101 Design Studio Final Leaerning Portfolio Devin Krizwold
Project Brief
Objective To render and then build a temporary installation which uniquely responds to the greater immediate environment and localized site while accurately responding
to set of required design elements which utilizes our groups collective innovation, resourcefulness, and innate talent. Uncertain climate conditions require that construction be site-specific while maintaining a high level of adaptability to various environmental factors. As the project begins to take shape the assigned site will be divided into specific “nodal spaces” creating individually unique spaces which connect and integrate with each other into the total space. The scope of our project is to iterate a social space with opportunites for accidental encounters, vantage points from which fleeting beauty catches the eye, and a space of serene meditation where the individual can retreat to their own thoughts and ideas. These spaces reflect a selection of facets of the human condition. Creating a space which would promote human interaction while subtly accenting forms, thoughts, and focused perspective. “The design and construction of Path and Nodes should encourage inhabitants to occupy in both physical and metaphysical (notions related to being, knowing, substance, cause, identity, time and space) ways”
Initial Response
From these generally specified directives, a lot of thought towards the variables presented by both the site and its visitors came into focus. in order to develop a tec-
tonic language which is able to focus on the aesthetic and spatial perspective as all environmental and physical elements are present through the way in which the language is articulated is no easy task. Factors such as wind, sun, acoustics, curculation, rain/fog, views, physical form (trees), human activities, and landscape would have to be understood and accounted for in order for focus to be placed on the geometry, symbols and metaphors as they supported the greater conceptual vision of the project.
Planning & Coordinating Design
The Site
CCSF Batmale Hall, Rear Courtyard San Francisco, Ingleside
Deciding upon our site we took into account
many factors, personally my interest had focused on a site which had natural elements which could be used to create a more articulate design response to the site. as interest led towards site #8 we found 5 key elements which were the basis for our decision 1. Open Space-This allowed us to have further creative liscence in our designs as an open floor plan would be essential to our design. 2.Central Location- a space which would be directly accessible to its visitors, inviting them to experience and observe the courtyard space. 3.Organic Elements-The connection to nature was essential for me so having a tree form which would provide contrast and wind cover was aethetically pleasing and multifunctional 4. Structural elements-3rd Floor overhang and wooden railing would provide vertical anchorage and further structural integrity. 5. Orientation- Direction of project as required by existing elements of structure provided sunlight throughout much of the day, this would add to the project throught the use of shadow structures (lighting patterns) which would elevate the structures aesthetic draw as well as elevate design. ďżź
From our initial observations we developed a
more in depth site analysis. focusing on 5 elements we learned a lot about how we would have to engineer the installation to interact fluidly within the site. 1. The Sun In my visual analysis of the site, combined with solar tracking software I was able to provide an accurate approximation of the way in which the sun would travel over the site. providing sun briefly in the morning the shadow of batmale hall created a cold and shady atmosphere throughout the courtyard. 2. The Wind Cathy’s survey of the wind found that although we had planned to use the trees as a wind block, much of the wind was funneled through the passage along the east side of the building and the northeast entrance. 3. Human Traffic and circulation Vivian and Cathys analysis of the site found that the site was used intermittently for smoke breaks and not used for class breaks as the site was windy and uninviting. 4. Accoustics and Noise Vivians research on noise and accoustics found that the formation of the courtyard was condussive to noise reduction and what noise came from the freeway and soccar pitch were mostly and partially diffused by the distance and walls. 5.Vantage points and Perspective From alJudging from our sites orientation there were no exeptional vantage points which were not accessed by wrapping around the tree form. The more immediate views of the other exibits, tree form and sky
(Left) Initial Site Analysis (Above) Final Draft of Site Analysis for Final Presentation
Our Initial site plan gave us a basis of understanding upon which to iterate our designs. From an image of the courtyard
provided by Cathy, a part of her work on creating a beautiful scale model of the courtyard, supperimposing the graphic information of what we would have to design around made the integration of working with complex factors simple. From this we formulated a more readable site analysis, focusing on factors which were more immediately relevent to how our form would respond to the site as well as the needs of the visitor.
