Arch 101 Final

Learning Portfolio

CCSF/Fall 2013

Marvin Rodriguez

Introduction

• This presentation is a documentation of my commulative design work,

including the full scale model final group project.

• Descriptions of my thought process of my designs while incorporating

tectonic language.

• And any growth from trial and error.

Individual Design Work

Iterations

• Investigating small scaled design through the use of new design techniques:

Sectioning, Tensioning, Tessellating, and Folding.

• Forming new ideas to inspire a large full scale structure design.

Folding

• A folding method uses flat surfaces to define spaces.

• Here I attempted to form a fold in every bend in surface without attaching more than one flat edge, this way no edges or connections would break apart if everything were to be “unfolded”. It was aimed to incorporate a tree from the hillside, but failed to use further site specific qualities, such as slope, and framed views.

Tensioning

• Tensioning is the use of tension strength in a variety of materials of different structures.

• I constructed a model using tensile forces from rubber bands, and fabric. The design did not emit beauty, it was too simple. To have more rhythm, there could be multiple towers that emerge from a single point.

Sectioning

• Sectioning is a method of taking cuts/slices

through a formed 3d object.

• Here I focused mostly on form, but tried to

section the walls to illustrate transparency.

Another design..

• Here I aimed more at folding surfaces to form a conversation between hierarchical layers of expression of form. I then added wire frame elements throughout to help define the 3d spaces into the form.

• Unlike the previous models, this model was more relevant in relationship to the site, using sunlight to capitalize on shadow effects.

Insights

• It was easier to tackle the newly taught

design methods by themselves, without

any premise, than it was to inform a

specific site. With no aim or direction in

design, the art aspect becomes arbitrary.

• I should have been more involved and

meticulous during the site analysis phase

more than playing by ear, adapting to the

site as we built. That direction would have

made it easier in creating possible design

iterations for the following Countryside

Final Project.

Materials Research

• Pragmatic Considerations

• Design Considerations

• Collaboration Considerations

Wood- Lightweight, but very stiff. Good for forming curvatures. Soft, warming, non threatening appearance. Pourus surface texture. Naked like, and truthful appearance. Easy to cut.

Metal- Strong, and very structurally sound. Good shear,

and tensile strength. Versatile, in forms of cable, aluminum

foil, pipe etc

Plastic- Malleable. Is formed as both sturdy, and soft material. Flexible, and resilient.

Rubber- Flexible, elastic. Can become waterproof, and airtight.

Glass- Transparent, translucent. Elegant, eloquent appeal. Produces, shine, and glare, and reflectiveness.

Cloth- Can be cut, torn, folded, warped. Lightweight. Large spanning, and tensile abilities.

Countryside Project

East View South View

Site Analysis

• I had originally chosen a more flat surfaced area, making it easier to focus more on my design intentions.

• My group and I ultimately decided on the more slanted hillside area because we wanted to incorporate the slope, and more, the tree which was the primary inspiration of our design.

• The secondary inspiration was the balcony on Batmale Hall north side. No trees and less nature were near Batmales all concrete balcony, and no place to rest sitting down.

Investigation of 6-Point Frame

Views

• Significant site qualities: The platform design was

derived at the idea of extending the balcony to the

hillside. The sloped hill side with a decline towards

south-east, created an opportunity to express that

notion.

• Design Response to Site: Our Design was created

to blend-in, in its surrounding environment, as well

as represent nature. The tree was the lifeline and

main premise by which our design was developed

and evolved from.

The leveled surface platform has an "L" shape in which the longer side faces the rich, green colored soccer

field, just as the Batmale balcony does. The short side of the “L” is meant to shield the “in your face” sunlight

from 2pm-6pm from the west (when most students finish classes and are free to roam). The longer span faces

the downward slopes’ main attraction, a soccer game after school in the place of tranquility, while reading,

texting, or talking.

Design Concepts

• Designing with Nature- Responding to natural forces

through wind and, sunlight. Wind from the east

blows against the fabric waving it, creating a dynamic

edge, contradicting the very static platform. Sunlight

is ironically filtered by the represented sunlight

beams of fabric sheets.

• Resembling Nature- the array of triangular shapes

the rope forms are a representation of beams of

sunlight which are all scattered in different directions

forming implied walls and ceilings of the platform.

Hierarchy of triangular shapes represent the

alternating intensities of sunlight as a day blossoms

at dusk and fades at dawn.

The Design

• Form follows the function of the floor

deck. The tree was used as a post to

form a canopy roof pointed up the

tree. Two distinctive spaces formed by

rope define a pathway between each

other, a crawlspace that forces or

persuades a person to either stay

crouched down, or to stand up,

depending on what direction of travel

between space areas.

• Sunlight promotes the feeling of tranquility.

