Mid-Term Arch 101 By
Ross Piccinini
Narrative for Design Progression Section 1 Models 1-5 August 20 - September 10
! The most significant aspect of my design is the repeating circular format. The circles bend and move through the pieces like a natural flow that can be present with a stance and importance all its own. It is designed to slowly come out of nothing into a center point then fade back into nothingness. It should be as seamless to the eye as a Swiss Clock. My intent is to make this design analogous to the action of the sea ebbing and flowing back and forth against the shore, possessing a wave characteristic along with steadiness. ! I want others to see my design as being harmonic with themselves from a biological and natural point of view. The harmony of mind and body summed up into a design that emanates pleasure and reliability. A familiar way to achieve this would be adding a spine quality to my design which would be reminiscent of strength and balance. I have refined the design to be less symmetrical and more alive with motion so the viewer should see and feel these qualities. I lean for inspiration from the bone structure of humans and other animals along with curvaceous structures like the Sydney opera house. My success in integrating these qualities into the next iterations will depend on my willingness to let go of mental restrictions and lock step thinking. ! My design represents the body. The body I have in mind is any kind of animal with a bone structure. The design is more stout than elongated so if it were extrapolated literally from nature it would have more in common with a large mammal than a reptile. This mammalian stature is similar to our own but with more bulk to cary the weight. The design is also about coming and going in a fashion that does not leave the eyes sore or the mind blank but more of a content feeling. The gliding aspect should reflect balance.The three words I would use to describe my intent would be: flow, glide, and balance. Not balance in terms of strict adherence to a pattern but like the balance of the body as it leans to one side to pick up and object.
Narrative for Design Progression Section 1
! The order in which the viewer will see my design will start with a rough triangle then more and more detail will be noticed. The viewers might start by thinking about a circle, then see the circle in concentric rings, that it moves from center to right like a bobbing shore maker. The viewer might feel a presence of being on the water because of the flow of the spine. Or maybe they might feel like they are looking at a ship or on a ship pulling out of port. ! The design provokes thought regarding order and balance. The circles bend and twist around a central line as thought might around a beautiful landscape. It can also be representative of looking at something from both sides and eventually seeing the same thing like a hidden mirror. So reflection can be a theme in the shape. I have described the design as having flow, glide, and balance which are qualities always welcome in design. Axis and repetition are present throughout models 1-5. ! The organization of the design is simple and progressive. The model is sectional with circles that are 1/2 inch smaller than each other in circumference. The middle circle is 6 inches in circumference and the farther away from the center 1/2 inch of the circumference is removed until the end circle is equal to 3.5 inches in circumference. ! I envision the organization of the following iterations to be more like an open sheet. The circle will be opened up and allowed to ‘blow in the wind’. I want the ends of the open circle to glide effortlessly from one side to the other like a white sheet on a cloths line in the wind, rippling though itself with apparent beauty and easy strength. Emergent properties of wind can also be expressed.
Model 1 My first ideas were based on the simple beauty of what I knew and had seen, the arch. It is a structural marvel and a graceful shape. I designed a model with repeating arches that continued to enlarge then flow back into smaller arches again. I wanted to create a good starting point so I would be able to morph this timeless shape into my own creation that possessed 3 qualities; flow, glide, and balance. The arch is not pointed like a gothic arch but ovular in shape.
Model 1
Model 2 This design takes the first basic model and adds an element of a-symmetry to its form. Model 2 uses one side of model 1 but changes the other half. On the changed side, the arches are positioned 17 degrees off center to give the model a bending quality. The materials have been doubles in thickness to give the model greater presence and more of a structural feel to it. These thicker arches also cast larger shadows when directional light is shown upon it. The base of the models has been glued down to the board using a hot glue gun. I wanted to change to structure to make the arches more eye capturing. These offset angles give the sequence a human quality. The changed half rotates every arch from the center arch 15 degrees from where the arch touches the plane. 15 degree increments are added to the next 5 preceding arches. stuck to what worked for the first model, evolving the shape only slightly. My next few models will incorporate larger changes.
