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The process of taking two dimensional theories, and learning to transform them into three dimensional solutions


Malevich First Composition


“The World as NonObjectivity” The father of Suprematism, Kazimir Malevich created abstract geometric art based on the “supremacy of pure artistic feeling” rather than visual depiction

My take on Malevich was based on his Suprematist Composition 2. The task was to create a take on his Composition in a Three-Dimensional form. Color was not the focus of this assignment so I did not incorporate it into the model itself.


My aim was to create something in a ThreeDimensional form that is pleasing to look at from all angles


For my first model I wanted to create something that is simple, practicing with different materials and ways to connect my key-pieces. When I designed the model I took key pieces from the Suprematist composition incorporating them into my design un-methodologolically

The Datum was the large purple box at the bottom center of the image, the shorter leg connected to the model, was the large black box parallel to the purple box in the Malevich image; The top of the free floating piece was a small square floating over the purple box, and the floating angles nesting in between my free piece were adjacent to my key pieces in the Suprematist Composition.


Conclusion with Malevich One

 The configuration of the model itself was blocky and formal. The piece had potential for a better grasp on the theory of Malevich’s design, but my choice in material made crafting time consuming and difficult to work with. The piece did show the evolving idea of transition as the two perpendicular pieces relating to the datum passed through one another and the angles were free floating in between those spaces.


Malevich Second Composition


In my first design I wanted to keep the transitional qualities that I admired about Malevich. The idea that all these objects were free floating in space and time

Instead of creating a Hierarchy of objects, I wanted to encapsulate them. Based off the square and the floating triangles from Malevich Suprematist Composition two. Those are located in the upper left corner of the lithographic image.

The cluster of these objects and their configuration was meant to portray a Moment that could not be held back. These triangular stalactites were in a constant state of motion and would eventually break out of their walls. The portals in my model would reveal the direction at which these objects would break out. While my theory had potential, I could have created more movement and relationship in the piece. From the fenestrations interacting with the Stalactites in “motion�, to the relationship of my portals to the Malevich piece itself there was still large room for improvement.


Conclusion with Malevich Two

My original intention was to apply movement in a transitional environment. This piece did not communicate that idea because of the missing interactions between the objects. In order to communicate what the idea of motion is, there must be a demonstration of that order in design. The model also lacked relationship to Malevich itself, something that I felt was difficult to communicate without a clear sense of purpose and focused design.


Malevich Third Composition


My first two designs for the Malevich model did not demonstrate a sound relationship with the original piece.

 I decided to take another grouping of objects and create a more transitional piece. While I did not want the image to be too blocky, I did not want to move away from something that is not transitional and simple.  I used the wood this time because I wanted to create a thing sturdy framework, and make it look open and delicate. There is hierarchy and motion within the main framework, also relating the “floor” beams to match wavelengths to the “roof” beams as well.  In this piece it is viewable from all angles because of the open thin framework. The long rectangle passing through the piece itself was made in the same material as the framework. This was to keep the objects seemingly delicate view, free from any obstructions.


I wanted to show consistent repeating patterns, while staying away from symmetrical positioning. The fluctuating motion of the framework shows transition and critical movement, giving the impression of free floating in space.

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Conclusion

 My main goal with this project was to create a non-symmetrical, transitional, free floating model.

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 I believed I achieved the “bare bones” of the Malevich project, as it was my first model design exploration. There are so many Suprematist designs out there one could explore this theory their entire career.

Malevich Third Composition

 I am happy with my final composition, if I had more time I would definitely explore a more in depth structure of the entirety of Malevich’s Suprematist composition.


Icebreaker 2 Our task was to create a design that could easily be built by ones classmates. Without revealing the design, they would only receive written instructions, using tectonic language, to build the design itself.


 Unfortunately I do not have an image of the final model, nor a copy of my instructions. However the model that was built by (Chelsea) resulted in an almost identical model.

Icebreaker 2

 The main reason I chose this design is because I wanted it to be easy to build, and have very few key parts. The strips rotating around the vertical portion were all the same shape and length.  The circular roofing of the piece created a secure top and base for the model, and my general referencing to a “soda-can” was easy to visualize and incorporate into the design itself.


For this segment of the class, we did several iterations on blind drawing. We each had 10 minutes to follow the image on the projector. Without looking we had to recreate the image using only our sense of positioning.

Gesture Drawings

I realized with my first image I could not imagine the space of the image that I was doing. Without Seeing the image that I was drawing my pencil could not follow the right starting point from A-B.


This is the shadowing outcome I did of the gesture drawing after I was able to look at the image on my paper . Tips I learned using the blind method, was to find an outline with your pencil.

Gesture Drawings

By following an outline by tracing the front of the room wrapping around the space, I was able to understand the depth of the picture when I could actually look down at my paper.

