La 203 lecture project compressed

A Design Portfolio Jorge Colmenero

LECTURE PROJECT

TABLE OF CONTENTS

LA 203 Ray Senes, Andy Wilcox, Rennie Tang

TITLE PAGE Lexicon......................................................pages 1-12

Response to Readings..............................pages 13-21

Lecture Duscussions.................................pages 22-31

Personal Reflections..................................pages 33-39

MATRIX /ˈmÄ triks/ The channel is a matrix of sorts because it is an accumulation of different elements from both of the above mentioned sources, which together have not only given way to various types of organisms and vegetation but have also created a very unique ecology that is pertinent to the Rio Hondo Channel alone.

You can design and create, and build the most wonderful place in the world.

But it takes people to make the dream a reality.

-Walt Disney

LEXICON

The algae on the base of the channel create a complex matrix of vivid colors and textures.

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Field conditions, beneficiaries, resources, users, and developers of the site all have a say in what the landscape experiences and reveals. The diagram shows how several individual factors, when combined, create a unique landscape.

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ABSTRACT /abˈstrakt/ Abstract or abstraction is an idea that exists in thought but has not yet developed into a concrete concept. It can be considered the essence of a project, the main core ideas that make up its design and intent. While abstract work tends to be more open to interpretation, it is not just a random collection of geometric forms and lines witht the intent of creating a certain feeling.

DYNAMIC /dÄŤËˆnamik/ There are countless forces that we experience every day, all of which shape the world we live in. This dynamic, this constant force that stimulates change and development, is responsible for creating everything we see around us, man-made or not.

This close up allows the viewer to see the high contrast between the two textures by omitting the sorrounding landscape and focusing just on the textures.

Light traveling through the orifice creates shadow pulses that give the hard rock surface a dynamic quality.

By using a figure ground such as in the diagram above, everything is removed except for the buildings and the streets, which are shown in a black and white configuration which gives the designer the essence of the site and allows him/her to better incorporate ideas and diagrams unto it.

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The force applied here is acceleration against the movement of the shapes from top to bottom, causing the shape to slow down and increase in size, similar to when a wave hits the beach and sweels in size due to the sudden change in acceleration.

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PROPORTION /prəˈpôrSH(ə)n/

CONCRETE /känˈkrēt/ A concrete concept is an idea that has develped beyond the mind of the designer and is now a concept that has a certain realistic element to it. It is now something that can be used, created, or designed and will be able to be used by the intended beneficiaries.

Proportion means that although two separate ideas, concepts, or objects may not be identical in every way, there is a connection that makes them similar to each other. This can be explained in mathematical terms by drawing two rectangles of different scales but keeping the lenght to width ratio the same.

The steps on the fountain are different lenghts but are proportionate because they share a similar height, giving the structure a rhytm and consistency.

This structure located in Tongva Park shows a transition between an abstract concept, expressed by the framework, and a concrete design.

Many designs start out with a very simple idea, not really grounded, just a thought put into a visual formal. In the diagram the lines are the abstract idea for a design which after inverstigation and refining, tranforms into a concrete idea with set rules and boundaries that govern the shape and function of the design.

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This form is a complex array of curves and surfaces that, despite their varying lenghts and folds, all share a common center point from which each fold arises. Every fold meets at the same height, making the shape versatile and flowing while at the same time giving it a constraint that unites the form.

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SCALE /skāl/

ECOLOGY /ēˈkäləjē/ Ecology is the network of relationships that relates organisms to one another and also the their physical sorroundings. In other words, it is what makes up an envirnoment, all of which are different and unique. One of these ecolgies is the Rio Hondo channel, made up of all the organism that inhabit it and its physical constraints and additions.

The size and/or intensity of an object, situation, or event sirectly affects the way it is perceived. A field with a massive scale can make the person engaging the space feel small and isolated in comparison to a field with a much smaller scale. Using scale effectively in a project can create certain views or transitions that help reveal certain aspects of a site or project.

The mound is creating a separate environment from its sorroundings, therefore it has an ecology of its own.

The picture is showing The Levitating Mass exhibition, a perfect example of how scale changes depending on your perspective.

In the diagram I am showing how as you travel across a certain landscape or exhibit such as Levitating Mass (shown in picture), the scale of you relative to the objects in your sorroundings can change drastically. This is why the circles are increasing in size the further up the line travels in the page.

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Here, the mound upon which the scores are situated has an ecology of its own, separate but still linked, to its sorroundings. The mound has a different elevation and is made of a different material that affects the interactions that happen on it.

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HYBRID /ˈhīˌbrid/

BOUNDARY /ˈbound(ə)rē/

A hybrid is a combination of two different elements, producing a result that has qualities from the two original elements as well as new ones produced by the combination.

