My Point of View

Center City Park - A Public Shelter Integrated with the History of Greensboro

2012-02-02T20:01:00.000-08:00

Open publication - Free publishing - More park

2012-01-22T18:07:00.000-08:00

Open publication - Free publishing - More residential

Portfolio Summary

2012-01-22T16:19:00.001-08:00

Cultural Self-Portrait

2012-01-13T10:29:00.000-08:00

Fork Off Contributions

2011-12-30T16:34:00.000-08:00

Connection Diagram

2011-12-29T16:29:00.000-08:00

Furniture Diagrams 1.0

2011-12-25T16:42:00.000-08:00

Furniture Diagrams 2.0

2011-12-22T16:56:00.000-08:00

Signage and Contribution

2011-10-23T21:04:00.000-07:00

Idea for Signage

The basic idea here is abstraction of our topic fork, plate, table through diagrammatic shapes that form the basis of time, each working together as a kit of parts.

My personal contribution to the group will be a study of 17th century Baroque and Rococo dinnerware. I am a member of the artifact group and therefore will respond by considering the spatial layout of the exhibit as well as the duties of curating and labeling the artifacts to the best of my knowledge.

Light Sketch: Series 5/5.5

2011-10-18T10:10:00.001-07:00

Reflected Ceiling Plan: Maud F Gatewood Studio Arts Building, 3rd Floor Conference Room

-Coffered Waffle Ceiling

-Suspended Pendant Light Fixtures

-20'4" X 22' overall dimensions.

Light Sketch Series 4

2011-10-13T03:27:00.001-07:00

Freight Elevator:

a) Down Light

b) Recessed

c) 2 Luminaries, 4 lamps, CFL, CRI 62, CCT 4200 lamp life >8000 hours

d) Bi pin base

e) Sylvania osram

f) Lumens=135 Lighting Distribution= 2x8

g) Brushed aluminum casing with acrylic filter

h) Diffused acrylic

i) Fixed

j) 2 Ballasts

k) Elevator- dry

l) N/A no louvers or baffles

a) Vertical Circulation

b) Ambient

c) Luminaries relies on refraction of metallic surfaces

d) Change filter to baffle system in order to diffuse the light

IARC Library:

a) Down light

b) Suspended

c) 16 Luminaries, 32 lamps, CFL, CRI 62, CCT 4200 lamp life >8000 hours

d) Bi pin base

e) Sylvania osram

f) Lumens=135 Lighting Distribution= 2x8

g) Aluminum casing

h) Diffused acrylic

i) Fixed

j) 2 Ballasts

k) Dry

l) Baffle

a) Reading/research

b) Ambient/ task

c) Casts light downwards + upwards – washes the room

d) Provide different luminaries to allow for reading and other activities

Elevator (Smaller one)

3. Commercial Elevator

a) Down light

b) Recessed

c) Incandescent 2500 hours, 36 luminaries, 36 lamps

d) Single contact medium screw

e) Phillips Lighting

f) Lumens – 935, light distribution – wide beam

g) Aluminum casing

h) Glass

i) Fixed

j) None

k) Dry

l) N/A

a) Vertical circulation

b) Ambient

c) Produces warm light that reflects off metallic walls

d) Brighten the space, and add lights that provide more luminance. Currently the space is too dim.

Light Sketch Series 3

2011-09-28T16:39:00.000-07:00

Examine the fabrics under the various light sources. For each of the settings,

record the type of light source by sketching and/ or taking photographs
paste the original fabric sample in your Sketchbook.
record the change in color of the fabric samples by taking photographs and your subjective reactions to the appearance of colors in the different settings. Don’t use flash!

In addition, for each installation of lamp in the space, respond to the items listed below:

identify the purpose of the space
identify the purpose of lighting, including an identification of ambient, task, accent, and sparkle lighting.
identify the lamp/s
describe the effect of each light source in each space.
do you notice any aspect of Flynn’s subjective impressions?
based upon your observations and reflections, provide recommendations for improving the lighting environment.

1. Incandescent Lamp, Studio Work Space, Task Lighting, Warm Tone. Incandescent lamps has a warm tone of light which suggests an impression of anxiety. The lighting effect is minimal and direct perfect for specific task at a studio space for undertakings such as building models. Surprisingly, while the incandescent lamp emits a warm glow the surface reflection was fairly white. The light source functions well.

2. MR-16 Lamp, Pin up Space, Spot Lighting, Warm Tone. The MR-16 is a purposeful lamp which provides direct spotlight and makes it difficult to work underneath. The MR-16 provides adequate task lighting for pin up space but lighting ends abruptly towards the edges, providing no soft ambient glow. This is problematic when hanging up boards because there is not enough span of light to bleed across the whole surface, creating uneven tones of light.

3. Fluorescent Tube Lamp, Hallway Circulation, Spot Lighting, Warm Tone. Fluorescent lighting provides more of ambient lighting, its warm glow provides a visual clarity. In this instance, I believe the fixture improves the light quality very well because the perforated metal creates gaps in light and therefore breaks up the amount of glare the lamp provides. On the same token, this can cause problems visually if the gaps become too prominent on the surrounding surfaces but which also may provide dynamic enhancement.

4. LED Lamp, Portable Battery Operated so multipurpose lamp, Sparkle Light, Ambient Glow, Cool Tone, The LED which is the cooler color tone shows lower luminance levels by itself, however if it was set up with more than just one of these LED’s it would create a sense of enchantment. The light is very minimal and only functional in the event of a blackout or extreme lack of other luminance sources. LED lamps are only bright when there are an abundance of bulbs. This lamp consists of only 3 bulbs and therefore would fall under sparkle lighting. The light is very soothing but it would require many repetitions of this source to provide any real visual enhancement; however, this could be part of the lamp’s charm.

Light Sketch Series 2

2011-09-28T16:36:00.001-07:00

Light sketch Series 3

Illuminance Measurement

1. Measure the horizontal illuminance (fc) at your workstation using the GE pocket light meter. Take several measurements over the work area.

1.4 31.3 Footcandles

Convert the readings to footcandles: (1 footcandle = 10.76 lux or 10 lux for convenience)

14 313 Lux

2. Would you have a good idea of the overall illumination in this room if you were to average everyone's readings?

Estimating the Reflectance of a Surface

3. Measure the reflectance of a piece of paper. Again using the pocket light meter, measure the light falling onto a 8.5 x 11 inch piece of plain white paper. Reverse the position of the meter so that the cell points toward the surface of the paper, move the cell (white area) of the meter away from the surface 1-2 inches and take a second reading.

