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Spencer Bates

M.Arch Candidate 2013


“An invisible landscape conditions the visible one; everything that moves in the sunlight is driven by the lapping wave enclosed beneath the rock’s calcareous sky.” Italo Calvino “Invisible Cities”

[ONE]

[IN]ARCH BERKELEY SUMMER Architectural Inquiry

[TWO] [THREE]

EXPLORATION IN 3D Personal Projects

FINE ART

Drawings + Paintings + Writing


[00]

INDEX

549 4th Street Manhattan Beach, CA 90266 310.221.1997 spencertbates@yahoo.com http://arch360.wordpress.com/


[01]

[02]

[03]

[04]


[ONE]

[IN]ARCH BERKELEY SUMMER Architectural Inquiry

Interested in design for some time, I enrolled in the U.C. Berkeley [IN]Arch Summer program to experience the studio environment and to affirm my interests in pursuing graduate studies in architecture. Under the guidance of Professor Keith Plymale, I honed old skills and learned new ones to apply toward each of our projects spanning the six week studio. The first project we began, [01] MECHANICAL ARTIFACT, involved the accurate representation of an object and it’s mechanical function in 1:1 scale using tradition hand drafting techniques. From this composition a pattern was identified from among a set of crossing lines and was iterated and assigned tasks to guide the [02] PATTERNING SKIN. Higher formal order is expressed through seemingly innocuous 2-dimensional lines and the relationship between the seen and unseen is made apparent. To describe this literal versus phenomenal relationship further, I mapped smells, [03] OLFACTOGRAPHY, throughout San Francisco in order to reveal patterns of urban use that are otherwise unnoticed. Using the data derived for and expressed by the map, I combined the lessons learned from patterning skin to design a [04] PARASITIC FORM that would provide a place for spontaneous urban interaction and reveal underlying characteristics of the chosen site.

5


[01]

MECHANICAL ARTIFACT 1:1 Analog Drawing

Tasked with graphically displaying the function of an object, I illustrated 3 sections, 2 elevations, and 2 plans arranged compositionally so as to display the function of this wood model wood chopper. Variety of leads on mylar 18” x 36”

SCALE

6

[IN]Arch Berkeley Summer


PATTERNING SKIN [02]

2D Lines and 3D Results By creating a “pattern” lifted from construction lines in the mechanical drawing, I repated and superimposed the pattern to reveal a set of lines that would guide the threedimensionalizing of the form. Adobe Illustrator, Analog Drawing, Paper Modeling of 18” x 36” 90 lb. Bristol.

a

b

“The drawing as artifact is unimportant. It is a set of instructions for realizing another artifact.” Stan Allen “Mapping the Unmappable” c

d

a,c. Adobe Illustrator Pattern b,d. Paper Study Model

[IN]Arch Berkeley Summer

7


a

b

c

d

e

SCALE

8

[IN]Arch Berkeley Summer


Section Cut Line

Fold Up Fold Down Cut Construction Line

f

Construction lines project from the repeated pattern and are assigned one of three rules. Tensions in the paper dictate the key signature resulting in a spontaneous form that equalizes all of the paper’s tensions.

g

h

a,f. Paper Skin b-d. Details e,g. Hand Drawn Pattern h. Hand Drawn Section

[IN]Arch Berkeley Summer

9


[03]

OLFACTOGRAPHY

Action Reveals Function Goal: Like the mechanical drawing and paper models, reveal higher order from superficial phenomena. Method: Using literal smells, reveal patterns of ethnic, social, infrastructural and other urban boundaries to compose a more significant understanding of the city. Tools: Sense of smell, dérive (“drifting”), camera, Adobe Illustrator

PUNGENT

MILD

FREQUENCY

10

[IN]Arch Berkeley Summer


100 FT URBAN WIND FLOWS

TAR

N

CONCRETE CUSTODIAL SMELLS

URINE PERFUME CIGARETTE SMOKE MARIJUANA

FOOD

/ RESTAURANT

ALCOHOL

GRASS

/ BAR

/ FLOWERS SEWERS

1000 FT

TRASH EXHAUST

AN OLFACTOGRAPHY OF SAN FRANCISCO MAPPING INCIDENCE OF ODIFEROUS PUNGENCY TO REVEAL PATTERNS OF URBAN USE

[IN]Arch Berkeley Summer

11


c

1/8”: 100’

