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 Inspiration I am a mechanical drafter. I wanted to express that. In my ďŹ eld of study. I am train to be precise. I am inspirer by Lebbeus Woods work. Since I trend to create in a symmetric design. His work inspirers me to push towards and explore asymmetric, abstract designs
week 1
what your sign
1st itteration from my collages. I went with expressing who I am, what I've been trained as.
week 2 whats your sign redux
Second iteration, I push my creative side to go more abstract.
Reection Precision, I can do. Abstract, I am still working on that. the hardest part of creating a design for me was breaking away from symmetry. Coming from training in mechanical drafting, I'm so used to precision, and personal I like symmetry.
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 A Journey of Discovery to Local Places of Wonder 1.) Present your photo documentation of those aspects of your journey that were particularly emotionally evocative with written correlations between perceived stimuli & emotional responses; 2.) use collage to evoke selected spatial experiences
2, 3, 5 1.) Enhance spatial sensitivities; 2.) Develop a visual story that describes a journey of diverse spatial experiences; 3.) Identify specifics of experiential space; 4.) Using gesture drawing & collage as expressive tools evoke intended spatial experiences of wonder. 1.) Recognize how our physical environment impacts our emotional life; 2.) Overcome resistance to feeling & expressing what is felt; 3.) Develop a visual presentation that links physical aspects of space to how one feels
notes:
week 3
Mysterious
week 3
Inviting
week 3
week 3
week 3
massive
For each image, describe the following: The entrance , one of many. was a narrow path. Like a hidden trail. Inviting Stairway up
Consider the following: 1. What is the geometry of space and what are the physical boundaries that define it? The actually site of the cross was plan out to view the sunrise, facing east. 2. What are the palettes of materials, textures, and colors used?
At the peak, peaking through the trees, this huge stone cross emerges. Facing east with arms wide open. Seeming like its embracing the s
Natural earth, natural wood, natural vegetation.
1. What was felt specifically? What is the mood of this place?
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?
A Calming Nature As if a hidden trail away for the busyness of city life. Secluded Mysterious
A little past Afternoon. Sunny day. 4. How does this place relate in size to human scale? The cross at the stands 103-foot concrete cross.
I think this trail really set the mood of the hike. Literally a narrow path into the wood. It wasn’t a tar paved path. It was just a foot path made over time from foot traffic. 2. What was sensed using all five of your senses (sight, hearing, touch, smell, and taste)? Surrounded by nature, plant life all around, greens browns, The foot path really grounded you to the surrounding nature. There was a nice silence, no cars noises. Just the noise of trees leave rustling and bird songs. The smell of musk leaves, grass and bark. The feel of dirt and gravel under your foot, gives life to the sense to a hike. 3. What are the essential and major physical aspects and qualities contributing to what was spatially experienced? All the nature I think the natural dirt gravel foot path, really help set a mood to the adventure. 4. Conclude with a set of hypothetical “recipes” or patterns for “cooking up” various evocative places Entrance Journey An adventure and lone foot path in to the woods. A slow path winding in to the wood. Up and up the mountain side to your final destination. Revealing The end, goal
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?
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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5. 6. 7.
