Tables of Contents 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 18. 19. 20.
Portfolio cover Table of contents Iteration 1: Icebreaker iteration Iteration 2: Promoting the design process Analytical Tools : Drawings and photographs Iteration 3: Applying critical examination Narrative Introduced: Deepening Intention Iteration 4: Informed by narrative Iteration 5: Further development Iteration 6: New step Narrative Expanded Iteration 7: Lost in the Woods Iteration 8: Order and Placement Narrative Final Iteration 9: Form Iteration 10: Space Storyboard: Invoking intended experiences Iteration 11: Frame Only Iteration 12: Frame with Skin Conclusion
2D Inspired Construction Examining Malevich’s “Suprematist Composition 2” As an Ice Breaker Project I was tasked with transforming a portion of the 2D image into a 3D model design, Focusing on the possibilities of • • •
Form-making. Developing Design. – Focusing on designing in a Vertical – and horizontal plane. Exploring Abstract approaches
I chose to focus on the scale, execution, and adherence to criteria to first assess my work for this assignment. After choosing my 2D section, I imagined a strong design that could look dynamic in nature, while being interested in avoiding repetition. This first iteration lacked interesting defined space, and was too simple in execution. Inexperience with materials and lack of experimentation with the design were main issues with this icebreaker iteration.
Elements and Principles Promoting the design process ITERATION #2 A+er cri0quing the first itera0on of my design, I no0ced my design had a high level of symmetry and very few interes0ng defined spaces. I looked to improve the design by assessing the value of the organiza0on and symmetry of the elements.
I chose to focus on: • • • •
Creating Space by creating negative voids Adding more asymmetry by adding more horizontal and angular elements. Issues with design: Still a high level of symmetry present in design. Lack of interior space for viewers to actively participate in design, and in need of pathways and transitions.
Drawings and Photography: Analytical Tools • •
Using the drawings and photographs as tools, it allows for difference to viewed in a simpler, more organized manner. Closer analysis, shows the strengths and weaknesses of the experiences at a specific loca0on within the design. – Further exploration of the value of the parts, and of the design as a whole.
No Dynamic elevation changes, lack of space, simple, a-b-a construction
In need of interior spaces, transitions and clear climax
When developing iteration 3, I used my drawings and photographs of previous two iterations to inform my decisions. I decided to create more space, by repeating shapes and elevating the top platform. The separation of the two structures creates a dark corridor with both tension and release created by the walls.
Emerging Strengths and Weaknesses : Iteration 3
I found this iteration to be the first where I felt I was actually making some informed design decisions, implying design language, and promoting a cohesive composition. • •
Tower connecting entrance courtyard to the second level deck way creating tension. Pivoted smaller structure off of the taller back structure provides a release as pushes off of one another
Deepening Inten0ons & focusing on process Applying a narra0ve
Narrative Draft #1 As an audience approaches the structure, “lost in the woods”, they should feel a sense of cohesion, coupled with a degree of choice in how they are going to experience this structure. The building is designed to sit in a secluded site with plenty of natural landscape, with thick vegetation or woods as you approach the southern face of the building, where the courtyard entrance is located, and a spacious setting facing the northern side. The courtyard contains a tower that connects the two large structures together, and is meant to invoke a sense of support. The tall sharp angles of the structure oppose nature, but draw the viewer to explore the edge of the structure and allow the different entrances to be discovered. On site there are two major rooms in the structure, the first a solely skylight lit room that is meant to focus the viewer on the interior of the room, and highlight what is displayed or what will be. The other room in the structure has the opposite intended purpose, the room is designed to have the viewer focus on what is on the outside, giving many angles and viewpoints to explore the surroundings. To allow for a simple transition in space, an open wedge is left between the two large rooms that allows for further exploration and a sense of finality as you walk away from the courtyard and entrances of the two large rooms.
Informed by the Narrative: Iteration 4 Applying the narra0ve to my fourth itera0on allowed me to evolve my design process by looking at mul0ple angles and choosing favorable experiences and by giving more purpose and inten0on to the decisions I was making.
I created an interior space to expand the experience, and started to try and set up the emo0ons a viewer would feeling when in the structure.
