Still_Final Learning Portfolio
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Transcript of Still_Final Learning Portfolio
Final Learning Portfolio Alex Still
Architectural Design Studio 101 Instructor: Jerry Lum
Final Project:
The Wall Transfigured: Memories resurrected, reconfigured,
and propagated
This project dominated the last half of the semester. We worked in teams of four to six students to design and build a full
scale installation to inhabit the courtyard adjacent to our classrooms. The project began with an overview of the criteria
and restrictions.
Site and Program We were presented with the site and program requirements, both of which we were required to take into account as we completed this project. First, the site was presented as the, “…the Courtyard Wall outside Batmale 245 & 246…” The wall was to be divided into three sections, and we were to use our given
section of the wall to support and affix our structures. It is concrete, curvilinear, and imbedded with both threaded and non-threaded holes evenly spaced throughout. We were to take into account the “compass orientation, sun exposure, shade and shadow, views, adjacent existing conditions, and
human activities that can be experienced in this location.”
Site and Program The program requirements outlined the parameters with which our structures
were to comply. They were to adhere to this year’s theme: “The Wall Transfigured: memories resurrected, reconfigured, and propagated.” Our
structures were to be three dimensional applications of tectonic language and were to evoke intentional, expressive experiences in our audience.
Additionally, they were to respond to the context of the site, provoke others to appreciate everyday aspects of the courtyard that are often overlooked, reflect
a narrative of the human condition, support unintended encounters and activities, and be visually readable with organized logic and clear construction.
Sectioning We began, however, in a much smaller way. Building upon the
basic design principles and strategies we learned in the first half, we began exploring new means of expression, namely
sectioning and folding.
My first iteration played with the ample opportunities for
evolution present in the sectioning method. The result felt very anthropomorphized.
Sectioning
I began to incorporate a primitive wall in my next iterations, playing with how my structure would interact. I began the iteration with a simple silhouette of a chair and let the structure evolve and open into a structure to provide shade. I
also began to explore seating ideas.
Sectioning
Next, I explored possibilities for a sectioned bench with ample evolutions. Again, the result was anthropomorphic, feeling very spider-
like. It was intriguing to watch simple pieces of cardboard take life depending on the configurations I put them in.
Sectioning
After another iteration of a potential structure to interact with the wall, this time beginning from a closed, door-like section and evolving from there, I decided to move away from sections made of thin, straight pieces attached end-to-end, and explore the possibilities of planes. I made two squares with parallel slots cut into
them, and then inserted rectangular planes of varying proportions in varying configurations.
Sectioning
I continued this process, looking for interesting configurations. Ultimately, I found more freedom in the previous thread of iterations, and, ultimately,
it was from those iterations that our group embarked.
Folding
We soon moved on to the method of folding. I began
slowly, evaluating the method in simple,
straightforward expressions. As my understanding
deepened, I was able to begin to integrate the program requirements.
Beginning with isosceles triangles of equal measure, I explored the
possibilities of simple attachments.
Folding
By expanding the variety of sizes of triangles, I began to configure them into more complex shapes.
Folding This variety of size and
proportion enabled me to begin to explore the program
requirements, namely the inclusion of seating to enable and encourage
human encounters and activities. With these geometrically simple building blocks, it felt
natural to create symmetrical forms.
Three seats, each made of five triangles connected on their lateral
edges.
Folding
Leaving the confines of symmetrical representation, I cut a variety of kinds and sizes of triangles. By laying each component flat on my work surface, I could easily configure and reconfigure
them until I had settled on a straightforward but complex
shape.
Pieces laid flat on the table, allowing for reconfiguration
Folding
I then attached the individual triangles at angles and began to replicate this basic shape in order to create more complex
attachments and compositions.
Folding
Two sets of identical forms, to be used as building blocks for more complicated forms.
Folding
Attaching the components to each other, I experimented with creating
seating options, further exploring the program requirements.
Folding
I continued my exploration of folding by creating whole structures comprised of individually attached triangles, forgoing
the creation of preliminary building blocks.
Folding
Two separate forms created with this freer process of attachments.
Folding
Folding This further inspired me to create more complex folded
structures using the same set of rules: all constituent parts were
triangles, though the kind (acute, obtuse, equilateral) and size varied. Each triangle was
attached on the lateral edges to only one other triangle. As I continued, I began to allow
openings to occur where they naturally fit. These triangular
voids began to appear throughout the folded surface.
