Portfolio Austin Ma California State Polytecnic University, Pomona LA 1581
Table Of Contents
Figure-Ground
Page 3
TEXTILEscape: Wood Cube
Page 4-5
Occupied Spatial Unit (OSU)
Page 6-7
Sketches
Page 8
Topographic Monument
Page 9-10
AutoCad
Page 11
Spatial Representation: Traditional Drafting
Page 12-13
Spatial Representation: 3D Modeling and Rendering Page 14-16 Analog Communication Models
Page 17
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Figure-Ground “Understanding figure-ground through text – ‘seeing’ the landscape by focusing on syntax and narrative.” Narrative: For this project, figure-ground was introduced where manipulation of space between letters and white space was used to better visualize and distinguish between the positive black figures (letters) and ground (paper), vise versa. Figure-ground is basically the perceptions you seek around anything in the real world and separating contrasts of color. Although figure-ground is used practically everywhere, it is likely to be implemented in the field of Landscape Architecture, focusing on ground rather than figure. As young landscape architects, this project’s goal is to help train us to see everyday objects as figure-ground; applying them with the terms of syntax and narrative let us think outside of the box that the placed letters aren’t just letters anymore but of something more. Syntax: Focusing on the syntax and narrative portion of the figure-ground process, I placed my letters in the position of being symmetrical, where the black lines of the letters A and M touch with the surrounding letters of S, K, and A rather than . By pinning my initials on the wall with these letters, the letters of my initials are stripped of their purpose of being identified as just a letter A and M. Letters being stacked on top of one another like the letter D on the M becomes a whole new character of letter with a different visual and meaning. Finally looking at the final product of the newly constructed pinned letters on the wall, not only do the letters from the alphabet lose their meaning, all new types of tangential, horizontal, and vertical lines are seen. If the connected black lines from various letters represent buildings in the real world then the landscape would be the unmarked white space of different shapes and sizes.
3
TEXTILEscape: Wood Cube Plan View Final Cube
Elevation View
Design Explorations
Exploded Axonometric View
“Treating TEXTILE as a woven fabric-like condition for solid-void studies in those of figure-ground.”
4
Syntax of cube Starting off with figure ground, it is seen to be apparent all around. As described the wooden cube construct above also contains many different sets of form, lines, shapes, as it takes up different amount of volume that gives the cube its confirmed shape. On the cube, intersecting lines are produced as each of the joints are laid against and woven together. The shape of the inner volume of the cube is subtracted as each hollow unused occupied area of wood is placed. Just like as in the first project of the semester with the letters and the first teachings of figure ground, where the occupied ink of the letters are the figure and the unused space is the ground. This can be tied into the syntax of the cube with figure ground as the 3-D view of the wood blocks can be considered as the figure as opposed the empty unoccupied space within the cube can be the ground. The endless collection of surface area of the cube can be run all across the connected edges of each of the cube joints. Narrative describing the cube As for the narrative of the wooden cube construct, it can be seen differently by everyone since we all have different views of the finished product as a whole. With six faces to rotate, I constructed the cube based on numerous joints used in woodworking; miter joint, halving joint, lap joint, housing joint, and finger joints to fit through the volume of an invisible 10”x10”x10” cube where the size of the cube can’t exceed it. Other joints are also if can, be incorporated into the cube to create a possibly one of a kind design of the wooden cube construct from others. On my cube construction, I purposely didn’t close off the top of the cube with four sides touching as opposed to the other two sides as my goal was to leave some opening of open space within the cube. With the finger joints protruding outward instead of enclosing completely, it gives the visualization of the joint like human hands closed. The visual representation of the wood cube as I would see it given its extraneous structure would be a kaleidoscope. With each turn, a new different pattern can be seen. Just like the wooden cube, every twist and turn, a new picture can be seen through.
Austin Ma/ James Becerra/ LA1111L
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SITE 09 BLUE
Cal Poly Pomona Landscape Architecture LA1111L – Design I: Figure-Ground Laboratory Stairs
OCCUPIED SPATIAL UNIT (OSU)
OSU
Aus�n Ma DonoVan Vo Darius Kennedy
TEAM:
INSTRUCTION: James Becerra This is at 1:30 pm. We learned through the shadow anaylsis is that our site will be in the sun for the time we wanted our OSU to be used the most.
Shadow Anaylsis of Site
Parking Lot A
Street Light
Site Plan
Site #9 Color: Blue Austin Ma, Donnovan Vo, Darius Kennedy
A A
B
Legend
B
Shrub Area
OSU
Shrub Area Shrub Area
Site
Eucalyptus Tree
Tree Stump
Stairs
Scale
Shrub Area
2’ 4’
0
1/4”=1’0”
NTS
Street Sign (Typical)
Site Plan
Occupied Spa�al Unit (OSU) is an abstract spa�al construc�on that can be occupied and/or ac�vated by people moving through it or pausing within it. Its purpose is to invite people to experience the landscape in different, perhaps even unexpected or surprising ways. Human Occupa�on Collage
Site Map
NTS
OSU OSU SITE 09 BLUE
The soul of our design resides in the concept of accentua�ng our site’s defining factors: slope, tree stump, and natural dirt path. To highlight these factors, our OSU lines the pathway with ver�cal 2x4’s that vary in height & cut and lead one through our site un�l the tree stump, that had been cut at an op�mal height for a seat, is revealed. Our largest beams stand 7 feet tall and are used as an implied doorway as well as sources of shade for our occupant at two different �mes that our site sees high traffic: 11 AM and 2 PM. Near the bo�om of the two largest pieces, there are a number of cuts and disjointed pieces that we had used to frame the tree stump when viewing our site from a distance.
Vignette East Facing Vignette South Facing
Section AA 1
Vigne�e North Facing
NTS
0 1” = 1’0”
Section AA 1 0 1” = 1’0”
NTS Axonometric
Infographic Sequential
“ An Occupied Spatial Unit (OSU) is an abstract spatial construction that can be occupied and/or activated by people moving through it or resting within it. Its purpose is to invite people to experience the landscape in different, unexpected or surprising ways, using COLOR in specific ways as driven by site analysis conclusions.”
6
Site Plan Engagement of 5 Senses Street Light
Texture, Touch, & Feel
Stump
Smell
Sight
= Parking Lot
=Soil
Stairs
=Shrubs
=Trees
Touch & Feel
Smell & Sound
1
2
4
8
1/4” = 1’0”
Pole Hardscape V.S. Softscape
Darius Kennedy, Austin Ma, DonnoVan Vo / Professor James Becerra / LA1111L Fall 2019
8’-0”
30’-0” Topograhpy Map
1
2
4
1/4” = 1’0”
7
8
Sketches
8
Topographic Monument PLAN
SECTION
9
“Continuing to explore the vast relationships between imagined space and form. The scale of this is the monumental scale of Death Valley.�
10
AutoCad 2020
“Using AutoCad as a design medium, plans are extracted and drawn on the software. Any given plans can be drawn on the AutoCad software.”
11
Spatial Representation Traditional Drafting “Before there was computers for drafting, hand drawn traditinal drafting was present. The goal of the designer is to draw the given plans with the goal of crating clean graphic representational aspects whose goal is to relate to spatial design concepts.�
12
13
Spatial Representation 3D Modeling and Rendering “ The birth of contemporary methods of rendering designs further advance that of traditional rendering methods. Designers begin to use computers and digital programs to create digitalized highly detailed embellihed graphics.�
14
15
TwinMotion Rendering
16
Analog Communication Models
“Although sketching and drawing are widely known as the communcation factor for every design profession, physical models are also implemented in order to visually showcase in an 3D aspect.�
17