MIDTERM

LEARNING PORTFOLIO

FALL 2012

ERIC TABORELLI ARCH 101:DESIGN STUDIO INSTRUCTOR JERRY LUM CITY COLLEGE OF SAN FRANCISCO

ICEBREAKER: A SCULPTURAL BIOGRAPHY Objectives: Design and construct an artifact that represents the most significant aspects and qualities about you and abstractly communicates this to others Qualities explored -Dynamic

-mellow

-Reserved

-unorthodox

-erratic

ITERATION #1A

ITERATION #1B

Areas to improve for next iteration -no more base -create interest from all sides(elevations) -develop a hierarchy of components using differences in size, shape and material Reflection Overall I believed this iteration to be successful in demonstrating the qualities I had wished to portray. These qualities being Dynamic, erratic, mellow and reserved. The curvilinear forms portray a sense of mellow yet erratic movement and dynamism similar to the waves of the ocean, while the rectilinear forms of the base fulfill the architectural principle of datum, providing a platform for the wave like forms that sit on top of it. However for the sake of the next iteration the base will be removed in order avoid the literal and maintain abstraction.

ITERATION #2 A

ITERATION #2 B (OR NOT 2B)

Objective: Continue developing a sculptural autobiography which addresses the issues identified in the critique of your first iteration, using your design language while exploring the design process through a combination of thinking and making. In my case, the issues in which I needed to address were designing a sculptural element which could be seen as interesting from any angle and avoiding the use of a base

Reflection The focus of this iteration was to maintain the dynamic and rhythmic motion of a wave, using a combination of curvilinear and rectilinear forms. The wave-like curvilinear band acts to guide the viewerâ€™s eye around the composition, it also acts as the secondary layer on the hierarchical scale of the whole. In my second attempt (iteration 2B) I attempted to create an abstract wave-like(curvilinear) figure using solely rectilinear(triangular) forms repeated in a rhythmic and repetitive manner. Overall I was happy with both models, but it was my second attempt that provided the theme for the rest of my work. This theme being the idea of creating an abstract representation of a wave like surface using rectilinear forms

ITERATION #3

Objective To continue developing correlations between your expressive qualities and the design language while improving on your last work based on the successes and failures of the previous iterations. Based on my previous work my new focus was to create a wave-like form by stacking rectilinear forms of varying sizes upward in a rhythmic and repetitive manner in order to create implied movement.

Reflection While designing this model I intended show dynamism by creating a sense of tension, and potential energy. This was accomplished by building one side off balanced and precarious perched up and outward like a drunken cantilever in a way that it mimics the crest of a wave just before it comes crashing down. This was an exciting discovery because I found that by using cantilevering planes and forms I could capture the same magnitude of a wave and freeze it in time at its very peak like in Hokusai’s famous painting of the “great wave of Kanagawa”

ITERATION # 4

Objective To continue developing correlations between your expressive qualities and the design language while improving on your last work based on the successes and failures of the previous iterations. In this case I decided to take a more lateral approach in development rather than longitude by straying from the use of rectilinear forms and exploring curvilinear shapes in order to create a wave like space

Reflection While designing this model I decided to experiment with curved linear forms as aposed to rectilinear surfaces in order to create a frame of a breaking wave. Compared to previous iterations I was not as satisfied with my end results. This was mainly due to the fact that the new work no longer had the same dynamic as the others . Also I realized that the model is too literal in its representation of a wave like form, yet lacks the implied movement seen inprevious iterations

ITERATION # 5

Objective To incorporate the different proportional scales, such as the Golden Mean, Fibonacci series, Harmonic Ratios and Le Corbusier's double Fibonacci scale into our design language in order to replicate the beauty found in nature

Reflection After experimenting with curvilinear forms in the past iteration i decided to stick with the rectilinear method of construction. For the basic design I drew inspiration from the Dutch Painter Piet Mondrian’s “Composition # 2”and the Canadian architect Moshe Safddie’s Habitat 67 in which they both create a balanced and rhythmic composition comprised of simple rectilinear forms. In my iteration I also applied a combination of the Fibonaccis series (using increments of 1cm, 2cm, 3cm, 5cm and 8cm on the planes) and the harmonic ratios (thirds) on the joints. All the while maintaining my original expressive quality of Dynamism. I believed this iteration to be a success and would use the basis for my next iteration by applying variances to my original drawing using trace overlays.

ITERATION# 6

Objective Using trace paper as a tool to explore different posibilities in design layouts and proportional scales, while maintaining the same expressive qualities used in the previous iterations. Starting with a “snapshot” drawing of the previous iteration using orthographic and isometrics then proceeding to draw variances in the original design by rotating, mirroring, repeating and deleting sections of the original drawing.

Reflection By completing 3 Trace overlays before constructing this iteration it helped me to make the critical decision of picking which design to build before actually cutting a single piece of precious material. Also when using this technique it allows for a more methodical organization of the proportional scales. Again I used the Fibonacci series and harmonic ratios as in the last iteration, but in a more organized manner. I also made an attempt add a higher level of interest by exploring the use of multiple materials of varying sizes, thicknesses and textures in order to create an extra layer of complexity. Overall I would say this model was a success, although it is not the greatest work I've done or will do, it demonstrates my development of a process or “recipe” for design aided by the design language

ITERATION # 7

Objective Using trace paper as a tool to explore different possibilities in design layouts and proportional scales, while maintaining the same expressive qualities used in the previous iterations. Starting with a “snapshot” drawing of the previous iteration using orthographic and isometrics then proceeding to draw variances in the original design by rotating, mirroring, repeating and deleting sections of the original drawing.

