Fall 2014 - Cal Poly San Luis Obispo Architecture

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MONICA MENDOZA CALIFORNIA POLYTECHNIC STATE UNIVERSITY

A N G E L A B R A C C O | FA L L 2 0 1 4

I am Monica Mendoza. I live by the words work hard and be kind.

I have this never ending love of triangles. I’m a little awkward, but it’s a good funny awkward. You could say I’m a mixture of new girl, musicals, art, architecture, and a retro armadillo. I talk to myself on the daily and I sing a little too much. I seem quiet but I’m very enthusiastic. Oh, by the way, I bought a Prius to save the world.

“THE DETAILS ARE NOT THE DETAILS, THEY MAKE THE DESIGN.” - C h a r l e s E a m e s

CONTENTS

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Enter the game as an observer

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GAMESPACE P ROJ E CT 1

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G A M E S P A C E

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G A M E S P A C E

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VIRTUAL

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MOVEMENT & SHAPE |

G A M E S P A C E

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G A M E S P A C E

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G A M E S P A C E

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G A M E S P A C E

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CONFIGURE

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REFINEMENT |

G A M E S P A C E

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G A M E S P A C E

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G A M E S P A C E

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G A M E S P A C E

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A C C E N T UAT E

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C U L M I N AT I O N |

G A M E S P A C E

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G A M E S P A C E

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G A M E S P A C E

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G A M E S P A C E

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A REFLECTION

To begin Gamespace, I explored the VIRTUAL world. Through my exploration in different video games, I discovered that the video game makers developed a path for the user to follow to achieve the next level. To convey this path I diagrammed. In my diagrams I focused on conveying the MOVEMENT & SHAPE that defined the path. I used different line weights and kept it simple. From these diagrams I chose a diagram that I thought most successfully conveyed the game space.

I started to form and CONFIGURE. This to me was a puzzle in which there were many answers to. I manipulated various cuts to create the different forms that illustrated the game space. From these forms I started the REFINEMENT and decided what I wanted to say in the form. I questioned how I was going to convey the game into a figure that a person could physically hold and look at from different angles.

In my models I experimented on how to ACCENTUATE the defined path with levels, and also with light and shadow, creating a highlight of the path in the space. The CULMINATION of the game space incorporated the use of layers and light. The layers differentiated the spaces in the game space; since the spaces were inaccessible, the layers were used at a different height than the path. The defined path in the game was highlighted with the use of a different material along with the use of light and shadow. The angle of the path reflects the forward direction the player must follow to reach the objective of the game. The resulting form reflects my thought process as I expanded my understanding of the game. The observations I made from navigating the game to physically creating forms, developed the end result.

This process challenged the way I viewed a space and pushed me to convey my observations and thoughts through a different output.

Good design is propelled by careful observation 17

P ROJ E CT 2

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WALK THE LINE

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F E E L I N G WA L K

T H E

L I N E

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WA L K

T H E

L I N E

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200 STEPS

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PROSPECTUS |

WA L K

T H E

L I N E

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WA L K

T H E

L I N E

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STITCH

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WA L K

T H E

L I N E

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WA L K

T H E

L I N E

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PAT I E N C E

A REFLECTION

27 | WA L K T H E L I N E |

Walking the line of my path, I observed the FEELING it created through touch, wind, light, movement, sound, height, nature, and my senses. I pondered what created the unique experience, as no path is alike. This path was 200 STEPS, on campus, and yet seemingly isolated from student life. From the many observations, I selected the more important ones and created a PROSPECTUS of these events as a person would move along the line. To create this, I experimented with how I can draw a line with different pencils and pens in many different sketches. During this process, I found it difficult to convey a feeling through a single line. On a larger 12 ft scale of this line, I found it easier to show more details and focus on the experiences on the path. After deliberating, I began to STITCH. With a needle and black string, I created the different weights and angles of the line. This took patience since it was a slow process that cannot be rushed through. This forced me to be extra thoughtful everytime I pierced through the fabric. Each stitch was carefully placed, piecing together to form the line. As a material the string not only was part of creating a clean, fine line, but also created a texture that through touch alone can adequately tell the story of the path. The fabric was an unframed canvas, that when displayed, transformed the line, creating a movement through it which led to a change in the observer’s focus.

