Digital Learning Por.olio Architecture 101 Thomas Biba
Icebreaker
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Program: How can I express the quality of searching Use of design tools: Sketch, Metaphor Transforma=ons: From mental to physical – idea to structure Ques=ons: What is literal? What is abstract? (What cap=vates other people?) Analysis of Elements: Shape, Angles, Alignments Strengths: spiral mo=on, built from a grouping of triangular and curving shapes, perpendicular beam creates contrast and juxtaposi=on Weaknesses: no enclosure, metaphor is not abstract enough Conclusion: architecture is about space and communica=on through abreact three dimensional language Hypothesis: create enclose – define space – Text elements: Representa=on, typology, tectonics, language metaphor, organic metaphor, harmonic propor=on, authorship Class elements: Hierarchy, form, rhythm, repe==on, propor=ons, rela=onships between elements
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Inspira=on – “Architecture is essen=ally Human; it is the Human spirit manifes=ng itself”. Text Ques=on: How does architecture impact our consciousness and shape our experiences? Why can architecture and design in general be constructed as a language? Language is based on theory. Language is a concrete way to communicate abstract ideas. Architecture is a physical way to communicate different ideologies about human existence, experience, and how it relates to the experience or existence of the structure, and its purpose and place within the human experience. The phenomenological approach says that the building, the feeling inside-‐ness is the context for the human condi=on. We are in our bodies, and we view the physical world as external – just as when we are in buildings we feel this same feeling of inside-‐mess. So architecture is another reflec=ve dimension of the human experience in the realm of percep=on – the unity between internal and external. Adjec=ve to describe myself – introspec=ve Ra=onal – Reflec=on: I feel like this piece was an explora=on of me beginning to understand what it means to have literal representa=on and what is means to move into abstract, non literal representa=on, and how this is a language that I did not know how to speak before I made this, that I am s=ll learning how to speak. This model is my first uVerances. I took the metaphor of a tree, how it is a physical manifesta=on of earth cycles of water, sunlight, and sap. It is a manifesta=on of those cycles, and since these elements run through the tree, within it, then out of it again, they somehow convey introspec=on. But a tree is too literal, and in this piece I did not have the abstract language as conscious yet, but looking back I was using the spiral shape to start to try communicate turning within. The second part of the experience of this first itera=on was that when I brought my piece to class all excited, the students chose to focus on the other pieces and I wondered why mine did not catch people’s aVen=on, then I realized that I did not account for that when I made it. I wasn’t trying to make it visually interes=ng to other people, I was just trying to make it an expression of myself – since then I have learned that it is a unifica=on of the two
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Text Ques=on: Why is ordering of any value? What are the manifesta=ons of order? Nature is structured and ordered, therefore all life exists under these forces, architecture is just one manifesta=on of that. Regularity is one of the most abundant elements of nature, there is a hierarchy of birds whose beaks are very similar yet, they are all slightly different because they perform different tasks. Within those tasks are links in different food chains, balance scales of forces which all interact to create this wondrous whole that we call, nature , the universe, and the earth – the world. So our architecture will consciously or unconsciously mirror that, however when we harness it in our conscious arsenal we can order design that mirrors that higher or more original order of nature, which is pleasant to the eye because, our whole living structure socially and physically is built on order. So it is naturally pleasurable to us. But if you could make something that goes beyond that simple mimicking pleasure and construct a design whose purposes and func=ons and structures work within this cycle, we will have an even more pleasant world _ ci=es are unpleasant places because they are ordered in a certain way (but usually arbitrarily or for one human purpose – in nature habitats and ecosystems are structured out of interdependence of creatures, rarely dominated by the influence of one creature over the others, in terms of physically imposing on territory. How could we order ci=es so they structurally harmonize a mul=tude of func=ons. (the forms come out of that. I was so distraught and upset from the last class where we put our “icebreakers” on the table that I was determined to come up with something so visually interes=ng and complex so that I would catch people’s aVen=on. (although looking back now… is this and essen=al aspect of architecture, do all architects try to do this? Should they all be seeking aVen=on.) (the most radical ones command or demand aVen=on – not my favorite..? This mo=vated me to create something different – to push my boundaries
Program: What is the proverbial “box” of this project and this coarse? Use of design tools: metaphor, model building was crucial for this one – I played with many triangular forms and found what I needed to create hierarchy within that play Transforma=ons: no enclosure to enclosure Ques=ons: What is visually interes=ng? What cap=vates others Analysis of Elements: hierarchy, cube, triangles Strengths: primary secondary and ter=ary elements (clear and legible), interes=ng play of posi=ve and nega=ve space, repe==on of triangle forms, varia=on in repe==ve forms gives it a very basic yet present rhythm, has elements of symmetry and asymmetry Weaknesses: message in program s=ll somewhat unclear, what is the design fulfilling, how does it convey my program? Conclusion: achieved hierarchy of forms, used metaphor to describe myself (more abstract language Hypothesis: focus on minimalism (based on class feedback)
