c a l p o l y | a r c h i t e c t u r e p o r t f o l i o | J O A N N M O O R E | f a l l 2 0 1 4 | C h a r l e s l a m a s d h

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R E F L E C T I O N

The objective of the project being to familiarise oneself with the wood shop, I believe that this was a success. Because there were no solid definitions as to what could and could not be done, experimentation was highly encouraged, and with the opportunity, I experimented with different ways to use various machines. One example would be using the band saw to cut out incomplete cuts, or using angled blocks on the table saw to engrave into a piece of wood at extreme angles. Although two of the cuts were off due to the lack of stable clamping, these informed me of the possible problems which would arise using the different machines, and gave me an opportunity to use the sander to file down and ‘save’ the totem.

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D E V E L O P M E N T M O D E L S|14 |

R E F L E C T I O N

Through the constant cycle of production, evaluation, and development what was the first project, I learned to push boundaries and the experiment with ideas. Although my experimentation began to take shape as static, stolid forms, these problems were addressed at critiques and through constant development my model distilled to the fragile, flexible final model shown left. I explored materiality, deciding on the use of string, paper, and trace paper, attempting to emphasise a sense of mortality and fragility as the character enters the castle for the final battle of the game. In addition to this, successful elements of various projects were also incorporated, such as consistent repetition of the doorway arch, as well as the varied spacing of doorways to further highlight the slowing of pace and imply a sense of caution and tension.

Even though the final model was somewhat unprofessionally presented, the concept was a solid one,

and a remake of the model with different materials may have led to a more professionally constructed final model.

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P R O J E C T 0 2 :W A L K I N G T H E L I N E

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P R E L I M I N A R Y S O U R C E S23|

10 INCH STUDIES 25|

WIND DIRECTION & TEXTURE

TRAFFIC AND HUMAN MOVEMENT ANALYSIS OF HUMAN ACTIONS

TREES, SHADE, STATIC AREAS (MOVEMENT)

ABRUPT CHANGES IN ENVIRONMENT

IN ORDER TO ANALYSE AND UNDERSTAND THE PATH CHOSEN, THE PATH WAS SCALED DOWN TO TWELVE FEET IN LENGTH, DRAWN LIVE AT THE SITE, AND EACH STEP WAS ANALYSED AND INFORMATION AND IDEAS NOTED DOWN ON THE TWELVE FEET LONG MAP.

12 FEET PATH ANALYSIS

TERRAIN AND CHANGES IN TERRAIN

AREAS OF LIGHT AND SHADE

WINDS, BREEZES, AND RESTING SPACES

TRAFFIC, FLOW AND COLLISIONS |28 |

SPATIALLY INDUCED EMOTIONS (AWE)

VISUAL TEXTURE AND VEGETATION

AREAS OF STATIC MOVEMENT

FREQUENTLY USED ‘SHORT CUTS’

CHANGES IN MOVEMENT (CAUTION)

BREEZE & AREAS OF CONVERSATION29|

THE FINALThroughout the project, one thing rang omnipresent in each Architecture Students’ minds: ‘Am I doing this right?’. I was no exception to this homogeneous school of thought. As such, I learnt to explore the project in several different fashions. Similar to most other individuals, the project began with the collection of various strands of information about the path, collected from quick gestural sketches, texture rubbings with graphite, time-based analysis of spaces, and blind contour drawings of the path through various times of the day. On the presentation of information however, I took a relatively diagrammatic approach, displaying sets of ten-inch long path studies whereby I spent five minutes walking through the path focusing and pinning down specific elements through the path such as wind and weather, visual cues, light and shade, human movement and interaction, and other points of interest (four of which

are displayed above). As a result, my initial plans and drafts for my path were simple, structural, and plain. However, upon observing and criticising the works of my peers, I realised there were many other (more effective) methods to portraying certain items of information. In reaction to this, my plan began to swerve away from diagrammatic representations of the pathway I had taken, looking towards the use of texture, lines, materials, and joinery of materials. A major success that arose as the result of this change in thought directed me towards the utilisation of the third dimension, as depth need not be diagrammed as contours nor thicknesses of line. Throughout all this change, I still decided to leave the map a clean and simple form, sticking to my original thought of how maps needed to be simple and |30 |

