The Process of Designing by Whitney R. Carter by whitney carter

THE PROCESS OF DESIGNING Based Upon Thinking Through Creating

Whitney R. Carter

The project was conducted during the year 2012 at Savannah College of Art and Design, guided by Algar Thagne and Scott Singeisen. The process work was exhibited during the 2013 NCARB visit and the learned process was presented at the 2013 NCBDS conference by W. Carter titled Intuition: Beyond

the Tangible.

The projectsâ&#x20AC;&#x2122; artworks are illustrated in sequential order of production. Descriptions are absent. The pieces should convey their intent while creating a sense of nostalgia. As through all art, there is a subliminal message and vision an individual recognizes. The artist may have a certain intent or artistic vision but the viewer might perceive the intent differently. The descriptions of each piece is located at the end of the book; it is important for the viewer to embark on their own journey. Through artwork, architecture is derived.

Seminar

Studio

Focus

Professor Scott Singeisen

Professor Algar Thagne

Project Summary Rules and Constraints

Assignment 1: Case Studies

Assignment 2: Phenomenal Intervention

Assignment 3: Project 1: Clinch Mountain Eatery Exercise 1: Exercise: Exercise 2: Exercise: Exercise 3: Exercise 4:

Assignment 2: Case Studies

Site Analysis Materials Challenge 3D Formal Investigation Short Order Challenge 2D Formal Investigation 2D & 3D Formal Investigation

Assignment 4: Project 2: New Orleans Eatery Exercise Exercise Exercise Exercise Conference Submittal 1

1: 2: 3: 4:

Site Analysis 3D Formal Investigation 2D Formal Investigation 2D & 3D Formal Investigation

Two

classes

were

administrated

simultaneously,

Focus

Seminar and Focus Studio. The concept behind the dual classes was to have one as a written, researched based class, the other was to design architecturally through the process of making while applying the knowledge from the seminar class.

Seminar

Focus

Studio

Focus

Project Summary Rules and Constraints

Assignment 1: Case Studies

Assignment 2: Phenomenal Intervention

Assignment 3: Project 1: Clinch Mountain Eatery Exercise 1: Exercise: Exercise 2: Exercise: Exercise 3: Exercise 4:

Assignment 2: Case Studies

Site Analysis Materials Challenge 3D Formal Investigation Short Order Challenge 2D Formal Investigation 2D & 3D Formal Investigation

Assignment 4: Project 2: New Orleans Eatery Exercise Exercise Exercise Exercise Conference Submittal 3

1: 2: 3: 4:

Site Analysis 3D Formal Investigation 2D Formal Investigation 2D & 3D Formal Investigation

How

can

physical

space

reinforce, emphasize, or suggest the cultural identity of a place? The methodology, based on the premise that an idea, like space, does not exist without the concrete to define it, will focus on rigor through materiality and physical process. An idea can only begin to form when we do, when we make. The materiality that we use then takes on especial significance as its influence is inescapable. Pursuing the same expectation and program in different places emphasizes the site and its influence on the design. Pursuing the same expectation in different media emphasizes the site and its characteristics, experience, and understanding of the student as well as engaging the studentâ&#x20AC;&#x2122;s critical thinking, encouraging the student to understand the creative force that distinguishes architecture from engineering. Algar Thagne

Seminar

Focus

Studio

Focus

Project Summary Rules and Constraints

Assignment 1: Case Studies

Assignment 2: Phenomenal Intervention

Assignment 3: Project 1: Clinch Mountain Eatery Exercise 1: Exercise: Exercise 2: Exercise: Exercise 3: Exercise 4:

Assignment 2: Case Studies

Site Analysis Materials Challenge 3D Formal Investigation Short Order Challenge 2D Formal Investigation 2D & 3D Formal Investigation

Assignment 4: Project 2: New Orleans Eatery Exercise Exercise Exercise Exercise Conference Submittal 5

1: 2: 3: 4:

Site Analysis 3D Formal Investigation 2D Formal Investigation 2D & 3D Formal Investigation

NO REPRESENTATIONAL WORK All process work will be made by hand: no CAD or BIM software of any kind is permitted. All work will be Communicative in nature: they are intuitive and creative material investigations both 2D and 3D; they are the concomitant resultants of making, the means and the end. The idea is inherent within the thing itself rather than represented by it. In other words, the made thing itself communicates the idea rather than delineates a form. Exception: a perspective or spatial drawing or any vehicle that allows us to inhabit it. You will do rather than plan to do; you will make rather than think; you will accept the precept that making is thinking. Algar Thagne

Seminar

Focus

Studio

Focus

Project Summary Rules and Constraints

Assignment 1: Case Studies

Assignment 2: Phenomenal Intervention

Assignment 3: Project 1: Clinch Mountain Eatery Exercise 1: Exercise: Exercise 2: Exercise: Exercise 3: Exercise 4:

Assignment 2: Case Studies

Site Analysis Materials Challenge 3D Formal Investigation Short Order Challenge 2D Formal Investigation 2D & 3D Formal Investigation

Assignment 4: Project 2: New Orleans Eatery Exercise Exercise Exercise Exercise Conference Submittal 7

1: 2: 3: 4:

Site Analysis 3D Formal Investigation 2D Formal Investigation 2D & 3D Formal Investigation

Research the following building/space typologies: restaurant or pavilion, seasonal or temporary; create a pamphlet on the precedents. Use ingenuity in your research. You will not create representational work. Diagrams will be made with physical materials. Use media of your choosing; quality of craft is essential. THIS IS YOUR FIRST OPPORTUNITY IN THIS CLASS TO TAP INTO THE SUBCONSCIOUS POWER OF YOUR BODY AND LET IT INFORM YOUR WORK THROUGH ART.

Algar Thagne

Tianmen Mountain Restaurant Lio Chongxiao Gulin, China Permanent Structure

Nomiya Space Restaurant Pascal Grasso Paris, France Temporary Structure

Seminar

Focus

Studio

Focus

Project Summary Rules and Constraints

Assignment 1: Case Studies

Assignment 2: Phenomenal Intervention

Assignment 3: Project 1: Clinch Mountain Eatery Exercise 1: Exercise: Exercise 2: Exercise: Exercise 3: Exercise 4:

Assignment 2: Case Studies

Site Analysis Materials Challenge 3D Formal Investigation Short Order Challenge 2D Formal Investigation 2D & 3D Formal Investigation

Assignment 4: Project 2: New Orleans Eatery Exercise Exercise Exercise Exercise Conference Submittal 31

1: 2: 3: 4:

Site Analysis 3D Formal Investigation 2D Formal Investigation 2D & 3D Formal Investigation

REVISE, RENOVATE, OR AUGMENT THE SPACE OR SPACES OF A LOCAL EATERY. Alter the architecture to convey the cultural idea or identity more clearly. Consider and investigate the following carefully: existing site/place, existing program/use, what elements define the architecture, idea/concept is best expressed and experienced in the circulation through your spaces; as the inhabitor moves through your design. The third construct of a thoughtful architectural process is program. While program is typically considered of a very practical nature, one more aligned with solving the problems of use, it is and should also be considered as a primary method of expressing your concept. It is the stuff of the primary experience of the final user of your building, the inhabitor. The program and the concept is best expressed (best experienced) in the circulation. The inhabitor of your building will typically recognize your idea within the context of movement through and/or around it. So, from the first sight to the approach, entry, and use of your building, the concept should be expressed. In this sense, prospect, procession, and threshold become another essential set of constructs in the design of a building. There is the greater sense from the scale of the city or even larger, to the ever smaller cycle, literally passing through the entry door. The threshold is often blurry and subjective; once crossed, another cycle of prospect, procession, and threshold emerge. These repeat again and again in great architecture to resolve at some designated moment of use.