Model 2
Model 2 Kit of Parts
Model 2 SketchUp
Model 2 SketchUp
Model 2 SketchUp
Model 2 SketchUp
Model 2 Class Review In class I received feedback on my model by a classmate. They took my kit of parts and made a new object from my pieces. This step in my design process helped me see some of the different shapes that I could easily transform my models into. This collaborative approach has been critical to my designs as my classmates have given me feedback all the way through the models.
Model 3 This model is the last version of the plastic designs. It is very free and flowing compared to model 1 and evolves on the a-symmetry of model 2. The form moves through the air in multiple directions through all three axis. To quantify this model such as I have done with the others would be very difficult. I can map a simple 2 dimensional curve but turning a 3D twist into a mathematical formula is not within my abilities at this moment. The connections on this model are glued together using a hot glue gun. This is one of the areas that I would like to perform better in as glue is not a structural element in design. Maybe baseboards in a house along with finish nails but nothing structural such as joist connections. This design is artists but not practical. The next step would be to use bolts or solder to make the connections. Transitioning away from glue will give the model more presence in the scene of realistic strength.
Model 3 The progression in size of the circles starts at 3 inches and increases 1/2 inch in circumference until reaching a maximum of 6 inches then decreases back down to its original 3 inches on the other side. The series of circles is as follows: 3, 3.5, 4, 4.5, 5, 5.5, 6, 5.5, 5, 4.5, 4, 3.5, and 3 inches. The progression that this model shows is the curving expression. I started out very linear on model 1 and 2 and now with this design I am throwing off the restraints of symmetry and moving to a more natural design perspective. I think people will relate in an easier manner because of its unique shape. I tend to be an orderly person and with this model I am introducing artistic chaos to my style. This is intended to improve and let me think out of the narrow confined of linear order moving from Euclidean to Projective Geometry.
Model 3
Model 4 This model is my first attempt at using metal to create a model. I decided to use copper and galvanized steel because of its availability and price point. My first observation regarding these metals, galvanized steel in particular, is that with a low power soldering iron the solder paste did not stick to the surface. To counteract this problem I wrapped the 10 inch steel hex rod in a circular motion with copper wire. This provided a place to, attach the legs on the base along with the design elements on the top of the structure. My inspiration has grown from simple arches on a sheet to a truly 3 dimensional work with multiple parts to it. The sizing of the circumference of the large galvanized steel circles is based on the Fibonacci’s Sequence. I have customized the sequence to suit my needs. The circumferences of the circles measure; 2 inches, 3 inches, 5 inches, 8 inches, and the largest is 13 inches. The upward curve of the model is similar to an exponential function.
Model 4 The galvanized steel circles have 1/4 circle shape copper pieces on the upper portions of the circles top two sides. These pieces are 1 inches long for the circles measuring 2 and 3 inches, then 2 inches long for the circles measuring 5 and 8 inches, then 3 inches for the circle measuring 13 inches. All of the connections are soldered using soldering paste. To counteract the plastic sagging from the pervious model, I chose to use the metal frame to give the model more stability and let it accentuate its symmetry in design. This is a significant step in the design series because I can now take advantage of the strength of metal to keep the structures constant and intentional with little variation due to craft errors in the design. This models overall form regressed slightly from the last models a-symmetric attributes but that is due too the use of a new substance to create it. Model 5 will reincorporate the natural flow of model 3’s a-symmetry.
Model 4
Model 5 The sectional shell is framed in copper with the connections being soldered together. This is a blown up section of model 6. The shape is natural and synthetic. It reminds me of a shell from the sea. Repetition is present along with evolution. The evolution possesses a natural flow and a organic feeling lacking all classical impressions. The curve seems to evolve as it progresses though the stop and bottom axes.