Further Development: Itera0on 5 As my design con0nues to develop I find that my technique for crea0ng the models is evolving and I am star0ng to create ways to save 0me and becoming more precise, such as dra+ing the outlines for the pieces, and crea0ng score lines before I make the final cut. I enjoy how Arches create a ver0cal transforma0on, but they require refinement to invoke the intended response of tension. The challenges I faced when developing Iteration 5 was a lack of inspiration to experience, I decided to try and transform the design by focusing on scale and proportion. I added symmetrical windows on the structure, surrounded by non proportional arches to try and create a varied viewing experience
A Step In the Right Direction: Iteration 6
Walkway connecting the structures and the exposed tower that facilitates the transition. Angular Ramps directly oppose the symmetrical windows.
This Itera0on represented a change in the direc0on of the previous building itera0ons, The structures become connected with the walkway and start to u0lize the various levels to create an interes0ng space and experience.
Narrative Expanded As you approach you see the structure from the “lost in the woods�, the feeling as you approach should be a comfortable inviting experience. Viewers should be curious of the opportunity perched on the cliff side, and want to explore on the opportunity for their outdoor adventure. the simple style entrance is easily found and allows for an effortless start. The first room entered guides the participant and at first only allows upward views of part of the room, much like the view of a sky through the forest. The next experience begins as the first corner is turned and benches to a low window allow for views of the lower levels of the forest, forcing a closer examination of the same woods that led them to this refuge. The next turn leads to the entrance of the tower and provides the first view of the previously restricted path that they just traveled, clarifying its simplicity. The tower leads to the elevated viewing platform which provides a view of the forest path that first led them to the structure, a further sense of clarity and realization of the levels that connect elements of the forest should be beginning to occur. Off the balcony another doorway leads into the third part of the structure. Inside the building the user is raised to the lower part of the canopy, the viewer should feel safe to examine, and a sense of cohesion with the surrounding forest. From the raised balcony a pathway down to the ground floor leads to another doorway, a final transition to an outdoor raised pathway, which provides a sense of adventure and fear, leads the viewer to the climax of the intended experience. A culmination of observations helps the viewer to now process what they are seeing. The forest on the mountain side from distance, Too far to see, but knowing the bark is there, the branches exist in the canopy, and the different elements that make up the forest.
A Study On Symmetrical Design: Iteration 7 “Lost in the Woods” Birds Eye
View of side from room two.
Lower benches force viewers to view lower level of the surrounding landscape, with the intentions of causing the viewer to reevaluate and look with new eyes. Working to define the design intentions, I relied on the developing narrative that I was working on. It helped me look critically at the decisions I was making, on placement, space, and how I would create the viewer experiences I wanted. • Building must be more dynamic, creating a more interesting journey • Designing True forms that represented the space the design was intended to achieve
View of back viewing platform from room three
Order: Iteration 8 Order can be constituted in design in many ways, but can show itself in design by allowing for a flow between the various elements. Order can be a clear transition between elements, or in the case of this design the repetition of size and placement. The value of order is that it creates a clear framework to view and experience the design as a whole
Viewing Deck in need of suppor0ng structure.
Transi0onal room from final experience to exit.
Final Narrative Approaching the site, the structure sits in a clearing, perched upon a Cliffside. A strong central tower and uprising posture created by the central tower leaves the audience feeling comfortable and creates an approachable experience. The viewers should feel curious of their found opportunity to expand the outdoor adventure with this buildings design. At first glance the entrance is easily found, allowing for an effortless start. The first room entered guides the participant to a hallway with a low window and benches, the angle forces the observer to only view the lowest level of the forest. The viewer is left with the feeling of strength and support for the understanding of the foundation of the forest, the foundation that has brought them to this refuge they are now in. As the journey continues after the low window, the next turn leads to the entrance of the tower and provides the first step towards increasing their journey towards the top of the canopy, viewers should start to feel a sense of clarity and a realization of the levels that connect the elements in the forest. As they now enter the first deck and gaze at the forest that brought them to this building, they should feel inquisitive of the new nature of the forest after taking a closer look, and exciting for the next stage of examination. Off the balcony another doorway leads into the third part of the structure. Inside this room the audience is raised to the lower part of the lower canopy, including the branches and lowest sets of crowns. Focusing their attention is a narrow window angled upwards to focus attention. The viewer should feel safe to examine this raised part of the forest, focusing their attention is a narrow window angled upwards to focus attention, and a further sense of cohesion with the surrounding forest. From the raised balcony another opening leads to the final stage in the journey, a raised covered deck grows from the third building and set the audience over the Cliffside, a small uncovered plank allows for the daring to take a more unprotected view of the far away forest. This final pathway provokes a sense of adventure and fear, it is intended to be the climax of the experience, A culmination of the observations helps the viewer now process what they are now seeing. The forest on the mountain side, too far to see, but knowing the bark is there, the branches in the canopy exist, all different elements that make up the forest. From the furthest part of the platform the viewer can come around and exit the structure, arriving back into the forest. The audience now is coming full circle and finishing their journey, back into the forest from which they came but now able to greater understand the elements that make up the forest.