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Text ques=on: How do we shape ac=ons and experiences in our design? In this piece I am using a symbol, which in the text is an aspect Charles Sanders Pierce’s philosophy about icon, index and symbol. The “box” or cube is a symbol because the actual thing has an arbitrary link like a word has to a thing -‐ the structure to the idea. (however this phenomenon is not true in all language – just mainly western language) However, index icon resembles the thing it signifies, and an index is a signifier that points to the thing it signifies. These are all aspects of “legibility”. The box may be an Icon and the triangle may be a symbol of breaking through the box. Because a cube resembles a box, but a triangle does not directly relate to breaking. In class the someone men=oned that the piece looked minimalist
Program: How can I break outside this box -‐ Use of design tools: theme – con=nuing to explore the box metaphor, sketch – exploring how the triangle can interact with the cube Transforma=ons: complex to simple – less individual elements Ques=ons: How can I break outside of the box? What language can I use start to tell this story? Analysis of Elements: triangle, cube, angles, points of interac=on Strengths: Use of propor=on, cube is made insignificant in rela=on to larger triangular form cufng through it, The extreme angles rela=ve from cube to triangle – communicates complex rela=onship Weaknesses (s=ll using literal metaphor to drive work), no ter=ary element, Conclusion: developing some =ny uVerances of a language to speak about metaphor, Hypothesis: play with minimalist language, increase vocabulary by breaking forms. Figure out what they are not, so you can discover what they are (this will start to reveal the truer language and quality underneath the box metaphor created
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Text Ques=on: Of what value are inten=onally interjec=ng ambiguity, complexity, and contradic=on into our designs? How about inten=onally challenging expecta=ons or crea=ng architectural irony by delivering the opposite of what is expected? (Collisions, juxtaposi=ons, fragments, distor=ons, randomly occurring aspects) -‐ In my design the breaking of the cube from into just its minimal elements was an example of an aesthe=c inten=on, and then I broke the form by taking out the last connec=ng piece. The layered meaning comes from the this ideology of deconstruc=ng the denota=on of the shape to its barest elements or “root” words, and making a language which is more archaic. By breaking down the denota=on you reassert and re-‐ques=on the original connota=ons of each form. What does it mean to be a cube in the concrete sense and what does it mean to be a box in the abstract sense. By breaking down the form in this way the piece asks these ques=ons. (the breaking of the form would be a parole in the larger context of the Laugue which is deconstruc=ng of form. And the use of metaphor comes in the ideology of the box. What does it mean to be inside or out of the box… well first we have to explore what the box is… then how can we make it nothing, then the form holds ambiguity. This can be useful because it creates a vessel to hold what one cannot inten=onally communicate – there are limits to inten=onal communica=on, and some=mes we communicate things we don’t like (the double coding in this piece is the box metaphor, which someone may not get by looking at the piece, but it is really deeper than that, therefore the piece ambiguous but not arbitrary Program: discover boundaries of box metaphor – find what you really want to communicate about yourself Use of design tools: pre model making -‐ , narra=ve, and cri=cal ques=oning-‐ What is a cube in denota=on and connota=on? What does it mean to be outside the box? What is the box? How does this relate to the story of me and my personality? Transforma=ons: regular to irregular Ques=ons: How can I break outside of the outside of the box metaphor? Analysis of Elements: angled lines 90 degree angles Strengths: breaking form of cube, contrast in line weight, interac=on of forms, penetra=ons Weaknesses: not enough dimensionality, no discernable inside or outside space, no ter=ary element, too many planar surfaces, you can only get deconstruc=on metaphor from one angle Conclusion: ambiguity is different than being arbitrary Hypothesis: apply what you learned in this itera=on to the full explora=on in three dimensions
Itera=on 4
Itera=on 5
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Text ques=on: How can the quality of character of material used to construct expand and deepen the meaning of your design? How does materiality impact human experience? -‐ some people find drawing to be the utmost expression of form …. But for me building it the utmost expression of form. When I build something I cannot fully conceive of the complexity of three dimensions without touching it, turning it, rota=ng it, breaking it by accident and discovering something, making a new connec=on that was unable to be seen. I created this design with no drawing at all, and it actually helped me to understand how to create space, by using my hands; its an interac=ve experience, between hands and mind, it doesn’t start in one and then move to the other. The material used in building this model was balsa wood, very thin and briVle over large areas but somewhat stronger over short areas. Its character is light, sok and briVle, but when you build it in short pieces with =ght angles, it appears to be rough, strong and heavy. The material is the essence of the human experience. In life we are souls in bodies, our very existence is based of physicality, our meaning and cause and opportunity for living and how we live is our bodies. Everything we think or do influences the way our bodies grow and develop. If we mistreat our bodies we perish, so we must be careful with them. The physicality of architecture is no different, the material is the context for the existence of the idea. The buildings existence is predicated on the existence of its material.
