support my theme?
-Good exploration surrounding my theme and site. I decided here that my structure was going to be on a mountain, and it was suppose to help you appreciate
When speaking about the approach to the 1st climatic space, my classmates and instructor poked holes in my theory of this space feeling narrow and tall.
Frame + Site Iteration #9
OBJECTIVE: Create the frame of the building keeping in mind structural integrity, and the site WHAT: I imagined that using wooden skewers to craft the frame of my building was the most obvious way to go. The material would be consistent and I thought easy to put together and the most continuous. I also imagined that I would produce a simple and most obvious frame to start with. CHALLENGES: crafting a structural frame that is continuous, but economic METHOD: Since I had already decided on the site for my building, I now had to think of how it will work structurally with the cantilevering elements and the site. I also wanted to change the interior to feeling cave like on the inside to support my idea of making these hallways feel narrow as discussed in last class. WHY: My building has a lot of cantilevering and ideally I was hoping to have a lot of structural elements hidden to evoke a sense of mystery of how this building exists in such a manner. However, this was a good time to explore how I could use structure to craft my space in supporting my narrow idea STRENGTHS: Finding a good material to use WEAKNESSES: -Underestimated difficulty of tasks and did not complete much -Very linear: probably not most appropriate for a building on a mountain, and goes against my triangle theme!
Skin
Iteration #10 OBJECTIVE: Revise frame iteration and explore exposed and hidden portions of the frame WHAT: I had the idea of putting in arches to give the space a more narrow quality. I found some inspiration from Santiago Calatrava's train station and bridge supports that jerry helped me research. For the exposed areas, I thought it would be fitting to put in triangular supports which returns to the original assignment and theme.. CHALLENGES: crafting a structural frame that is continuous, but economic METHOD: The first area of the building would have structural arches similar to bridge supports. In my second section, the narrow hall way, I wanted the same structural arches that Calatrava had designed in my corridors. However, I put the arches on the interior wall because this level is cantilevered, and the support of the arches would be distributed to the weight of the building to the edges of the floor. This way, the arches are bringing the weight down to the grounded wall instead of the cantilevered one. STRENGTHS: -Exploring new architectural elements to support structure and design. -Continuity of materials WEAKNESSES: -Time management -Craft -Jerry commented on my decision not to have the same supports in my first section. I made a decision to use different supports so that there were similar qualities, but different experiences, but now the world may never know
Conclusion Although I was nearly always struggling with my time management and completing my models, I feel like I have taken away some more important concepts. First and foremost, I learned I need to be more involved with my work. Yes it is a little crazy juggling work, domestic responsibilities, personal goals, etc. I really enjoy the design world and should venturing out more and conducting more research. If I had done this, maybe my designs would be more coherent. I also learned that study models are a good way to explore these ideas. I crafted study models at USF for assignments to study site and concepts. I should be doing that always too, it'll help familiarize me with materials, make my craft better, and aid with research. My biggest take away I believe is don't dismiss an idea until I've tried it. I often made decisions that felt like a take it or leave it situation. Instead, I should be diving into them and trying to figure out how I can integrate them together.
Overall, I feel to an extent that these first 8 weeks were pretty successful in developing my design skills and me as a student