Midterm Learning Portfolio Samia Rashed Arch 101 Jerry Lum City College San Francisco 12 March 2015

Introduction

Panic, frustration, fatigue, and hysteria all in the first day of Architecture 101. I knew exactly what I was getting myself into only because of my brief encounter with a “veteran student” on the first day of school. I knew that this class was not only going to challenge my creativity but also challenge and mold my mind, body, and soul into eating, breathing, and ultimately the beginning of living in architecture.

I had no prior design studio experiences or making models, but just in thinking about creating the first iteration, I was forced to think “outside of the box” and make decisions in a timely manner so that the visions for my model in my mind could make it on paper, then into a decent model for display.

That was one of the challenges I faced every time I had to create a model. I was faced with many more trials, that you will see in this learning portfolio, that challenged me to consider alternatives to design and to the use of material.

This was a long road coming, one that will inevitably never end, but one that I will enjoy. May you also take pleasure in my journey!

Week 1: Opening the Can of Worms o. Iteration 1

Week 2: Representation

o. Iteration 2 o. Hand drawings of Iterations 1 & 2

Week 3: Language

o. Iteration 3 o. Iteration 3 Narrative

Week 4: Form

o. Iteration 4 o. Iteration 4 Narrative

o. Iteration 4 inspired images for iteration 5

Week 5: Space o. Iteration 5

o. Iteration 5 Narrative o. Iteration 6

o. Iteration 6 Narrative o. Iteration 6 Storyboard

o. Iteration 7: Climatic Space Blow-Up of It. 6

Week 6: Truth o. Iteration 8

Week 7: Nature

o. Iteration 9 o. Iteration 10

Table of Content  

Week 1: Opening the Can of Worms “Taking stock of what we know, questioning it, and then exploring beyond the familiar.”

At first I didn’t know what I was going to construct because I couldn’t “see” anything in the painting. I then sat down in the library with my grapes and it hit me! I began to sketch my design as fast as I could so I wouldn’t loose anything when transferring the image in my mind, through my pencil, and onto my paper. Now in the comfort of my home, I was facing a new challenge; I had never constructed a model before. I didn’t know what material to use and with what adhesive. I was running out of time so I picked up a deck of cards from the garage and the tape I had in my drafting supplies bag. I sat down and began to construct. This iteration took me about 2 hours to complete once I began to piece all of the materials together. This was one of the many challenges I faced.

“What is your construction about?” I originally wanted my piece to be a quiet place where people would go to ponder things. This construction would be of massive scale, which would make the people who entered in and around it feel small, like they are not the only ones (aliens!). The height of the structure would force people to look up and think of God and extra terrestrial life. The structure would had these “arms” that create a void (the plaza).

Plaza View

Rear View Front View Birds Eye View

How does your selection of materials, their surface qualities, and level of craft in your

composition affect the perception of others? I was freaking out because because this was my first time constructing something for a design studio and I didn’t know where to start. I knew I needed a sturdy material and a good adhesive so I started there. Having found a deck of cards and tape I began the construction process. In trying to make my arch, I faced an obstacle, that was my choice of material. The deck of cards was too thick to try to manipulate easily. Not only did the cards not want to participate, but the tape didn’t want to stick to the cards because of their glossy finish. After struggling with my model, I used a combination of tape and super glue to finally adhere the pieces together. After everything was said and done, I took a good look at my model. This was far below my expectations in the quality of my craft. Also, I felt like who ever will see my model will think its been constructed by a child and not an “architect in training”.

What is the relationship of one element of your composition to another and to the whole?

I originally envisioned the main use of my structure to be the plaza created by the “arms” of the structure. The composition is balanced because of the two “arms” that hug the plaza and its also unbalanced because the “arms” aren’t identical. Each element relates to the composition as a whole because it creates the plaza by being “human-like”. There are two arms and a torso that create the plaza. Materials: Deck of cards, tape, superglue

Week 2: Representation -o- Drawn Representation -o- Design Elements and Principles -o-

What are the relationships between architecture and the human body?

There are many relationships between architecture and the human body, such as the forms of the structure that appear to take in human characteristics. For example, skyscrapers take on a human form by having a base (the legs), the midsection (torso), and the top (the head of the human, sometimes associated with wearing a hat). Others forms of human characteristics in architecture would be the structure giving off or evoking certain emotions when being viewed. Similar to meeting someone who might be tall and large will make you feel small and intimidated. What is the value of embracing vs. denying the expected norm in

design? By embracing the norm in design, an architect can design “classic” and “well-known” structures based on the designs. This can be a good thing when a client wants something familiar. BUT, by denying the norm of design, the architect’s style can be “outside of the box” and the architect can achieve a new level of “high” (lets call it “design high”), which can change everything and reinvent the industry! ( I plan on doing this someday, so look out Jerry!!!)