Algar Thagne

Seminar

Focus

Studio

Focus

Project Summary Rules and Constraints

Assignment 1: Case Studies

Assignment 2: Phenomenal Intervention

Assignment 3: Project 1: Clinch Mountain Eatery Exercise 1: Exercise: Exercise 2: Exercise: Exercise 3: Exercise 4:

Assignment 2: Case Studies

Site Analysis Materials Challenge 3D Formal Investigation Short Order Challenge 2D Formal Investigation 2D & 3D Formal Investigation

Assignment 4: Project 2: New Orleans Eatery Exercise Exercise Exercise Exercise Conference Submittal 53

1: 2: 3: 4:

Site Analysis 3D Formal Investigation 2D Formal Investigation 2D & 3D Formal Investigation

Design a local eatery that captures the spirit of the place. Your eatery could be a temporary structure or intended as a permanent part of the local scene. Keep your program simple: remember the directive or focus in this studio is to understand and develop your internal expectation into a clear physical thing (idea) through an emphasized design process. Utilize 2D and 3D communicative work, demonstrate the following as a minimum: a volumetric/spatial understanding of your architecture (the embodiment of an idea) and clarity of cultural identity or idea. You must seek through your design vehicles (communicative art) to answer the question: How can a physical space reinforce, emphasize, or suggest the cultural identity of a place? Algar Thagne

Seminar

Focus

Studio

Focus

Project Summary Rules and Constraints

Assignment 1: Case Studies

Assignment 2: Phenomenal Intervention

Assignment 3: Project 1: Clinch Mountain Eatery Exercise 1: Exercise: Exercise 2: Exercise: Exercise 3: Exercise 4:

Assignment 2: Case Studies

Site Analysis Materials Challenge 3D Formal Investigation Short Order Challenge 2D Formal Investigation 2D & 3D Formal Investigation

Assignment 4: Project 2: New Orleans Eatery Exercise Exercise Exercise Exercise Conference Submittal 55

1: 2: 3: 4:

Site Analysis 3D Formal Investigation 2D Formal Investigation 2D & 3D Formal Investigation

To begin to make an architecture of place, you must first understand the site on the geopolitical scale (country, state, city, village), and on a macro scale. Only after that do you have the embodied perspective and the beginnings of knowledge to make informed decisions and develop compelling expectations. Develop a thorough understanding of your site’s history, use, and its sociopolitical context, and present the information in a manner that is both useful and artful. Discover something about the site, either specifically or generally, that will give you more insight about it and will ultimately serve to inform your concept. Develop a thorough understanding of your site’s physical, topographical, and environment characteristics, and again present the information in a manner that is both useful and artful. The more investigation you perform the more you will have to work with towards the design of your architecture; it is not merely the organization of the information but more importantly it is your response to it. Gathering information on the sun’s path, wind direction, high and low tides, for example, are very important, but even more important is understanding how this information is useful. In other words, your analysis presents the problems that your diagramming/understanding, and ultimately your architecture, resolves. Normally, the physical and topographical analysis is the straightforward, representative documentation of those characteristics, but in the Focus Studio we do not allow representative documentation. Think of other methods to construct the physical site without drawing a site plan. Use hand methods and seek out varied materials, using photography can help generate other analysis. Objective-Chance Piece: As an integral part of your site analysis, objective chance (a surrealist technique) allows us to better understand the Genius Loci of a place. While at the site, choose an object that appeals to your imagination. Using an image of the object create a work of art that uses your object to represent an idea that you can use to help develop or augment your concept. Think consciously about the nascent expectation of an eatery you’ve started to intuit. Algar Thagne

1457’

1450’

1440’ 1436’

1450’

1440’

Seminar

Focus

Studio

Focus

Project Summary Rules and Constraints

Assignment 1: Case Studies

Assignment 2: Phenomenal Intervention

Assignment 3: Project 1: Clinch Mountain Eatery Exercise 1: Exercise: Exercise 2: Exercise: Exercise 3: Exercise 4:

Assignment 2: Case Studies

Site Analysis Materials Challenge 3D Formal Investigation Short Order Challenge 2D Formal Investigation 2D & 3D Formal Investigation

Assignment 4: Project 2: New Orleans Eatery Exercise Exercise Exercise Exercise Conference Submittal 83

1: 2: 3: 4:

Site Analysis 3D Formal Investigation 2D Formal Investigation 2D & 3D Formal Investigation

Seminar

Focus

Studio

Focus

Project Summary Rules and Constraints

Assignment 1: Case Studies

Assignment 2: Phenomenal Intervention

Assignment 3: Project 1: Clinch Mountain Eatery Exercise 1: Exercise: Exercise 2: Exercise: Exercise 3: Exercise 4:

Assignment 2: Case Studies

Site Analysis Materials Challenge 3D Formal Investigation Short Order Challenge 2D Formal Investigation 2D & 3D Formal Investigation

Assignment 4: Project 2: New Orleans Eatery Exercise Exercise Exercise Exercise Conference Submittal 89

1: 2: 3: 4:

Site Analysis 3D Formal Investigation 2D Formal Investigation 2D & 3D Formal Investigation

“AND HOW WILL YOU INQUIRE INTO A THING WHEN YOU ARE WHOLLY IGNORANT OF WHAT IT IS?”

Meno’s Paradox

With exercise one, site analysis and objective chance, you have immersed yourself in the tangible and intangible character of the place. In other words, your Lived Body now contains within it an essential understanding of that place that is uniquely yours. Creating intuitively, as all designers, writers, and artists (and even scientists) do, is a method of transcending what is immanent. Communicative art is a method of engaging the subconscious and therefore of understanding and embracing that which is uniquely yours. Create nine physical, 3D models of your immanent building: choose three different material sets and create three models for each set. While these works are intuitive, primarily gestural, and developed from your intuitive sense of the site, keep in mind your programmatic expectations for your restaurant. Remember too that these are each communicative works and they should be thought of as unique works of art - craft and thoughtfulness are essential. Algar Thagne

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Seminar

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Project Summary Rules and Constraints

Assignment 1: Case Studies

Assignment 2: Phenomenal Intervention

Assignment 3: Project 1: Clinch Mountain Eatery Exercise 1: Exercise: Exercise 2: Exercise: Exercise 3: Exercise 4:

Assignment 2: Case Studies

Site Analysis Materials Challenge 3D Formal Investigation Short Order Challenge 2D Formal Investigation 2D & 3D Formal Investigation

Assignment 4: Project 2: New Orleans Eatery Exercise Exercise Exercise Exercise Conference Submittal 123

1: 2: 3: 4:

Site Analysis 3D Formal Investigation 2D Formal Investigation 2D & 3D Formal Investigation

Create a communicative diagram, 2D and 3D, of each of the seven architectural ordering principles as described by Ching. Use your specific site topography, try to understand how your concept might change with each different principle applied. How might program play a part? How might circulation? Algar Thagne

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Seminar

Focus

Studio

Focus

Project Summary Rules and Constraints

Assignment 1: Case Studies

Assignment 2: Phenomenal Intervention

Assignment 3: Project 1: Clinch Mountain Eatery Exercise 1: Exercise: Exercise 2: Exercise: Exercise 3: Exercise 4:

Assignment 2: Case Studies

Site Analysis Materials Challenge 3D Formal Investigation Short Order Challenge 2D Formal Investigation 2D & 3D Formal Investigation

