Learning portfolio

Shawn Cheng Khang arch 101 spring 2016 CCSF Professor Jerry Lum

Learning Portfolio learning progression and reflections

reversion 3

table of content week 1 what your sign collage sign1 week 2 sign 2 week 3 journey of discovery presentation week 4 wall week 5 narrative week 6 story board week 7

week 8

week 1

notes: ARCH 101: Architectural Design Studio 1 / Spring 2016 / Project 1 / Instructor: Jerry Lum

From left to right: Hinoko Sumi Shop 98-7 Enokimachi Nijosagaru, Teramachi-dori, Nakagyo-ku, Kyoto 604-0931; Alexandra Sojfer, 218, Boulevard Saint-Germain 75007 Paris; L’Auberge des Deux Ponts, 7, rue des Deux Ponts 75004 Paris; and Santos Café, Monja-dori, Tsukishima, Tokyo Excerpted from “Signs: Presentations of marketplaces and cultures”: http://issuu.com/jlum/docs/signs

What’s Your Sign?

Signs offer an initial glimpse into the atmosphere of the marketplace and individually present the unique qualities of the wares or services offered within the storefront. Signs collectively project an image of each city’s, town’s, or village’s streets. In the past and through images alone, signs attracted the attention of the passer-by, who was often illiterate. Throughout time, the beauty, creativity, and craft of these signs are demonstrated as each culture transforms and evolves.

As our first project, students are asked to design a sign that communicates who they are, using image(s), text, shape, form, and composition. The final design is then constructed using any material that best provides structural integrity, a high level of craft, and can be hung or mounted in our Departments passageway leading to the studio classrooms using only push pins. Strong, but light in weight is the best approach to achieve this. This project has two phases: concept generation and sign construction. You have one week to complete this assignment.

Phase 1: Concept Generation + Collages: Due at the beginning of Week 1’s next class meeting To start, review my issuu.com publication “Signs: Presentations of marketplaces and cultures” to quickly see the diverse approaches that range from literal to abstract and informal to formal. Some tell a story, others are whimsical and charming, and still others exude tradition and heritage. There are both two- and three-dimensional signs.

Next, brainstorm to identify all of the messages that best communicate who you are to others. Write them all down. “I am…curious, witty, lovable, shy, outrageous, smart, creative, sporty, lazy, exuberant, fast, slow, happy, sad, outgoing, shy, sophisticated, sensitive, selfassured, willful, malleable, etc.” Pick three from your brainstorming list and prioritize these, e.g. “I am adventurous, nurturing, but mischievous.”

jwl 1/16/16

Page 1 of 2

week 1

collages

week 1

what your sign

week 2 whats your sign redux

week 3

A Journey of Discovery: Mount Davidson Cross

week 3

A Journey of Discovery: in search of lost wonder

Images left to right: Hoshokan Museum, Uji, Japan; Fushimi Inari Shrine, Fushimi, Japan; Shikoku-Mura Gallery, Takamatsu, Japan

Introduction: Why are we doing this?

The best of both the built and natural environment evokes strong emotional responses that become an indelible part of our lifetime of memories. To the layperson, these feelings associated with place may often be unconscious or associated with a general set of feelings, “Wow! Fantastic! Amazing!” However, for you, the budding designer of such places, not only must you be fully aware of what feelings are evoked, but also understand what essential set of physical aspects and qualities are responsible for triggering such responses.

Only then can you, the life-long student of design, start to create intentional and evocative places that can inspire and stir feelings of wonder in others. Here is an opportunity to attentively experience the environment around us with keener senses. With sustained and often repeated practice, your world will soon be an inspiring one, if it is not already. In time, the places you design will dwell in the memory of others as wondrous experiences.

What do we do?

Preferably with a classmate or two, visit a local place that is not familiar, some place new that beckons to you.

With cameras and notebooks in hand, photo-document your journey, especially those moments that evoke strong feelings. In those moments, discuss and identify what you perceive and feel. Point your camera at those aspects that you feel contribute to these feelings. In your notebook, identify where you are and try to correlate spatial experiences with specific spatial aspects and qualities. Continue your journey together until you have taken at least fifty (50) photographs.

At home, edit your photo collection and select five (5) of your best evocative images. Incorporate these into a PowerPoint or Keynote presentation to be shared with the class and included in your Learning Portfolio. For each image, describe the following: 1. What was felt specifically? What is the mood of this place?

2. What was sensed using all five of your senses (sight, hearing, touch, smell, and taste)?

3. What are the essential and major physical aspects and qualities contributing to what was spatially experienced?

4. Conclude with a set of hypothetical “recipes” or patterns for “cooking up” various evocative places Consider the following: 1. What is the geometry of space and what are the physical boundaries that define it?

2. What are the palettes of materials, textures, and colors used?

3. How does time of day and season impact what you perceive and then feel? Where are the sources of light and what are they? How does light impact our spatial experiences?

4. How does this place relate in size to human scale?

5. Are your perceptions and corresponding spatial experiences influenced by what you sensed and felt just before and what you anticipate will be sensed and felt in the next place of your journey? If so, how?

This project is due for in-class presentation in one week. Have your .pdf file in a flash drive that can be viewed on your instructor’s MacBook Pro laptop and our digital projector. jwl 1/31/16

week 3

Mysterious

week 3

Inviting

week 3

week 3

week 3

massive

week 4

week 4

Make a Wall, Make a Window, Evoke Wonder

week 4 notes ARCH 101 Week 2 Agenda 1.