clear to be understood easily, and to this point in time I believe that this was a good choice, as viewers were able to focus on the elements I had deemed the most important at every area along the path; the largest change in experience as you walked from point A to point B on your two hundred pace journey. Although my final piece speared towards the focus of use of materials and textures, as well as joinery to convey various ideas such as movement, terrain, emotion, and interaction, I believe that it was productive to begin looking at this project (if not any) objectively, forming diagrams to focus my thinking in a multi-axial way. Through this process, I was able to pinpoint the areas and elements to focus on in the final piece (movement of individuals, light, visual elements, and terrain and texture).

Though the final project was acceptable and even excellent in certain aspects, there were various elements to do with production and execution of the piece which could have been thought trough if more time had been allocated. This boiled down to the fact that the idea of material incorporation and joinery testing had been a recent addition to the project, and thus little to no experimentation of materials had been performed, leading to the odd smearing of ink on unconventional materials such as the machéd toilet paper. On the other hand, many of the effects and ideas were portrayed effectively through the landscape of the paper, such as the incorporation of materials, and the use of grey pen in addition to thick black markers. One thing I would change however, is the use of line weight on the actual path at various areas to draw importance. 31|

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PROJECT 3:Interpolated voids

For the third project, students were tasked with the assignment

of exploring empty spaces between two spaces, extending, extrapolating,

and expanding geometric lines and shapes into the empty areas. As such we were introduced to the sculptural creation methodology of Richard Serra, and verbs were used selectively to inform the seemingly random creation of

interlocking and inter-joining spaces within the void.

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P r e l i m i n a r y p h o t o g r a p h s

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S t r u c t u r a l d e c o n s t r u c t i o n

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ANALOGUE VOID

CHANGES IN TONE

NEGATIVE SPACECHANGES INLINE STYLE

LINE DENSITY

& MASSING

G

ES

TALT

CIR

CLE

RELO

CATIO

N

EXTENSIO

N &

CO

NTIN

UATION

CUT-OUTS

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DIGITAL VOID

EVALUATION

Through the creation and constant recreations of

this piece, we were able to experience a whole different

design process, beginning the design without full knowledge of how the

final product would look like, as similar to some forms of abstract art, we focused on

the process of production (using a list of verbs as our inspiration) rather than the visual aesthetic

of the final product.

In addition, this project introduced us to the differences between Analogue and Digital design

processes, allowing us to explore the many pros and cons of either method. Although most other

students identified the main difference between Analogue and Digital forms to be editability and the simple

ability of removing fragments, the main dissimilarity I saw was the design experience in forming the new void.

As tendentious as it seems, it was faster to create the interpolated voids by hand, mainly as a product of my

unfamiliarity of Adobe Illustrator, and without an “undo” function, the analogue method made me think a lot more

about the composition and although light construction lines were first drawn, each line of ink was drawn on with

certain conviction. Furthermore, a lot more thought was put into the main focuses of the piece, and how the work would

look visually balanced. One main limitation was that negative (white) areas had to be thought of beforehand, as we did not

have white markers to overlay the black ink with.

Working digitally with illustrator, we were given the ability to undo lines drawn, move layers, and move and remove objects

already formed. As such, we experimented more wildly with different designs, though as aforementioned, less was made due to

our inexperience with Illustrator. With the knowledge that what was created could be edited, comparatively less time was spent on

pondering the numerous possibilities of creation and the overall structure of the piece. Things were done on the spur of the moment,

and before going through the work selecting what was to be kept and discarded, visual chaos was rampant, without a central

visual flow, or visual nodes at which our eyes would rest at and be directed towards. However, having been digitally

fabricated, the digital work was a lot cleaner and uniform, as we had total control of how thick lines were

and had the ability to draw smooth arcs and perfectly parallel lines.