Finding the Form: Iteration 9 Embracing the expect norms of design has the value of giving the viewers vision or feelings a comfortable, expected representation of form. It allows for the viewer to be immediately familiar or feel at home. To achieve this I created rooms that are honest representations of their space, creating the first level on the ground floor, a tower for transition, and an upper level that represents the highest platform for the viewer to experience the structure. -A main challenge I faced in this iteration was transforming the form to shape the space inside the structure in a way that created my intended experience. An experience of guided views, and a progression of viewing from the ground to the sky. - Structure in need of added support on cantilevers.
Shaping The Space: Iteration 10 Embracing the denial of norms can allow for exciting, new, ways to view design, and force a viewer to question what should be, or what is possible in a new way. The benefits of trying to design outside the norm is creating interesting forms and experiences, I enjoyed the transitions in this iteration, but am concerned with lack of some structural trusses on the cantilevers, additions of angular support from tower to room three should be explored. Angular building cutaways provide clear preview of experience to viewer.
Storyboard Invoking Intended Experiences
1. Approaching from forest, seeing structure perched on a Cliffside forest clearing. Simple entrance easily spotted 2. As viewer enters the first room they are inquisitive as they look through the low window and examines the forest floor, forcing a reexamination.
3. Viewer transitions from first room through the tower to the first viewing platform.
4. Viewer looks at the forest they brought them to this structure, trying to understand the forests complexity.
5. Viewer transitions into the second room and is now forced to examine the forests canopy, having a closer than usual view, but being safely confined in the room. 6. The climax, the viewer is now on a platform extending from the back viewing platform, seeing a distant forest with new eyes.
Example of possible site for climax, the structure perched on the Cliffside, and the viewer able to view the far off forest.
Frame Only: Iteration 11
By minimize waste in the structure I intended to create a simple, honest, efficient frame.
The Wire Frame construction allowed insight into the design of the building by revealing the internal skeleton, It allowed for alignment errors to be easily recognized and forced a look into the truth of the design. The skeleton highlighted the need for further support and bracing to hold up the structures extended elements.
Frame With Skin: Iteration 12 For this final iteration of the design I added trussing between the framework in areas in need, as well as angular supports for the second room, which cantilevers off of the tower. The addition of the skin to the structure was down in two ways, I chose to partial skin the design in order to highlight certain areas. The skin on the tower highlighted the weakness in its design, I feel a different form would connect the elements of the design more appropriately
The skin on the first room was used to highlight the form, which shapes the space and ultimately invokes the intended experience for the viewer. Having the viewer forced to view the forest floor, in a restricted manner in order to examine it in a new way. When applying the skin I discovered areas which needed additional framing in order to apply the skin in the intended manner.
Conclusion • I believe that the tools that I learned throughout the iterations are valuable, and helped evolve and inform my design decisions. • Apply tools such as photographs and drawings to help analyze a design are good ways to see possibilities that could otherwise go unnoticed . • The use of a narrative to help define the intended experience of the design, and create a clear framework to help establish the form and space required to achieve this. • Apply the intended experiences and creating a storyboard that maps the journey through the design. • Creating design models of the iteration using various techniques to help understand the benefits and drawbacks of different elements present.
