Arch 101 Learning Portfolio

Randy Chu

Spring 2015

Instructor Jerry Lum

Table of Contents

Introduction

1st Iteration

2nd Iteration

3rd Iteration

4th Iteration

(1st Narrative)

Getting

Inspiration

5th Iteration

(2nd Narrative)

6th Iteration

(Storyboard)

7th Iteration

8th Iteration

9th Iteration

Conclusion

Introduction

My expectations entering this class was that it’d be like the Arch 100 class. The workload would be light and the majority of the class sessions would be discussions and lectures about architecture, at least until the second half of the semester when I saw the previous Arch 101 class began building the full scale structures. These expectations and notions turned out to be far from the actual situation. In the first class I’m assigned to build a model, and the work continued to roll in from there after.

1st Iteration

3 Hours

For the first iteration made from the Malevich piece, I took a while to determine which portion I’d use to extrude my model from. I found the main center mass consisting of the red, yellow, and black shapes to be the most interesting due to the contrast in hues and shades. I used this to inspire how I extruded the shapes, making the brightest colors the tallest in height and the darkest one being the shortest.

Strengths

• Variation and interesting forms

Weaknesses

• Use of base

• Limited ways the model can be viewed

• Too subtle change in forms

Opportunities

Can remove base and seek more complex forms

Can further emphasis the form’s change

2nd Iteration

6 hours

The first decisions I made with this iteration was to stay away from a base and creating more emphasis on the extrusions of the pre-existing forms. I looked at the half completed model, I decided to mirror the top to the bottom to create a different overall form. The process to do so took longer than necessary as it needed more layers that took a lot of time to cut out.

Strengths

• The use of layering that creates interesting forms

Weaknesses

• Lacks cross axis

• Reliance upon symmetry to exude interesting form

Opportunities

• Shift away from masses

3rd Iteration

4 hours

After taking Jerry’s advice and looking at some classmate’s 2nd iteration, I tried utilizing space and the lack of form to design this third iteration. Though I could break away from the Malevich piece, I found my model’s fundamental form to be to engrained, that if I were to truly pull away, I’d be starting from scratch. Learning from my sluggish progress of my last iterations, I saved time by spacing out the layers of cardboard and minimized it’s mass.

Strengths

• Interlaying Space and Form

• Emphasis on center layer that breaks from the regularity of the

form

Weaknesses

• Doesn’t deviate from previous iteration too much

• Continues to be symmetrical

• Still lacking a cross axis

Opportunities

• Continue to further break regularity

• Further exploration of incorporating space into form

1st Narrative

On the red plains of Mars lies a ruin of an old spacecraft that crash landed on the planet surface. Over the decades the harsh environment of the planet has weathered the remains, revealing the guts and bones of the once prestigious technological paragon. The structure is entirely revealed and the plates that once covered this proud ship has either buried itself into the terrain or barely clings to the frame. Approaching the ship, the frames that hang over you barely feel like they’re holding together. As you urge on, you peer above and see the many holes punctured through the ship from its crash. Arriving at what is left of what is presumed to be the captain’s quarter, you see out onto the vast surface of the Martian Wasteland.

4th Iteration

2 hours

I was extremely satisfied with this iteration that was derived from my first written narrative. Though the narrative itself didn’t appear to meet Jerry’s expectation as to how it should be written, I found that it was able to enhance my imagination and pushed me forth to create this iteration. It inspired me to shift my focus away from my fixations and try a create a more focused and purpose driven model.

Strengths

• Diverse set of spaces

• Use of interlocking pieces

• Cleaned up and focused my shapes and forms

Weaknesses

• Retains a bisymmetrical appearance at certain angles

Opportunities

• Inspires and continues to drive my design around my narrative

Getting Inspiration

The place I went to inspire my narrative writing was the Presidio Theatre. It happened to be a site visit I needed to go to for work and I was genuinely curious as to what the experience of being in and around that building was like. Curiosity and a slight sense of mystery was what I was trying to invoke so I figured that it would be a good fit.

Though being there was far from comfortable, I found that it was able to provide a multitude of unique set of experience in the space. Being in the lobby and staring into the vomitorium was one of the scariest feelings. As much as the dark unseeable passage struck fear in me, it urged me on to seek further. And that experience is rewarded with the opening to the auditorium space. The dank and heavy air of the auditorium was not the most welcoming, but it contrasted against the tight and dark corridor. After fully soaking in the auditorium, exiting out of one of the side doors presented an additional release from being inside the building, openning back out to the sunny outdoors.