As such, it was apparent that the two methods of fabrication and design had

totally different experiences, and I concluded that drafting up ideas and

experimentation was easier done by hand, and that computer

aided designs were strong for execution or modification,

with total control of elements, as well as

forming a cleaner final product.

EVALUATION

Through the creation and constant recreations of

this piece, we were able to experience a whole different

design process, beginning the design without full knowledge of how the

final product would look like, as similar to some forms of abstract art, we focused on

the process of production (using a list of verbs as our inspiration) rather than the visual aesthetic

of the final product.

In addition, this project introduced us to the differences between Analogue and Digital design

processes, allowing us to explore the many pros and cons of either method. Although most other

students identified the main difference between Analogue and Digital forms to be editability and the simple

ability of removing fragments, the main dissimilarity I saw was the design experience in forming the new void.

As tendentious as it seems, it was faster to create the interpolated voids by hand, mainly as a product of my

unfamiliarity of Adobe Illustrator, and without an “undo” function, the analogue method made me think a lot more

about the composition and although light construction lines were first drawn, each line of ink was drawn on with

certain conviction. Furthermore, a lot more thought was put into the main focuses of the piece, and how the work would

look visually balanced. One main limitation was that negative (white) areas had to be thought of beforehand, as we did not

have white markers to overlay the black ink with.

Working digitally with illustrator, we were given the ability to undo lines drawn, move layers, and move and remove objects

already formed. As such, we experimented more wildly with different designs, though as aforementioned, less was made due to

our inexperience with Illustrator. With the knowledge that what was created could be edited, comparatively less time was spent on

pondering the numerous possibilities of creation and the overall structure of the piece. Things were done on the spur of the moment,

and before going through the work selecting what was to be kept and discarded, visual chaos was rampant, without a central

visual flow, or visual nodes at which our eyes would rest at and be directed towards. However, having been digitally

fabricated, the digital work was a lot cleaner and uniform, as we had total control of how thick lines were

and had the ability to draw smooth arcs and perfectly parallel lines.

As such, it was apparent that the two methods of fabrication and design had

totally different experiences, and I concluded that drafting up ideas and

experimentation was easier done by hand, and that computer

aided designs were strong for execution or modification,

with total control of elements, as well as

forming a cleaner final product.

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PROJECT 04

ULTIMATE Folded OBJECT

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S T U D Y M O D E L 49|

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How do we really define, design, and create space? Through the project, I was quite successful in exploring the creation of internal and external spaces, putting into consideration light, shape, form, and proportion. Although some of the lighting effects experimented did not turn out as anticipated - such as the shadows cast or the reflection of light using aluminium

- the voids formed within the gently curved walls were undeniably interesting and dynamic.

Additionally, the Bristol used to build the model was too fragile, leading to unwanted bending at

various points in the model where the joints became thinner. This problem was somewhat aided with the use of

thin strips of bass wood at various points through the void.

P r o j e c t R e f l e c t i o n

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FINAL MODEL

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HARFORD PIERA V I L A B E A C H , C A L I F O R N I A

Built : 1878 Architect: JOHN HARFORD

Length: 1,320 ft.HEIGHT: 17 ft.MAIN WIDTH: 26 ft.

ORIGINAL PURPOSE: TRADE & SMUGGLING PORT

CURRENT PURPOSE:TOURIST DESTINATIONFISHING PIERSMALL BOATS PIER

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1 2

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Exploring MovementsIn order to gain inspiration for the pier, we explored the movement of animals

and people around the original pier, incorporating them into new designs.

D E V E L O P M E N T D I A G R A M S

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M o v e m e n t C H A R R E T T E S

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I n i t i a l s t u d y m o d e l|70 |

Exploring Movements IIFrom the charrettes and concept diagrams,

small “pier-extension” models were created, exploring the use of movements in a three dimensional way rather than just on paper.