Program: Loose the box, what is lek – line and angles Use of design tools: pure model making Transforma=ons: sculpture like forms to space defining forms Ques=ons: Once you have rhythm, how would you like to play? Strengths: repe==on, rhythm (in propor=ons and angle of three triangular sec=ons mimic each other yet they are all unique), asymmetry, scale, legible from all angles (great explora=on of 3 dimensions Weaknesses: crak, scale, no line density Conclusion: building with your hands is a very useful tool in your arsenal Hypothesis: play more with the concepts of rhythm and reple=on using the same materials
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Itera=on 6
Text ques=on: Is space so flexible that anything can happen there? How do you achieve this? Emanuel Kant described space as “a priori” which roughly means a given. Or in the work of architect Filippo Brunelleschi the concept of space is a “con=nuous void”. Space is poten=al. Space is empty and its emp=ness remains even aker rooms have been built, the art comes in how you shape that emp=ness, What you build will not change the par=cles of nothingness within the enclosures you create, it merely shapes the context for anything to take place in that area. Anything can happen in nature because anything that happens happens under the laws of nature that define the reality of the space. So if you create a construc=on that interacts with the physical laws of nature, anything can happen there. If you are building in a forest, Mimic the spaces of the forest – tall structures strong and sturdy with founda=ons twice the size of branches themselves, open space throughout with varying levels in vegeta=on interac=ng openly beneath I lightly draped canopy. What can happen there then? Anything you can imagine – the space is open and each level interacts uniquely depending on where you are in this labyrinth of openness and life and possibily. (how can you create a building that puts oxygen back into the atmosphere) ( Program: Now that I am outside the box, who am I, where did I come from and where do I go? Use of design tools: buildng/modelling Transforma=ons: increase in complexity Ques=ons: What is defined by the forms? What is inside? What is outside? Analysis of Elements: propor=on of repe==ve diamond-‐like forms, acute angles Strenghts: repe==on, dynamic line posi=ons – lots of diagonal line in many planes in many direc=ons, legible from many angles ( in almost infinite compelity and varia=on depending on POV Weaknesses: rhythm is present but not con=nuous, it is stopped at the boVom, ter=ary elements are present but not clear, therefore there is no harmony, r harmonic propor=on Conclusion: program is evolving but s=ll in explora=on mode Hypothesis: start to focus in more on pinpoin=ng the quality and diving into it
Itera=on 7
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Program -‐ My goal is to create a structure that – through its form – inspires people to look within themselves; to introspect. Introspec=on is the self-‐examina=on of one’s thoughts and feelings (their mental state, and their soul). I want to create a visual hierarchy of forms that guide the eye inward, then outward, then around, then inward again, in a process that happens in cycles, with intervals of =me dictated by rhythms in the form and structure. I want to create depth in this itera=on; in order to do this I used research to discover the idea of the hypercube. Now there is space within space, no outside and inside. It is a 4 dimensional shape. How can Text ques=on: How do you dis=nguish between design by nature and design by humans? As Le Corbusier envisioned it, architecture is the “masterly, correct, and magnificent play of forms in light”. This quote suggests implicitly that the act of architecture no maVer how ar=ficial it may seem s=ll interacts with the sunlight, without the sunlight it would not exsists, or at least we would not be able to perceive it from a distance and with our eyes. So the “truth” is that all architecture, all tectonic language, no maVer what dialect it is speaking, is spoken with a human mouth by a human mind, but the vibra=ons that move the air that becomes the sound that is natural, yet it is manipulated through human ac=on. The hypercube is a form that has come out of our mind, yet once it is built and it is placed into the world it becomes a part of nature, because it interacts with the light, and the way that we perceive it is through nature. So all architecture is natural, once the form has been realized in constructed material, once it has lek the eye of the mind and has entered the physical world to be perceived and experienced through the eye of the body, within the natural laws of the physical world. (however that which first exists radically in and only in the mind, when it is made manifest in the physical world, seems supernatural.