This hybridization is visible almost everywhere, from the work produced on mylar in studio to the creation of new species.

A boundary is a line that marks the limit of an area or that creates a division within a surface. This limit can give meaning to a form by shaping its structure allowing it to settle into a final design that is partially governed by the boundaries it was built with.

The fence creates a boundary between the two sides adjacent to it that, when seen up close, do not allow the entire landscape to be visible all at once.

The stream is a hybrid of nature, exemplified by the qualities of a natural flow, and man made features shown by the rigidity of the banks and flat landscape.

The thick line creates a boundary that intersects the lines that cross the landscape.

Now that the lines have to pass through this new boundary, some end up thinning out in order to be able to pass the barrier.

The flowing shapes replicate and intertwine repeatedly, producing a shape that contains elements from the previous form, but also creating a new form with elements from the previous forms. The shapes are the same as far as context goes, but they are placed in different orientations and alignments.

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TRAJECTORY /trəˈjekt(ə)rē/ A trajectory is a path followed by a projectile or object under the ction of several forces, depending on the path of the object. This can also be a line that shows a path of progression or evolution in a certain direction.

Design is not just what it looks like and feels like. Design is how it works -Steve Jobs Light going through the opening in the surface is given a trajectory since it is given a specific direction.

A ball thrown in the air follows a trajectory that is dictated by the speed at which it is thrown and by the pull of gravity, which constantly changes its acceleration until it returns back to the surface.

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COMPOSING LANDSCAPES: THE DESIGN EXPERIMENT

RESPONSE TO READING

Space is the breath of art.

-Frank Lloyd Wright

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Process is one of the most important components of a design. A well crafted final product is the result of an intensive design process during which questions and experiments arise that help move the project forward. This analysis and research idea is called the Design Experiment, a process in which investigate measures are applied to existing ideas, principles, and field conditions in an attempt to discover and unveil new aspects of the site that may be applied to a new idea or site.

A site as extensive and complex as the Rio Hondo Channel has several layers, each one revealing new aspects of the site. It is this quality that allowed my group to apply the Design Experiment and begin distilling the information found on site into maps and diagrams with which to express our design ideas and concepts. Techniques we used to achieve this were hatching, to explore patterns and recurring aspects throughout the site, and site sections to analyze vertical elements. Without mapping we would not have been able to break apart the site and extract the information necessary to being formulating a design that was unique and beneficial to the channel. Throughout the design phase we realized graphic and east ethic were just one part of the design and that we had to focus on the connection the design made with the users and beneficiaries of the site.

Successfully implementing a design that connects with its surroundings and that can stand the test of time is one of the best measures of a successful design.

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PROJECTIVE ECOLOGIES: DESIGNING ECOLOGIES

Through hatching and linework, patterns and concepts are extracted from the site.

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In this piece of writing, Christopher Hight talks about ecology and the relationship between humans and nature from a positive perspective, opposite from Morris who speaks of the interaction as degrading towards nature. In his writing, Hight speaks about ecology as the framework for all interactions in the landscape, including natural and man made factors, all of which for layers and links in complex biological, chemical, social, and political processes. The environment that you work with, no matter what size or location, is incredibly complex and has countless layers that have developed over time. As a designer, it is important to take all these layers and linkages and makes design that doesn't hinder these existing connections.

This is the approach my group took when exploring the Rio Hondo Channel. We saw the ecology of the channel as something to be cherished and valued. Even though the channel was highly polluted with trash, smog, noise, and chemicals, nature had found ways to work alongside these factors in order to create hybrid environments in which life could thrive. The channel is full of life everywhere you go and it's amazing to see these hybrid relationships between the man made and the natural at work. Our goal as designers was to be able to preserve these relationships and showcase the layers of complexity present in the Rio Hondo channel. This new ecology had found equilibrium and that was something we didn't want to disturb for it would mean risking the destruction of this new and unique environment.

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RAMBUNCTIOUS GARDEN: THE FOREST PRIMEVAL

The ecology of the channel being explored through a layering process with the cracks as a starting point.

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The definition of pristine is put up for debate by Emma Maris, using Bialowieza Primeval Forest as an example. In her opinion, there is no place of land left on this planet that is untouched by humans. Everything that we have since the first humans were created has influenced and shaped the world in some form or another wether it be through the direct or indirect contact. I think that although it is true that our reach has spread to nearly every corner of the world, it doesn't mean that nature is now corrupted and ruined forever.

Humans are also part of nature, we have been ever since we started inhabiting this planet.

It is not our presence but our actions and lifestyle that pose the biggest threat to the species and environment around us. This mesh of humanity and nature can be seen clearly in the ecology of the Rio Hondo Chanel, which has thrived despite the amount of trash it has collected due to human use.

