Final Joint Model Three Materials: Copper, Plastic Rods, Wooden Dowel. This model was the last made and evolved to present the most spatial possibilities. The organic forms creating a web like structure that appeared flexible and able to welcome structural components while also maintaining inhabitable qualities.
After the construction of the Joint models I composed a series of plan sections through the final joint model exploring a floor plan to incorporate amongst my site. The site was a series of lines that communicated the interior and perimeters of the appropriate areas designated within the site.
I wanted to weave the plan around the
lines or wooden sticks letting the site dictate much of the floor plan yet keeping true to the organic forms while connecting them through a circular weaving circulation.
J
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The next phase of this project continued on through model.
I re-constructed
a second site following the same logic as the first, although increased the density of the “sticks� in order to gain more control of the actual design implementation.
I wanted to elevate
the structure and suspend it within the site almost considering the site as a web: the structure which supports the secondary element. The space was composed of the same material as the site hoping to create a seamless joinery of the two, although I found this to be too static in contrast to my initial intention it was noted that usage of different materials was also an aspect of my initial definition of JOINT.
I
decided to re-exam my original ideas and
site,
while
continuing
forward
and increasing the amount of sticks. The green over head strips represent the reflection of the trees radiating into the spaces below through a glass roof or sky light.
It was im-
portant to incorporate as many qualities of the site
into
the
spatial
experience
as
possible.
this model became too literal and needed a step back to the initial joint definition and models.
This diagram approaches the final form of the two structures on the site, while beginning to incorporate the arrangement of the sticks constructing
This
each
diagram
structure.
begins
to
develop
an
official
grid
in
which
the
site
plan
was
finalized
based on the previous set of sketches and then the heights and locations of the sticks.
In or rd der er to co continue n to increase th t he de dens nsity y of the site I took a lo logi gi ica cal ap cal pp pr r roach to configuring th in the e he h ig igh hts of the sticks and thei th e r l ei lo oca cati ti io on n after figuring out a fo form rm for r the structures on the site si te. te
Thr rough ou ugh g the creation of a
gr grid rid an nd col o o or r keys to identify the th e he ei ight ts of t the linear members I re rea ached a ce ert rt tain level of resol o lu ut tio ion n to o the he final site design.
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diagrams exploring wall heights to enhance diverse views from each individual interior space / pocket
This diagram explores how the different wall heights will effect the light entering the interior areas.
Once the final site model l wa was s de develope ped d I be bega g n to work k on the joint t aspect ct of th he pr pro ojec ect t, mea meann ing g th the e sp spat atia ial l envi iro ronm nmen ents ts t to o i ject ont in nto o th the e si site te. .
I w wan ante ted d
the wa th alls to det eter e mine e th he spa patial
exp xper erie ienc nce e
while
crea ating
little le pocke k ts s in which h the person ma may y tr trav avel el fro from m on t to o an ano oth her ea ach one e offer ering di d ffer erent light filt ltra rati tion on and views ws to the exteri ior e env nvir irom omen ent t.
Each Ea ch spa space ce is
diff fer eren ent t al llo owi wing ng a uni niqu q e vi view w.
“UNRAVELED ELEVATION OF ENTIRE WALL DESIGN
These images show the completed idea.
The design worked with the site in-
jecting
the
posts
those er.
into
any with
open
portals
openings
to
within expose
the
grid,
exterior
the
walls
enviroment
then to
followed the
view-
The green plastic over head condition represents the sky or tree tops fil-
tering
into
F
I
the
N
space
as
A
shadows
L
also
enhancing
M
the
O
spatial
D
conditions.
E
L
Axo on
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F I G U R E
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A
My second semester of AOP I was placed in a Masters level studio, instead of A2 This project revolved around creating 2-D collages anticipating
spatial
relation-
ships in 3-D forms.
The
usage and combinations of planes, lines, and dots were
G R O U N D
encouraged.
This project
involved many phases with various levels of abstract and
realistic
approach-
es.
