PORTFOLIO FIRST YEAR ARCHITECTURE
MEREDITH LAYMAN This is a portfolio of my work as a First Year Student in Architecture at North Carolina State University [Fall 2016 - Spring 2017]. My interest in architecture stems from an appreciation and desire for balance in spaces and form. I relish the beauty in things I see—be it through order, symmetry, or pattern. In my first semester, three month-long projects and one side project helped me learn and refine my process of research, ideation, testing, prototyping, and arriving at a final design. The second semester turned my focus to the fundamentals of architecture; composition and form were emphasized through projects unconstrained by site or scale.
5.
WEARABLE PAPER CONSTRUCTION
11.
CARDBOARD DESK ENVIRONMENT
17.
CUBE STUDY
19.
ILLUMINATION + TRANSFORMATION
25.
COMPOSITION, COLOR + LIGHT
33.
STEREOTOMICS
39.
TECTONICS
48.
CONTACT INFORMATION
WEARABLE PAPER CONSTRUCTION fall 2016
INSIDE OUT
The goal of this project was to create a wearable structure that examines the ideas of gravity, light, and movement and raise the viewer’s awareness of these phenomena. Inside Out brings the concept of a ribcage to the outside of the body and emphasizes the effects of the spine’s subtle movements. Through horizontal extensions coming off of the spine, the viewer is able to see the effects of bending side to side more clearly, and the slight bounce of the wire exaggerates the ripples of movement throughout the back, shoulders and hips. Inside Out was created using paper pulp on wire to create a delicate, fleshy texture, reiterating the subject of the skeleton.
left Studies of the body led me to find inspiration in the human spine. I researched centipedes and snake skeletons, as well as the tentacles of the nautilus and their prey catching technique. Also shown are material tests and prototyping of paper pulp dipped wire and different spine constructions. right Final construction alongside an initial sketch.
CARDBOARD DESK ENVIRONMENT fall 2016
INVERT
In this group project, we were tasked with constructing a cardboard structure which supported each group member’s studio practice and integrated the individual’s space with the group’s construction. We had to consider the relationships not only between group member’s spaces, but also the context alongside colleagues and the studio environment. Invert claims our studio space through the use of color and light, all while maintaining views of the entire studio. From the outside, it appears to be an interesting but plain structure. However as one steps into the space, the warm colors on the inside reveal themselves. Invert satisfies the need of storage space for those beneath the windows, as well as a sense of shelter for those seated with their backs to the room.
left Initial ideation led our group to a general shape to contain our space. Material tests included creating individual pieces which could tab together to make a structure or fabric. The goal was to build a structure with arms extending fully to the wall, which would be constructed and held together exclusively with cardboard. right Building full scale prototypes was the best way to understand how to manipulate the tabbed together pieces to create the shape we wanted. Once the pattern was understood, sketching the general shape was useful in visualizing a large structure.
fall 2016
CUBE STUDY
As an introduction to the tools available for use in the shop, the task was to find a cube within a material, while also gaining technical skills and knowledge of tools and an assigned material. The first cube, intended to be more experimental and rough, was created using a rotary mill. After this initial cube, I drew inspiration from the concept of a cube within a cube and sought to create an illusion of a cube via a void rather than material. Additionally, I used repetitive shapes connected by edges and corners to construct the overall form.
ILLUMINATION + TRANSFORMATION fall 2016
STIX
Through the design and construction of a light, I explored what it means to “illuminate” and to “transform” an object. STIX shows illumination and transformation through ascension. In both states, there is a common upward focus. Mimicking the vertical construction of buildings, STIX creates usable, workable space through rising. Additionally, similar to the concept of gaining knowledge and awareness through illumination, it transitions from a flatter object obstructing light to a taller object spreading light.
left Initial ideation inspired by scaffolding and the transformative properties of heightening. Precedent studies included folding lawn chairs and accordion lights. Beginning material testing using both wood and acrylic. right Full scale prototyping with which I tested location of hinges, potential shading systems, overall form and material.
COMPOSITION, COLOR + LIGHT spring 2017
FORM STUDY
In this collaboration with classmate Mara Lowry, we were introduced to the fundamental vocabulary of design principles, focusing on ten terms: contrast, gestalt, gradient, symmetrical and asymmetrical balance, pattern, rhythm, proportion, emphasis, and economy. Through photography, diagramming, definitions and model making, we practiced translating our understanding of these terms between 2D and 3D expressions. An additional study of color and light through photography provided the basis for creating deliberate compositions of projected, reflected, or obscured light onto the 3D constructions. Focusing on color mixing and the perception of color, Mara and I applied our discoveries about color and light to our models representing symmetry and pattern, and contrast and gestalt. The former is an abstracted form of a color wheel which explores the relationships of colors (complementary, analogous, primary and secondary) through a folded sphere-like form. The latter uses transparencies to filter light and create fields of color influenced by the lighting conditions.
left Experimentation of color by projecting different colors of light onto group models provided a basis for learning about color mixing and relationships. right Process for learning about color involved extracting a pattern from the color photography and manipulating color to achieve different results; in the example shown I created vibration through contrast. Additional studies of color through relief models lead me to become interested in the vibrancy of reflected light.
STEREOTOMICS spring 2017
FOLDED
The characteristics of stereotomic materials, form, and construction processes were the focus of this project. Beginning with a suggested 3 inch cube of foam, further material exploration and manipulation was left open ended. Habitability and a sequence of spaces was another consideration of the project. Architectural drawing conventions were introduced for documenting existing models, as well as clarifying design intentions and iteratively developing design alternatives. Folded uses a single mass folded around itself to convey multiple masses, and emphasizes a similar zigzagging path through the spaces. Concrete was used to exaggerate the precise edges and manipulated to have smooth faces, flat as well as warped.
left Drawing and modeling methods were used to ideate the geometry of the form. The initial idea and model is shown in the top left, with subsequent iterations also shown. right A material test using stretched canvas opened the door to me for a folded paper template as a mold for concrete.
TECTONICS spring 2017
TEKTON
Tectonic form and construction processes guided this project through three materials comprising of line and surface—wood, wire, and paper. An understanding of these materials helped to choreograph transitions between different conditions, while maintaining a consistent concept. A final model was created as a hybrid of two languages. Rhythm in form, varying densities of scaled modules, and an undulating surface were the guiding concepts in Tekton. The function of each material is highlighted by its joint and the form was influenced by the techniques and processes used in the previous material studies.
left Diagramming an abstract image began the process of this project. A key feature I chose to focus on was the density of holes and how a large opening affects and is related to a small opening. right Wood study models are translations of the characteristics found in the diagrams. Methods of joining, such as piercing the wood and notching, were explored before constructing a final wood model.
left A coil to join two pieces of wire within a module and to receive the extensions from another module influenced the form and construction of my final wire model. Extensive material tests and coiling methods were employed to translate concepts from my wood model into wire. right Transitioning to a surface material required considering how density and scale would be conveyed in paper. The process for creating a module is shown alongside the final surface construction.
left Small scale testing of joints between surface and line materials, as well as diagrams of my wood, wire and paper models contributed to evaluating the next iteration for my hybrid model. right Final construction alongside sketches.
MEREDITH LAYMAN
NCSU Architecture, Class of 2020 mlayman2@ncsu.edu 703-509-1917