Model 5
Narrative for Design Progression Section 2 Models 6-10 September 12 - October 31
Flow, Glide and Balance ! As the design gets more intricate a new descriptive narrative is necessary to fill in the evolutionary gaps that will emerge as the creative process throttles up. Looking at model 10 and comparing it to model 1 shows a large change in composition and form. While some key elements of the Section 1 Narrative apply universally throughout the model series, a more detailed description of the evolving intent would provide a better picture. ! I have been considering the scaled up model’s design and how my current miniature pieces will correlate into a full size model with real weights, connections, and materials. Can my wire designs be translated into a large scale work when the angles and bends are to complex? In class I have seen images of students bending 1 1/2 inch diameter pipe by hand for their final model. I might want the next models to incorporate more bold less complex shapes and curves to allow its translation into full scale and be able to be made more easily. Chapter six of the book Thinking About Architecture discusses concepts of new abilities architects have due to computer engineered models. More complex shapes can be made because calculations can be done by the computer and less by structural engineers. This allows CNC machines to then create the more complex shapes without the need for hand crafting. I can keep in mind the potential for using this kind of technology if prudent or necessary.
Model 6 I will title this design ‘The beginnings of Abstract’ because of its unique and unprecedented shape. The describers that I have carried over through my descriptions have been flow, glide, balance. The essence of flow seems to be most apparent in the shape of this creation. The reflective lustier of the copper adds to the way the shape changes angles as it progresses through its inter-laced lattice. I can see a human quality in the reach of the ends of the copper wire like they are attempting to reach out and lightly contact something. I might be able to add a new descriptor to my list as desire. The flow tells me that it wants. Wants to pull in things and grab things. I can see that one side is open and one side is closed. Maybe this is where flow comes into play. To define desire one has to define the motivation behind it and the driver for this force of wanting. Want can be organized and rational or it can be chaotic. I believe that the purpose behind this desire is even and flowing, a quality that people will find appealing.
Model 6
Model 7 I would name model 7 the ‘cookie cutter’. The very rudimentary appearance of this model is a stepping stone for how I will eventually use space in the scaled up version. The attitude of this is inside and outside are clearly differentiated with a surface with no openings except the lack of a ceiling. Linear and planar, this design leaves room for a a-symmetry and color addition to increase its appeal.
Model 7
Model 8 The goal for this model along with model 7 was to use planes from model 6, extrapolated from the printouts of model 6's kit of parts. My kit of parts included wire curved lines. I used these lines and extruded them to make rectangle looking planes with curves sides. I then used the planes to frame space and create a courtyard like space. The interior courtyard was unique in the aspect that it had to flat sides. All of the surfaces are curved.
Model 8
Model 9 ‘The Monster’
The main objective of this model was to frame space. I have used wire to capture the essence of the structure which flows in and out of the air and floor plane. Compared to the rigid mathematical underpinnings of my first model this one is an abstract piece of art. The center addition is a hexagon that feeds back into itself. The side walls swoop high in the air then converge back into the center of the hexagon. To give the model balance compared to the large swooping circles I have added a plane that comes up and down like a wave from one of the sides. The plane then flattens out and fades into the ground.
Model 9 ‘The Monster’
Model 10 Using a frame to add surface made this model unique because of its inquisition into forming space inside the metal frame cage. I used tear drop planes to create a swooping enclosure. No spaces are specifically formed and the surface lack a identifiable system. These weaknesses can be improved on in the next iteration by creating a constant system of positioning and orientation. To frame space that they eye can easily discern, a system such as every other or link the joint with a smaller piece of wire can be implemented.
Model 10
Visit to UC Berkeley Wheeler Hall ! I went to the lecture at Berkeley to see how I would like the campus and the buildings on it. I was curious about the lecture and the format it would take. The lecture was given by Kengo Kuma who is a well recognized architect both here in America and in Japan. ! He began his talk about a tsunami that had hit japan recently. One of his buildings is in a tidal bay that was hit by the water. The building survived unlike the rest of the buildings in the area. He made a point to mention the power of mother nature and how the building was moved 4 inches by the water so none of the GPS was accurate anymore. ! A large portion of his work in Japan was designed for displaying art and spaces of peace and quiet. All of his designs made a point to use natural materials and local materials to create the buildings. The buildings seemed integrated into their surroundings. One of the buildings that he designed was in a small town and took into account the main hill above the town and created a space in the building to bring the hill through building to the street level. ! His ideas for innovation involved module designs. He put this into practice by creating a facade for a coffee shop out of 2 by 2’s. The pieces of wood were grouped into groups of 4 and linked up at one point to then expand out then back to link up again with another 4 pieces. On the theoretical side he was discussing creating buildings out of water tanks that could then hold the thermal energy of the building and simultaneously be the water supply. These water cubes could be stacked into a living arrangement making the walls, bed frames, and the kitchen counters all being interconnected though the water in them. ! The entire presentation was an experience that I will not soon forget and will most likely use in my future work. Kengo Kums’s passion for his work charged the audience, me included. He made the practice of architecture seem challenging, inspiring, and rewarding. I will be returning to Wheeler Hall for some of the upcoming events.