Reflectance = Reflected Light/Incident Light

Reflectance = .8 / 2.0 = 4

Reflectance % = 40%

Estimating the Transmittance of a Material

4. Measure the transmittance of a piece of paper. Take a light meter reading on your work area. Leaving the meter in place, next, place the material to be tested on the light meter cell, then take a second reading.

Transmittance = Reading With Paper/Reading Without Paper

Transmittance = 7.8 / 40 = .195

Transmittance % = 19.5%

Use the lightmeters now to measure illuminance levels on horizontal and vertical surfaces in any one space in the Gatewood Studio Arts Building with your group. Find the reflectances of all surfaces. Draw isolux diagrams. Note the time and date on your sketch. Include in your sketchbook and blog by September 29.

Lighting Model + Board

2011-09-15T05:54:00.000-07:00

Lighting Diagrams

2011-09-01T09:29:00.000-07:00

4th Floor Nighttime

4th Floor Daytime (11am) : Natural and Artificial

Impact of Light on Health and Welfare

2011-08-31T21:05:00.000-07:00

Justin McNair

The Interrelations of Light and Health

The human body is constantly bombarded with fluctuations between light and darkness so it is no stretch for me to believe that light would have beneficiary and deficient qualities on human health. SAD is a depression disorder caused by inadequate exposure to light, and I believe there are at least two theories as to why. For one, humans have to methods of judging light, our biological, circadian clock that is controlled by light patterns and the clock we control through standard time. I think it is reasonable to say that these two ‘standards’ of time sometimes clash, especially during the transition periods in the Spring and Fall. This creates confusion for our bodies, resulting in negative health affects. Besides the clash of circadian time and standard time, there are seasonal intensities to light patterns. In the summer there are long periods of natural light while in the winter there are short periods of natural light. This extension of polar intensities can create biological anxiety resulting in depression. Another consideration is to formulate a healthy balance between natural light and artificial alternatives because people who have been exposed primarily to artificial lighting, without easy access to day lighting, experience increased cancer rates. Furthermore, artificial sources don’t provide the wide spectrum of light patterns, as does daylight while also not assimilating the same benefits such as vitamin D gain. Our circadian rhythm relies on light patterns, hormones, and receptor cells that monitor the light patterns. When environments promote intensities in levels of light to dark ratios our bodies are thrown off balance because our bodies are stimulated by bright, white light. In the winter, we go through bright white light withdrawals and therefore cognitive activation slows and we become drowsy and depressed. In the summer, there may actually be too much stimulate light and we become cognitively sapped of energy than then leads to depression. This means that light effected health problems do exist and that it is a part of our biological being; it is consequently the work of designers and that must provide physiological alleviation through medicine and construction and a myriad of other professions.

Light Revealing Architecture

2011-08-31T21:04:00.000-07:00

Justin McNair

The Myriad Relations between Light and Context

The perception of light and shadow is a primal experience for human kind. It is the basis for our visual environment and frames our psychological tendencies. I used to believe that to be a ‘good’ designer one ‘just’ had to be creative, edgy, and understand how to build on current trends but there is way more elements involved in the process of a designer.

What I’ve gathered from the reading is that Light has a set of variable but repetitive conditions based predominantly on location (place). In general, light changes through day and season but always comes back to revisit the same conditions next year, next season, and the next day. Due to this ritual, light creates an identity just as much as places remind us of home or smells evoke memories but it is an ethereal, inanimate identity. In this way, light not only effects our interiors; it affects our attitudes, our cultural rituals, and our social status. For example, in western suburban homes we have ‘decorative’ shudders that are hardly even noticed because temperate weather conditions, blinds, and mechanical heating allow us to live comfortably without needing shudders and therefore become a superfluous design element. However, in Italy, a warmer climate and local traditions allow and dictate the use of three layers of shutters to control natural ventilation and light. This is a condition where both place and culture determine the control of light and its identity.

Adjacent to this notion of light identity, I have coined my own term called ‘cultural light’: the way light creates relationships with people between geographies that distinguish separate philosophies on how light is handled in these separate environments. This relationship between light and culture is impacted heavily by climate. The reading discussed the different perceptions of light in Western and Eastern cultures and this was definitely affected by climate conditions, the resources to control that climate, and differing philosophies. For example, I believe that Westerners compare light with clarity, vision, equality, and freedom in both the figurative and literal sense; we admire these qualities in our culture so we strive to emulate our beliefs and therefore maximize light sources. Where as, in my limited understanding, Easterners strive for simplicity and what is necessary and comfortable in life, not because they are simple people but because they find beauty and reason in simplicity. In this manner, light is a facet of life that doesn’t necessarily hold symbolic virtue but is an element of function and since they strive to stay balanced they focus on the shadows produced by light.

Time is light’s compass and prison because time is an invention of man’s need to create organization. In this regard, time makes light predictable and repetitive, allowing us to manipulate the spectrum and intensity of light if we understand the beat of time. This is evident even in ancient societies with landmark sundials like Stonehenge and the Great Pyramids of Giza. These dials became methods of control and permanence, they allowed civilizations to coordinate and grow. In modern times, I think we undermine the sway time has on light. Instead we focus on ‘modern’ solutions, what technology offers because it is man-made versus nature. It feeds our own genius and ego so we look to new solutions to what could be solved with primordial elements. However, there are those few buildings that transcend beyond function and become sundials themselves. A great archetype comes from the classical world in the rotunda of the Pantheon. This building provided more than just the function for worship, it contained the whole universe through the eye in the dome, cascading focal light with the pattern of day until it came full circle. In this regard, Time allows us to see light as a changing variable but on the same token as a permanent entity never leaving but always shifting form.