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CIRCULATION

LIGHT

CIRCULATION PATH

upper observation deck

original main deck

ampitheatreobservation &gathering space

west observation deck

01. 02.

05. 06. 07.

03. 04.

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CIRCULATION

LIGHT

CIRCULATION PATH

upper observation deck

original main deck

ampitheatreobservation &gathering space

west observation deck

01. 02.

05. 06. 07.

03. 04.

FIRST STUDY MODEL 73|

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THIN

K AB

OUT: SYMMETRY

AsymmetryBalanceMassingConstructionViewFunctionPerspectivesGeometryAccessibilityStructureSpaceUnityEnvironmentLight&ShadeSceneryPROPORTIONPATTERN RHYTHMCOMPOSITIONHARMONYCONTRASTHEIGHTDIMENSIONALITYF I N A L S T U D Y M O D E L

G r o u p 1 2P L A N V I E W

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M A I N D E C K

V I E W I N G P L A T F O R M

A M P H I T H E A T R E

F I N A L D R A F T S

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P R O J E C T E V A L U A T I O NThrough the design and creation process of the pier, we were familiarised with a more realistic process of design - starting by surveying dimensions of the site, then constantly developing study model after study model, each one improving on the last. All throughout their development, we also looked into and researched many design aspects introduced throughout the year, including development of space and massing, physical and visual proportions between different spaces, sun direction, etc. Combined with the countless motion diagrams and charrettes explorations informed by movement and motions observed on the pier, our designs were given function and purpose rather than being just a beautiful husk of architectural design, and our final model completely reflected it, creating walkways and gathering areas above and around the pier in such a way that most of the pier was bathed in sunlight during the afternoon, not to mention countless scenic views around the decks created. This whole process constantly tested the quality of our teamwork, having us coordinate and communicate each other, not only within our small group of five, but also with the architects and designs around us, and even the whole morning studio in order for office standards to be formed. Delighted to say, we made it through, and although in hindsight I may have led my team of five a little too strongly and maybe even ignored the ideas of my teammates at times, communication on the whole was excellent to the point we were able to blow up our study model, using the pieces as stencils, and building up the final pier out of countless bass-wood fragments. On the whole, the project was a great success, though maybe the final design was leaning towards my vision of the pier, with many design decisions made b my heavy hand. 85|

P R O J E C T 0 6

Q U I C K S K E T C H E S

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S I D E O N E D R A W I N G S 89|

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S i d e t w o

R E F L E C T I O NThrough the creation of the “Pose-maniacs Plus”

quick sketch book, not only was I able to develop gestural

drawing skills, but also layout skills. Additionally, by exercise of

colouring intersections between different objects, I was able to

experiment with ways of accentuating various figures or shapes, as well as

balancing the overall density of shading throughout the pages.

This project furthermore introduced me to new ways to display

sketches or other preliminary information without using a traditional sketchbook

format, adding to the complexity of sources. 91|

CAL POLY ARCH 131 | FALL QUARTER 2014There was one main focus taught throughout the quarter - how to design - and looking back we have all made it very far, starting the year with breaking down photographic screen-shots of video games, then exploring space and the elements that define it soon after. At the end of just three months we have designed for some reality, even if the pier had never actually been made. Furthermore, through a combination of Architecture 101 lectures, Environmental Design projects, we had learnt and accumulated many aspects and elements of design - light, sustainability, materiality, form... - And through studio we were constantly given the opportunity to experiment and put

into practical use such elements, developing in our own models as well as observing how our peers utilised learnt knowledge within their own creations during critique sessions. Moreover, we continually developed skills in craftsmanship, constantly making reiterations and modifications to models, sketches, and diagrams to improve on elements and suggestions discussed during class. As a whole, not only was I able to learn a lot and develop countless practical skills this quarter, but also got to understand the design process with which to approach upcoming and future projects, constantly rethinking design ideas to produce the best.06

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f in .

Each new situation requires a new architecture.-Jean Nouvel