Monumental Buildings in SF By Ross Piccinini & Photography by Ross Piccinini
Beaux Art Architecture
[3]
•Large
Fairmont (South Face)
thermal mass molds heat and cool to minimize HVAC usage •Appearance in terms of detailed ornamentation indicates purpose and function. •The use of this building is for wealthy individuals and important business
Beaux Art Architecture
[3]
•This
building in downtown SF has presence among all of the other buildings in Union Square •The dark exterior makes the building feel official and serious •The lavish exterior detail indicates a high class to the occupants
Westin St. Francis (East Face)
Character Defining Features Fairmont Facade
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Lavish and Intensive Surface Decoration
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Symmetrical Articulation
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Advancing and Receding Wall Planes
[Harmon]
[Google Images]
Beaux Art Interior
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Axial floor plans that establish vistas through different spaces
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Monumental runs of steps leading to entrance
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Floor plans that culminate in a single grand room
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Lavish interiors with detail oriented upholstery
[Brooklyn]
[4]
Interior
Fairmont
Westin St. Francis
Dome above Staircase in Mechanics institute
[3]
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Light dome at top of stairs lets in the natural light of the day. The thick handrail is continuous all the way to the bottom of the 4 stories. Cast iron decorates the area under the handrail to make it look sturdy and secure
Staircase in Mechanics Institute Library • • • •
Flowing and organic Dark strong iron supports for handrail Black stairs to hide dirt Marble floor platforms which adds quality and worth to the building
Pillars on Nob Hill
[3]
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‘In architecture, entasis is the application of a convex curve to a surface for aesthetic purposes’[6] Symmetrical Design 4 different types of stone and color All tones of grey but the all build off each other to make a complex color arrangement
Ferry Building
[3]
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Exposed metal framework gives the interior an intentional unrefined atmosphere. Implies casual activity and behavior Repeating design Natural to the area and sea culture of the time and repurposed to fit the restaurant
‘The present structure was designed in 1892 by A. Page Brown, a New York architect who had started with McKim, Mead and White, and later moved to California. Influenced by studies at the Ecole des Beaux Arts in Paris, he designed the clock tower after the 12th-century Giralda bell tower in Seville, Spain.’ [7]
WellsFargo Rooftop Garden
[3]
[3]
WellsFargo Rooftop Garden •This garden in the middle of the city is an oasis in a desert •There is great contrast between the synthetic surfaces of the surrounding sky scrapers and the natural texture of the leaves and trees •This hidden public space is in the Galeria •The brass sculpture in the middle of the image has been tainted with time. The light blue rust of the surface relates time and nature to this garden
Timber Frame House
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Powhatan, VA ‘Traditional timber framing is the method of creating structures using heavy squared-off and carefully fitted and joined timbers with joints secured by large wooden pegs.’ [5] The natural unfinished surfaces of the timber bring the surrounding forest into the house
Sources 1. Harmon, Robert B. Beaux Arts Classicism in American Architecture: A Brief Style Guide. Vance Bibliographies, 1983.
2. Brooklyn Museum. The American Renaissance, 1876-1917. New York: Pantheon Books, 1979.
3. Google Maps
4. Google Images
5. Wikipedia http://en.wikipedia.org/wiki/Timber_framing#cite_ref-1
6. http://en.wikipedia.org/wiki/Entasis
7. "History and Renovations", Ferry Building Marketplace, Official website for the complex, accessed 12 April 2012