Itera=on 7 • •
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Program: convey and describe and create the experience of introspec=on – the self examina=on of the heart mind and soul Use of design tools: research on hypercube, sketching, use of narra=ve – hypercube is a window into a world within, it starts out natural and then it turns and seems to constrict but it is supposed to be a story of one opening a window inward to see their soul Transforma=ons: 3 dimensional to 4 dimensional Ques=ons: What does it mean to be within? Elements: Analysis: Strengths: complexity of ideas translated into construc=on through research, effec=vely break form of hypercube while s=ll evoking its essence, Hierarchy – inside is focal point – outside is secondary – connects from inside to outside can be ter=ary, Weaknesses: feels confined, no ter=ary element, no harmony, some rhythm but not enough consistent repe==on, acute angles communicate intensity, fear, is this a part of introspec=on? – yes Conclusion: beginning to understand and realize program Hypothesis: Use snap shot of image of looking through the window to start your processing for nest itera=on
At the end of the chapter on space, the author discusses the context of architecture in poli=cal context. In the US, the more money there is the more crea=on aVaches on to it, but then the architect designs for the person that has money and not for the people. In communist Russia it was not this way, they designed buildings for social efficiency. Then it takes it all out of context and say what if a program could just be a story, a narra=ve and that is what it truly should be. The narra=ve of the people it is created for (if the architect is self centered it is created for them, if he is not and he is conscious it is designed for the people
Strengths – line rela=onships, repe==ve groups, parallel + perpendicular rela=ons Weaknesses – propor=onal rela=onships, center points, rela=on of parts to whole
Strengths – curvalinear spiraling inward, hierarchy of centerpionts, repe==on of form, eye shape – (introspec=on Weakness – placement within whole (spiraling outward not inward alignments too wild
Shapes – acute triangles, irregular quadrilaterals Forms – diamonds dimensionally Rela=onship w/ each other – woven, adjacent, spiral paVern Alignments – perpendicular lines Center points – central quadrilateral, its corners Parallel/perpendicular rela=ons – lots of overlap, no right angles, but concentric turning quadrilaterals Repe==ve groups – circula=ng triangles around an imperfect square Propor=onal + scale rela=ons – inner quad is 1/3 of outer quad Forms -‐ organic Placement in whole – =ght spacing with loose outer structure Shapes of defined forms – half circles, eye shape, irregular polygons, curvilinear + linear lines Alignments – curves expanding all over place Center points – 1 primary, 3 secondary, 1 ter=ary Parallel/perpendicular rela=ons – curvilinear and straight varia=ons of interrela=on – mirroring curves Repe==ve groups – spiraling half circles inside irregular polygons Propor=onal + scale rela=ons -‐ no shape repe==on form large to small – no hierarchy of dimensionality CONCLUSION: transi=on to effec=ve curvilinear language, s=ll exploring, yet discovering
Snap Shot (1) Shapes – mixture of organic forms with acute linear form Placement -‐ fragmented, needs more of a paVern Shapes of spaces – more biomorphic, free flowing, dynamic (needs more inward focus) outer bulbs detract from central focal point Alignments – moving around the center, perpendiculars are disconnected Center points – around eye shape and next to it 3-‐4 secondary – 1 ter=ary Parallel/perpendicular rela=ons – more directly connected Repe==ve groups – eye bulbs (not enough to have solid repe==on Propor=onal + scale rela=ons – larger lengths curved shapes, smaller more sound core Forms– conversing, jumbled, Placement – spiral mo=on, fluidity, overlapping Shapes – complex biomorphic shapes, intricate, interes=ng, all poin=ng inward Alignments – emana=ng from center, curving not parallel Center points – 1 primary, 3 secondary Parallel/perpendicular rela=ons – converging, turning into center Repe==ve groups – smaller internal shapes, larger outer repe==ve shapes (not similar enough for rhythm) Propor=onal + scale rela=ons – 1:3 from center to perimeter (make it like golden ra=o