While light has subtle variations that go obliviously unnoticed, our true recollection of light occurs only when we have drastic fluctuations where there is either too much or too little, and this is where the task falls into place. Our ability to be able to preform task is, to my knowledge, the only reason we care about light, for if we were bats we would little depend on the quality of light. The relationship between light and task is one that would seem the most variable for human conditions. There are countless functions and conditions that apply to our needs many within the same room. We need to consider what time we occupy these rooms or spaces, what functions occur at what time, how long we spend there, and multiple other possibilities in order to be able to manipulate the light for the task. This is where the advent of electric lighting allowed us to improve task lighting. A great example of myriad relationships between light and the task are seen in the complex lighting schemes of restaurants. For instance, there is a vast ambient source of electric task lighting in the kitchen and in pod areas for staff, red tinted, dim over head lighting for booths and tables to create a warm, private atmosphere without making the food look cold, recess and hidden lighting at the bar to evenly distribute light without the glare, even shiny or metallic surfaces to refract light to improve light volume. All these minute considerations must be handled in order to produce a comfortable environment, and they begin with the foundation of light and function.

Light is such a multi contextual realm that it is hard to pin point and perfect it’s subtleties in every given situation. In order to truly understand light you can not separate it from each relationship it identifies with because light is constantly connected to time, place, culture, and task. However, the basis of knowledge is learning from the individual process, for one can not understand the universal without first breaking down the individual, just like polymers break down into monomers and build themselves back up to something the body can use so our mind needs to take information in incremental steps to understand the big picture.

Shroeder House Board and Model

2011-04-29T14:12:00.000-07:00

Friendly Assessment of Shirley Bircher

2011-04-27T17:47:00.000-07:00

Shirley, I enjoyed the energy circulating your design for St. Mary’s. I think you really took a risk in the idea of a room divider made up of metal fins but it was a creative risk that really became the focal point of your presentation, and what is design without a sense of exploration and playfulness? One idea I would challenge you to explore is how a sculptural room divider can also become a functional unit within a space, after all, as designers, we are artists with purpose, to delight but also to fulfill. For example, what if these metal fins could also slide on a system of wheels or wall hinges so that they become, in a way, partition walls. They could create additional, more intimate spaces divided by metal screens or they could slide out as creative, discrete storage units that didn’t impede on the space.

Through your main perspective with the flowing fins hugging the staircase it made me think of my trip to Chicago during spring break. Take a look at the staircase/ramp of the McCormick Tribune Student Center designed by Rem Koolhaas on the campus of IIT in Chicago. I believe it combines function with a sense of dynamic playfulness, which is lost in most design that is concerned solely with the function of the space.

Furthermore, your use of color was quite impressive, especially in the stained glass window but put more emphasis on light and shadow so the images don’t appear flat. Sometimes this means brushing a few more strokes of the gray marker. Personally, I prefer using graphite pencils to add shadow with a white colored pencil for highlights and blend with a tissue. Color pencils are by far your friend when it comes to adding depth to your color range. In my experience, markers usually provide the base coat for a color maybe with a layer or two of a gray marker but then it is all up to color pencils, graphite pencils, and especially a white colored pencil. Also, if you want to go for a sketchy look, freehand pen lines over the more tight pencil lines you have as the outline of your perspective, it helps to layer these lines and provides a loose energy.

WI(10) : Memoirs of Jenga...

2011-04-26T20:22:00.000-07:00

Before I get started I want to thank you both for being such great professors you gave me hell and headaches but it was all well worth the fight and it proves I am that much more of a designer.

Claire I want to thank you, I truly admire and commend you for your decisiveness and preparation, you truly were a co-instructor, always having an answer for us when Patrick was away or engaged elsewhere. You will make a great teacher and I wish you the best!

Patrick, your unfailing humor, enthusiasm, and faith in us (along with an endless supply of Starbucks) were one of the few treasures that got me by this semester. Because of your studio, my craft, understanding, and leadership have significantly improved and I hope down the road you will be teaching 3^rd or 4^th year studio.

At the beginning of this semester the two of you were so intimidating, but now, in place, is only a deep level of respect. Thank you!

P.S. This isn’t a bribe to get a better grade I just want to make sure you read this before you get sucked into my time warp of word phrases and run-ons. Enjoy! J

Writing……is a hard skill to master. It is a process of internal reflection requiring one to escape the physical distractions of everyday life and materialize their thoughts. These thoughts, though elusive at times, have been following me this whole semester thanks to the constant flow of writing assignments. Through this journey of words, I have learned that writing is an idea processer, allowing me to channel thoughts into cohesive ideas, into illuminating experiences. Where sketch up unfolds models, where modeling perfects craft, where photoshop and illustrator enhance digital prowess, writing sharpens the analytical reflection that gives design meaning. I noticed early on that writing helped understand a space, building, and place conceptually and if I could understand the structure conceptually I could articulate key elements verbally while also highlighting these elements throughout the design process if caught at an early stage. This advantage became prominent in the justification of the site choices during Jenga 6.0 and 7.0. By exploring aspects of a site, I was able to conceptually form an opinion and idea about how the structure would develop and merge from the context. If I have learned anything this semester, it is to read everything within the context in which it was gathered and formulated from. People prefer visuals because they are faster to ‘read’, provide instant information, and often times illustrate displays of illusion. But writing is a much more keen and agile art. It relies on subtleties, persuasion, and description. I discovered this not in the writing assignments but through my role as group leader in Jenga 7.0. As a leader, it is important to keep colleagues organized and focused but also inspired and encouraged. Through a myriad of emails and group meetings, I learned that this meant to constructively criticize followed by a compliment of recent work or an understanding sentiment where other members had been less patient. Being a leader takes on many forms, from being a babysitter to a peace keeper to a role model, much like writing can influence different audiences depending on which way it is read. In a way, having been a group leader is ironic. I have always thought I worked more efficiently by myself, and perhaps this remains true, but after fulfilling that role I feel a sense of accomplishment in being able to guide a collection of minds to an organized yet very energetic design. I believe that writing was the foundation for my leadership and that my ability to empathize with other’s frustration mixed with the ability to articulate my thoughts, and at times, their thoughts truly worked in favor for our team.

Another important aspect I have learned and built upon is the power of body language and its close relation to writing. Patrick and Claire, you pointed out that I am ‘King of the Smirk” and this comes as no coincidence. I have been building upon this smirk ever since I was in high school. It has many connotations. It can mean a polite rejection, an amusing understanding, an ‘I know something you don’t’ impression, a friendly gesture, a boyish playfulness, many times it’s a combination; it just depends on the situation. Overall though, this smirk is my general outlook on design and life, as in most cases I can hardly control it as you well know. Yet, I believe this smirk and my general ‘spacey’, somewhat reserved persona say a great deal about how my writing and design process function. I have learned that my spacey character is actually one of my strengths as a designer, allowing me to reflect on people’s emotions and extract ideas that they have trouble finding within themselves. Yet this also allows me to move frequently into outer body experiences, where I tune people out to enable my own thought processes to emerge where the majority of my creative writing surfaces.