Journey Back To Discovery
Team Squat Trust Arch 101 Final Project Kody Burke Basia Carroll Kelly Doyle Hassna Abourraja Natalya Pavlova
Finding A Place As a group we agreed that going back to some of the things that helped make childhood so magical would be a great way to accomplish this goal. We chose to focus the childhood experience in three ways, explora0on, expression, and observa0on. I chose to work closely with the experiences of explora0on and expression. This por[olio explores the reflec0ons of those two experiences.
First Draft
When placing the experiences it decided that the explora0on would take place alongside the sandbox, and the sandbox would be used to create the expression experience.
Sectioning
This was my first a]empt at designing a structure that would allow par0cipants to expressive themselves within the larger design. I first thought of a structure that would spin, taking advantage of sec0oning to form similar parts with different sizes with the inten0on that it would drag various pa]erns into sand when rotated. -‐This model was created with a central post which supports the top component and allows the array to rotate. Support posts and pla[orms are then used to create the rest of the structure. -‐ Would create a predictable experience -‐ Be]er suited as an ins0lla0on that would take advantage of wind.
Movement This second a]empt at crea0ng an expressive experience within the ins0lla0on is two different itera0ons of a hand-‐powered spinning array. They would have weights on strings which would allow them to drag in the sand, and with decreasing or increasing the rate which they were spun different pa]erns and interac0ons could be made. -‐S0ll too predictable of an experience. -‐ Benefit is having a simple design and construc0on.
Interaction through participation The third a]empt at designing an expressive experience was construc0ng a device similar to an Etch-‐a-‐Sketch which would be built to fit inside the sandbox, and be operated by handles which would extend up to the stage. -‐Allows user to create a completely unique and self-‐expressive design -‐ allows for users to interact with previous designs le+ from previous par0cipants -‐ U0lizes a fairly simply design to create a complex experience.
Combining the Concepts A+er approaching the expression experience, I decided that a raised pla[orm would allow the user to be raised above the sandbox to promote interac0on, and combine with the Explora0on experience. The design was chosen to create a pla[orm with a designated entrance and exit, and integrate the chosen material of 0res into the design. The 0res were used as support for the tread of the pla[orm, and the exit was extended to create a longer journey into the final area of the projects experiences.
Building on Site When building the full size 0re and stage structure, it was force to be slightly adapted to fit the the constraints of the materials. The 0res had to be posi0oned very specifically and with matched sets on the various levels so that the treads would be at similar heights. -‐ The construc0on was simple and because of the materials the treads would shi+ when walked above and create just enough instability to create an interes0ng experience. -‐Provided the necessary points to interact with rest of design.
Attempting the Build To build the full size expression device inspired by the etch-‐a-‐sketch. Used in construc0on was 12 feet of threaded-‐ rod, 4 feet of slightly larger steel piping, and nuts, washers and 4 2x4s for the frame and assembly. The device required hardware that would have some pulleys which would rotate freely, while some had to be solid to be able to control the rota0on of the drawing arm. This was accomplished by using lock-‐nuts to 0ghten or leave room for rota0on on either side of the piping. -‐This project was uncompleted because lack of proper materials, the cordage required to wrap around the pulleys needed to be strong yet s0ll have elas0c quali0es. Rubber cord, Bike tubing, and, Rubber housing all seem to be materials to explore.
Conclusion we as a group learned a lot in the construc0on of this project. When star0ng we were all very op0mis0c about the poten0al, together we had agreed on building an interac0ve experience. -‐A set of walls, one moveable, that contained colors and pa]erns. -‐Hanging mirrors to cast light onto the planter box. -‐Etch-‐a-‐sketch to interact with the sand. -‐Exterior walls that would encase the whole structure. As the deadline approached, it became apparent that combining all of these elements into a single project with our 0meline was no going to happen as planned. We chose to adapt our designs, element certain elements such as the mirrors and exterior walls to allow for a certain level of desired comple0on. Problems arising with the moving wall, and lack of 0me gathering proper materials for the etch-‐a-‐sketch let to the technical aspects of our project would need longer than we had to work out. All in all, lessons such as 0me management, working with teams, and proper building plans were very much appreciated and apparent in the experience.
Journey Back To Discovery, May 2015
Sun through Tile Array