Reflection As with the previous iteration, using the three sheets of tracing paper yielded much greater results than my earlier iterations in which I built models solely based off of rough sketches doodled notebooks. This improvement is due to the fact that I have been able to develop a a process in which I can see multiple options through plan and elevations, not only giving me a a graphical representation of what will be built, but also providing me with a plan for construction. In this design I was able to develop a well balanced free standing object that not only has aesthetical complexity from all angles but can be stood on a multitude of “bases”. However when stood up on its smallest “base” it has the highest dynamic value

ITERATION #8

Objective Continue to develop the expressive qualities explored in previous iterations, however avoid using surfaces in order to begin developing a tectonic language, creating a linear framework that expresses implied surfaces rather than literal surfaces.

Reflection During my design process I followed similar techniques used in the past three iterations(however minus the trace paper), in which I took a series of squares and rectangles of different sizes(following Fibonacci) and offset each one slightly to the right and rotating in that direction for each vertical extension(also following Fibonacci) going up and over and eventually downward, but then stopping, suspended above the ground in an upside down pyramid. Creating a dynamic wavelike form in which the crest is frozen in time as in iteration # 3. Overall I believe this to be my most successful iteration so far and I would have liked to continue riffing off of this idea. Had we not moved on to the sectioning approach I would have constructed the trace overlay picture in the top right hand side of this slide.

ITERATION # 9

Objective Continue to develop the expressive qualities explored in previous iterations, as well as the new tectonic framing approach introduced in the last assignment, however for this iteration begin exploring the sectional modeling approach. The sectional modeling approach utilizes a series of incrementally spaced horizontal and vertical planes of gradually changing shapes in order to create a three dimensional object with implied surfaces.

Response I found this approach to be the most difficult build and mentally strenuous of all. In class we discovered that already defined forms and volumes were the easiest to represent in a sectional modeling approach. However, even when you have a defined volume the sectional approach still poses a challenge. I found that creating the horizontal planes was not to difficult, but without the use of Computer Aided Design programs it can be extremely difficult to map out the vertical axis. In my case I had aimed to recreate my previous iteration, with the added base(as seen in the upper right hand corner of the last slide) , but I had a great deal of difficulty incorporating the horizontal axis and was forced to alter my designs creating a less interesting shape than I had intended. Although my design was not as successful as I had envisioned it made for a good learning experience and provided me with a foundation for the next set of 4 iterations that followed

ITERATION # 10

Objective Continue to explore the sectional modeling approach that was introduced in the last iteration. In order to solidify the concept and techniques involved build four models(2 gesture and 2 presentation quality models). Begin by constructing 1 rough gesture model using cheap or reused materials.

Reflection For my last two models I knew that I wanted to explore the idea of an open cavern or node created by a negative space within the outer shell of a independent volumetric form. So I began by exploring my options for the negative space within by constructing it using positive space. In this case I decided to experiment with the use of the circle in which the space gets larger from both sides as you converge into the center of the â€œspaceâ€? . In order to create this form I created a series of evenly spaced circles which grow gradually larger the closer you get to the center. What I gained from this gesture model was that I should move the largest circle further up or down the verticle axis in order to avoid symmetry

ITERATION # 11

Objective Continue to explore the sectional modeling approach that was introduced in the previous iterations. In order to solidify the concept and techniques involved build four models(two gestures and 2 presentation quality models). After building your first gesture model, study it carefully and make alterations as necessary and apply these changes to your 1st presentation model

Reflection Based on the homogenous nature of my first model, I decided to apply a degree of asymmetry to my second (well at least on the horizontal axis). In order to do so I simply added more smaller circles to one side and moved the largest circle down a few levels. By doing this I was able to break the homogeneity of at leat the horizontal axis of symmetry. However in this model the incremental space between circles is larger than that of my gesture model. Therefore the implied suface is less convincing. But over all I feel that my first two â€œnegative Spaceâ€? models were good studies for my next two iterations in which I would use those shapes within another volume of implied surfaces. I learned that the closer the plains are the more convincing the implied surface and that asymmetry provides more interest for the observer.

ITERATION #12

Objective Continue to explore the sectional modeling approach that was introduced in the previous iterations. In order to solidify the concept and techniques involved build four models(two gesture and 2 presentation quality models). After building your first gesture and presentation models, study both carefully and make alterations as necessary and apply these changes to your 2nd presentation model

Reflection For this model I returned to the use of multiple squares in order to create a wave like rhythm. However this time the wave more closely resembles a radio wave than an oceanic one. Anyways the goal of this iteration, as mentioned in the past two slides was to create a node or cavern within the outer shell of a separate form using the negative space of that exterior form. This was achieved by cutting out circles which get gradually larger in size, from both sides, as you get closer to its widest point in the center. But as was the same case with the first â€œnegative spaceâ€? model, both the interior and exterior forms are symmetric(which is not necessarily a bad thing. Infact this was another one of my favorite models of the semester), so I intend to change that in the next model.

ITERATION # 13

ITERATION # 14

Objective Continue to develop the expressive qualities explored in previous iterations. Using the sectional modeling approach, construct a â€œtwo part inventionâ€?, by simultaneously constructing two different elements within one iteration

Reflection While constructing this model I used the same system and design language as the previous model. Creating a wave like form on the outside with a in interior space that does the same. In this attempt my goal was to achieve a more fluid transition in between the layers of horizontal planes than in the previous iteration in which the implied surface was not as defined due to the more rigid and jerky transitions. This fluid and dynamic quality was eventually achieved by getting rid of the square, diminishing the space between each horizontal planes and using a more subtle change in size and direction of horizontals. Overall I believed this model to be a success in achieving my expressive quality of dynamism and also displays an effective use of the sectional modeling approach

THE END..

ThThank you