Assignment 4: Project 2: New Orleans Eatery Exercise Exercise Exercise Exercise Conference Submittal 129

1: 2: 3: 4:

Site Analysis 3D Formal Investigation 2D Formal Investigation 2D & 3D Formal Investigation

You have immersed yourself in the tangible and intangible character of place. Your Lived Body now contains within it an essential understanding of that place that is uniquely yours. Now you have added to that embodied perspective with your initial 3D investigations. Continue to move forward with the formal elements you have created that intrigue you, that make you interested, curious, or delighted - what is the idea that is forming in front of you? Keep addressing that idea and trying to make it clearer within the explorations. As a reminder: Creating intuitively, as all designers, writers, and artists, do, is a method of transcending what is immanent. Communicative art is a method of engaging the subconscious and therefore of understanding and embracing that which is uniquely yours. Create nine physical, 2D communicative works of your growing conceptualization (your IDEA), your immanent building. While these works are still intuitive, they are now formed in materiality within your previous exercise: those models and physical ideas from which you can continue. Continue to work developing a sense of space and place. Remember too that these are each communicative works and they should be thought of as unique works of art - craft and thoughtfulness are essential. Algar Thagne

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Seminar

Focus

Studio

Focus

Project Summary Rules and Constraints

Assignment 1: Case Studies

Assignment 2: Phenomenal Intervention

Assignment 3: Project 1: Clinch Mountain Eatery Exercise 1: Exercise: Exercise 2: Exercise: Exercise 3: Exercise 4:

Assignment 2: Case Studies

Site Analysis Materials Challenge 3D Formal Investigation Short Order Challenge 2D Formal Investigation 2D & 3D Formal Investigation

Assignment 4: Project 2: New Orleans Eatery Exercise Exercise Exercise Exercise Conference Submittal 147

1: 2: 3: 4:

Site Analysis 3D Formal Investigation 2D Formal Investigation 2D & 3D Formal Investigation

An essential component of this course is the development of independent critical thinking and research skills, both of which will be necessary for the production of a successful final research paper. For this assignment you will synthesize the research and materials you have developed thus far in the course in order to compose a well-structured and convincing research paper. You are expected to advance and develop your argument introduced in previous assignments, and build on the knowledge gained in the readings and research. You will use this case study to provide evidence for your argument. Scott Singeisen

148

on Davey, a professor at the College

exercises the students’ cognition of knowledge,

Southern

technical skills, problem defining, and problem

Carbondale,

solving while exploring a distinctive set of

conducted a survey on architecture

problems defined by a project. Donald Schon

and interior design students called

comments about the architect design studio,

“Educating Design Intuition: A Survey of Problem

“Systems of intuitive knowing are dynamically

Solving Methods used in Architecture and Interior

conservative, actively defended, highly resistant

Design Studios”. “The scope of this research

to change. This is the quintessential observation

aims not only to define and explore the strengths

of intuition”.

Applied

Illinois

Sciences

University

and limitations of humans’ “sixth sense” intuition,

Geoffrey Broadbent described seven

but also to discover how it can be improved in

methods to advance in solving a problem, in a

design thinking and better understood during the

specific order: deduction, induction, algorithm,

maturation of a design student. Intuition is aligned

ratio, analogy, metaphor, and chance; with

with, among other things, automatic, tacit and

two divisions at one end, the creative leap

unconscious processing, implicit memory, and

theory from John Dewey and the basic idea of

procedural knowledge.” Problem solving methods

operations research. Davey added to the seven

are crucial for students to learn early in their

methods, intuition, believing that intuition can aid

academic career for them to recognize how to

students in their problem solving skills in order to

fully examine and resolve a project that provokes

be better rounded in their decision making in the

creative thinking. Davey believes that intuition is

future. “Educating Intuition, R.M. Hogarth tackles

not motivated or taught in an academic setting,

a fascinating topic that has until now garnered

but is a fundamental linkage in problem solving

little scientific attention that is intuition. He arrives

that all students should apply. A problem based

at the following working definition: The essence

learning (PBL) atmosphere “serves as the setting

of intuition or intuitive responses is that they are

for the integration of all the skills and knowledge

reached with little apparent effort, and … involve

to be applied in.” This idea started with the guild

little or no conscious deliberation. By this account,

house and was exhibited within the Ecole Des

intuition—this

Beaux Arts School in 1717. Architecture studios

instincts or regulation of autonomic processes

incorporate all of the skills and knowledge that

such as breathing, is a product of associative

should be practiced in a problem based learning

learning that occurs outside working memory,

environment with the exception of the beneficial

which provides the design educator opportunity

competence of intuition. Design studios are

for pedagogical interventions.”4 If a professor

particularly important in the education of students

understands the importance of incorporating

because it services as the training ground that

intuition in their curriculum, it can positively

149

does

not

encompass

innate

impact students’ design thinking. M. Gladwell

top-down) approach to problem solving as a

to problem solving as a design method?”5

describes the process of information as slices

design method?

One hundred twenty-one architecture students

that are chronological, concluding that the first

3. In your design education thus far, have you

and forty-nine interior designers (89 females

slice is the most important slice that can contain

been introduced to algorithm, (that is using a

and 103 males) took the survey. Chance was

the best decisions and information. Intuition is

formula or mathematical) approach to problem

the lowest percentage followed by intuition, the

like the “first slice” of Gladwell’s theory; through

solving as a design method?

students stated that intuition wasn’t taught to

my research I have found that intuition is the first

4. In your design education thus far, have you

them but they acquired the basic intuitive process

instinct or impression that can lead to creative

been introduced to ratio, (that is using some give

through smaller projects that were introduced in

thinking or a solution. If one is aware of the

form such as the golden section 1 to 1.618 or the

their early academic career. Chance was the

benefits of incorporating intuitive instinct in the

Japanese Ken) approach to problem solving as

lowest percentage because professors teach

decision making process, conclusions may be

a design method?

students that they should not design upon chance,

more easily, efficiently, and effectively reached.

5. In your design education thus far have you

luck is not an appropriate means of a solution.

The School of Architecture at Southern Illinois

been introduced to analogy, (that is using the

The survey revealed that intuition does not have

University Carbondale directed a survey in 2005

likeness of one thing to design another) approach

to be formally implemented in the curriculum of

incorporating all of the architecture and interior

to problem solving as a design method.

schools in order for students to acquire the intuitive

design students. The school’s pedagogy believes

6. In your design education thus far, have you

process, it happens naturally. It does raise the

that through design studios, students will mature

been introduced to metaphor, (that is using a

question of how much more effective and efficient

into problem solvers from the skills and knowledge

comparison which imaginatively identifies one

students might be if professors acknowledged

learned in the core classes. The first step of

thing with another dissimilar thing, and transfers

and incorporated intuition into the curriculum.

the survey was to administer the Myers-Briggs

or ascribes to the first thing some of the qualities

Type Indicator test to reveal the personality type

of designing the second? Unlike a simile or

of each student to draw a relationship between

analogy, metaphor asserts that one thing is

personality types and problem solving methods

another thing, not just that one is like another)

that applied to each student. The second part

approach to problem solving as a design method?

of the survey exposed weather or not problem

7. In your design education thus far, have you

solving methods were being taught in the

been introduced to chance, (that could be luck,

program and if the students found them useful.

providence, special guidance, or some form of

Eight questions were administered:

determinism) approach to solving as a design

“1. In your design education thus far, have you

method?

been introduced to deduction, (that is starting

8. In your design education thus far, have you

from the individual things, a bottom-up) approach

been introduced to intuition, (that is instinctive

to problem solving as a design method?

knowing, without the use of rational processes)

2. In your design education thus far, have you

using direct perception of something without

been introduced to induction, (that is a concept,

conscious reasoning to design) as an approach 150

Ima g e Community desk in the studio; Professor Thagne invited communication to extend beyond one another through words and illustrations to the desk promoting a sense of community through an object.