Folding
Taking the site and program requirements into deeper consideration, I envisioned these as shade structures, perhaps with the capacity to incorporate seating within them, while the openings easily allowed for framed views of the
surrounding landscape.
Collaboration The build was soon upon us and it was imperative for our class
to be divided into teams. It was a difficult process, as no one wanted to judge their classmates harshly. We eventually voted
between three different possible groupings, and I was placed in a group of six. The responsibilities were divided amongst us as
follows:
Sean: Lead Designer Brittney: Bookkeeper
Alex: Team Manager Ganod: Hand as needed
Marley: Site Manager Charlie: Photographer
Collaboration Within the first week of working as a team, I compiled a Power Point of all our members’ individual contributions. By having these images
at our disposal, we were able to choose what designs we wanted to draw from as we created a new, collaborative design.
Collaboration We decided to work from a sectioned iteration that included a
structure arranged flush to the wall which included seating areas and shade from the sun, as well as the possibility for interesting
shadow patterns.
Sean, as Lead Designer, took what we had discussed as a group and made a SketchUp model of a new design.
Collaboration
The SketchUp model was edited, and evolved into what became our final design. Though we made decisions and changes throughout the building process, our installation closely followed the shape and measure of the
SketchUp model.
Collaboration
Collaboration
Final Design Site and Program Requirements
• Our design responded to the concrete stairs present on the north side of the wall in the northeastern section. By reflecting the height of the first landing and the steps’ treads in our vertical attachments to the wall, we created a design that was integral to to its location.
• The shape of our structure, as well as its placement along the wall, was intended to extend the natural line of the hillside beyond the retaining wall. By bringing the hill to a natural conclusion (as opposed to the blunt cut made by the retaining wall) we hoped to raise questions in the viewer regarding the place of nature within human construction. Whether we are overtaking nature with our man-made structure, or we are finding a place to exist within the natural landscape of the hillside must be determined by the viewer.
• By creating an inhabitable structure with southern facing seating, we provided a refuge from which to look out onto Batmale Hall, the courtyard itself, and the cityscape beyond. Due to the lack of permanent seating in the courtyard, these views are often passed by without thought. We hope to change the experience of people traversing the courtyard, to encourage them to take a moment to sit and look at the environment surrounding them.
Final Design Site and Program Requirements, cont.
The organizational logic we decided upon was, quite obviously, sectioning. The
entrance to the structure began with two straight beams attached to each other at
nearly a ninety degree angle, and attached to the wall at the height of the landing beyond. By varying the lengths of each piece of the
section, as well as the number of pieces within one section, we were able to create the
illusion of growth and movement as one scanned the structure visually or traversed it
physically.
Construction After constructing the vertical sections that sat flush to the wall, we created a system of measuring, cutting, organizing, connecting, and
placing the individual sections, of which there were twenty-three. This process of manufacturing the kit of parts from which our structure was built made it easy for team members to rotate it and out of the
building schedule according to their schedules and kept everyone on a clear and defined path.
Construction
The first days of the build process ran smoothly due to the precision of the scale model. We were able to take measurements directly from SketchUp and
cut and manufacture accordingly.
Construction
Construction
As we constructed more sections, we realized that the curvilinear nature of the wall was working against us. Since each vertical beam was attached flush to the
wall they were arrayed along the angle of the wall. The sections of our structure, however, were intended to stay parallel with each other, and not to follow the
curve of the wall. We realized very early that in order to achieve this, we would need some sort of cross bracing. Scraps of 2x4s fulfilled the need initially but were eventually replaced with knotted rope. The rope served the purpose of keeping the
sections evenly aligned, though in a tensile, rather than expansive, manner. This difference created a steep learning curve as we added the rope rather late in the
process. Ultimately we were able to achieve the intended arrangement.
Construction
The seating structure, though conceptualized from the start, was not concretely
designed until later in the process. In keeping with the logic of the form, we used sectioning only, rather than
including a horizontal board or slab to establish a seat.
We eventually incorporated the rope in order to make the
bench more comfortable.
Construction
In designing the bench, it was important that it follow
the same logic as the structure. The height of the oblique, vertically oriented parts of each section of the
bench align with the proportional heights of the top joints of the structure,
giving the bench a context in which to exist.