One of the most devastating fact concerning our actions is that much of the damage we have inflicted is irreparable. For example, this year the western black rhino joined the extinct species list, the last one hunted down and poached for its horn. This is a species we will no longer have the privilege to see again, all because of human actions. There are however, things we can do and change in order to better preserve our world. We may not have pristine and untouched environments, but we can coexist with nature and help mend some of the damage we have inflicted on our planet.

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THE MAP-ART: THE WORKS OF JAMES CORNER

An urban setting thriving amongst nature represents the idea of the urban jungle, a complex mix between nature and human infrastructure.

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Mapping, according to James Corner, is a complex process through which space is represented, selected, translated, organized, and snapped, producing work that is both aesthetically pleasing and informative. He talks about the McHargian mapping system, which extracts natural and social aspects of a site through the use of layering, separating the several components that make up the site and in the process revealing new aspects and concepts that were hidden between the layers. Corner uses the McHargian mapping system but adds an extra component of poetry and aesthetic that allows him to create maps that are highly analytical, informative, and visually striking.

Words play a minor role in his mapping, choosing instead to express concepts of the site through imagery and photography. The idea is for a person to be able to look at one piece of work and immediately understand the idea being conveyed by the collage-like aspect of the drawing and the aerial imagery, which can identify the site with more ease. In my drawings, clarity is one of the main aspects of the drawing I focus on. If someone cannot understand my work within a few seconds of looking at it, it means that my graphics are too elusive or vague. One of the great things about design is that it allows you to express your ideas in a more visually appealing way instead of speaking or writing an essay. The most important thing about mapping I have learned thus far is that the more I investigate and add layers to my design, the more ideas and concepts I discover which in turn give me ideas for expressing my findings in aesthetically pleasing ways.

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DISCUSSIONS

You can't connect the dots looking forward; you can only connect them looking backwards. So you have to trust that the dots will somehow connect in your future -Steve Jobs

The diagram is showing an example of layering and discovering new aspects of the site through this process.

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LIGHT, PAPER, PROCESS: REINVENTING PHOTOGRAPHY

This gallery stood out to me due to the word process in its title. Throghout my undergraduate studies there has been an emphasis placed on process, the iterations produced while working on a project, that leads to a finished and refined final product. The artists whose work was exhibited relied entirely on process and didnt worry about what the final product would look like. Having a thoughtful and creatuve process in which they experimented and tried different methods was more valued thn trying to create a single, polished masterpiece. The majority of the artists there had several iterations of a single picture or moment that they captured but expressed in a different way and with different materials, which dramatically changed the effect the resulting picture conveyed.

Artists like Lisa Oppenheim and James Welling had, in my opinion, some of the most interesting processes because they attempted to capture moments that I wouldn’t have thought were possible to capture before, especially they way they envisioned it. There was a particular picture were James welling composed a picture by allowing the sun to burn across the paper and therefore giving life to the composition, rather than simply taking a picture of paper burning.

This relates to my work in studio because so far I have worked with various types of materials and different uses and combinations of these materials produces different results in my work. There are things that mylar can do that bond paper can’t, things that 3D printing can do that chipboard modeling can’t. It is through experimentation and constant iteration that I have been able to start developing a sensitivity to these materials and really attempting to engage them with my design process and not just treating it as a building surface.

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MONUMENTAL CHANGE IN THE SAN GABRIEL WATERSHED

Algae growth being illustrated as a series of consecutive layers, each one adding a contributing factor to the final product.

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Water has become a major concern throughout California over the recent years. Our water sources have been depleting at exponential rates and we are now looking at drastic shortages or even depleting this resource entirely. The lecture I attended helped shed some light on issues I wasn't aware of that were tied directly to the present drought. There were different panels of speakers, each one focusing on different ares concerning the drought and in particular, the San Gabriel Watershed. One of the aspects I found most striking between the panels was the change of tone and information they divulged depending on their topic and their line of work. We have been told that the way you present information can be the difference between a great discussion or boring your audience to death, not being able to spark up fruitful discussion. The panel that I believe had the most passion and assertiveness in their tone and presentation was the panel dealing with global warming and drought issues. All speakers were very knowledgable and were able to back up their information with facts. They mentioned an important distinction between weather and climate, referring to weather as the "mood" and to climate as the "personality," meaning that while the weather at the moment might be soaring temperatures and droughts, the climate in the future might not necessarily be like the present conditions. The most important thing I took away from this lecture was that it is imperative to not just design with sustainability in mind, but to take into account that our current way of life will need to change if we hope to repair the damage we have done to our planet.

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GREG LYNN LECTURE: FORM

Systems are all connected and influence each other in some way, shape, or form, establishing an equilibrium that must be preserved.