What is odd to me though is that my favorite experiences this semester was when I worked individually and when I worked in a group of twelve, not in between. I don’t know if this was because I felt a sense of control in both situations, working individually and then being a group leader for a team of twelve or if it concerns the balance of designer strengths. Maybe you have some insight on this? Regardless, I felt that the energy permeating both situations was positive and creative, which motivated me to excel.

This entire semester has been a series of achievements one after the next. There is not a single project I regret or feel as though I didn’t accomplish something, whether it was what I wanted to or not. I have grown conceptually, craftily, digitally, communicatively, empathetically, even physically for that matter, though I think I lost muscle tone…. On a serious note, my crowning achievement is the realization that I own leadership skills I didn’t know I possessed, that I am not just the quiet beach boy with a level head, good craft, and a crooked smile. Even more importantly, leadership taught me to own the self-confidence I have on the inside and share a piece of that with fellow colleagues.

Synergy, what a positive energy!

2011-04-25T20:23:00.000-07:00

Jenga 7.0 was a merge between two groups, Symbiosis and Pinnacle. Symbiosis focused on the interplay of angles and curves explored within our groups of three through complicated angled facade detailing emanating from our stairwells with enormous sail-like curves protruding from either corner to encapsulate and stabilize the structure. Pinnacle focused on the merging of the team of six's individual concept words through a series of stratified tilts and twists culminating in an illuminating 'pinnacle'.

Synergy is the firm of twelve individuals, with 12 different concepts, and 12 different approaches to design, collaborating to create a structure that speaks to the language of our concepts, mind sets, and goals. This philosophy led us to a structure that transcends the notion of the box with a central core of twisting hexagons that tilt at a 15 degree angle every two levels for 19 levels. These hexagons house the public circulation for our structure with open catwalks that radiate outwards from the centralized elevator shaft. Permeating from these hexagons are three wings of private units with semi private reception halls, allowing residents to enjoy layers of privacy.

The interior provides a very contrasting experience to the exterior, which is veneered with a blue tinted glass curtain wall with exposed structural x framing coated in a terra cotta tinted fire insulator. The exterior speaks directly to the vast expanse of the lake reservoir it overlooks, on the Pantano de Sau. The terra cotta x framing echoes subtly the earth tones of the surrounding cliff bed rock, but is a minor detail representing the solidity of land that carries and encapsulates the lake, similar to the way our curtain wall is nestled in a cage of x framing. The tilts and twists made blatantly clear on the exterior are a visual continuation but not replica of the stratification of cliffs leading from the lake to the site of our building. On the other hand, the interior offers distinct areas of open vistas with sheltered niches. The hexagonal circulation spaces are completely exposed through the glass curtain wall but the private units are made of steel and a stucco veneer. So as one circulates through the building, these wings of radiating private unit impede on outside views until one enter the private units themselves that have windows exposing panaramic views of the site. Furthermore, the x framing impedes and opens certain vantage points as one circulates the catwalks. This sense of exposure and isolation can be seen within the environment of this site, through the vast expanse of the lake contrasting the density of the terrain speckled with greenery, cliffs, and wildlife.

This structure is all about accentuating aspects of the site but exaggerating them in a very bold manner and in a way that intermingles each members concept.

Site Justification

In merging the conceptual frames of both Pinnacle and Symbiosis, it was imperative that the context speak to many factors throughout the design process. This included aspects from local materials that blended seamlessly with the environment to the spatial tectonics and form, which emulates individual features within the environment to create a cohesive whole. Collectively, the group decided on a site located 20 miles northeast of a small Spanish community known as Vic on the elevated outskirts of the water reservoir at Pantano de Sau. This location is a seasonal retreat in a temperate climate overlooking a spectacular natural terrain, which allows for ideal all-year residency. Furthermore, local quarries near this lake reservoir allow the use of local materials, promoting a sustainable design practice while also complimenting and accentuating the natural tones and hues of the surrounding landscape. Our structure, having a centralized core with stratified layers of tilting private units, speak to the natural layout of the environment that houses an open, centralized lake nestled in a forest of stratified cliffs. While the form continues this stratified topography rippling from the lake, our building further emphasizes this experience with a large open atrium with three symmetrical glass entrances permeated by solid shells of private units, creating a central ripple effect. This experience captures both moments of open clarity and intimate shelters, emulating similar experiences present around the site. For example, as one walks in through the main entrance facing the lake, the viewer is immersed with the view of an enormous glass curtain wall reflecting the dominance of the open lake while divided by tilting rows of exposed structural x framing coated with a terracotta tinted fire insulator, which provides visual barriers of shelter that echoes the natural terrain. Yet as one crosses into the atrium domain, there is still a sense of open disclosure but the private units encapsulate and define the spatial configuration, creating the visual perception of a more intimate setting. As one continues to the upper levels and ambulates around the three wings of private units, there is more awareness to this sense of intimacy in the way that private units tilt and twist to create awnings and platforms that impede certain vantage points. Walking into the individual units themselves offers the most privacy and refuge but as one reaches the pinnacle of our building the ambient experience of light and open vistas is aggressively revisited and displayed, bringing the structure back to where it began. The gateway portal faces a northeast axis overlooking the lake so that the soft morning light permeates the glass filtered entrance and gently greets the residence. This experience is further enhanced by the reflective tendency of water, which acts as a tranquil augmenter of light. The other entrances face south and west, providing different moments and opportunities of light for private residence. The west axis is articulated with one wing of private units and a glass entrance facing the edge of the lake and landscape, which greets the final blaze of the sunset at the day’s end.

Shroeder House

2011-04-25T20:13:00.000-07:00

This is a replica of the Shroeder House designed by the architect Gerritt Rietveld, famous also for the red/blue chair, which was actually designed for this house as well, but judging by the minimalist style and primary color palette this should come as no surprise.

This replica was created using the 3-d modeling nurbs program, Rhino, using plans and elevations exported from auto cad via illustrator. From these plans and elevation, I extruded planes to create the walls and railing while also puncturing holes to create windows.