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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
week 10
week 10 beginng of the final project
Week 10 – March 21-27: Program & Site Analysis with Documentation / Small Scale Studies applying student selected approach (Folding, Sectioning, Tessellating, and/or Tensioning) – Final Project Iterations 2 & 3, exploratory construction • Discussions related to Site & Assignment of Town (courtyard) and Country (hillside) Sites o MW Section: 13 engaged students o TR Section: 19 engaged students o Town & Country OR all Town Sites? What do we do if the promise of this year’s El Niño brings torrential rains during our construction period starting the week of March 18th? o Relationships between Team Projects – to connect or not to connect? o Total: 32 students from both sections o Students with tools; with tools and experience; with large vehicles o Team formation criteria o Construction Site Safety o Other related topics MW Section TR Section No. of Sites total
3 students/team min. 3 teams of 3 + 1 team of 4 5 teams of 3 + 1 team of 4 10
4 students/team min. 2 teams of 4 + 1 team of 5 3 teams of 5 + 1 team of 4 8
5 students per team min. 1 team of 6 + 1 team of 7 3 teams of 5 + 1 team of 4 6
• Program Analysis: Make sure you fully understand the significant aspects of the problem. Visually interpret the written requirements to clarify your understanding. Use the dictionary to identify and expand meanings of words. Determine the relationships between each Program Area and identify sequence options in which each area or place will be experienced. • Site Analysis: A study of site conditions and determinants that may impact the design of a site-specific environmental installation. Document the following as you look at 3 alternative sites within your “Town or Country” area assignment: o Compass orientation to determine the path of the sun from sunrise and sunset, altitude and azimuth, shade and shadow patterns o Physical surroundings: Adjacent elements, e.g. sizes, locations, elevations, slope, etc. – what are the most significant and unique elements and their qualities; and how will your design respond to these in creative and provocative ways? Views – how do you make an already available view special? Circulation – where are people going to and coming from? Topography: the arrangement of the natural and artificial physical features of an area – What is the relationship between the existing site and your design and why? Weather conditions, e.g. temperature ranges, precipitation rates, wind direction and speed, etc. – How will your design, choice of materials, and construction method respond to these natural forces? o Visually document your analysis with sketches, diagrams, notes, and photo images. Use this to select your specific site and its “boundaries”. Also, use this to focus your conceptual design work as you develop design responses to the significant site aspects identified and analyzed. o Present your site selection proposal to the class by first comparing viable sites alternatives considered; and then identifying the one selected with your supporting rationale. Incorporate into your Final Learning Portfolio. Document your reflective thoughts before continuing on to next week’s activities. o Teams will be assembled based upon common sites selected; equal distribution of essential resources; and the potential for constructive team dynamics and “chemistry”. • Small Scale Studies applying Selected Approach: o Using charcoal, develop gestural studies whose overall form satisfies the Program. o Select best gestural study and create a physical model using your selected approach o Incorporate a human figure for scale in all representations
notes:
Site Analysis
Chosen site :between the tree and lamp post Estimated area of the site : 16 ft x 16ft x 10ft Aspects : - The single tree - View of the sky - Horizontal view from the north direction - The slope, the surrounding area - The wind - The shade - Natural ceiling from tree branches
Program Analysis
UNEXPECTED INEXPLICABLE
BEAUTY
week 11
week 11
week 11
Week 12 – April 4-10: Research / Small Scale Studies applying Folding, Tessellating, or Tensioning – Final Project Iterations 4, 5, & 6
notes:
• Research architectural installations to become inspired and to determine the breadth and depth of design-and-build approaches. Consider the limitations on time, budget, and available resources before selecting viable approaches to our Final Project. • Using online and ‘brick-and-mortar’ resources expand your awareness of available materials, methods, and tools that can be used for the final project. Because all final installations are temporary, recyclable, and reusable in nature, your research of connector types is essential. • Review the “Final Project Resources & Provocations” in our Yahoo Groups Files • Summarize and Conclude. Incorporate all work related to this research component of your Final Project into your Final Learning Portfolio. Answer the following: o Pragmatic Considerations: How can we achieve the most with the least? What are the most resourceful structural types that can be considered for this Project? Why? What are the material considerations for frame and surface components? What are the possible ways to connect elements that comprise the frame and surface components? Considering the possibilities of materials, methods, and their Project applications, what tools are needed? What tools skills are required? Consider availability, expenses, and associated human resources related to any sets of materials and tools that may be used for the Project. Identify all sources for materials, tools, and guidance What are the logistical considerations, especially related to budget, schedule, construction sequence, and transportation? What are the recycling impacts for materials considered? o Design Considerations: What is the most inspiring and informed way to start this Project? What are the most relevant interpretations of this Project? Consider this semester’s theme; Project requirements, objectives, and limitations; and the ARCH 101 Learning Outcomes. Consider your commitment to this course. What’s this really about? Identify the strengths, weaknesses, opportunities, and threats (SWOT) associated with each interpretation identified? From all aspects researched, what are the most inspiring approaches that have relevance to this Project and why? Considering the actual Project site and the surroundings, what are the opportunities related to the Site that may be realized for this Project? o Collaboration Considerations: How do we start, sustain, and successfully complete our responsibilities so that our installation is “greater than the sum of the parts”? Contact information of team members Availability schedule for team members Skills, expertise, and resources associated with each member, including strengths and weaknesses Rules of engagement that preserve and grow respect and support for one another, especially when things go bad. What’s Plan A, B, and C? Identify areas of responsibilities and allocate to appropriate member of the team
small scale material research time: how long do we have?