Ima ges Ink blots from the Rorschach Ink Blot Test, a psychological test that analyzes the perception of a personâ&#x20AC;&#x2122;s personality.

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Endnotes

152

Jon Davey. “Educating Design Intuition: A Survey of Problem SOlving Methods Usedin Architecture and Interior Design Studios.” Online Journal of Workforce Education and Development 3, no. 1 (2008). Accessed October 9, 2012.http://opensiuc.lib. siu.edu/cgi/viewcontent.cgi?article=1067&context=ojwed.

D. Schon. (1985). The design studio, an exploration of its traditions and potentials. London: RIBA Publications Limited.

Seminar

Focus

Studio

Focus

Project Summary Rules and Constraints

Assignment 1: Case Studies

Assignment 2: Phenomenal Intervention

Assignment 3: Project 1: Clinch Mountain Eatery Exercise 1: Exercise: Exercise 2: Exercise: Exercise 3: Exercise 4:

Assignment 2: Case Studies

Site Analysis Materials Challenge 3D Formal Investigation Short Order Challenge 2D Formal Investigation 2D & 3D Formal Investigation

Assignment 4: Project 2: New Orleans Eatery Exercise Exercise Exercise Exercise Conference Submittal 153

1: 2: 3: 4:

Site Analysis 3D Formal Investigation 2D Formal Investigation 2D & 3D Formal Investigation

Create six physical, 2D and 3D communicative works of your growing conceptualization (your IDEA), your immanent building. Choose the material sets from your previous investigations that you feel best express your intention. While these works are still intuitive, they are now formed in materiality within your previous exercises and an understanding and conveyance of your building should be possible. Continuing to work developing a sense of space and place: phenomena of site, program, and user. Algar Thagne

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Studio

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Project Summary Rules and Constraints

Assignment 1: Case Studies

Assignment 2: Phenomenal Intervention

Assignment 3: Project 1: Clinch Mountain Eatery Exercise 1: Exercise: Exercise 2: Exercise: Exercise 3: Exercise 4:

Assignment 2: Case Studies

Site Analysis Materials Challenge 3D Formal Investigation Short Order Challenge 2D Formal Investigation 2D & 3D Formal Investigation

Assignment 4: Project 2: New Orleans Eatery Exercise Exercise Exercise Exercise Conference Submittal 169

1: 2: 3: 4:

Site Analysis 3D Formal Investigation 2D Formal Investigation 2D & 3D Formal Investigation

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Seminar

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Studio

Focus

Project Summary Rules and Constraints

Assignment 1: Case Studies

Assignment 2: Phenomenal Intervention

Assignment 3: Project 1: Clinch Mountain Eatery Exercise 1: Exercise: Exercise 2: Exercise: Exercise 3: Exercise 4:

Assignment 2: Case Studies

Site Analysis Materials Challenge 3D Formal Investigation Short Order Challenge 2D Formal Investigation 2D & 3D Formal Investigation

Assignment 4: Project 2: New Orleans Eatery Exercise Exercise Exercise Exercise Conference Submittal 171

1: 2: 3: 4:

Site Analysis 3D Formal Investigation 2D Formal Investigation 2D & 3D Formal Investigation

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Project Summary Rules and Constraints

Assignment 1: Case Studies

Assignment 2: Phenomenal Intervention

Assignment 3: Project 1: Clinch Mountain Eatery Exercise 1: Exercise: Exercise 2: Exercise: Exercise 3: Exercise 4:

Assignment 2: Case Studies

Site Analysis Materials Challenge 3D Formal Investigation Short Order Challenge 2D Formal Investigation 2D & 3D Formal Investigation

Assignment 4: Project 2: New Orleans Eatery Exercise Exercise Exercise Exercise Conference Submittal 215

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Site Analysis 3D Formal Investigation 2D Formal Investigation 2D & 3D Formal Investigation

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Project Summary Rules and Constraints

Assignment 1: Case Studies

Assignment 2: Phenomenal Intervention

Assignment 3: Project 1: Clinch Mountain Eatery Exercise 1: Exercise: Exercise 2: Exercise: Exercise 3: Exercise 4:

Assignment 2: Case Studies

Site Analysis Materials Challenge 3D Formal Investigation Short Order Challenge 2D Formal Investigation 2D & 3D Formal Investigation

Assignment 4: Project 2: New Orleans Eatery Exercise Exercise Exercise Exercise Conference Submittal 255

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Site Analysis 3D Formal Investigation 2D Formal Investigation 2D & 3D Formal Investigation

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Seminar

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Project Summary Rules and Constraints

Assignment 1: Case Studies

Assignment 2: Phenomenal Intervention

Assignment 3: Project 1: Clinch Mountain Eatery Exercise 1: Exercise: Exercise 2: Exercise: Exercise 3: Exercise 4:

Assignment 2: Case Studies

Site Analysis Materials Challenge 3D Formal Investigation Short Order Challenge 2D Formal Investigation 2D & 3D Formal Investigation

Assignment 4: Project 2: New Orleans Eatery Exercise Exercise Exercise Exercise Conference Submittal 277

1: 2: 3: 4:

Site Analysis 3D Formal Investigation 2D Formal Investigation 2D & 3D Formal Investigation

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Seminar

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Project Summary Rules and Constraints

Assignment 1: Case Studies

Assignment 2: Phenomenal Intervention

Assignment 3: Project 1: Clinch Mountain Eatery Exercise 1: Exercise: Exercise 2: Exercise: Exercise 3: Exercise 4:

Assignment 2: Case Studies

Site Analysis Materials Challenge 3D Formal Investigation Short Order Challenge 2D Formal Investigation 2D & 3D Formal Investigation

Assignment 4: Project 2: New Orleans Eatery Exercise Exercise Exercise Exercise Conference Submittal 307

1: 2: 3: 4:

Site Analysis 3D Formal Investigation 2D Formal Investigation 2D & 3D Formal Investigation

Intuition: Beyond the Tangible Whitney Carter

308

ntuition is the coalescence of instinctual

but trusting one’s self is critical to fully embody

knowledge accumulated from past experiences,

their intuitive nature.

influencing physical or mental recognition

A specific design concept driven by

without the stimulus of deliberate thoughts.

intuition may be difficult to defend or explain;

Provoking ideation is the antecedent of design;

thus, designers may create plausible arguments

an object in the built environment or the intuitive

to conceal the role of intuition. Michael Beirut,

nature of the subconscious can influence an idea.

a partner at the design firm Pentagram calls

There are several types of intuition: practical intuition

this “bullshit.” “In discussing design work with

that aids problem solving and imaginative intuition that

their clients, designers are direct about the

stimulates creative intellect. The natural and man-

functional parts of their solutions and obfuscate

made environment can impact someone in multiple

like mad about the intuitive parts, having learned

capacities, directly influencing their subconscious

early on that telling the simple truth — ‘I don’t

affecting their perception of the past simultaneously

know, I just like it that way’ — simply won’t

changing their reaction to imminent events. Skeptics

do. So into this vacuum rushes the bullshit:

in the design realm, who approach intuition with

theories about the symbolic qualities of colors or

a nihilistic view, believe that designs based upon

typefaces; improvable claims about the historical

triggers of the subconscious are questionable and

inevitability of certain shapes, fanciful forced

shouldn’t be trusted; rather, intellectual information

marriages of arbitrary design elements to hard-

should formulate the basis of reasoning. Intuition with the amalgamation of rational knowledge is a valid and advantageous approach to design. Designers with many years of experience, who have based their designs upon learned knowledge without referencing sources, apply practical intuition formed from previous experiences that influence their work in a technical capacity. Applying creative intuition during the fundamental stages of design inspire ideas, creativity, and excitement resulting in an engaging and effective product. Creative intuition can be applied to all types of design such as fine arts, architecture, industrial design, etc. but it must be balanced with logical knowledge to make definitive decisions. Practical and creative intuition can be applied simultaneously to enhance a project 309

Abstraction of the underground passage for the Savannah Phenomenal Intervention Project, by author. F i g u re 2 RIG HT Diagram expressing the progression of intuition by author. F i g u re 1 L EFT

headed business goals.”