East

a

Filbert Street

b

12

[IN]Arch Berkeley Summer

1/8”: 2.5’


PARASITIC FORM [04]

Tunnel Vision in Structure The existing staircase boasts views of the Golden Gate and the form takes advantage of these lines of site by directing viewers through a skin/structure that wraps and incorporates the stairs for spontaneous public use.

d

Rhino 3D, Adobe Illustrator, Adobe Photoshop, Physical Model Fabrication

e

f

Wooden blocks of the same dimensions as the stair treads were fabricated to recieve the long dowels to envelop the staircase with the structural skin.

g

a. North Elevation b. Site Plan c. Site Map d, e, f. Study Models g. Axonometric Joinery

[IN]Arch Berkeley Summer

13


a

PERSON APPROACHING SKIN

SKIN APPROACHING PERSON BY SWINGING OUT

PERSON SITS ON BENCH NOT FORMERLY THERE

b

c

d

a. East Facing Rendering b. Movement #1 c. Movement #2 d. Movement #3

14

[IN]Arch Berkeley Summer

“Architecture ceases to be a backdrop for actions, becoming the action itself.” Bernard Tschumi, “Spaces and Events”


a

b

c

d 1/8”: 2.5’

Designed as a series of apertures, the skin folds and wraps around the staircase offering an alternative path while directing views to the Bay Bridge.

a, b, c. 1/8” Scale Model Details d. Northwest Perspective

[IN]Arch Berkeley Summer

15


[05]

[06]

[07]

[09]


[TWO]

EXPLORATION IN 3D Personal Projects

As an avid builder, I strive to surround myself with selfmade objects that serve a variety of functional roles while conforming to personal aesthetic tastes. From beginning with concepts on paper to applying a last coat of varnish, I find enjoyment in every element of the design and fabrication process and find true satisfaction producing works that serve a functional purpose. From storage to keeping warm, from having fun in the ocean to having fun at home, each of the following pieces were designed for functional use day in and day out. The [05] TRAPEZOID TABLE and [06] CUBBY CUBE are two examples of furniture pieces that I designed and handbuilt using reclaimed wood flooring and traditional wood joinery techniques that eschew metal fasteners. Upon moving to a cold apartment, the [07] PINWHEEL QUILT became my first foray into designing and sewing a work of textile. [08] SURFBOARDS and [09] PADDLEBOARD are vehicles for my aquatic thrills. The [10] BROWN HOME is an example of interior design and carpentry aimed at reimagining an existing space. [11] JEWELRY BOX is a traditional approach to the time honored chattel.

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[05]

TRAPEZOID TABLE

Coffee Table Geometry Designed to be approached in the round, this furniture piece is a study in recycling, simplicity, and structure. With only three distinct piece types joined by biscuits and dados, panels are arranged to both support the structure and carve out the cavernous cubbies for use. All wood was remilled from flooring scrap and finished with tung oil.

a

41” x 17” x 12”

b

a-c. Construction Assembly d. Final Piece

18

Exploration in 3D

d

c


a a

b

b

c

c

1.5�:1’

Designed without the use of metal fasteners, traditional wood joinery techniques strengthen the structure.

Rhino 3D and Illustrator Joinery a, b. Dado Joinery Details c. Dowel + Miter Joinery

Exploration in 3D

19


[06]

CUBBY CUBE

Storage in the Round Designed to be approached in the round, this furniture piece is a study in recycling, simplicity, and structure. With only three distinct piece types joined by biscuits and dados, panels are arranged to both support the structure and carve out the cavernous cubbies for use. All wood was remilled from flooring scrap and finished with tung oil.

a

20” x 20” x 20”

b

c

a. Concept Sketches b-d. Construction Assembly e. Rhino Assembly Diagram

20

Exploration in 3D

d

e

1/4” : 1/3’


a

Designed in the round, the symmetry of this piece allows for 4 points of access.

b

c

d

a. Joinery Sketches b-d. Joinery Details

Exploration in 3D

21


[07]