Hierarchy of triangular shapes represent

the alternating intensities of sunlight as

a day blossoms at dusk and fades at

dawn.

• Viewing from the special node of

tranquility, the rope formations obscures

views in multiple directions.

Looking up

Looking East

A members design iteration that was taken into account during design collaboration of thinking and making.

Another members design

Fabrication/Construction

Our bookkeeper at Home Depot,

photo-documenting plywood

prices.

Beginning with the Platform Frame:

The frame was constructed on a flat concrete

surface which was then lifted and carried to

the site for posts, and holes to be measured,

cut, and dug as shown in the next slides.

Sketchup – Computer program gave

more exact dimensions for platform

preparation

Lumbar Specifications- Initially

measured using an architects scale.

Mistakes were more likely to happen

manually drawing.

Water was poured in the holes to soften the dirt ease

deeper digging.

Moises did not think one person could lift the

structure alone, but soon realized it was alot lighter

than he thought.

Final positioning of the platform frame before

marking location of holes. A large tree root almost got in the way of the hole, that

could have altered the angle, and direction of the designs’

frame shot.

Installing the floorboard.

Making a stair step.

The platforms main entryway conveniently faces a stair opening,

where there is an absence of handrails, seducing a new place of

travel.

Rope was tethered around the tree rather than being tied to it. The long, extensive, everlasting, free flowing, rope

appearance, illustrated the unity between the structure and the tree, indicating it was hugging the tree rather than

grabbing on for dear life.

Here in finished form, shows the deviation from the

Sketchup drawings, how smaller surfaces (fabric) were

removed due to over distortion from wind.

A rope was also tethered to a nearby handrail, which

subtly created an extra option of directional path.

To add a more definitive pathway, leading to an accidental

encounter area, rope was tied from the tree branch to the

ground(left side of tree). This helped define the interior space

as a whole, versus appearing as cut in half.

Insights

• Hole digging, for posts into the ground was labor intensive, but cost effective. No need to

buy and build more for a sub frame underneath the leveled floorboard. Relying on

compacting dirt onto the post, instead of pouring cement at the base for sturdiness.

• Screws over nails were used in order to more easily deconstruct, and easier to build.

• Small scale models seem more rigid, and stable, so as the scale becomes people size, the

design needs more structural integrity. For instance, our 2x2 wood was flimsy, showing signs

of stress with very little bending force when rope needed to be tightened. A small iteration

blown up, would have no impression, and no significance you can feel.

• While not comparing our project with others’, I realized that a tight budget cannot be an

excuse for a sub-par design, and execution. The program objectives can always be met in

one way or another. There is always a workaround, a way to make the most, as well as the

best over others(who have a bigger budget) with what you have, or are given.

Materials

• Materials Selections- Materials in

our construction were selected to adapt to the

natural materials around, wood. We used wood as

the designs main ingredient in order to grow the

tree into a platform shape, adapting to nature, thus

expanding the tree's function

• Connections- Were chosen to display

with utmost intricacy while maintaining unity, and

order.

Materials Selection

• Wood - created structural as well as appearance material. It was purposely left unpainted to

maintain its natural surface patterns, and impurities. The rope used was not dyed but of its

natural tone. Wood is also a very warm, and gentle material to be around of.

• Sisal Rope- Uncolored and another material made of wood. For its subtle-ness, and non-

imposing texture when compared with its immediate surroundings made of dirt, tree, leaves,

and bark chips.

• Fabric sheets- Cotton made, so another material naturally grown in nature. Opaque enough

to cast dark shadows, yet translucent enough to allow light to penetrate and illuminate other

side. Wind, and breezes are not only felt, but also become visible by the waving, and

flapping of the fabric sheets in the air.

Connections

• The platform construction was devised of screw and metal bracket

fastenings. The rope was attached by small knots through holes in the wood.

More knots were utilized to secure fabric sheet to avoid inviting the need for

newer, foreign materials. Tessellation was also incorporated where rope

connection intersections were tight in space.

• The ceilings rope skeleton wraps around the tree and its branches with long

continuous rope line, limiting the need to invent multiple connections points,

and maintaining a consistent rhythm and conversation of connections.

What took over 20 hours to construct,

took just over 20 minutes to

deconstruct.

Insights

• Philosophy- Art is only a tool in architecture, art does not define architecture as a whole.

• Practice- From what I discovered from this project, is that a persons participation,

performance, and morale in a group project is dependent on weather he/she has a strong

sense of identity in the group, understands their definitive and distinctive role, feels

confident that their opinions will be respected and noted, and most importantly, their drive.

Our group only had drive.

• Organization was not on par with the given program description. It also seemed group

members simply did not have time, or did not make time to put into the energy and effort

needed. However, it was ultimately my decision of where the design went, and felt I had a

greater responsibility, yet I did not want to micromanage all project aspects as I sometimes

did.