week 11
2d pattern created from model on revit
week 11
top side
right side
elevation views
left side
back side
week 11
top
week 11
card board
Material research styrene
lumber
week 11
Reflection After consideration the amount of time, budget , and material we have. My choice of material would be card board 1st, styrene 2nd, and lumber 3rd.
week 13
week 13
week 13 Week 13 – April 11-17: Research Continued: Sectioning, Tensioning, Tessellating, and Folding; Team Design Work (Final Project Iterations 7,8, & 9); Safety Workshop • Each Design Team reviews the work of team members and selects a single unified approach to their full-size prototypical design installation. Scale models are required in order to establish a list of parts and construction budget. • Design Teams for Path and Nodes develop and commit to a master plan for their Section Site • Materials and other construction supplies and tools are identified in terms of types and quantities • After understanding each technique and approach, select one and explore its possibilities through digital and physical modeling. Produce at least 3 generic approaches in physical scaled model form (include a scaled human figure for reference) • Identify relevant relationships between spatial experiences and design concepts, principles, and approaches that will inform work related to the Final Project • Identify the possibilities of design approaches, materials, construction methods that make this Final Project a viable one. • Allocation of Responsibilities o Team Leader: responsible for coordination and management of all section work during the installation period, especially as phases of work relate to the successful and timely completion of the Final Project; including sustaining and promoting a high level of team inspiration and spirit. o Team Bookkeeper: responsible for collecting all receipts related to the purchase of supplies, equipment, and other related expenses; and the equal distribution and collection of all money related aspects; submits required documentation related to purchases from Home Depot; and returns Home Depot cash card issued to each team to Department Chair, Prof. Andrew Chandler o Team Site Coordinator: Manages section site and insures the integrity of the site is preserved and returned to its original state, including the timely and complete removal of materials, debris, and any other evidence related to the Final Project prior to the start of our Winter Break o Team Photographer: Documents daily activities of the section from start to finish; and the process of work that transforms the section site as related to the Final Project. Images are uploaded and shared in Yahoo Group course site>Photos>ARCH 101 MW or TR Section Final Project Photo Albums, already created and ready for image uploads. o Design Team Director: Each Manager is responsible for coordinating all design work related to team designated sets of spatial expressions to be evoked o Design Team Members: no team shall consist of less than 3 students nor more than 5 students – each student is expected to contribute significantly to their team’s success.
note:
Individual models
week 13
By Shawn
By Minh
By Paloma
By Buse By Amanda
week 13
By Minh
week 13
Reection I really wanted to do my tessellation design but considering time and resources we don’t have. I summit to side with Minhs design. He had a mostly developed idea and I would be simpler to build.
week 13 14
week 14
week 14
Week 14 – April 18-24: Logistical Planning / Procurement of Construction Materials & Tools Official Start of Construction April 20 (MW Section) & April 21 (TR Section)
note:
project timeline week 14
week 14
week 14
ReямВection
week 13 14 15
week 15-17
Week 15 – April 25-May 1: Installation Continued (27 Calendar Days Duration): 30 % Complete by End of Week • Materials and tools are brought to site • Design Team Installation starts • Each student keeps and maintains a day-by-day diary of personal contributions, team events, and other significant details of the process leading to the completion of the Final Project Week 16 – May 2-8: Installation Continued: 60 % Complete by End of Week • Each design team makes adjustments and modifications to design to respond to both unanticipated specific site conditions and to the work of others Week 16 – May 9-15: Installation Continued: 90 % Complete by End of Week • Each design team makes adjustments and modifications to design to respond to both unanticipated specific site conditions and to the work of others Week 17 – May 16-18: Installation Completed: 100 % Complete by End of Monday, May 16 / Team Presentations & Critiques by Guest Jurors • Develop verbal presentation in which each design team presents their design intentions and demonstrates how each intention is satisfied by their installation • Each Section rehearses their Final Presentation • All teams help those struggling to complete the Project • Clean up Site and prepare for presentations and critiques • Incorporate all Final Project work into Final Learning Portfolio • Final Exam Weeks starts Thursday, May 19 • MW Section: Wednesday May 18, 9:00 am-12 noon; • TR Section: Tuesday, May 17, 12 noon-3:00 PM note:
Construction process
April 21 main frame
April 26 secondary main frame
April 28 sub frames
End lap joint Half cross lap
May 3
May 5
May 10
sub frames
sub frames
sub frames
bracket plates
angle brackets
ReямВection