Strengths – bulb forms, biometric converging points Weaknesses – repe==on of dissimilar shapes, no focal cert points, no rhythm, or repe==on,
Strengths – spiral, curved shapes poin=ng inward, solid propor=ons, slight hints of repe==on, Weaknesses – too many intersec=ons, no repe==on, streamline forms, looks too much like shell
Itera=on 8 Text ques=on:What is essen=al when our design responds to nature? Aside from these responses, what are other ways to respond to nature at enhance and deepen our design? • Essesn=als • Organic architecture is not just architecture that is curvilinear or that mimics nature, but it is architecture whose rela=onship between material and form, space and form, are interrelated in a interac=ve way. In the mind of Fank Loyd Wright, “a building was organic if is emerged naturally from the circumstances of its crea=on”. What Wight is talking about here is most raw and essen=al essence of what it means to have organic architecture. What he means is that a building should relate to the weather, the soil, the climate, the people, the animals, all things that will inherently relate to the building whether your design for it or not. However if the architect is aware of these things, he can design a building whose form material and func=on interact with natural processes an natural condi=ons around it so that its very existence is harmonious with nature (not that it just mimics a shape found in nature) – this is arbitrary. In Wrights view architecture is just another form in nature’s ecological system and hierarchy. However, it is my believe that architecture should func=onally interact with nature’s hierarchy of ac=on reac=ons, forces and situa=ons, not just in form. • Deleuze takes this idea further in his discussion of extended and intensive forms. He argues that extended form (like Plato’s vision that all form exists first in the mind of God, then manifests through humans) is a “naïve illusion” because the world is intensive, “it responds to forces, temperature, pressures, speeds, and chemical concentra=ons.” To Deleuze architecture is a intense phenomenon, whatever is built and constructed must withstand and interact with the great force of nature around it, and therefore it is natural, because it must abide by these forces to exists, but in order to flourish it needs to harmonize and improve it scien=fic and biological connec=on with ecological systems of nature, not fight them. •
Program: I want to create a design that conveys introspec=on through its design language. In this itera=on I want to keep structures small, and to make it stronger. I want to begin to use curvilinear language, and my utmost goal is to really inspire the viewer/”experiencer” – the one you is either looking at the work or walking through it if it were life size -‐ to look within the structure and as a result have them feel as though they are looking within themselves. Use of design tools' used the tool of snapshot, ver=cally layered charcoal drawings to refine my design. the problem with the ver=cal is that It only exsists in one plane. I used these drawing extensively to analyze elements of propor=onal rela=onships, alignments, shared centers, parallel or perpendicular rela=onships, repe==ve groups, scale rela=onships between elements. Through the analysis of these criterion, I discovered that the use of a converging group of center-‐points could be an important unifier in manifes=ng the feeling of introspec=on (a mul=layered focus on being centered). Transforma=ons: rec=linear to curvilinear language Ques=ons: What doors does using curvilinear language open? How does it change the way I can communicate introspec=on? How does spiral describe =me, with respect to introspec=on Strengths: mul=layered center points + spirals, creates sense of withiness, interconnectedness , visually complex, glimpses of inten=onal ordering good use of new material – connec=ons. Weaknesses not enough repe==ve groups, no differing line weights, hierarchy of form is unclear, design is not readable from all angles, I feel I could have put in more effort to this piece, but I was experimen=ng with a new material Conclusion: needs more inten=onal ordering, varying line weight, and more focused propor=onal rela=onships,, but good start, you are gefng closer to conveying introspec=on wiith use of curvilinear language and spirals Hypothesis: use same principles and apply it to a design that is layered, ordered, and varies in line weight.