Why is Organization and ordering of any value? What are the manifestations of order?

Organization and order are of the utmost value because without it there would be madness and chaos, which would then lead to extinction. Personally, I become extremely uncomfortable, even itchy, when anything lacks organization and order. I feel there are many signs of order and organization, but he main one is the feeling someone gets when in or around a structure that lacks organization and order. This is usually the not feeling of comfort. Materials: Cardstock, tacky glue, tape Total time: 2 hours

Iteration 2 Drawings

Above and below: tried to get different perspective by putting iteration directly on

scanner

Iteration 1 Drawings

Week 3: Language -o- Narrative -o- Scale -o- Site -o- Layered Emphasis (Hierarchy) -o-

Iteration 3 Narrative: The viewer will begin looking at the construction of blocks, specifically the yellow one. They will begin to climb up and down those few blocks until they notice the huge rectilinear structure to the side. Once they notice that, they will begin to venture towards it across the plain “bridge”. Once they arrive at the large structure they will feel how small they really are. This will make them want to feel large, or back to a normal, familiar size. The viewer then travels up the side and onto the top. The viewer notices arrows, carved cutouts, on the two parallel sides of the large structure. The arrows point up at a 45 degree angle and also frame a view when the viewer looks through them and directly across to the other cutouts. When the viewer is atop the large structure, they will notice internal supports (a total of 4) that descend like stairs and create this tunnel of space in the center that, additionally, frames a view. The viewer begins to connect things and wonders if the arrows are supposed to make them think about heaven while the descending staircase is supposed to make them think about hell. Then what about the construction of blocks? They represents life's ups and downs, but at some point (literally at the yellow block) there will be rewards.

Thought process behind Iteration 3 In this iteration, I wanted to align edges, balance simplicity and complexity, and use repetition of design and complexity. I used colored cardstock in 2 places to draw attention to them. I initially began designing with my narrative in mind but it wasn’t 100% complete. As I began my composition, I noticed that the small cubes consumed most of my available time to try to complete them. I believe this was because it was my first time constructing something out of small pieces (that I had to make myself). I was faced with some challenges, time begin one that isn't abundant, and I changed my design based on complications. Materials: cardstock, tape, glue

Week 4: Form -o- Scale -o- Proportions -o- Beauty -o-

Materials: Cardstock, tacky glue

Iteration 4 Narrative:

•  location in space, no discernable time •  Viewer is confused •  Viewer starts at pyramid •  Walks down long, narrow, rectilinear pathway •  Approaches “sea” of cubes •  Viewer doesn’t know what to think •  Viewer walks back to “sea” of pyramids •  The viewer is forced to go back and forth from the cubes

to pyramids Materials: Cardstock, tacky glue Reflections: I was really confused when I began to think about a design for this iteration. I felt like this was going to be the most abstract of all my iterations. In my narrative, the viewer is just confused as I and that is why they are forced to travel to-and-fro the cubes and pyramids. They are in space because of the major confusion, and what better place to be confused than space? This iteration also took a lot of time to construct because I had to construct each individual cube and pyramid.

Iteration 5 Photos:   After the extreme confusion and feeling lost, going out and taking these images really helped solidify what were were doing with “evoking emotion in the viewer”. (Images location: Helen Putnam Regional Park in Petaluma, Ca.)