Once, I was done building, I used one of Rhino's rendering plug-ins known as V-Ray to provide color and texture to the building. Lastly, I exported a jpeg into photoshop to add context (which needs some work), add lighting effects/lens flare, and the burn and dodge tool.

Needless to say, there were a lot of processes and computer programs needed to complete this assignment.

10 Tips

2011-04-14T21:47:00.000-07:00

Top Ten Tips that Relate to me.

#1: Be concise; use meaningful and descriptive words but fewer of them.

#2: Window

#3: Don't Mention what you don't Know.

#4: Never use self incriminating words like "mimic"

#5: Body Language = Half the story

#6: Model Building requires the right tools, materials, and patience. There is no backspace.

#7: Myder Box

#8: Piers = Inspiration

#9: Never use "I don't know" as a finishing statement

#10: Speak up and have a sense of humor

Jenga 7.0

2011-04-04T00:18:00.000-07:00

As both teams Symbiosis and Pinnacle begin the last phase of Jenga we are looking forward to merging both our structures. The site we have chosen is Parador de Vic, a lake resevior located north of the town of Vic in Spain, which is in close proximity to Barcelona. This site is the perfect marriage of both our structures as it combines the textural quality of the land. with that of our structures through material similarities while the form emulates the topography of the natural landscape. Through experimentation is configuring our structures, we have found that pinnacle has a very open plan with a centralized atrium and four entrances that have the opportunity to include glass curtain walls encapsulated in angle frames. This ideation not only combines both our forms but it adapts to the natural pattern of the landscape around it. The orientation of the atrium style structure faces the open span of the lake with a blue tinted glass entrance greeting guest and reflecting the desolate calmness of the lake. Collectively, we decided to shave four levels off of pinnacle and add them to Symbiosis, encapsulating the experience in an angle framed pinnacle. The experience of the building offers moment of illuminating openness reflecting the peacefulness of the lake with moments of intimate shelter as one walks further in reflecting the idea of leaving the lake and walking into the hillside and to the mountains. Yet the experience ends in the culmination of an open pinnacle so that these moments of shelter and openness are expressed in a myriad of locations.

The Windy City

2011-03-27T19:03:00.000-07:00

Site Proposals

2011-03-27T14:51:00.001-07:00

Whole>Sum of its Parts

2011-03-27T14:26:00.000-07:00

Undertaking the Jenga projects has been an illuminating experience for me because it truly confirms that a design process is never complete, even after the deadlines arrive or the funding dissipates. A concept is never finished. I have learned that a concept can have endless configurations, proposals, and ideations. That even after these become evident, there is an opportunity to renovate and remodel, to prove that my concept has substance and can be carried beyond the first ideation. And of course, design is most often a collaborative art requiring the aid of several minds to provide certain strengths and insights that might be overlooked and uncounted for within the mind of one individual. Yet this also poses the challenge of gaps in communication, design goals, and work ethics that must be handled. I have learned to be a peacekeeper but also to steer and constructively manipulate peers to handle duties where their strengths lie. All in all, Jenga keeps on clarifying that design is a tedious and exciting game of strategy and patience, one that rarely ends but never fails to bring a sense of personal growth.

Jenga 1.0 was by far the most wrenching experience in the way that it stripped me from my comfort zone, requiring me to work with a concept word when all prior design experiences were based on the premise of experimentation and finding a process that worked for me. A concept asked me to become settled, to become limited, and to set boundaries for myself. At the same time, a concept required me to push the boundaries of a word into multiple design ideations; blatantly teasing and showing me that the first idea was not always the most provoking or appropriate. One design took me three hours to configure; another took me five day to complete. Suddenly design was testing me to explore many different configurations and perceive the space as a template that could be molded like play-doh. My process revolved around the rapid, sketch-like quality of sketch-up and helped me visually account for the spatial experience quicker than drawing thumbnails or plans. From there, the dimensions provided on sketch-up supplied the necessities needed for my model and drafted deliverables. The general identities of these three structures are playful and ostentatious in form, which could compliment the comfort zones of clientele who are achievement or novelty motivated.

Jenga 2.0 offered another challenge centered on the idea of modeling an additional space to an existing unit. The obstacles here were proving the integrity of my original concept for this space, based on the coarse materiality and primitive chaos seen in a spark. My seminal experience with this design phase permeates around the idea of maintaining the same concept but not ‘mimicking’ the same design features seen in Jenga 1.0. For example, I emulated the same design for my stairwell for both phases because it was an appropriate transitional phase to the next unit that provided an identifying landmark. However, the design was based more heavily on curves and a warmer color palette whereas the first unit was must coarser and colder with pops of warmth in intimate spaces.

Jenga 3.0 has been the most arduous phase because it required much forward thinking and organizing prowess to accommodate each group members individual units. As individual concepts: Edge, Spark, and Protrude each had a burst of dynamic form that we decided to explore through complex angling. But as a group, we each had very different strengths and design ideas, which in turn made our developmental process very interesting and pushed each of us to explore new thought processes. Our thought processes led us to a Frank Gehry morphism structure that pushed the limitations of the box, allowing clear distinction between the static, closed private units and the dynamic, open public space. Our most accomplished moment was when the sketch up model was complete and realizing that even though we were polar opposite designers our collaboration could create an incredible design that was much more dynamic than anything any other group had created. My own personal growth was making the model for a structure that seemed nearly impossible to produce neatly and efficiently. The identity of this structure is purely experimental, dabbling in the art of morphism and deconstructivism. The absolute expression of this structure makes it an exclusive building available only to the most daring, outgoing, and imaginative clientele.

Jenga 4.0 questioned us to reevaluate our initial group project by doubling the structure into a four-story building. We had a huge challenge and I feel we were at a disadvantage to other groups who had remained in the box because it was difficult to add onto a structure that had been manipulated to distinctly fit with a two-story structure. Furthermore, having to accommodate fire stairs in public areas forced us to eliminate angled walls and exposed areas so that our public spaces were no longer as cohesive as before. The most influential lesson from this phase was learning that projects inevitably have to change to accommodate new updates, even though these updates may not fit the architectural features of the original design.