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WA L K

T H E

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A new composition is created

P ROJ E CT 3

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I N T E R P O L AT E D VO I D

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PARTI |

I N T E R P O L AT E D

V O I D

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I N T E R P O L AT E D

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EXTEND SCATTER OPEN SURROUND SIMPLIFY EXPAND SLICE JOIN

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I N T E R P O L AT E D

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I N T E R P O L AT E D

V O I D

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I N T E R P O L AT E D

V O I D

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A REFLECTION

The co m pos i t i o n of a photograph can highlight c er t ai n aspec t s and movements. I focused o n t he c ent ral aspect of th e photograph s t hro u gh m y PARTI diagrams. In creating t hes e di a gram s, I further un derstood each photo graph. I considered the aspects th at t hes e photo graph s had in common and the co nnec t i o n betw een the geometries of each of t hem . To st art th e void, I paired different photo graphs to geth er, compared the different pa i rs, pla c ed t h em n ext to each oth er, th en began to c r eat e a lan guage betw een th em. To c r eat e t hi s la nguage, I used many operations whi c h i nc lu ded to EXTEND, SCATTER, OPEN, S UR ROUND , S I MPLIF Y, EXPAND, SLICE, an d J OIN. I r epeat edly w ent th rough th is process bot h t hro u gh an alog an d digital form. New shapes a nd geometries w ere formed as the la ngu a ge i n t he photographs w ere extended.

The two p hotograph s w ere un ified in the i nt er p o lat ed void creatin g a n ew composition.

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Begin the process of transforming

P ROJ E CT 4

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U LT I M AT E FO L D I N G O B J E C T

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CURVE FOLD CUT BEND TWIST DISARRANGEMENT JOIN ENCIRCLE

| U LT I M AT E FO L D I N G O BJECT |

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U LT I M AT E

FO L D I N G

O BJ ECT

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U LT I M AT E

FO L D I N G

O BJECT

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U LT I M AT E

FO L D I N G

O BJ ECT

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TO I L LU M I N AT E

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TO REFLECT |

U LT I M AT E

FO L D I N G

O BJECT

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U LT I M AT E

FO L D I N G

O BJ ECT

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U LT I M AT E

FO L D I N G

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TO LIGHT

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CONTOUR |

U LT I M AT E

FO L D I N G

O BJECT

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U LT I M AT E

FO L D I N G

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U LT I M AT E

FO L D I N G

O BJECT

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U LT I M AT E

FO L D I N G

O BJ ECT

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A REFLECTION

Continuing the process from the interpolated void, I focused on how to create a language, but in a three dimensional form. I created forms by altering my interpolated voids.

I went through similar operations through CURVE, FOLD, CUT, BEND, TWIST, DISARRANGEMENT, JOIN, and ENCIRCLE, many times. From these forms I began to select the elements that I felt helped develop the composition and the language in the photographs. I then selected the forms that I felt were aesthetically interesting through shadow, shape, and layers. In my next study models I integrated the angles and the curves from the originals.

We were then introduced to the idea of light within the form. With the ability TO ILLUMINATE, I focused on how to create shadows onto the form by trying to form a shell.

With the light, I decided to incorporate another element, color. I used the light TO REFLECT subtle splashes of color onto my form. In my final model I extended my use of angles and curves. I used the structured angles to generate crevices and screens for the light to escape through onto the curves that enclose it.The ability TO LIGHT this form altered the language of it. The CONTOUR of the final model allowed the composition of it to become more dynamic. This helped develop my ability to form a language and create a balanced composition.

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H ow c a n a space be formed in a m o r e deliberat e an d be aut iful way?