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Working with materials is always exciting and a great way to experiment and discover more about design and model making. This lecture was given by architect Greg Lynn and he spoke, amongst other things, about how a surface of object could have more than use in more than one orientation. For instance, one of his projects was an oval shaped shell, which had built into it several pieces of furniture that, when the structure rotated, would change their function to a chair, table, bed, etc., depending on the orientation of the shell.

Overall, this was one of the main points of the lecture; making a design that had several uses and that merged into its surrounding counterparts. This concept is something that I think is important to incorporate into my future designs and be able to apply the same principles to them. Having a beautiful design, plan, or structure is just a small part of the design process and if there is no meaning to the design and little or no use for it, then that design becomes obsolete.

Another interesting topic for this lecture was the materials used in the construction of some of these multi-use surfaces and objects. The most interesting to me was a carbon fiber based chair, which was basically a surface weighing just a few grams but with the ability to support over 10 tons. It was able to be fully compacted in the space of just a few cubic inches and would expand upon opening to accommodate space for at least one person to utilize it. This goes to show that there are so many ways in which we can design and how we create those designs to offer quality and usefulness.

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VIRGIN GALACTIC: LORETTA WHITESIDES

This lecture was a bit different from the rest in that it didn’t talk much about landscape architecture or a related field/art. Rather, it talked about space exploration as a means through which inspire designs and spark new ideas and thoughts. Loretta Whitesides speaks about building the earth’s first spaceline, which might someday give everyone the opportunity to take a glimpse at the wonders of outer space. She believes that being able to experience space, aided by sub-orbital spacecraft, can be an inspirational experience that can ultimately help influence a design or idea to better our communities and expand our knowledge.

The essence of this process is to remove oneself as much as possible from the reality that we constantly face day to day in order to give our mind a clean slate on which it will be more receptive to new thoughts and ideas. I think that this process, though not as effective or striking as being to take jump into the stratosphere, can help aid our designs and give us a new perspective on our projects. Something as simple as meditating while sketching in a natural setting, or taking a few moments to get away from the routine you are constantly used can be effective in helping to clear your mind. Furthermore, this lecture carries another very important message that as designers, we sometimes fail to take.

Everything that we could possibly want or need to design and create is already around us.

It might not be obvious or clearly visible but it is always there for us to discover.

The form is being broken apart to show the flowing patterns that govern and dictate its shape and function.

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REFLECTIONS

Everything is design. Everything!

-Paul Rand

The picture is showing a peaceful setting with inspiring views that can aid in the clearing of the mind to allow for innovative thought process to occur.

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This first project has already begun to challenge me in a way that no previous projects have before. It's not enough to simply get some information and display it in a graphically pleasing way. Now, I have to back up every single phase of my design and graphic work;every line, curve, turn, color, shape has to have meaning and relate to what I am trying to convey. Although it is much tougher now to do my graphics, I have noticed that not only are they more interesting, but they also show a deeper level of understanding of the project we have been assigned. This time I am actually investigations and exploring, getting ideas for my work from our site, the Rio Hondo Channel. It's almost as if everything I need to design is already there, I just need to have the right mindset to be able to see beyond the surface.

At this point, I've also begun to realize how important it is prioritize studio time.

Before, it wouldn't be as strenuous and I would be able to manage it quite easily. However, this time I have to keep redesigning and getting feedback on my work as well as managing lecture assignments and assignments from my other classes. It is significantly more work and I've had to spend more nights in studio thinking about how to graphically show what I have discovered so far. This project has been challenging so far, but I know the experience will be rewarding.

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After I finished pinning up our poster for the the final phase, I stepped back and just stared at it for a few minutes. Just 9 weeks ago I was standing in that same gallery looking at the 3rd year projects, thinking it would be impossible to attain projects with such complexity and graphic quality as those. However, this time I was looking at something with that level of complexity and graphic quality, only this time it was something I had helped create. This reflection of my work reassured me that I do have the potential and skill to create designs that have meaning, that have complexity, and that can have a deep impact on those around me. Together with my group we were able to go to a site previously unexplored by us and were able to, during the course of 10 weeks, gather as much information as we could from the site, distill it, map it, and create forms and designs informed by these observations. It was a series of phases that truly tested our ability to deal with a high level of complexity and intricacy, which challenged us and pushed us to reach beyond our sphere of comfort and into uncharted territory. My ability to use software, such as Rhino, to my advantage when bringing my designs to life has improved and given me the opportunity to push my forms and graphics to make them more appealing and meaningful. The rigorous course work pushed me to embrace the studio culture and work with my team to bring out the best project possible.

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DEDICATED TO 203L STUDIO LANDSCAPE ARCHITECTS

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