Snap Shot 2 Pros –, propor=onal rela=on from inner spiral to outer, concentric spirals, Cons -‐ shared center points, conges=on of line at top and upper middle area Pros -‐ more rhythmic top center point, slightly more, harmonious frame structure (repeated forms), layers of expression, more ordering Cons – right side there is a hick-‐up in rhythm and fluidity,
Pros – more visually interes=ng and fluid with outer jut modified to curve back wards, add unity to the form, more discernable hierarchy Cons – alignments of lines running across top middle sec=on could be at a different angle,
Pros – approaching clearer ordering, PST, movement beginning of outside to inside flow Cons – too much angular change? Ordering s=ll not very inten=onal though there is more inten=on that the last snap shots,
Itera=on 9
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Program: Communicate introspec=on using 3-‐4d curvilinear communica=on. Transi=ons: From 2d drawing from, 3d structure to glimpses of mimicking 4d structure, too much flatness in itera=on 8, I want more depth Research: Use of concept of Hyper sphere – 4 dimensional sphere (theore=cal) – communicate extra “within” dimension in curvilinear language. A hyper sphere or a n-‐ sphere, with sub sphere's called glomes,, a where there are a system of n-‐dimensional manifolds of constant posi=ve curvature, so there would be all types of interconnec=ng curved parts. Ques=ons: how does my knowledge of hyper sphere change my perspec=ve on what introspec=on can be, and what it is? What are the component parts of introspec=on or the glomes? What are the connec=on between this research and your piece
Itera=on 9 • • •
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Frame expression: not enough webbing or meshing to suggest surfaces but improved structural integrity and poten=al for more structural elements Transforma=ons: Ques=ons: What are the connec=ons to the hyper sphere? How does this help us understand introspec=on? (outside moving inward) (feedback said people thought it was the opposite way.) – introspec=on by defini=on is internal self reflec=on, that it is not based on external… so the design should communicate within-‐ness first, as primary Elements: larger spiral form of heavier line weight, inner sphere, smaller inner sphere, implied larger round structure suggested by edges of heavier line weight elements, sense of turning inward from the larger line weight pieces penetra=ng sphere, and going within to smaller inner sphere Assessment: how does this support program. Idea of turning inward and within-‐ness Strengths: line weight, very clear and inten=onal hierarchy of form established, solid propor=ons from very big to very small, repe==on but no rhythm because there is not enough varia=on in repe==ve elements, crak – strong, bold forms. Weaknesses: crak – could be cleaner, Not enough varia=on, no frame skeleton, or suggested surfaces Conclusions: good grasp on hierarchy and ordering, now focus on repe==on with varia=on (so much poten=al of space to define Hypothesis: create frame expression with suggested surface and star to create repe==ve forms with varia=on
Itera=on 10 •
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Program: create refined frame expression based on skeleton from itera=on 9 that implies surfaces; that expresses introspec=on through discernable interior, exterior and “within” spaces, and blends and connects them Use of design tools: Transi=ons: From somewhat simple and regular form or more complex, intricate and rhythmic form sketches: explore possibili=es of to connect different parts of skeleton to achieve flow, + rhythm through repe==on with varia=on Ques=ons: How can I connect the larger line weight pieces from itera=on 9 design that creates a con=nuous, flowing form, from pieces that are quite extreme in how they end abruptly? How will I define internal, external, and within-‐ness in the form and structure of one unified form? The piece to the lek is how I began itera=on 10 by unifying the external implied circle/sphere around the endpoint of the three heavier spiraling extensions from itera=on 9, by turning the implied into the explicit. Strengths: crak, poten=al for connec=on to create implied surfaces, change in propor=ons Weaknesses: less dras=c propor=onal rela=onships, complicate legibility of form
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Itera=on 10
Frame expression: yes Use of design tools: Elements: original skeleton, added ribbing Transforma=ons: Skeleton to implied surfaces, Ques=ons: How can I draw focus to internal first? Then what should exsist around it as a connect for that internal focus? Should internalness exist within a shell or should I float in nothingess? Does inside-‐ness need an outside to be defined and experienced as such? Strengths: Reple=on with very gradual varia=on in form, creates complicated and intricate rhythms of many tones and harmonies Weaknesses: At some angles of viewing the form becomes confusing when discerning internal space from external from within space Conclusion: higher level of rhythm and complexity 3 dimensional space achieved Hypothesis: experiment with different skin techniques to see what spaces are created when different areas are filled in