Beirut distinguishes

no inhibitions; exempting the notion that it has to

each individual. Intuition is a natural response

two approaches to design, intuitive design and

be beautiful. Studio design culture has become

that transposes itself from the brain to hand

intellectual based design, informing practical parts

a linear process excluding intuition; this primal

resulting in an entity that reflects the creator’s

of solutions but the existence of skepticism is

concept of intuition should be accepted in the

individuality.

profound when explaining intuitive development.

design world and academic environment.

without thinking, producing without constraints,

The

intuitive

nature,

creating

Students in design studios have the perception

The intuitive process is a never-ending

letting the medium or mixed-media influence the

that they must have a reason to think, design,

cycle that captures an experience and reaction,

creation, is creating while trusting one’s self. The

or make something. If they could relinquish their

subconsciously informing an awareness to make

intuitive process is not wrong. The confidence

inhibitions and produce with any tool, material,

a decision. The diagram below expresses the

of trusting initial ideas and building upon those

or technique, their intuitive sense would guide

progression of intuition, starting from many

should prevail in the beginning of design, even

them to explore, provoking a unique design that’s

experiences transpiring into responses. Each

if the evolved ideas are in contrast to the initial

intrinsic to them.

The ability to trust one’s own

response has intuition branches that will affect

notions. It is important to recognize intuition as a

thoughts is crucial for them to feel confident in

future reactions and thought. Artists use intuition

design tool. Understanding and trusting intuition

their design and not become systematized in

to guide their strokes; the first movement is

is essential when evoking creativity.

an effort to control outcomes. Exploring while

triggered by their inherent understanding of art

Problem solving methods are essential

making encourages any level of designer to

specifically what art means to them; how they

for students to learn early in their academic

engage creative thinking; it is paramount that

embody that understanding transposing it into an

career in order to fully examine and resolve a

fundamental students participate in exploring with

abstraction of their own is a process unique to

project, provoking creative thinking. Jon Davey,

310

a professor at the College of Applied Sciences

maturation of a design student. Intuition is aligned

conscious awareness, intuitions can essentially

Southern Illinois University Carbondale, believes

with, among other things, automatic, tacit and

be considered faits accoplis, things that must be

that intuition is not motivated or taught in an

unconscious processing, implicit memory, and

dealt with after the fact. It is therefore critically

academic setting, but is a fundamental linkage

procedural knowledge.” He believes that intuition

important to recognize that, in order to understand

in problem solving that all students should

can aid students in their problem solving skills

and improve intuitions, you must understand the

apply. Architecture studios incorporate all of the

in order to be better rounded in their decision

process by which they were acquired. If, for

skills and knowledge that should be practiced

making in the future.

some reason, that process has been biased,

in a problem based learning environment with

The first step of the survey was to

the outcomes of the process (i.e., intuitions)

the exception of the beneficial competence of

administer the Myers-Briggs Type Indicator test

are also likely to be biased”. Students can be

intuition. Design studios are particularly important

to reveal the personality type of each student

easily influenced without being aware of the fact.

in the education of students because it serves

to draw a relationship between personality types

Younger adults trying to evolve as designers

as the fundamental, comprehensive phase that

and problem solving methods that applied to

create their own language are more apt to try

exercises the students’ cognition of knowledge,

each student. The second part of the survey

and simulate a technique that intrigues them.

technical skills, problem defining, and problem

exposed whether or not problem-solving methods

Intuition cannot be taught, but professors can

solving while exploring a distinctive set of problems

were being taught in the program and if the

experiment with design exercises that stimulate

defined by a project. Donald Schon commented

students found them useful. One hundred twenty-

intuitive thinking.

on the architecture design studio: “Systems of

one architecture students and forty-nine interior

intuitive knowing are dynamically conservative,

designers (89 females and 103 males) took the

responsible for visual processing, big picture

actively defended, highly resistant to change.

survey. Chance received the lowest percentage

thinking, intuitive processing and processing

This is the quintessential observation of intuition”.

of affirmative responses; students proposed that

ideas simultaneously. Conversely, since the

Educational design studios incorporating intuition

professors taught them that design should not be

left brain is the hemisphere that is analytical,

would benefit students by actively teaching them

based upon chance; luck is not an appropriate

it processes step by step and is verbally

how to balance inherent concepts and apply them

means of a solution. Students stated that intuition

oriented.”

appropriately, following up with clear guidance in

wasn’t taught to them but they acquired the basic

visual usage and intuitive thinking. There are

explaining not defending their intuitive direction.

intuitive process through smaller projects that

several different methods to exercise the brain:

Davey conducted a survey on architecture and

were introduced in their early academic career.

anything involving the relationship between brain

The

right

side

the

brain

“is

Exercising the brain can encourage

interior design students called “Educating Design

The survey revealed that intuition

to hand to medium process can be an exercise.

Intuition: A Survey of Problem Solving Methods

does not have to be formally implemented in

Also, activities involving a strategy while making

used in Architecture and Interior Design Studios”

the curriculum of schools in order for students to

simultaneously can encourage creative thinking.

in 2005. “The scope of this research aims not

acquire the intuitive process, it happens naturally.

“Right brain games and exercises are simple to

only to define and explore the strengths and

But their ability to understand and explain

learn but can quickly increase creativity, rapid

limitations of humans’ “sixth sense” intuition,

intuition was vague. R.M. Hogarth, a professor

thought processes, greater concentration and

but also to discover how it can be improved in

at Lund University of Cognitive Science, stated,

memory, musical aptitude and intuition. The

design thinking and better understood during the

“Because intuitive processes operate beyond

right hemisphere of the brain learns intuitively,

311

In tuitio n

Practical

Creative

Knowledge

Inspire & Stimulate

Problem-solving

Explore

Technical Procedure

Invigorate

Creative intuition must be balanced with logical knowledge to make definitive decisions.