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Q&A: Questions, clarifications, challenges, and discoveries related to “What’s Your Sign?” a. Acclimation to the Design Studio environment i. Time management and Satisfying the Expectations for Work ii. Values & Expectations iii. Discipline and Rigor iv. Operating in an environment of inquiry: framing work through questions v. Analyzing, assessing, and forming new hypotheses b. Design Process i. Understanding The Problem ii. Research and Inspiration iii. Ideation: Lateral design and generic approaches iv. Design Development: Vertical design and design refinement c. Design Language and Visual Communication i. Identifying the messages to the target audience ii. Literal and Abstract representations iii. Forms and forms of space iv. Relationships v. Analogies, Metaphors, and Symbols vi. Memory and Experiences vii. Mood, personality, and emotional responses Design Intentions a. Identifying and shaping the Message through Words, Text, and Narrative b. From words to images c. From 2D to 3D Composition a. Elements and Groups of Elements b. Hierarchy and Layers: Delivering the sequential messages c. Emphasis & Priority d. Unity and Balance e. Mood, Personality, and Evoking Emotional Responses Constructing Prototypical Models a. Materials b. Construction techniques and methods c. Structural integrity d. Connections between model components e. Craft and accuracy New Work: Presentation & Critique What’s Your Sign? Redux: Developing the Second Generation Preparing your In-Progress Learning Portfolio a. Identifying purpose and intent b. Photo-documentation c. Image editing d. Controlling files size and resolution for publication e. Developing written reflections f. PowerPoint (or KeyNote): Layout of text and images i. Cover ii. Table of Contents iii. Developing presentation standards iv. Relating images with text v. Creating .pdf file for upload to issuu.com g. In-Progress Learning Portfolio i. Joining www.issuu.com ii. Uploading your .pdf file iii. Testing iv. Sharing v. Stacks vi. Publisher’s Tools Week 3: A Journey of Discovery: Heightening Your Spatial Perceptions and Experiences

week 4

week 4

week 5

week 5

new/redux wall

week 5

Redux?

week 5

week 6

week 6

week 6 notes: Class Activities and Homework for Week 6 Introduction: To guide you in building bridges between the gaps that may exist related to the Narrative and your related Design, we are analyzing each others second draft of The Narrative and assessing whether or not the resultant design satisfies the design intentions. In other words, we are starting to design based upon ideas, qualities, and concepts.

1. Break into groups of 2 with each student having both Narrative and constructed Design 2. Review each other’s Narrative 3. Identify and isolate the series of discrete Events, e.g. Event 1, Event 2, Event 3, and so on 4. Break down each of the Events into qualities and intended experiences – specifics of physical aspects of design may or may not be as important. After all, the design process can yield new discoveries that should not be fixated on initial outcomes.

5. Categorize each event as being either one that evokes Tension or Release – if we are evoking an overall sense of wonder that piques the curiosity of others, a good story has both elements of Tension and Release, trials and tribulations!

6. Using your list of qualities and intended spatial experiences specific to each event, review the related constructed design to determine whether or not this design is imbued with these identified qualities. Why or why not? If not, what is missing? This entire process to this point should take not more than 30 minutes.

7. Present your findings to the class Format for the above analysis: Event 1 Event 2 Event 3…

Event X a. a. a. a. b. b. b. b.

C… C… C… C… x x x x Experiences a. a. a. a. b. b. b. b.

C… C… C… C… x x x x Tension Yes or No Yes or No Yes or No Yes or No Relaease Yes or No Yes or No Yes or No Yes or No Sample Qualities: Intimate, Monumental, Welcoming, Threatening, etc.

Sample Experiences: Evokes nostalgia, a connection to past memories of childhood, travel experiences, etc.; Happiness, Sadness, Transience, an appreciation of Nature, human endeavor, Darkness, Light and the Ethereal, etc.

Qualties

Homework due for second class meeting: 1. Develop your third Narrative draft as a series of events that either trigger Tension or Release.

2. Create quick reductive study models that are responding to each written Event. We are now incorporating the notions of not only walls, openings in walls, and parallelism, but also the addition of floors and ceilings/roofs as added elements that can shape and color our intended spatial experiences and perceived qualities. See Week 6 in our “ARCH 101 Learning Matrix: Weeks 1-8” 3. Review the models of Lebbeus Woods that can be found in: Yahoo Group>Photos>Albums>”Lebbeus Woods Models” a. What are the qualities and characteristics of this set of models? In particular, look at the level of hierarchical layering, Lebbeus Woods’ design language (elements, groups of elements, organization and composition) b. Determine what these models as a group convey in terms of “personality”, ambience, and the evocation of memories. What are the intended “messages”? What could be the accompanying Narratives, the story that Lebbeus Woods weaves while designing each one of these projects? c. How can these models inspire your own design process, design language?

4. Bring in your previous iteration, your third Narrative drafts, and your reductive quickly produced rough models for presentation and critique.

Homework due for first meeting of Week 7: 1. Bring in the following: a. Using your reductive and separate rough models, construct a unified composition that relates to your latest Narrative b. Develop plan and elevation views of your design and use these to refine scale, placement, and proportions that relate each element in plan and elevation to each other and to the whole. c. Bring in all of your reductive rough models and your latest Narrative d. Be prepared to present how your design is a product of your Narrative. e. What design concepts are developing? f. Update your in-progress Learning Portfolio and submit to me via www.issuu.com

Make a Place that Evokes Wonder: Exploring the full notions of floor, wall, and ceiling/roof

week 6

week 6

week 6

redux

futher study iteration 2

week 5

week 7

storyboard

week 5

week 5

week 8

week 8 kits of parts

week 8

week 9

week 9

week 9

week 9

week 9

week 9

week 9