Construction
There were ideas we were unable to fully explore due
to the time constraints, namely the inclusion of a designated seating area on the ground. We felt that we
had an area to stand, an area to sit, and we would have
liked to include an area to sit or lay down. Though we laid
out and cut the wood, we didn’t have time to follow through with the details of
fabrication.
Completion
In the end, we completed our project on time and on budget, with all egos and
interpersonal relationships in tact. The result was an
installation that successfully accomplished what we had
set out to achieve, complying with the site and program
requirements.
Completion
Critique
At the conclusion of the six week build period, we prepared
a presentation for our jury including notes on our
narrative, our design and construction processes, and our
individual contributions.
One of the criticisms of our presentation was our title,
which we did not give ample time to. In the future, we will be
certain to look at our visual presentations with the eyes of a new viewer before finalizing the
design.
Critique Many of the criticisms of our structure were the strengths of it as well. The
sectioning approach was strong in its intentions and actualization, however the overall effect was one-dimensional, lacking a secondary or tertiary language. The
rope could have functioned as a secondary conversation, but our lack of explorative time relegated it to structural stability only. Additionally, the mechanics of our
attachments, though structurally sound and
logical, were not aesthetically designed. It was
pointed out that this was a lost opportunity for a secondary language.
Critique
Additionally, our attention to the planter box was seemingly lacking. Though we took it into account in our design and tried to integrate it with our structure, it ultimately appeared to barrel
over it without regard. A suggestion was to use the earth to cantilever part or our structure, by which giving the plantar box a unique designation and responsibility within the form. I found this very intriguing, and regretted not realizing the opportunity
we had let pass.
Conclusion The Challenges of the Group
Ultimately, this final project felt like a success. Going into this new experience of such a large scale design, construction, and group work, I was overly worried about group dynamics and
individual contributions, though I was very pleased not to encounter issues regarding either of my fears. Our group, though we encountered challenges, generally worked well
together, and it felt that every member was eager and willing to complete this project to a high standard.
Conclusion Design and Creativity
Because this project fully consumed the last half of the semester, it wasn’t until the final critique that I realized how much I had missed the constant
design process of the first half. As the build period progressed, I found myself bogged down creatively in preference to the practical.
Understandably so, perhaps, because of the constraints and requirements of the project at hand. However, when new ideas, concepts, and forms were being suggested during the critique, I found the spark to explore
reignited.
At the end of this process, I feel more grounded in my understandings of what is realistically buildable, and my intuition and creativity have been honed and excited. At a certain point in the build process, I didn’t want any more new ideas; it was time to focus and accomplish the goals at
hand. I moved forward hurriedly because of the magnitude of the project, and my fear of not completing it. Now, on the other side of having
accomplished such a task, I know I will have more confidence during the next project to keep the creativity flowing throughout. Though I do
understand the importance of, at some point, pushing ahead with the design, perhaps some of the best solutions were overlooked due to fear of moving too far away from our agreed upon design. In the future, I will be
sure to move forward with more open eyes.
Conclusion Full Semester
It is undeniable that there has been improvement in our work since the first week of the semester. At the beginning of the
semester, I was frightened and intimidated to jump in creatively, though I quickly realized the only way forward was through,
and that if I committed proper time and effort into my work, I would be rewarded with improvement.
The first projects we worked on resulted in tentative executions.
Conclusion Full Semester
As the semester progressed, my
worked improved in both concept and
execution as I learned to better
manage my time and my efforts.
I recognize that I did my best work when I committed proper effort to it, and that I did subpar work when I did not stretch myself creatively. It is only with dedication that the free flow of creativity comes. It is this attention and
recognition of my own working patterns that I will most carry forward with me. By recognizing my shortcomings, I hope to hone them as I move forward.
As with many other aspects of this course, I realize how much design and my other passion, ballet, have in common. In questioning myself about what I have
gained and learned through this course this semester, a statement made by Mikhail Baryshnikov came to mind. I believe this is the essence of what we have been learning throughout this class, and it is with this insight that I strive to move
ahead in my own creative career:
“To respect the work, the everyday routine, sometimes boring and exhausting, that’s the secret. To be a master of your own work, doesn’t matter who is coaching you or teaching you, you must be a man of your own mind.”
Conclusion Full Semester