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PIER P ROJ E CT 5

THE SITE 53

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P I E R

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P I E R

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P I E R

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P I E R

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PROGRAM

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C O L L A B O R AT E

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I N T E G R AT I O N

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P I E R

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TEXTURE

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STUDY |

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DEVELOPMENT

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P I E R

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FINA L DRAFTS

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FINALITY |

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LINES & TRIANGLES

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C I R C U L AT I O N

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P I E R

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EXPERIENCE

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WEIGHT |

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CURIOSITY

A REFLECTION

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To begin I visited THE SITE to make different observations. I studied the pier, recording touch and gestures of movement. I made watercolors and sketches, took many photographs, and measured. From these measurements I made an oblique drawing and modeled the pier in a 1/4�-1’ scale. I created a PROGRAM of the pier, diagramming a few of the activities, which I then collaborated with my group. I then began to integrate my own ideas into the pier. The model became a STUDY, as there was a constant need for improvement. I repeatedly remade the pier and went through a DEVELOPMENT, developing my ideas each time. After this long process, my group reached a FINALITY. In the final I created a cohesive language between LINES & TRIANGLES through my use of screens. I used CIRCULATION to shape the design, forming different shapes and use of shadow.

The main element I focused on was EXPERIENCE. I created the possibility of a person having many unique experiences. I used WEIGHT by changing the screens from heavy to light as the structure rose. The design of the pier focused on evoking the CURIOSITY of a person. The elements of the pier created many different experiences that I wanted a person to find when visiting.

This project challenged me to focus on how a person would actually see and move. It challenged me to create a practicality in the assortment of abstractness, design, and aesthetics.

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P I E R

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The object you create will be shaped by the capabilities of a prescribed tool

P ROJ E CT 0 0

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TOTEM

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T O T E M

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T O T E M

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SERIES

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T O T E M

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T O T E M

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A REFLECTION

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For this process I was asked to make a series using a variety of tools. I started with one piece of wood into which I started the design process. Considering the capabilities of the tools in the wood shop, I formed each piece. I examined the type of cut each tool made and explored how I could use these types of cuts into my series. I formulated the order of which I wanted to make my cuts.

I used the tools at different angles and determined what a tool is capable of. I created patterns, lines, and textures on my form, then divided it into 7 pieces. I learned how to make different cuts and punctures with specific tools, and how to incorporate them into my design.

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T O T E M

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It starts with a sketch

| S K E T C H |

EXCERPTS FROM THE SKETCH BOOK

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SKETCH

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S K E T C H

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S K E T C H

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S K E T C H

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S K E T C H

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A FINAL REFLECTION I never realized how passionate I could be about something. I looked forward to another day in architecture. Each class I was eager to start each project and learn. Even though it was challenging and required a lot of thought, I strived to make something that I was proud of. I tried to pushed myself everyday. Yes, I didn’t really sleep, or put enough time for my other classes, but I didn’t want to stop and finish with something I wasn’t happy with. When I was working, I would become so focused on my work and not realize that I’d been in studio for too many hours.

I would be disappointed when I had to go home because I had to get some sleep.

I was constantly amazed at what other students had produced. When I walked around and looked at other studios, I was very interested in others’ work, and how a person had created a project. I love how we are given independence in our work and aren’t really given any information since this allows each of us to show ourselves in our work.

When I first attended the architecture workshop, I learned more about what majoring in architecture really was. I remember looking at my TA’s work she had done in her 5 years here, and wondering how I could ever create something like that. Now that I am here, I still wonder the same thing everyday, but am already doing it. I was surprised when I finished the final product of each project.

I also came to love studio and everyone in it. I think I was lucky enough to be placed in a studio where everyone is supportive of each other. To be in an environment where I can easily be myself and show this in my projects, really helped me. I’ve always been a perfectionist and worked hard, which really shows in architecture. Even though I am not exactly sure what architecture is, I love it.

BIEN FAIT.