Jenga 5.0 was by far the most consolidating phase of this project as the design ideations for both groups had to significantly change in order to make sense structurally and perceptually, hence the name Symbiosis. We utilized the simplicity of a rectangular template as an envelop for our structure but the true exploration in this phase acted in the interplay of a complex façade formation and alternating material choices. We created an angled strip encapsulated on the façade around our fire stairs that emulated the motion of the stairwell. From there, we remained true to the angles direction and enclosed them around the entire structure, creating a pineapple effect. The identity of this structure is intended to be exciting and modern in the complex material formation on both the exterior and interior shell walls while also maintaining a sense of humble warmth with the wood clad shell punctured by areas of glass and steel. Furthermore, the glass strips within the public areas provide an invitation to explore as one cannot see from all vantage points because of the distinct angular placement while also creating a unique dispersement of natural light. The material finishes aren’t exactly luxurious as much as experimental so this structure is most readily identifiable for young, middle class clientele.

As with the clientele you work for, finding a happy medium with the designers you collaborate with is essential. After working within two groups and several new designers I haven’t had a chance to collaborate with before, I have learned to appreciate the different ideas that circulate, which I truly could not assemble on my own. I have learned that I enjoy panning out ideas with other members because it improves my design vocabulary and thought process but when we divvy up the work, I prefer to venture solo and find my inner calm that helps me function.

Axonemetric Wall System

2011-03-15T19:01:00.000-07:00

Illustrator WireFrame: Surrealistic DayCare

2011-03-15T18:49:00.000-07:00

Initially, the only perception I had of this interior was to work graphically with an almost cartoonish, surrealistic atmosphere because I had just previously worked on the same wireframe within photoshop attempting a photo realistic application of a vegan restaurant. As I started exploring the many options of the paint swatches in Illustrator, I decided to 'illustrate' this interior using only paint without distorting its unique reality with imported textures. Through exploration of the paint tool, I decided upon using pastel baby colors in blue, red, and the latest unisex color of green. To help minimized a crayola throw-up effect, I strategically placed neutral brown tones in the center to downplay and separate the distinct blue and pink tones. I further explored by playing with the shape tools, namely the arch and ellipse and even the rectangle to create a cascading light ray effect from the recess lighting. Overall, I am very happy with the result.

Jenga 4.0

2011-03-15T18:37:00.001-07:00

Jenga 4+4=8 Charrette

2011-03-15T18:32:00.000-07:00

After meeting with both Beaucoups and Jives team members it is no stretch of the imagination to say that the design approach for Angling is significantly different in form. That being said, I believe the overall chemistry in attitude and design principles is stronger with that of Beaucoup. Conversation ignited very quickly between our groups starting with our individual design concepts. This helped spark ideas about building orientation and material choices that would remain constant while the form of our combined structure morphed from primitive angles to refined curves. As a whole, we noticed that both structures have a central sculptural landmark that dominates the building, Angling having a large steel tilt sloping gently out to greet the public entry while Beaucoup has a glass curve weaving through each floor plane. If allowed to collaborate, we plan to merge these distinct icons to unite the differences between both structures. Furthermore, I believe we work firmly as a team because we each had input and communication wasn’t an issue like it has been previously.

When given the opportunity to collaborate with Jive, conversation was quite stagnant. The only conversation piece we could salvage was to somehow merge the subtle protruding balconies of Jive with the balconies of Angling to produce giant C’s that permeate the entire structure. We delved into a light discussion about material options. Jive has wooden balconies that contrast to their concrete shell while Angling has steel balconies and brick shells. In this instance, we decided to change the shells of our structures to a white stucco and have the steel balconies morph into wooden balconies.

While each of our groups has magnificent designs, I would prefer to collaborate with Beaucoup simply because the conversation has been established and the ice broken; I didn’t feel the same connection with Jive.

Photoshop - Vegan Cafe

2011-02-25T12:56:00.000-08:00

Jenga 3.0 - Jigsaw

2011-02-25T12:30:00.001-08:00

As a group, we noticed that each of our units, based on Spark, Protrude, and Edge possess very distinct, almost chaotic interiors that differ strongly from the bland box of the shell. We also realized that each of our interiors feature a dynamic playfulness and invitation to explore that the shell does not yield. In our attempt to ‘break out’ of the box, we literally strived to emulate this concept that was sparked by our proposal word, Angle. We decided to turn each of our interiors inside out to deconstruct our individual concepts and have them morph into one continuous form that weaved around the units. The beginning of this continuous form starts at a tilt protruding from Anna’s upper story and angles downward through Faith’s upper story.This distinct tilt offers shelter to two public spaces and reflects the encompassing angles within Justin’s interior. As the slant comes to an abrupt halt hovering over Faith’s unit it declines downward at a counter angle position. This new angle has a thicker mass and relates directly to Faith’s solid protrusions within her interior. These angled protrusions solidify into the ground plane near the main entrance but reemerge at a precarious triangular tilt a few feet to the left that creates another entrance for the bottom public space. This triangular tilt is met by it’s inverted twin that morphs down into tessellated triangular angles shaping a residential garden.These angles shift around Justin’s unit and imitate the dynamic slants moving behind closed walls. As the angles move further out as if yearning to escape the impenetrable linearism of the exterior shells they are betrayed and reeled back in by more angles that wander forcefully upward to support a balcony that wraps around all the units. Yet even the balcony provokes mischief as it distorts into angled ramps around the edges of each unit, and as it passes by Anna’s unit the balcony sinks and protrudes according to the level changes hidden behind her walls. The balcony comes to an end back where it started, at the massive ceiling tilt, opening up to a public café and a declining stairway leading out into the world.

Jenga 2.0 Reflection

2011-02-11T12:28:00.000-08:00

If I have learned anything from the 2^nd phase of this project it is that I need to work on compositional integrity and flow. Coming into this semester, I have realized my close attachment to hand rendering and technical drawing, a quality I never would have guessed, entering the major, would be more important to me than computer aided design; there seems to be something more personal and intimate about it that I have grown accustomed to. On that note, my focus has been on the spatial layout and crafted quality of the project, while creating a crisp layout has been put on the back burner and this is, in part, due to hand rendering because it takes more effort to scan in everything and create a composition as opposed to everything already preexisting on a computer. My efforts as I enter the next phase of this team project is to combine our strengths and get more comfortable with the computer aspects of design that I could truly benefit from and grow as a designer. I also tried to choose my team members with careful selection. Anna has experience in Auto CAD and utilizing the wood shop for model building that I would prefer over chipboard models primarily cut at CAM Studio. Faith has experience with Auto CAD and Podium rendering for perspectives as well as excellent color and placement judgment represented in her diagrams. I have a focus on hand rendering and meticulous study of space as well as work in CAM Studio so we can be efficient and proficient in both CAM and the woodshop. On a final note, through observing everyone else’s work, I witnessed the same issues with compositional layout but I feel I am a step behind simply because hand rendering has more restrictions and hurtles to cross to create an organized board and that is what I plan to improve on in the next phase of this Jenga project.