PINWHEEL QUILT Patterning Textiles

Like the CUBBY CUBE, a central shape is rotated about a fixed point to describe the pattern. Designed and hand sewn using scrap fabric. 120� x 90� Scrap Fabric and Batiks a

b

a. Pattern Sketch (dashed lines are seams) b. Perspective Photo c. Pattern Detail

22

Exploration in 3D

c


SURFBOARDS [08]

Function in the Water Fin arrangements, bottom contours, tail shapes, and rail edges are designed and hand built with specific hydrodynamic goals in mind.

a

Polyeurethane Foam, Tempra, and Polyesther Resin Over Fiberglass

b

a. 6’6” Quad Fin Pin Tail b. 5’6” Twin Fin Swallow Tail

Exploration in 3D

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[09]

PADDLEBOARD

Hydrodynamic Art I designed this project with two goals in mind--stability and speed--for use in a 32 mile ocean race. Beginning with a block of foam, I shaped the 12’ paddleboard, laminated the foam with fiberglass and expoxy, and painted the exterior over more than 100 hours of labor.

d

12’ x 18.5” x 8.5” 16 lbs. Expanded Polystyrene Foam (EPS), Fiberglass, Epoxy, Marine Enamel

b

a

a. Paddling in Race b. Sketching Dimensions c. Shaped Board d. 12’6” x 2’ x 1’ EPS Foam Block e. Marking Measurements

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Exploration in 3D

c

e


c

a

b

d

e

f

a. Cutting Outline Square b. Rounding Top + Carving Body Cavity c. Sealing Foam with Spackle d. Dry Fiberglass and Resin e,f. Completed Board

Exploration in 3D

25


[10]

BROWN HOME

New Life in New Orleans Hired by the owner of this New Orleans Shotgun, I gutted and reclaimed original Heart Pine from the interior before paneling walls, ceilings and cabinetry with the refurbished lumber. I also designed and built the finger joint kitchen counter.

a

a. Kitchen Wall, Cabinets and Counter b. Finger Joint Counter Finished with Resin c. Hallway and Ceiling Paneling

26

Exploration in 3D

b

c


JEWELRY BOX [11]

Scrap Wood Heirloom

While apprenticing for a woodworker, I collected hardwood scraps for use in this piece. Designed and built with aesthetics, traditional joinery, and function in mind, this box boasts a drawer and upper compartment. 13” x 9” x 6” Ebony & Mahogany with Cherry Stain Ebony, Bloodway, Lacewood Inlay

PICTURE OF THE BOX OPEN AND A QUICK SKETCH WITH DIMENSIONS AND CONSTRUCTION NOTES

a

b

a. Completed Piece b. Dimensional Sketch

Explorations in 3D

27


[12]

[13]

[14]


[THREE]

FINE ART

Painting + Drawing + Writing Whether designing functional objects, lessons plans, or trips, I take pleasure in the conceptualizing of a goal and seeing it through to fruition. The following works represent sketchbook or painting explorations of my thoughts at a given moment in time. The closing piece is a published piece of poetry that borrows Dante Alghiheri’s form to explore biblical motifs for a classics course. [12] WATERCOLORS have always fastenated me as a medium for conveying feeling in a spontaneous and unexpected way. The [13] DRAWING DERIVE study is an extension of my OLFACTOGRAPHY, where I let my subconcious lead me through Oakland city streets and used my sketchbook as a log for what my experiences conveyed about my surroundings. Always fond of the written word, I chose to study literature in college with an emphasis on drawing connections across diciplines. [14] DANTE’S LOST CANTO represents the amalgamation of my academic journey at the time, drawing upon biblical fables and imagery, Medieval form, and careful reverence for terza rima structure.

29


[12]

WATERCOLORS

Spontaneous Impressions The loosness of watercolor is a useful medium for me to quickly capture an impression of a time and space.

a

a. Blind Contour Line Self Portraits b. Self Portrait Water Color 5.5” x 8”

30

Fine Art

b


a

b

a. Bridge Closeup b. Bridge at Ronda, Spain 5” x 9”

Fine Art

31


[13]

DRAWING

Subconcious Expressions Drawing has always been the quickest way for me to develop an idea, express a mood, or record an impression.

a

a. 5” x 5” Paper Bag Sketchbook Cover b. George Clinton

32

Fine Art

b

Ink, Colored Pencil, Paint Pen on Paper Bag


a

0.05 Micron Pen on Paper

b

c

a. Foot Study 8” x 11” b. Hand Studies 8” x 11” c. New Orleans Sketch 4” x 5”

