Krissy Olson Design 1 Portfolio Lisa Huang
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Table of Contents Cubic Construct pages 4-7 Matrix pages 8-12
Room & Garden pages 13-17
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Cubic Construct Making and Reading a Spatial Langauge Design 1 | Fall 2013
the Concept The cubic construct project began with iterations of smaller three inch by three inch models, where students were instructed to make space out of bristol board and basswood linears. After two increases in scale and a development of a design concept, the design concept for the final cube begins with a dense core composed of much smaller spaces, and also material, than the rest of the cube. The spaces become larger and weave around the smaller space as if the cube is a square spiral. However, the core is not in the middle. The mass helps show the weaving of spaces by interlocking in a way so that the smaller spaces interlock in a hierarchical manner.
The final cube:Drawings
The larger image in the middle is the axonometric drawing of the final iteration of the cube, combined with the sticky back representation of the primary spaces throughout the model. The top right image is the axonometric drawing without the sticky back, on the bottom right the primary spaces are represented by tone.
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The Final Cube: Modeled This image is of the final iteration of the cube, a nine by nine by nine inch wood model of the cube. Before this step, students made a rough draft of this model by using chipboard and foam. The final iteration was constructed out of plywood, basswood planks, one eighth inch and one sixteenth inch basswood linears. Below is a close up of the cube’s core, composed of small spaces and materials.
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Sections The image to the far right is of perpendicular sections of the final cube. The smaller photos are of the final cube standing on multiple sides, because the cube does not have a definitive base.
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the Process The photographs below show the first increase in scale during the cubic construct. After the 3in. x 3in. x 3in. models, 6in. x 6in. x 6in. models helped adjust to making a larger model. During this part of the process, a design concept is formed where the model demonstrates a tectonic language the student is trying to convey. Both of these models attempt to show the concept of space wrapping around a central node. To the far right, a 1:1 scale axonometric drawing of the bottom right model is shown.
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the matrix Concept The design concept revolves mainly around the action of tearing and separation of two nodes. Beginning with two main territories, which have smaller fields within them, the nodes within these territories move vertically in opposite directions to better define the large spatial threshold between them. Elements do not completely lose touch from one another across the collage, to imply an increase in a spatial void without losing registration. To the right is the final model, which represents two spatial nodes in separate fields with the connective tissue removed to show the complexity of the nodes. The matrix project had many reiterations, which show how the model on the right resulted from the collaboration of two different paintings, by Jose Parla and Ben Krafton.
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Final Model The nodes from the final matrix model below.
The Axo The purpose of this axonometric drawing of the final matrix model is to depict the connective tissue that was not constructed in the model, as well as the spatial nodes. The connective tissue originates from a series of collages, shown on the next page. In the drawing different tones show the tearing of two nodes, as if the connective tissue is being pulled and the tension makes the center of the tissue thin and weak (the lighter color tone).
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The Process Below is a series of diagrams showing the steps leading up to the final matrix collage and models. The image to the right is a collage constructed out of the paintings by Jose Parla and Ben Krafton below. After constructing the collage, students were then asked to switch collages with another classmate to explore new opportunities with the collages. From the manipulated collage, the diagrams below each represent an important aspect of the collage that will be manipulated again later.
Ben Krafton
Patterns and registration lines
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Jose Parla
Thresholds and registration lines
The original collage
Concentration within the nodal fields
The finished matrix nodes.
Two main fields and territories within them
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This final diagram is composed of the four previous diagrams, with varying opacities to show their relationships to one another.
Above is the final collage, manipulated once more in photoshop, and also by hand.
Sections The final sections of the matrix model show the concept of two nodes and their respective fields tearing apart and expanding. The image on the left is a photograph of the nodal models on top of the final iteration of the collage, to show three dimensional models with their connective tissue on the collage. In the sections, the tone is highlighting the spatial threshold where the elements seem to connect, however, they do not at any point because they are separating.
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room and garden In this final project, the concept of occupation is introduced. Ideas from the cubic construct and the matrix and combined are utilized in a way that allows a person to occupy and use a space that is unique from any other structure. Students were instructed to develop an itinerary along which different types of occupiable spaces occur. Below is a series of perspective drawings from within the final model that represent paths along the itinerary and potential occupants. Tone is used here to highlight elements that guide users along the itinerary.
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Final Model The image to the right is the final iteration of the room and garden project, constructed from basswood planks, a system of plexiglass, and basswood linears. At the beginning of the project, students were introduced to parkour, a sport where traceurs use physical strength and tactics to navigate through a space as quickly and efficiently as possible. The reason for this was to enable students to develop an itinerary where an occupant could navigate through it in many different ways, as opposed to occupants walking through simple paths or hallways to reach isolated rooms. Miniature parkour silhouettes were used to show areas of occupancy and navigation in sections of the models. The design concept is to have an itinerary of spaces that flow together by a series of thresholds and spatial hinges that connect large scale and smaller scale spaces together by expansion and compression. There are no separate rooms completely isolated from another space, and each space can be occupied from many different itineraries.
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Plan & Sections To the right is the plan drawing of the final model. Tone in this drawing represents the itinerary and the three main spaces in the model, and the textured tone shows the three spaces. The first space is a space for one person, used for contemplation, which is isolated from larger spaces and is located above the main itinerary. The second space is for five occupants, a space for training in regards to parkour. The last space is a large scale space for observation and performance, to the far right.
These two sections are drawn perpendicularly to one another, to show the itinerary expanding and compressing, which is represented by tone.
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the process The model to the right is one of the first iterations of the room and garden project. The initial model was a relief model where students were instructed to develop a model representing the connective tissue from the previous matrix project, since the connective tissue was never physically modeled in that project. This model was constructed from bristol and basswood linears. Below is a plan of this model.
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The last iteration of the room and garden project before the final model is shown on the right. This model was constructed from chipboard, basswood planks and linears. This model is supposed to further represent the design concept and allow for adjustments to the design before the final model. Below are two perpendicular sections of this model, as well as occupiable spaces within the model.
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