E  V  O  K  I  N  G    E  M  O  T  I  O  N  

Peace

Serenity

Week 5: Space -o- Experiential Space -o- Sequential Space -o-

Iteration 5 Narrative: The viewer approached the structure and sees this low baring overhang that is coaxing the viewer in with slight glimpses of light. The viewer is curious and excited to see what lies beyond the exterior surface of the structure. The viewer enters the structure and is disappointed because right upon entrance, the viewer is greeted by an enclosed area that evoked fear and a sense of the need to evacuate due to the lack of light and space. The viewer immediately begins to travel towards the nearest light, which would be the next “cell” of the structure. As the viewer does so, they are taken on a quiet, long, curved path that cannot see end to because their view is cutoff by the path going around a corner, but they are hopeful that there is light at the end of the tunnel, or a safe haven at the end of the long, winding road. After traveling for a while, not long, the viewer catches a glimpse of something that makes their heart begin to race. They are automatically excited by what is to come, even thought it is still a mystery to them, so they quicken their pace along the now straightening path. The viewer is rewarded by this large open space not confined by walls. There is something to look at and enjoy in the center of this space. The view is breath taken, and notices that there is another path directly behind the “eye candy”. The viewer then ponders on whether or not they should stay in the “safe zone” that they have discovered that makes them feel at ease and safe, or if they should venture further. There is a 50% chance that the path could lead to something uncomfortable like it did before and there is a 50% chance that the path could reward the viewer again. Knowing the risks, the viewer takes the chance anyway. The path is a discernibly slow one with no destination in sight, but after climbing over the “hill”, the viewer catches a glimpse of something “sweet” and is addicted. They continue on the path and after one final turn can see their destination, although not 100% fully and this allows their curiosity to lead them along the rest of the path. They arrive at their destination and are greeted by a calm, cool, open scenery that frame a view of peace and tranquility (Petaluma River at the Sheraton). The view knows exactly where they are because of where they traveled from and what routes they took to get there, but because the destination frames a “perfect view”, the viewer might as well be in paradise (calm, relaxing, at ease).

Reflections:

Going out and taking pictures of places that evoked certain emotions REALLY helped my visualize and conceptualized what I was doing and it helped me visualize a model that would make the viewer feel those emotions when traveling through the model. I wanted certain aspects of my model to lead the viewer through, in sequential order, in which I had written in my narrative. In creating the model, it was fairly simple but extremely time consuming. The only thing I found difficult was the curve in one of the sides. My measurements were incorrect, so I became frustrated when the pieces didn’t fit together properly when I tried to assemble my model! Note: I never read my narrative to anyone and when Jerry picked my model up and went about describing the areas, feelings, and which paths lead where, it was EXACTLY how I had written it in my narrative. I was beyond excited and a little amazed in myself. As speechless as I was, I knew I did a good job in construction my model in a way that the viewer would start at “point A” and end at “point X” while taking the paths I had intended them to take. This, in my opinion, was my most successful iteration. I'm very proud of it. Materials: Cardstock, tape, glue

Iteration 6

Iteration 6: Narrative •  Viewers: Tarzan and Jane •  Location: Jungle mountain cliff near/on waterfall overlooking their kingdom •  A viewer will be traveling though the jungle and then they will stumble upon a clearing where the

structure becomes visible •  Only some will approach the structure •  Only some will climb the ladder •  But only Tarzan and Jane will climb the vine to their little intimate shack Reasoning: My reasoning behind my specificity is because of being told to “get more specific” in my design process. I’m not all to sure as to what “getting specific” exactly means and I do want to clarify that fully. Materials: Cardstock, tape, glue

Iteration 6

Storyboard

1. 2.

3. 4.

6. 5.

Itera/on  7:  Itera/on  6  Enlarged  Clima/c  Space    

Week 6: Truth -o- Frame Expressions -o- Surface Expressions -o- Structure -o-

“It’s the road traveled that is the most memorable”

Iteration 8 Inspirations

Itera/on  8:  In  construc/on    These  images  were  taken  when  I  was  puDng  my  model  together,  and  as  you  can  see,  my  cat  really  enjoyed  it.  Unfortunately,  I  had  the  worst  luck  that  day   and  dropped  my  model.   The  wood  was  only  held   together  by  glue  and  a  non-­‐load  bearing  wall  made  of  copper  wire  /ed  to  the  model,  instantly  broke  into  a  million  pieces  when  it  hit  the  ground.    In   trying   to   be   specific   (in   use   of   structure>mul/use   building),   the  itera/on  became  very  general.    Materials:  Wood,  tacky  glue,  paper,  plas/c  wrap,  copper  wire  

 

Week 7: Nature -o- Precedence -o- Response to Natural Forces -o-

Iteration 9 Iteration 10

Itera/on  9:  Itera/on  8  in  Frame  Only  

Itera/on  10:  Itera/on  9  with  Skin  and  Supports  

Conclusion:

This class lived up to my expectations of pushing my creativity and the way I think into someone who inhales and exhales architecture. Although its only March, I hope that this class continues to further my creativity so I can break free of my habit of “the box”. I’m beyond excited for the second half of the semester! Let’s do this!

Bonus: Samia’s Notes My notes really helped me in my learning process because I was able to refer back to the many detailed examples we went over in class. I might have silly little things in my notes, but they actually helped me remember those things and use them effectively.