Fine Art

33


[14]

DANTE’S LOST CANTO Creative Writing

This piece was written for a classics course and draws upon a myriad of academic topics. It is strictly written within the terza rima poetic form. Venturing further into Cocytus’ chill, my mind too was caught by the frozen wind, cold and unable to sing rhymes that distill; the melancholy truths of the sight rescind, until, halted by fear, and in silence fled. Though the cold soon made my blood slow and thin, together with Virgil our feet still did tread, until we passed into a frightening ring, where souls were frozen half way up the head. O mysterious world, now shall I sing of sights no eyes were meant to see, except those of filial Traitors consigned to this ring. Guided by Virgil, a body he chose, cracked by eternal cold, unable to speak, eyes wide open, alone from the ice arose forever punished, unable to shriek. “For your knowledge and posterity, know this, here before you is the traitor of Isaac,” Virgil intoned with gentle love, “heart amiss, and convinced by the mother, he concealed his identity, giving himself to Dis. By bearing the fur and stooping to kneel, he dishonored his brother and blind father; but his spoken lies were what helped to seal

34

Fine Art

a fate where he wishes for anything better.” I looked into the frozen eyes of the man, and saw a numbed soul, an eternal debtor. Unable to blink, Jacob’s eyes could not ban the sight of devils dishonoring his soul, by picking away at the flesh of his tan. Virgil continued, unable to extol, instead speaking gently of the shades about, “Because of their lies, no being can console these men of dishonor and eternal bout. In their father’s and the Father’s eyes, ill repute, for their Traitorous deeds and their moral drought. Tread carefully lest you trample in salute, your exhausted, wretched brothers who honor themselves, over those who bore their living fruit.” Thus spoke my guide as we continued to saunter over frozen floors encasing these hopeless beings who spent all, now bankrupt of honor. Over the tundra of glass, I must confess, the sights did instill hate and fear of this fate, as shade after shade was ravaged in distress. With the help of my guide, my hate did abate, yet fear of these punishments still occupied my mind, as souls were tortured in this cold state. Ahead in the distance, three figures I spied, facing each other in a frozen recess, the shades were gazing, a simple blink denied. Their sins in view, they were forced to witness their treason to the holy Father above, their mouths in the ice, unable to confess.


“Here before you are those unfortunates of old, who gave false words to their troubled brother. Eliphaz, the Temanite, who spoke false love;

dwelling on his father with great mental weight, as I shut my eyes, blocking out this sad sight, seeing my own parents, trying to relate.

he claimed that Job must have angered the Other, in order to warrant the wrath from Aloft, attempting to say that Job was a bad lover:

Now my dreams will be filled with concern tonight. I will dwell on my body’s earthly makers, and pray I find providence for my contrite

‘Can mortals be righteous before God?’ he scoffed. The second is Bildad the Shuhite of old, who told poor Job to become extremely soft,

heart, that is given to love for the Taker of souls above and my begetters below, recalling the commandments of our Maker, an honest life we all must lead, I now know.

‘Seek God and make supplication,’ he thus told, yet sad Job ignored the repentant advice, and, as Eliphaz, Bildad’s soul is now cold. Lastly is Zophar, the friend believed precise, ‘This is the portion of the wicked from God,’ that Job was punished for evilness and vice. Understand that these thoughts were each a façade, where honor and faithfulness to the Father was obscured by false words, no man could applaud. These three do appear honest and just; rather, they are models of something quite different, where each is in sin, equal to the other. Just as Jacob, interred in frozen torment, dishonored his father, these three broke the Fifth, the law that no good human can circumvent: ‘Honor your father and mother,’ goes the myth, thus one’s father on earth and Father atop must be honored; as you can observe herewith, these shades, whose dishonor they tried not to stop, have condemned themselves to this appalling fate.” His diatribe concluded, Virgil looked up, “Dante’s Forgotten Canto XXXIII1/2.” Journal of the Core Curriculum. Ed. Robyn Fialkow. Boston: Boston University, 2007. 47-50. Print

Fine Art

35


Spencer Bates M.Arch Candidate 2013

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