This is another 10 minute gesture drawing we did of a stairway leading through a park.


Gesture drawing 2 Create a series of imaginative gesture drawings, transitioning to a final model design


Majestic

I used growing stairs and elements, to create height and expand proportion. My design was inspired by a wave and pieces crashing against each other creating a movement of height and serene regality.


I was inspired by the Hugh Ferris skyscraper, something that came to mind when I imagined a wave of magnificence as a Majestic Design.

First Gesture drawing model


Conclusion Gesture Drawing one

 My Hugh Ferris inspired design, was picked apart for not being abstract enough. I agree that the design I chose looked very building like, and did not have enough relation from back to the front. For my next piece I will try to follow Jerry’s advice to wrap the structure, and create more depth in the piece.  The model itself was also too symmetrical, so I had to come up with a new design that portrayed majestic qualities, and ASymmetrical proportions.


Gesture Drawing Model two

For this piece I wanted to create more height in the wave accentuation referencing the tower behind the model. The arms of the last model that were described as piano keys, were transformed into a A-symmetrical accentuation, and the body was extended to give it more depths and motion. I also added fenestrations repeating around the model to keep the eye following in the direction that I insisted the motion be followed.


I learned how to better work my chip board with this model, making the Curling waved wall look more naturally “curled�. I used my X-acto knife to thinly slice grooves into the wall, so it’s easier to bend. Curling the wall behind the model, Accentuating the gestural motion

Conclusion with Gesture Drawing two

The fenestrations, and hanging arms, did not communicate as well as I intended. Most Of my colleagues suggested I try creating more repeating patterns and wrapping the Wall around the model itself to complete the circular gesture.


I simplified my design, moving Away from unnecessary “add-ons� to create a more abstract piece of work. I built the wall on the model itself to wrap The design and complete the curvilinear gesture.

Gesture Drawing Three

I also built the hanging linear accentuations into the exterior of the model. By doing so I tied the loose ends of all my key pieces by incorporating them into crucial parts. The design is simpler, abstract, and Communicates majestic qualities with A-symmetrical proportions.


Our next task after settling on a gestural model, was to create a frame work. With my first bass wood design, my main goal was to follow Structural patterns. The suggested gesture of the escaping “collar” was my loose end in the piece so I concentrated on the rest of the model in my first iteration.

Framework one

I used Bass wood to build my frame because of it’s sturdiness, and I wanted to work on building my skills with materials other than chip board.


Conclusion Framework one

 The issues I found with my first framework were with the “collar” itself. The hardest part for me was organizing the model as one complete design. I could individually build my key pieces, but incorporating them together structurally sound was another task in itself.  My main focus was to create matching patterns in the framework, and troubleshooting which issues I may have to focus on for my next design. I left the collar open because I did not have an answer as to how I would build that onto the model without it adding too much weight.


In order to solve the weight problem I flipped the back wall 180 degrees and shortened the collar size.

Gesture Drawing Frame work two

I removed the connecting piece That went in-between the linear Free standing wall because it Added too much weight to the The rest of the designs. I also had the triangular patterns found in the collar repeat around the design. I practiced using different line weights in the material to frame certain parts of the model.


Solving my biggest issue: Wire frame work was used to manipulate the shape of the two collars.


Conclusion Gesture Frame two

 By sticking to curvilinear motion I was able to create a design that was majestic. By re-creating that model into a frame like structure I was then able to identify issues in the design. I found this to be my favorite task in Jerry’s class, because it allowed me to go outside my comfort level, and challenge myself.  What I would improve in the new frame, I would open up the back of the wall and try to work on rounding It out. Bass wood is probably not the best material to work with a curved structure like this. I would probably have to play around with different materials or use more wire framing to manipulate the whole piece. I would also lighten up the collar by removing sections of the wood, sticking to the same reference point, and extending it through the model itself.


 In conclusion to this half of the semester, I would say I improved since first experimenting with abstract theory. While I still gravitate to building objects that are familiar to me, I know that once I take out unnecessary additions the object becomes something unfamiliar and easier to manipulate.

 Experimenting with chip board has also paid off and I can now create better intricate pieces in half the time it used to take me. My new favorite material is the bass wood, and it has opened up questions as to what my next model will be made of.  In my next half of the semester, I will work on incorporating more language definitions in the stories about my design. I will also practice with more materials, and abstract theories. I learned there is simplicity in design, and it’s better to scale back on how many repeating patterns in a finished model. I also learned design is not about taking things personally, during peer review time it is best to keep an open mind and listen to what people are saying about the design, and if it speaks to them. If your audience doesn’t get it, then you have to either be prepared to explain it or work on what would make the design speak to your audience.

Transition arch 101  

Intro to Architecture Design 101 Spring 2014 City College of San Francisco, Prof. Jerry Lum Author: Kayla Brittingham

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