2nd Narrative

A lush forest surrounds the site of where the structure stands. Approaching the main entrance, you see that it is only lit by the sun hanging overhead. You can not see beyond it as the rest of the interior is around the corner. Curious as to what it is like in the rest of the structure, you step forth into the entrance. Rounding that corner and peering in, you see a long dark passage with scant amount of light coming from the other end. You pace ahead through the dark passage that feels mildly uncomfortable as you are now vulnerable to what may lay ahead and what is now behind you. Hurrying to the end of the passage, it opens to a vast space that is dimly lit by the sunlight that peers though openings. Platforms hang above you, as if they were box seats that over look a stage.

5th Iteration

3 hours

With the narrative developed and written, I took advantage of the shape that was refined from the previous iteration to drive my narrative. The long neck piece became the passage and the triangular piece at the end of the long neck piece became the entrance. Working towards the climatic space, I used the interlaying of space and the cardboard connected by toothpicks from my previous iteration to create the platforms that defines the climactic space.

Strengths

• Well defined spaces that connect to each other

• Fits the narrative very well.

Weaknesses

• Back side lacks anything of interest

Opportunities

• Room to improve craft

• Create a deviation in the language of the model

Storyboard

The approach • Out of place • Almost alien

Entrance • Welcomes • yet feels uneasy going in

Passageway Dark, confirmed sense of uneasiness Yet light triggers curiosity, urges person onward

Climactic space • Small relief with wide open space • Hanging platforms continues tension

Relief • Complete relief as person steps out into

open with sunlight

6th Iteration

2 hours

I decide not to stray too much from my last iteration with this one, as I liked how well that the spaces served very well for both the narrative and the storyboard. I refined some things, such changing the platform that intersects the two parallel platforms to become a ramp that allows for additional circulation to unexplored spaces. The entrance was altered according to the suggestion of Jerry to try and further hone the language of the space.

Strengths • Ramp that is a circulation that

responds to the two parallel hanging platforms

• refined the model building process to become more efficient

Weaknesses • Back side of the model continues

to lack attention and left unused Opportunities

Ramp circulation opens up more space to develop further into the

storyboard, may include more of the unused space

7th Iteration

2 hours Creating a 200% model of the climactic space was particularly difficult for me. I had to decide between building my entire iteration again or creating just the space itself, which would lack the climactic experience that is defined by the perimeters of the space. Having run out of cardboard, I was able to build a partial model that included some of the perimeters of the climactic space with the limited amount of foamcore I had. Disappointingly, we did not have a thorough chance to discuss these climactic spaces, and I did not extract much from the process other than refamiliarizing myself with how to work with foamcore.

Strengths

• Enlarged climactic space gives a clearer sense of scale as to how large the space really is

Weaknesses

• The model does not provide accurate lighting to the

surfaces of the space

Opportunities

I can reevaluate the size of the climactic space and determine if

it is appropriate for my design intents

8th Iteration

4 hours

For this iteration, after seeing fellow classmate’s iterations, I realized that I misinterpreted the task at hand. Rather than building a full frame of the model, I left the of the frame for the surfaces and used actual surfaces instead. I only framed out the location of where the columns would be. After running out of cardboard, my decision to use 30 ply chipboard also hindered my the progress of completing the full iteration.

Strengths

• Outlines the placement of columns in the structure

Weaknesses

• Does not convey full frame of previous iteration

• Utilized surface materials that has its own structural integrity.

Opportunities

• Using this failure to outline and guide the creation of my

next iteration

9th Iteration

6 hours

With this iteration, I had to pick up on where my previous one had fell behind. My peer’s 8th iteration and the responses they got back helped me make critical decisions as to how I would properly place my structural supports. Though I was not able to achieve this with some of the hanging platforms, I was satisfied with the framing of the walls and the roof. The placement of diagonal trusses helped maintain the shape and structural integrity.

Strengths • Explores the full extent of utilizing

a frame • Logical increment in where

structural support is needed • Still bears semblance to pre- skin

and frame iteration Weaknesses

• Varying degrees of structural integrity

• Inadequate craft of the skin Opportunities

• Able to identify where structural weakness is to address revisions

that need to be made to how the model is structured

Conclusion

Unlike the work environment and previous architecture classes I’ve been used to, which taught me the skills of how to practice architecture, this 101 Design Studio class taught me how to think about architecture. Through the creation of models, I learned how to explore the multitude of solutions to a design problem and critically analyze the design choices that were made. Though the perfect solution may not have been achieved, the process allowed for me to see where my strengths and weaknesses lie, allowing me to continue to seek a better solution.