312

absorbing

and

understanding

photographic,

Dr. Ju Tapkin, a psychotherapist,

becoming predictable. Make no mistake; I do not

These exercises

deconstructed his three-dimensional artwork,

advocate a purely intuitive style of composition.

encourage confidence in trusting intuition and

commenting that: “The hole suggests a break-

I have been studying music since I was a child,

recognizing individualized thinking and processing

through that allows Bowie to go into space and

including two years privately, two more at the

of information.

cross boundaries. Bearing in mind it is no surprise

National Conservatory of Lima, and seven years

that he answered the question artistically.”

at the Sibelius Academy and four years at UC

Bowie intuitively drew and made a diagram

Berkeley. But it is precisely because I have lived

expressing the way he felt about being creative

within the walls of academia for so long that I

at that moment in time. If Bowie was asked

value the power of intuition even more.” He goes

to express his answer again; the probability of

on to say, “Intuition is our only weapon when

him drawing the same picture would be trivial.

exploring uncharted territory; we have to rely

The way he would feel about creativity might

on our past experiences to make a connection

be different depending on recent experiences or

with the present in order to write the music of

techniques that were novel to him, influencing the

the future. Trying to rationally and consciously

new design. Intuition is always developing and

understand every single note we write will

evolving. It molds the way designers approach

ultimately impoverish our musical language.”

tactile and sound images.”

Figure 2: David Bowie’s sketch of his interpretation of creativity. Vaske, Hermann, and Jeffrey K. Zeig. Why Are You Creative? Mainz: H. Schmidt, 1999.

David Bowie, a musician, artist, and actor, was

projects.

The idea of becoming systemized is

asked, “Why are you creative?” He answered, “I

Creative intuition can be used to

an issue more people face today than twenty

think it has something to do with wanting to find

design an entity; all types of people in various

years ago. The ever evolving realm of technology

a place where I can kind of set sail and know

professions rely on intuition to guide them in

creates a dependency that people tend to rely

that I won’t really fall off the edge of the world

their process. Music composers rely on the

on, making them more systemized. I believe

when I get to the end of the sea, that there’ll be

balance of intuition and logic to compose music.

technology has created a different type of

just more and more sea to navigate. There’s the

Jimmy Lopez, a classical music composer,

intuition. The progression from brain to hand

idea that in part of being creative it’s one of the

describes how intuition leads to provoking music

to paper now is from brain to hand to mouse

few human endeavors that you can get involved

whereas music composed from logic can seem

to screen. There are more people that depend

in where you can, as Eno would say, crash your

monotonous: “I don’t think a composer needs

on a computer than their own hand, creating a

airplane and walk away from it. I think it’s a sort

to rationally justify every single note on his/her

disconnect between thought and an instant mark.

of intellectual field of adventure, and it can either

score to prove the quality of the music. Having

Individualized language can be computerized or

be play or it can be war, or maybe a hybrid of

this as a goal might eventually lead to tailoring

by hand, but the initial, intrinsic thoughts should

both. And I find it an intoxicating parallel to my

our compositions for music analysts. What is even

be produced by hand. Computers are a great

perceived reality to be able to have this other

worse, some compose with the analysis already

design tool but many students are developing

one, where you can explore anxieties or fears.”

in mind. It can lead to some recognition from

an understanding for programs and are not

Bowie was then asked to express creativity by

our peers, but in the end those of us who rely

able to design what they envision due to their

hand.

too heavily on mental constructs run the risk of

fundamental knowledge of computer programs.

313

The process using the direct connection between

Recognizing,

engaging,

and

strengthening

hand and paper creates an instantaneous

intuition through the design process is crucial

cognizance unlike the use of a computer.

to understanding one’s own identity and style

The use of intuition to design is

which is ever changing and evolving. The idea of

practiced

various

creating without thinking and producing without

capacities, some rely heavily on the intrinsic

restriction is essential in nurturing practical and

value and others do not. Whether realized or

creative intuition which in turn builds confidence

not, in some way, intuition contributes to the end

and pride in design work that is confidently

result. Creative intuition should be used more in

explained. When contemplating a long-term

the initial phases of design transitioning to the

profession

balance of practical and creative intuition during

into the design process should be considered;

the intermediate design phase. Intuition does not

trusting intuition builds confidence and stimulation

always lead to the right answer but always leads

encouraging the dynamic progression of ideation.

intrinsic,

everyone

design,

incorporating

intuition

to the progression of design. Utilizing creative intuition is making and producing over and over again while exploring with media and techniques. Through exploring, ideas will evolve and progress subconsciously, heavily influenced by making. One cannot judge intuition.

According to Carl

Jung, intuition is perception via the unconscious, it “is a way of comprehending perceptions in terms of possibilities, past experience, future goals, and unconscious processes… Because it often includes unconscious material, intuitive thinking appears to proceed by leaps and bounds”. Intuition guides designers, it is not a hindrance. The ability to make without thinking, guides the intuitive nature to take over and work

“It is by logic we prove, it is by intuition that we invent. Logic, therefore, remains barren unless fertilized by intuition.”

from the gut without inhibitions. It is not wrong or bad if something does not turn out the way it

Henri Poincaré

was intended, it helps the artist mature. Intuition is valued differently among people and professions, but successful designers value the role intuition has on their process. 314

315

MA K E

verb

Endnotes

to bring into being One object can be transformed into anything by the bounds of a persons’ ability to trust their intuition, making is thinking, thinking is creating.....

Each piece of artwork on the opposite page was created by the object above, a piece of plexi, red tape, and charcoal. 316

Bierut, Michael. 79 Short Essays on Design. New York: Papress, 2007.

D. Schon. (1985). The design studio, an exploration of its traditions and potentials. London: RIBA Publications Limited.

Jon Davey. “Educating Design Intuition: A Survey of Problem SOlving Methods Usedin Architecture and Interior Design Studios.” Online Journal of Workforce Education and Development 3, no. 1 (2008). Accessed October 9,2012.http://opensiuc.lib.siu.edu/ cgi/viewcontent.cgi?article=1067&context=ojwed.

Hogarth, R. M. (2001). Educating intuition. Chicago: University of Chicago Press.

Kaufman, James C., and Robert J. Sternberg. The Cambridge Handbook of Creativity. Cambridge: Cambridge University Press, 2010.

Vaske, Hermann, and Jeffrey K. Zeig. Why Are You Creative? Mainz: H. Schmidt, 1999.

nomiya space restaurant, case study two. exploded collages

savannah phenomenal intervention. photomontage of intervention

diverse materials, thread binding 11x8.5

mylar & collaged pictures 7x8.5

micron pen on mylar overlapping a site picture 8.5x11

sketch of the environment surrounding the restaurant

savannah phenomenal intervention. context map of savannah, the black lines represent the location of the intervention on broughton st

savannah phenomenal intervention. programmatic model

graphite on paper 4x8

mylar overlapping a map, charcoal, indian ink, & micron pens 11x8.5 tianmen restaurant, case study one, contrasting the environmental conditions (water, trees, and restaurant) pen on mylar overlapping actual picture, blotted indian ink 7x8.5 tianmen restaurant, case study one, exemplifying the idea of blending the architecture with the landscape pen on mylar overlapping a picture with sanded blue and white indian ink 7x8.5

savannah phenomenal intervention. initial, intuitive diagram of intervention micron pen on paper 5x7

savannah phenomenal intervention. site plan indicating the connection between parcels mylar overlapping a picture, micron pens & blotted indian ink 11x8.5

micron pen on watercolor paper & mylar 11x8.5

clinch mountain eatery. road leading to carter family fold ink transfer 7x5

clinch mountain eatery. diagram representing the correlation between the mountains, valley, and river at carter family fold brushed charcoal and pen on mylar overlapping a map 7x5

tianmen restaurant, case study one, representing the roof line mimicking the mountain range

savannah phenomenal intervention. diagram representing the tangible path between two sites

clinch mountain eatery. macro scale map: charlotte, nc, knoxville, tn and hiltons, vi

micron pen on mylar overlapping a picture with ink blots 7x8.5

micron pen on paper, blotted indian ink 5x7

brushed charcoal and pen on mylar overlapping a map 7x5

tianmen restaurant, case study one, model of the restaurant and mountains

savannah phenomenal intervention. diagram showing the intervention, an underground pathway

clinch mountain eatery. micro scale map: hiltons, virginia and carter family fold

tin foil spray painted white and matte board 11x8.5x7

nomiya space restaurant, case study two, the contrasting colors depicts the idea of each image: building placement, views, scale, & connection (left to right)

pen on mylar overlaying a picture, yellow pastel pencil 11x8.5

savannah phenomenal intervention. abstraction of underground passage scratchboard 5x3

computer generated collage 5x8.5 (each) 317

brushed charcoal and pen on mylar overlapping a map 7x5

clinch mountain eatery. transverse section. light rectangle representing proposed building location pen on mylar overlapping a picture 11x8.5