Jenga 2.0.

2011-02-11T11:10:00.000-08:00

A Spark can be thought of as a fresh and spontaneous occurrence, and therefore can be seen as raw and inspirational. It can take on a figurative meaning, or physical form, and in this space I attempted to merge the metaphysical rawness of a spark with the physical crudeness of select materiality.A rusted metal veneer, coarse wire mesh, slanting metallic slabs joining at clashing angles, rough paneled railing, cold concrete flooring, and Indian red/Terracotta carpeting are but a few of the ominous but playful features explored within this space.

There is a sharp contrast in the design of the first and second level in order to provide both the sense of comfort and unease that a spark can initiate. The first level is foreboding and boldly rough but the more intimate areas of the loft and lower level provide more of a sense of warmth and comfort through material choices like plaster walls and warm coated surfaces.

The design is initially meant to shock the viewer and provide a sense of the primitive side of a spark, but as you circulate through the space to smaller nodes the spaces become more inviting and provide the undertone of the warmth and comfort of a spark.

Loft Plan

Main Plan

Lower Plan

Section A-A1

Section B-B1

28+31 : Audra Volpi

2011-02-01T20:19:00.001-08:00

Audra’s concept word was beehive and she too chose three sub concept words to base her designs on as a reference to the main theme.

Her 11’x 32’4” space was developed from the idea of a system of networks, much like a honeycomb system for a beehive. She represented this idea through two solids that created multiple modular units throughout the space via several built-in components and a series of pocket doors that divvied up the space for different functional purposes. I think that the combination of her plan drawing, which gave an overall sense of the space in all its complexity with the further analysis of the ‘parts to the whole’ provided in her sections really helped clarify her concept for this space.

The 22’x22’ space was based off the idea of pollonization and a sense of movement pertaining to the flight of bees. She utilized two curvilinear, flowing walls that connected at the ends as a reflection of the flight path of bees with a column rooted between the connection of these two walls to resemble the stability of the bee’s network. There is no doubt in my mind that Audra’s plan is most descriptive of her idea as this was the only drawing I focused on during her presentation of this one space.

Audra’s 32’4”x11’ space is inspired by the beehive hairstyle of the mid 20^th century. She utilized two massive columns two act as a monolithic supporting device and to obscure the view of the staircase whose swoop resembles the appearance of the beehive hairstyle, while the wall is a bit isolated and arbitrary in the corner, acting as a private screen for the bathroom. The plan for this space is a bit bland, but the sections really help articulate and bring interest to the space.

Overall, Audra is a very down to earth, mellow presenter that gives her an aura of confidence in her style and work that I appreciate. She maintains focus on both her project but also on the people she is presenting to, which is a very admirable quality.

28+31 : Anna Bernhardt

2011-02-01T19:53:00.000-08:00

Anna’s concept word was Edge and she decided to subdivide each of her spaces into separate themes that stemmed from the main word Edge, consisting of On the Edge, In the Edge, and Over the Edge.

On the edge, as I understood it, is based off the idea of being on the edge of your seat and having to explore each border and turn as it offers a new and refreshing surprise. I thought her explanation of the entre way was most successful in theory and execution because walking through the entrance your are immediately closed off by two solids on either side and are forced to follow them until they meet the edge where you are greeted by two directional pulls to the left and right. These solids acted as a claustrophobic plane until you met these clarifying edges.

In the edge focuses on being contained within some variety of an edge no matter where you occupy the space due to the chaotic array of level changes on the floor and overhead beam joinery between the two columns and wall. This sense of being ‘contained’ is also generated in the entrance where you open the door and you are immediately greeted by the edge of a wall. I think above all else, Anna does an outstanding job initiating her concepts from her entrances that then lead you through the entire space.

Over the edge takes on a more surreal approach where she utilizes two angled walls growing from shorter to larger from her entrance that creates a focal point around an abstracted tree (column) lying at the opposite end of the room. These flayed planes and edges reflect her ‘over the top’ concept and the use of two tubs where water flows over into the next carries this idea not only to her structure but to the function as well.

Anna has a great ability to orate her ideas while also maintaining eye contact with those around her. She articulates her words, speaks audibly yet smoothly, and has a calm persona that makes her speech all the more believable and convincing. Overall, I think that Anna’s floor plans show the most spatial details of her ideas because it is easier and more viable to visualize her concepts when I see the space as a whole and not in the detached sections and ceiling plans. However, drawings aside, I believe that Anna as put her best effort into the models that truly show creativity and solidify the space beyond her words.

Ideations through a Spark

2011-02-01T18:20:00.000-08:00

Delphinus Constellation

2011-02-01T17:08:00.000-08:00

1.1+1.2=wi2

2011-01-20T22:23:00.000-08:00

This space is based off the precursor of energy and tension it takes to initiate a spark. I thought this space (11’ x 32’4”) seemed most appropriate because of its longitudinal nature, which allowed me to essentially create a space that appeared to pull in two separate directions. Similarly, I placed the opening to the space at the center of the long wall across from the row of windows because it serves as the junction point between the dynamic diagonals of the columns to the left and the wall to the right pulling in opposite directions. I chose to further emphasize a separational pull by creating platforms that distinguished the spaces being pulled from the center. The concept of tension relies on the spatial power of the diagonals as a force of dynamic flow solidifying the idea of energy and the appearance of holding the roof from caving in gives a sense of eminent pressure. Besides representing my sense of tension, the columns also serve the functional role of dictating circulation space because between them serves the purpose of dining so the natural flow is to move on the outskirts between the column and outer wall. On the other side, the wall immediately pulls you in from the moment you enter the space because of its specific placement near the door dictates attention and provides a diagonally directional pull away from the entrance and into the areas of the bathing and sleeping. This directional pull is an indicator to spaces of comfort and privacy.