O
ur circulation map laid the basis upon which designs were built. understanding how the visitor would traverse the site as they experienced the installation was a very important factor in creating spaces and forms which would be aesthetically interesting and well as highly functional. Taking the raw data of a solar analysis, guaged through entering GPS coordinates, time of year, among other factors and turning them into a comprehensive understanding of how the sun would influence the courtyards microclimate and visual aes-
My initial designs were generated using these two factors
and their associated principals as a framework. intitially working abstractly to iterate a basic idea of form, spatial focus and visitor direction. Taking ques from Mies van der Rohe and his Barcelona Pavilion, in which the simplicity of materials reflected the environment while the structural from guided the visitor through the space. As a continuation of my former works leading upto and for the midterm dwelling iterations I worked with wire, wood and linear forms (foamcore, cardboard) as these were familiar and allowed me to create interesting curvelinear form as my sketches were pulled from the page.
Research & Individual Work W
hen initially beginning my research on form and material I was told by students in previous classes to be very aware of the budget as, materials add up quickly and it is important to consider feasibility during the conception phase so as not to get carried away with space age ideas. This thought led me to focus on pallets as a method of production, especially after a critique on the two models below pointed out that building a massive wire form structure was both expensive and impractical. Pallets are cheap, potentially free and fairly adaptable to a variety of needs.
Collaborative Design As our group began to work more into the mind-
set of imagining a collective design over the individual one i began to notice that my designs as well as those of my group reflected material or layout aesthetics integrated from the group. I found this process to be one of the best ways in which to create a higher design from multiple designers. When aspects of previous models, wether the integration of Cathys circulation chart into Vivians fluid seating form or Cathys integration and elevation of my pallet design (not pictured) into her own form. As we continued to collaborate and borrow from one another, a collective design language emerged which fostered further discussion and development of our final design.
I
n working with others it is easy to get caught up in the ‘my design vs. your design’. I found that it was important to work to objectively critique others by offering both pros and cons of each iteration as this fostered an environment where the critique upon my own work would accurately reflect its strenths and weaknesses. From our individual projects we were able to play with each peice in order to find a collaborative design which was articulate of each group members ideas. I found it important to realize what aspects of my own designs were working with the collective vision and what aspects of my own ideas were incompatable with other details I saw as neccessary to the design.
Final Iteration and Translation to Final Design
T
hroughout our project we made sure to take extensive documentation of our works. not only does having multiple perspectives on design make a good project but having a widely faceted understanding of what it looks like from different perspectives throughout the process makes the reflection process and inspiration of further works better.
Presentation
Meditative space The enclosed form, built using organic and visually transparent materials, engineers both a connection to the site through the use of wood and plants as well as a visual connection to the environment. The orientation of the space and seating integrate the node as a logical continuation of the total form. In addition the directed line of site works to facilitate a sense of calm and focus Accidental encounters and socialization The clean wooden construction is intended as an evolution from the rough wood of the walls and flooring as a focal point for social interactions. Light tone further contrasts the structure from its structural surroundings. Orientation promotes observations and discussion (101 final projects), while undesignated design and varied levels promote interaction between those on and around the seating area. Note Fleeting Beauty As a way to direct the flow of the environment, an undulating curvilinear form engineered from tessellating orthographic modules compliments and contrasts other aspects of the structure, creating movement and flow in a static structure. Our open design frames color and light in the individual component while also outlining elements such as shadow form, plants, and sky. This effect produces a focal point which brings the environment into the space as well as connecting the observer to the environment.
Articulation and preparation. Stay relaxed, maintain a sense of calm and always remember that what you’ve written arent rules, they are more like guidelines. In the quite, unpressured seat it is easy to over complicate what you are trying to say in an effort to fully articulate everything it is that you have been doing for the past month and a half. I found that during our presentation what I was saying, though an accurate description was over complicating the idea present behind each node of the installation. As I spoke, the reality of what we had done ran through my mind as I was not only presenting the fully fledged concept to the judges and the class but also to myself. By communicating the forms and their ideals in a way which highlighted the concise descriptions with a simpler more general context, I found that what I was saying translated from the action to the description much more fluidly and accurately.