Index of Images

book: temporary and permanent restaurant case studies

clinch mountain eatery. longitudinal section. light rectangle representing proposed building location pen on mylar overlapping a picture 11x8.5

clinch mountain eatery. site picture dipicting the sun and shadows photograph 9x11

clinch mountain eatery. sun angle diagram pen on mylar overlapping a photograph 9x11

clinch mountain eatery. site model of carter family fold aerial photograph, needles and white charcoal 11x8.5

clinch mountain eatery. genius loci, mushrooms. the mushroomsâ&#x20AC;&#x2122; vibrant color reflects the music culture of the carters

clinch mountain eatery. 3d representation. the model depicts the relationship between site and the built environment

photograph 9x11

white matte board 5x7x3

clinch mountain eatery. genius loci 3d communicative representation

clinch mountain eatery. 3d representation. the model exemplifies the movement of land with a form injected into it

ink on mylar overlapping a photograph, abstraction of mushrooms lifted by needles 9x11 clinch mountain eatery. genius loci 3d communicative representation ink on mylar overlapping a photograph, abstraction of mushrooms lifted by needles 9x11 clinch mountain eatery. process of creating a mold for the genius loci 3d communicative representation, simulating layering and embeddment within one another plaster, plexi & matte board 9x11

clinch mountain eatery. abstraction of wind diagram layered aerial photographs and white charcoal 10x8

clinch mountain eatery. genius loci 3d communicative representation, simulating layering and embeddment within one another plaster, plexi, matte board, & charcoal 9x11

clinch mountain eatery. abstraction of wind diagram layered aerial photographs and white charcoal 10x8

clinch mountain eatery. genius loci, mushrooms. the mushrooms are layered and embedded within the land, similar to the vernacular architecture photograph 9x11

entry condition charette. model representing a building extending and folding into the land creating a continuous gesture wood 2x8

white matte board and brushed on charcoal 8x2x2.5 clinch mountain eatery. 3d representation. the model expresses the language of vertical and horizontal planes intersecting white matte board 9x4x5

clinch mountain eatery. 3d representation. modeling the fluid form, moving between the solid and void environment plaster and sheet metal 4x5x3

clinch mountain eatery. 3d representation. the model relinquishes solid portions of the theoretical building plaster and matte board 2x7x4

clinch mountain eatery. 3d representation. one side represents the building cantilevering from the hillside and the other embedded into the hillside plaster, white matte board, and charcoal 5x7x2

entry condition charette. model representing a building extruding from the land wood 4x8

318

clinch mountain eatery. 3d representation. mold for a plaster model plaster, corrugated plastic, and matte board 5x7x2

clinch mountain eatery. 3d representation. the nails symbolize land at clinch family fold

clinch mountain eatery. 2d representation. drawing of the embodiment between the built environment and environment

clinch mountain eatery. formal investigation. plan perspective representing outdoor seating (light grey) and building (white)

canvas paper, transfer, and graphite 8.5x11

pen and charcoal on bristol 8.5x11

clinch mountain eatery. 3d representation. injecting a form into the hillside

clinch mountain eatery. 2d representation. interior, plan view

clinch mountain eatery. formal investigation. perspective

nails 3x4x1/2

regular and sanded chipboard, ink, and watercolor 8.5x11

pen, charcoal, and photographs on canvas paper 8.5x11

clinch mountain eatery. 3d representation. by wrapping wire around the nails and twisting, a form emerges, abstracting this form into a theoretical building

clinch mountain eatery. 2d representation. segregating the interior and exterior light

clinch mountain eatery. formal investigation. perspective

masonry nails 3x4

masonry nails and wire 3x4 clinch mountain eatery. short order challenge. six ordering principles: axis, datum, hierarchy, asymmetrical, transformation, and rhythm (from left to right)

chipboard, ink, white charcoal, and watercolor 8.5x11

pen and photograph on regular paper 8.5x11

clinch mountain eatery. 2d representation. focusing on views

clinch mountain eatery. formal investigation. sectionperspective

regular and sanded chipboard, ink, and watercolor 8.5x11

pen, charcoal, and photographs on canvas paper 8.5x11

clinch mountain eatery. 2d representation. site plan

clinch mountain eatery. 2d representation. parti diagram

clinch mountain eatery. formal investigation. light study model

canvas paper, transfer, and pen 8.5x11

green pastel and charcoal on canvas paper 8.5x11

plaster 3x4x4

clinch mountain eatery. 2d representation. conceptual section of a twisting form nestled into the hillside

clinch mountain eatery. 2d representation. concentrating the direction of views, site specific

clinch mountain eatery. formal investigation. music culture diagram

pen and paper 2x5

canvas paper and pen 8.5x11

clinch mountain eatery. 2d representation. drawing representing the form of the building blending into the hillside canvas paper and graphite 8.5x11

ink and charcoal on canvas paper 8.5x11

plaster, pins, and masonry nails 4x3x1/2

clinch mountain eatery. 2d representation. plan view of twisting form

clinch mountain eatery. formal investigation. photomontage

charcoal and red tape on canvas paper 8.5x11

drawing over photograph 11x8.5

319

clinch mountain eatery. formal investigation. site model plaster, plexi, matte board, and charcoal 11x17

new orleans eatery. genius loci. the telephone pole represents the culture in new orleans through the staples, cracks, and voids left by staples transferred photograph 5x7 new orleans eatery. genius loci photograph 9x11

new orleans eatery. genius loci. communicative artwork transferred photograph 5x7 (each)

new orleans eatery. genius loci. artwork expressing the staples in the pole. the staples represent the influences that impacted new orleans transfer and indian ink 5x7 new orleans eatery. genius loci. abstraction of the holes in the telephone pole inverted photograph overlaid with white charcoal 5x7

new orleans eatery. genius loci. communicative artwork of genius loci. the paint covers the photograph of staples representing all the layers of culture that influenced new orleans

new orleans eatery. genius loci. artwork expressing holes in the pole. the holes represent the imprint of values

new orleans eatery. genius loci. process of creating. the newspaper used to capture the paint runoff was later used as a collage

transfer, indian ink, and white charcoal 5x7

transferred photograph, acrylic paint, and newspaper 5x7

new orleans eatery. genius loci. exploration while creating

new orleans eatery. genius loci. the vibrant colors symbolize the energy and diversity in new orleans

ink and watercolor 5x7

new orleans eatery. genius loci. exploration of mixed media

transfer, pen, and charcoal 5x7

transferred photograph and acrylic paint 5x7

new orleans eatery. genius loci. artwork expressing the relevance of the cracks in the pole. the cracks represent the natural emergence of culture in new orleans

new orleans eatery. genius loci. exploration of creating transferred photograph 5x7

transferred photograph and acrylic paint 5x7

new orleans eatery. genius loci. an ink blot created from newspaper used to capture the paint runoff from previous paintings newspaper and acrylic paint 2x3

new orleans eatery. genius loci. a collage created from newspaper used to capture the paint runoff from previous paintings newspaper and acrylic paint 8.5x11

transfer and indian ink 5x7

transfer and charcoal 5x7

transferred photograph, acrylic paint, and newspaper 5x7

transfer and acrylic 5x7

new orleans eatery. genius loci. abstraction of the cracks in the telephone pole

new orleans eatery. genius loci. abstraction of the staples in the telephone pole

new orleans eatery. genius loci. process of creating communicative artwork

new orleans eatery. genius loci. exploration of creating transferred photograph and acrylic paint 5x7