Frame with pantyhose: Transforma=on: implied to actual surfaces Ques=ons: What happens to internal structure? What is the meaning of it? Strengths: Very interes=ng parabolic surfaces created, external form is less confusing, legible from all angles Weaknesses: No rendering of within spaces Conclusion: Without defining inside or “within” space this doesn’t communicate introspec=on Hypothesis: Try covering internal parts with pantyhose and crea=ng openings, and different layers of enclose, and openneness
Itera=on 11 • • • • • • •
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Program: create sec=oning Sec=oning: Research: Use of design tools: Transforma=ons: Surfaces back to implied surface Ques=ons: How can using a sec=oning approach help deepen my understanding or how forms can communicate or trigger introspec=on in the experience? Strengths: Effec=vely communicate skin and translate overall skin to sec=oned approach, rhythm, repe==on, and regularity in the form of slowly changing sec=ons; each sec=ons is hollowed out to create interior space (hard to see but there Weaknesses: Crak, somewhat ordinary – what are other ways to sec=on (sec=oning style seems to ordinary, kind of boring, no openings to look within the form, (this is where introspec=on could be implied…, no aVempt it seems at communica=ng introspec=on in this itera=on. Conclusion: I have grasped concept now I can expand on approach Hypothesis: play with sec=oning at different angles and create openings
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Program: use sec=oning more crea=vely Use of deign tools: sketches, help planning or specific part I want to sec=on at certain angles Research: Transforma=ons: mul= angled sec=oning Ques=ons: How can using a sec=oning approach help deepen my understanding or how forms can communicate or trigger introspec=on in the experience? (same ques=on lingers).. What does different angled sec=oning communicate? – Folds – Layers – Contras=ng percep=ons
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Inten=ons: Create complexity, windows into interior, so the viewer will in a way be introspec=ng to the piece, (but they wont be physically looking at themselves, however they will be looking at empty spaces which may remind them of something within themselves Elements: Different angles of sec=oning, openings, perpendicular sec=oning at openings, use of foam board Strengths: rendering of form is accurate while allowing for more interac=ve experience with space, the many opening are windows to viewing the same interior space, but depending which angle you look in you see something totally different. Weaknesses: some minor details in crak that would beVer unify figure. Things learned about sec=oning – –
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Fun Useful tool or re-‐understanding and simplifying form
Conclusion: gefng closer to introspec=on communicate through sec=oning, windows and interior space Hypothesis: work on crea=ng within space in the sec=oning, also work try using more repe==ve sub forms in work
Itera=on 12
Gesture Drawing
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5 min Pros – good propor=ons Cons – no line weight, strokes are all in one direc=on
5 min Pros – more varia=on in stroke direc=on, beVer change in line weight Cons – S=ll very even strokes unidirec=onal at boVom right
2 min Pros – good varia=on in direc=on, stronger gestural strokes, beVer line weight Cons -‐
Itera=on 13 • •
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Tools: Narra=ve: person wandering through rooms, eventually comes to one room in a system of spiraling rooms with windows into center room, then once that person enters the center room they experience some form in the rooms structure that guides their eye toward their own chest in the place they are standing Gesture drawing: helps capture emo=ons of introspec=on – quali=es discovered – audacious, light yet strong, broad/wide, muscular, folding Sketches: structural and spa=al outlay
Itera=on 13
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Program: Find a deeper expression of introspec=on Ques=ons: How can the narra=ve illuminate the design which illuminates the purpose of the design? How does sec=oning make this process easier? Strengths: Complex ordering, Rhythmic , Repe==on + regularity, Juxtaposi=on of forms, pleasant propor=ons between elements and within whole shape, strong structural use of sec=oning Weaknesses: not hollowing out the cores of the subunits, this would allow for more to be seen – does it sa=sfy program? What do I know now about introspec=on that I did not know before, More turning in, turning around, and turning within, inside spaces defined, outside spaces defined, and within-‐ spaces defined and harmoniously related to whole Conclusion: very strong understanding and applica=on of design principles to meet program Hypothesis: Improve crak, and intricacy of structure
Itera=on 14 Program: refinements Ques=ons: is introspec=on truly this spiraling mo=on Strengths: fluidity in rhythm Weaknesses: poor construc=on and crak Conclusion: Manage my =me beVer . .
Concept learning Map