The following pages are the visual descriptions of our oral presentation minus Alex’s Site analysis which can be found on Pg. 3 of the portfolio and served as the introduction and contextualization of our project. In order of development and presentation; myself on Nodal Environments, Cathy with research and inspiration, Luis on the culmination of individual design into the final, and Vivian who presented the written narrative of our project.
Pros
Judges Critique
-Level of craft and heirarchy of elements -canopy portayed a high level of articulation and engineering -pallet walls and vertical gardens were structurally sound and created texture and space through the staggered form -plants did not appear as arbitrary and decorative and provided a connection to the organic nature of the site. -latticed wall created an interesting sepereation from the courtyard while maintaining a sense of openness -visual appreciation and regular use portrayed the identity of various portions of the site immediately after construction was completed. -the rustic style of the benches, flooring and walls provided a solid continuity between the various components of the lower structure -congratulations on two well done projects were given for the result of our work. -site was enjoyed by all and recieved predominantly positive comments
Cons
-static of structural form contrasted the canopy to the point that the structure seemed to be two different projects -connection between the two “components� seemed superficial and did not integrate the space as a whole -plants on bench seemed to be irrelevent -pallets used as flooring were not structurally sound and presented a hazard to those experiencing the project -painted flooring seemed garish and unneccessary -plants provided another layer of heirarchy and connection between the two halves of the space but did not elicit the idea of a fully integrated, site responsive structure due to the fact that the pine trees were largely neglected as an integrated form through the vertical gardens -secluded meditative space was not very secluded
Reflection What Worked This was an amazing project! from the everything have learned over the course of the semester to the feeling of having come such a long way from simple bark formations basic design language. Using the final project, I would say that learning to develop and built an installation from the blank page to the sunlit installation and extensive photos. Many lessons, discoveries, and setbacks have given me a better understanding of the level of effort and focused concentration of that effort which must go into creating anything. Learning to articulately communicate and in turn attentively listen to those in my party was a quality which facilitated the relatively smooth development of our collective project. understanding when things were not fully understood, making time in order for the whole picture to be assessed and managed for the benefit of the group is invaluable for success. Working with a larger group definately presented difficulties as there were always alternative ideas and perspectives no matter the discussion. However I think that this was one of the greatest things. Having those who were invested in the success of the collective project as critics of my work made the work better and the understanding between group memebers clearer. Understanding what each person was looking for in thier imagination of our final project fostered a stronger bond while at the same time honing and developing my own aesthetic. Learning how to articulate my ideas through Jerrys push towards the understanding and use of architectural vocabulary as a communicative medium between the audience and my tectonic language as I envisioned it. From a more articulate presentation of earlier works I was able to identify to myself what I was looking for when doing research and discussing design concepts and elements with myself.
What Didn’t Work My greatest failure in this project is not accepting failure as a guide to success. In developing my iterations and ideas to the form they ultimately assumed (as far as this project goes) I know that I have lost valuable concepts and ideas in my persuit of a perfect first time design. an inability to accept failure and progress in my design process causes me to ignore a higher level of craft in aspects of my designs. After reaching a point of development in both design and aesthetic which provided a framework through which I was able to understand my own ideas and concepts better. While gaining a further understanding of how to articulate my thought process throughout the design and build phase while simultaneously understanding the reasoning I had both consciously and unconsciously. In gaining a glimpse of what my own design language was as it interacted and stood alongside that of others, I began to transpose what I knew about the ways in which physical and ideological conceptions could be interpreted and integrated to form a concise work derived of multiple parties into the realm of architectural design. Despite communicating well with my group, I did not communicate well with myself. I wrote minimal notes, ideas and reflections on my own work and performance and even worse did not take sufficent time to develop the ideas i had formulated in order to build habits which would have facilitated a stronger and more stress free learning experience that went beyond the curriculum of the class.