320

new orleans eatery. genius loci. the back of a painting on canvas canvas, wire, and watercolor 9x11

new orleans eatery. genius loci. a painting representing the overlapping of cultures canvas, watercolor, and wire 9x11

new orleans eatery. site analysis. macro to micro map transfer and ink 5x12

new orleans eatery. site analysis. site plan. each colored string represents a type of transportation charcoal, ink, and string 17x11

new orleans eatery. site analysis. photograph of site facing south photograph 9x11

new orleans eatery. site analysis. longitudinal section. the section shows the residential area surrounding the site has pitched roofs at the same height transfer and ink 11x4 new orleans eatery. site analysis. photograph of site facing east photograph 9x11

new orleans eatery. site analysis. photograph 9x11

hot glue and watercolor paper 2x2x3.5 new orleans eatery. site analysis. sun diagram: spring solstice, summer solstice, and winter solstice (from left to right) drawing transferred 3x5

new orleans eatery. site analysis. building footprint diagram. pen and charcoal 11x7

transfer and ink 11x4

new orleans eatery. 3d representation. inspired by the overlapping “L” diagram. the form begins to emerge from the ground while each plane focuses on a view watercolor paper 2x3x4 new orleans eatery. 3d representation. exploring the idea of light through opaque to transparent material transfer on plexi and white gouache paint on plexi 2x3x4

new orleans eatery. site analysis. hardscapes diagram. the dark grey represents roads and residences are depicted by light grey

new orleans eatery. 3d representation. the movement of pushing and pulling was inspired by the staples in the telephone pole

transfer and charcoal 11x7

transfer on plexi 2x3x4

new orleans eatery. site analysis. prospect, procession, and threshold diagram. there are three main thresholds next to the site while procession builds leading up to the threshold

new orleans eatery. 3d representation. basswood and plaster 2x3x4

transfer and indian ink 17x11 new orleans eatery. site analysis. the purple “L” indicates the reaction to the existing thresholds and the conceptual form. the black “L” responds to the shape of the site ink on mylar 2x3

new orleans eatery. site analysis. transverse section.

new orleans eatery. 3d representation. model expressing the constant overlapping of music and food culture

new orleans eatery. site analysis. drawing representing the relationship between magazine st and theoretical building. the “L” turns into a “v” shape, one side overlapping another graphite 3x5 321

new orleans eatery. 3d representation. by combining the two models, spaces begin to evolve in the opaque and transparent form plexi, basswood, and plaster 2x3x4 new orleans eatery. 3d representation. the form continues to be two entities while expressing a pathway between them. basswood, plaster, plexi 2x5x4

new orleans eatery. 3d representation. with a hinge at one side the model can morph into many different forms

new orleans eatery. 2d representation. expressing an experiential passage through the theoretical building

plaster, bolt, and screw 1x4x2

scratchboard 8.5x11

new orleans eatery. 3d representation. two “L” forms overlapping one another expressing the idea of past, present, and future

new orleans eatery. 3d representation. model expressing rhythm and repetition with a pathway intersecting the middle

new orleans eatery. 2d representation

resin 2x5x3

plaster 4x8x1.5

new orleans eatery. 3d representation. model representing the idea of movement above and below ground

new orleans eatery. 3d representation. process of creating the rhythm and repetition model

new orleans eatery. 3d representation. photograph representing the experiential passage basswood, plexi, and plaster 2x3x4

resin and paper 2x5x3

new orleans eatery. 3d representation. the form was inspired by the “v” drawing. this model explores the relationship between solid and transparent material resin and plaster .5x4x.75 new orleans eatery. 3d representation. idea to insert a foreign object into the earth resin and plaster 2.5x6x4.5

plaster

new orleans eatery. 3d representation. process of creating the rhythm and repetition model plaster and corrugated plastic

new orleans eatery. 2d representation. diagram representing culture. the food culture mirrors the music culture transfer, pen, and wire 17x5

new orleans eatery. 3d representation. creating a dynamic form from the same shape

new orleans eatery. 2d representation. form evolvement in planperspective view

resin and plaster 1.5x5x2

transfer and pen 2x4 (each)

new orleans eatery. 3d representation. a solid form lifting from the ground on one side expresses the idea of overcoming struggles in the past

new orleans eatery. 2d representation. diagrams were inspired by the pushing and pulling model, generating the idea of manipulating spaces to enhance the experience

plaster 3x6x4

pen 2x4 (each) 322

scratchboard 8.5x11

new orleans eatery. 2d representation. evolution of spaces in plan view scratchboard 8.5x11

new orleans eatery. 2d representation. perspective watercolor 4x5

new orleans eatery. 2d representation. perspective of the interior space watercolor and transfer 6x4

new orleans eatery. 2d representation. perspective of theoretical main corridor watercolor 7x5

new orleans eatery. 2d representation. perspective of exterior spaces watercolor 7x3

new orleans eatery. formal investigation. model expressing the idea of overlapping and intersecting

new orleans eatery. formal investigation. perspective of the entrance

matte board 3x3x4.5

transfer, ink, and watercolor on newspaper 5x9

new orleans eatery. formal investigation. exploring through creating

new orleans eatery. formal investigation. building model at 1”=60’

new orleans eatery. formal investigation. exterior perspective

ink 3x5

plexi and watercolor paper

transfer, mylar, graphite, and pen 5x4

new orleans eatery. formal investigation. evolution of the parti diagram

new orleans eatery. formal investigation. site model at 1”=60’

new orleans eatery. formal investigation. exterior perspective

ink and transfer 3x5

chipboard as base with mylar on top, watercolor paper for buildings and hot glue and charcoal as in fill, steel wool as trees 18x36

transfer, mylar, graphite, and pen 5x4

new orleans eatery. formal investigation. plan view of progression of form

new orleans eatery. formal investigation. close up of conceptual building in site model

new orleans eatery. formal investigation. perspective of the stairway entering the restaurant. the kitchen is the glass box to the left while the dining area is the “L” shape penetrating both structural walls. since the majority of the inhabited spaces are glass, diners may observe food preparation

pen 1.5x3 (each)

new orleans eatery. formal investigation. the idea of planes intersecting one another ink 3x5

new orleans eatery. formal investigation. model exploring final form and various levels of transparency as glass boxes plexi, illustration board, transfer on plexi, and ink 3x7x2

new orleans eatery. formal investigation. once the planes intersect, spaces are formed ink 3x5

new orleans eatery. formal investigation. final model on collage

new orleans eatery. formal investigation. perspective of progression of form

new orleans eatery. formal investigation. final model. the glass forms penetrate the angular, structural walls acting as staples piercing through a pole

transfer and pastels 17x11

wire as magazine st, plexi and illustration board for model, newspaper with ink as collage 18x24

illustration board and plexi

323

transfer, mylar, graphite, and pen 5x4

324