This space is centered around a nucleus that radiates outward. Every spark begins with a core that combusts and pulsates away from the center so I wanted my barriers or ‘kit of parts’ to help speak this language. My ideation for this space began with a large rounded glass block wall that would simultaneously provide light but also a sense of privacy between separate functional purposes. I created a shorter rounded wall opposite the other to fashion a circular area within this space crowned with a circular column in the center to capitalize on the idea of a nucleus. I had issues with the column seeming arbitrary functionally if not conceptually but the more I studied the space I feel the column acts as a mediator and dictates the flow of circulation space in a circular manner, further solidifying the notion of a core as the walls provide the sense of rippling. The rounded walls also gives a sense of continuity until they morph linear and dwindle to the ends, following the decaying life cycle of a spark. Moreover, the level changes within the space via the entryway, public realm, and private realm provide the sense of entering the different layers of ripples that each provides distinguished spatial functions.

This space is based on the rawness of a spark, where materiality and abstract form play a vital role. I determined the form of my first solid through the appearance of a welding mask with rounded curves, a large window filled with a wire mesh, and tilted walls toward the ceiling at a 30 degrees angle provides a sense of imperfection. The tilted walls offer an angular spatial quality for the kitchen area that allows for recess lighting and built-in cabinets below. The materiality of this solid is cased in a rusted metal texture to give a sense of exposure to the elements just as a spark is tested by the forces of nature. The floor is made of glazed concrete that undertones the idea of raw crudeness and provides a richly defined material surface. Walking past the first solid you come upon a set of stairs set 3 feet apart from the rounded niche of the first solid that offers ample circulation space on either side. The stairs mimic the form of the first solid and continue to the top of a loft that sits in the space without touching any of the outer shell walls and allows panoramic views of the entire space offsetting the tone of exposure to the environment around you. At the end of the loft lies walls flaying from the balcony piers at 30 degree angles until they meet the ceiling that mimic the style of the first solid; this embodies a sense of holistic unity and provides a space that is not only exposed but also seems enclosed and claustrophobic that will combust at a any moment, perhaps similar to a spark?

Narrative 1

2011-01-13T23:43:00.001-08:00

Upon arriving through the front door you are greeted by a small waiting area that extends into a second level terrace. After stepping onto the second level a rounded glass block wall stands distinguishing two circulation areas to the left and right. There is ample and equal space to the left and right that is in close proximity to the entrance, a space you relate to functional and formal activities such as cooking or dining. Following the circulation path to the right you proceed down a longtitudal progression that sparks a curiosity of what lies behind the glass block wall and the frosted glass doors that stand shortly a few paces from you. Opening the doors that you realize are actually sliding glass doors that retract into the wall is an interesting feature you did not expect and you are greeted by a an open circular space with a slender inverted column standing promptly in the center, a space you relate to the main attraction area. You recognize a second, smaller scale glass block wall that maintains a circular, dynamic shape, a space you relate to privacy most likely for sleeping or bathing. This area of privacy is the area furtherest from the entrance and therefore is the end of the spatial experience.

Designer Bio + Goals

2011-01-11T07:32:00.000-08:00

Last semester through studio I became very inspired by the digital side of design through applications like Photoshop and Illustrator but even more so through 3-d modeling software such as Rhino, Maya, and the CAM Studio Laser Cutter. In conjunction with this inspiration my primary goal for this semester is to overcome my fear of trying new methods as the style indicator so rightfully coined me as a meticulous conservator, and become more adept in the digital realm as I aspire to be an environmental game designer. On the other hand, I would appreciate the opportunity to become more involved in the community of Greensboro and I hope that a future project will give me and my peers the chance to express our ideas while at the same time gives us a chance to communicate with others outside the design community.

While my goals were fairly simple to pinpoint, when given the opportunity to announce my strengths the task became much more complicated and I discovered that my peers seemed much more conscious of my style strengths than I had acknowledged or cared to admit. My personal list began with my competitive nature, my knowledge of history and ability to help others, and my drive for quality craft but then my mind drew a blank but my teammates were quick to react. They contributed to the list by recognizing my abilities to communicate my ideas on an individual level if not at the presentation scale as well as my meticulous attention to small details and my constructive criticism that encourages motivation. Yet they were also keen to point out areas of flaws in my process saying that my attention to detail works for me but also against me because sometimes I focus so intently on the small details that I fail to see the broad picture and my style can become to tight and narrow. It seems that my peers are not only a source for design inspiration and critic but for personal motivation and insight.

This is a painting by new york artist Vladimir Kush that I saw at a gallery while I was in Las Vegas this past summer and I was truly inspired by his fantastical display of color and his talent for creating morphing environments that seem to acknowledge the presence of more than one setting. His attention to every detail is a skill I have built upon over the past year and a half but the vision it takes to create these environments that seem to evoke a sense of fantasy yet appear so seamlessly real is a style I yearn to acquire. My style has always emulated a realistic impression and judged my work by the visual appearance of how accurately it resembled reality that it has become a very burdensome, tight style; the sense of fantasy that Vladimir Kush provides in his work gives me inspiration that my style can still appear real without being afraid to explore a sense of playfulness.

Edit...

As the project has been unfolding over this past week I feel the qualities addressed through me and about me really start to come alive and become a cognitive aspect of my design process. For example, instead of initially generating spatial experiences and sketches my meticulous and cautious nature began with generating sub concepts from the word spark and searching on dictionary.com for key phrases that my 'spark' an idea for a space. While I am attempting to stray from my traditional realm, I have become more aware of my intent concentration to detail by creating everything to scale almost immediately, making sure there is adequate space to circulate, and dimensioning every object before I have a solid idea. Even now, through writing, I am realizing that I need to take a step back and look at the broader scope and solidify an idea before I worry whether it is functional. After speaking with Claire, I feel my ideations were worthy for further exploration and I began 3-d modeling in sketch-up, which helped alleviate much of the dimensional workload with the guide tool and allowed me to focus on the spatial tectonics and qualities of my ideas. Reading Rengel and diagraming really helped with the essentials of the space from circulation routes to solids, bringing the ideas and technicalities full circle. All in all, I have become more vigilant of my qualities and and the details I get hung up on, which is where I feel improvement is being made.

2010-12-09T08:04:00.001-08:00