This is the start of
A2 and these ideas flow into the two projects to follow. The
beginnings
to
under-
standing frameworks, design compositions
and
develop-
ment on a variety of scales.
P The
H objective
lage
C O L L A G E
1
This collage explores how the usage of contrasting linear elements in dense application form an energetic composition. ground
was
applied
The figure/ through
the
exposure of the background material (chipboard) through the ending points of each linear element arranged intentionally to create a layers of contrasting pattern with an organic form exposed in the center of the image to represent
the
ability
for
chaotic
linear elements to create peacefully
curvilinear
formations.
A was
exploring
points
while
ements
and
S to
create
lines,
considering
figure
/
1
E a
col-
planes,
and
design
ground
el-
concepts.
C O L L A G E
2 Collage 2 explores 3-D space through the usage of 2-D elements.
These
collages explore points, lines and planes
while
manipulating
ground elements. frame
helps
figure/
The intense black
exaggerate
the
image
pushing the middle into the background. The solid versus transparent squares depicted in space effects the strength of the figure ground relationship through the idea of pixilations or destruction of a core inner element.
These collages explored a
basic for and idea to touch base with the
standard
expectation
concern-
ing the figure/ground relationships.
P
R
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C
E
Collage 3 demonstrates a push to use more points in clusters to create larger forms almost reading as separate planes, divided by thick lines provoking the figure/ ground contrast while using the foreground as the secondary point.
The us-
age of the triangle seemed to create very
S
energetic images composed of tension and diversity.
This was a shape I wanted to
explore further, as a point, plane, mass additional to frames described as lines. This was a challenging form to create space, but I continued to approach it.
S
C
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G
E
3
This final collage in the 3 series was a balance between the first two
collages.
space
in
It
order
became
to
and the foreground.
clear
dramatize
how
the
to
utilize
contrast
the
between
seemingly the
back
blank ground
The white is actual white paper and the back-
ground is the main material for the collage: chipboard.
This col-
lage reached a final phase which was ready to be simplified and manipulated in order to produce some form of realized spatial environments.
P
H
Continuing three
to
interpret
dimensions
collages,
the
in
2-D
media
was
changed to mylar as the back
ground
using
white
and black paper again to illustrate. ing
transparent
obstacles. truly
a
per)
mid
and
The mylar becreated
There was now
background ground
foreground
(pa-
(mylar) (paper).
Three layers to bring this concept
closer
to
model
formation and 3-D shape.
A
The triangle remained the main form.
Mirroring two
triangles on top of each other created a very tense but
intriguing
relation-
Although advised to
ship.
use rectangles or squares I
these
ignored
and
decided
the
amount
to of
requests increase lines
to
once again produce static outlines with empty space between to elude to empty planes as spatial elements
S
E
or
possibilities.
2
These collages attempted to explore other methods of triangular formations with additional planes and lines I found their compositions were too dense.
FRONT VIEW BACK VIEW
BACK VIEW FRONT VIEW
M
Y
L
A
R
I
decided
ther
to
develop
continue the
onwards
relationship
with
these
between
the
two two
collages opposing
to
fur-
triangles.
FRONT VIEW BACK VIEW
BACK VIEW FRONT VIEW
C
O
L
L
A
G
E
S
M
Y
L
A
R
T
M
A
P
S The
selected
mylar
col-
lages were used as “maps� to
guide
the
construc-
tion of an actual 3-D model, seen on the next page.
O
M
O
D
This model was a fluid transition from the 2-D collages into 3-D form. to
be
a
lack
of
spatial
There seemed qualities
al-
though I continued my pursuit to make this chaotic
triangular
relationship
work.
E
L
S
K
E
T
C
H
M
O
D
E
In order to devise spatial areas within the already composed model, it was encouraged to continue working in the same model, performing “surgery�. This was a difficult concept to perform, although it created immediate results in an efficient procedure. Cutting a hole into my model didn’t deliver the exact results I was seeking although through hard line drawings I was able to move forward.
This step helped spark the next series of spatial developments.
L