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SEEN & UNSEEN c o n n e c t i o n s

Spencer Bates UCLA M.Arch I Candidate 2013


Spencer Bates UCLA M.Arch I Candidate 2013


Spencer Bates UCLA M.Arch I 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]

Questions & Answers

Personal Exploration in Function

FINE ART

Drawings + Paintings + Writing


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


“There is one knows not what sweet mystery about this sea, whose gently awful stirrings seem to speak of some hidden soul beneath.” Herman Melville “Moby Dick”

[01]

6

[IN]Arch Berkeley Summer

[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. The main basis for our formal inquiry involved the examination of the phenomenal and the real, their co-dependency upon one another, and our ability to express these connections by employing a variety of media skills. [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, iterated, and assigned tasks to guide the [02] PATTERNING SKIN to reveal the 3D consequences of 2D choices. [03] OLFACTOGRAPHY investigated smell distribution throughout San Francisco in order to reveal patterns of urban use that are otherwise unnoticed. Lastly, [04] PARASITIC FORM combined elements of our skin and mapping studies to produce a built environment for spontaneous urban interaction that reveal underlying characteristics of a chosen site.

[IN]Arch Berkeley Summer

7


[01]

MECHANICAL ARTIFACT 1:1 Analog Drawing

3 sections, 2 elevations, and 2 plans arranged compositionally to display the function of this balsa chopper. Leads on Mylar 18” x 36”

8

[IN]Arch Berkeley Summer


PATTERNING SKIN [02]

2D Lines and 3D Implications A 2D “pattern” was lifted from construction lines in the mechanical drawing, repeated, and superimposed, yielding a set of lines to guide the construction of 3D form. Adobe Illustrator, Analog Drawing, Paper Modeling of 18” x 36” on 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

9


a

b

10

[IN]Arch Berkeley Summer

c

d

e


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 guide the key signature, resulting in a spontaneous form that equalizes the paper’s stresses.

g

h

a,f. Paper Skins 18” x 36” b-d. Model Details e,g. Hand Drawn Pattern h. Hand Drawn Section

[IN]Arch Berkeley Summer

11


c 400’

East

a

Filbert Street

b

12

[IN]Arch Berkeley Summer

10’


PARASITIC FORM [04]

Reinterpreting Structure

The existing staircase’s form is morphed to compose a structural skin that incorporates humans and site into a series of apertures that focus attention on the sweeping bay vistas and allow for a variety of programs to take place.

d

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

f

g

Model d investigates slotting dowels through corrugation, while models e and f translate stair tread dimensions as building blocks for receiving dowels that knit the structure together. Diagram g digitally displays the finalized joinery process.

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

[IN]Arch Berkeley Summer

13


a

14

b

c

a. East Facing Rendering b. Descend c. Encounter d. Interact

The malleable structure responds to the needs of the user and can be manipulated to frame views of the bay, provide seating, and encourage an alternative path along the stairs.

[IN]Arch Berkeley Summer

d


a

b

c

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

10’

d

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

[IN]Arch Berkeley Summer

15


“If any arts have lasting beauty, they must certainly exist in utilitarian objects created by people aware of the materials, forms, colors and surfaces that please the eye and the body - and consequently live on through the years, growing more mellow and beautiful as time passes.� Sam Maloof

[05]

16

Questions & Answers

[06]

[07]

[09]


[TWO]

QUESTIONS & ANSWERS

Personal Exploration in Function An avid builder, I relish every element of the design and fabrication process—from penning concepts on paper to applying a final coat of varnish. Each of the following personal projects sought to explore material and formal constraints, functional demands, and aesthetic choices in a critical way that addressed each of the unseen parameters. What resulted is a collection of works whose outcomes were conditioned by the hidden constraints spanning the project’s development. The [05] TRAPEZOID TABLE and [06] CUBBY CUBE are two examples of furniture pieces that I designed and hand built 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.

Questions & Answers

17


[05]

TRAPEZOID TABLE Coffee Table Geometry

I designed and built this piece with the goals of recycling hardwood flooring panels, practicing complex geometry, and employing traditional wood joinery techniques. These subtle design parameters had a large influence on the resulting form.

a

c

b

d

Various Hardwoods and Tung Oil 41” x 17” x 12”

e

a-d. Construction Assembly e. Final Piece

18

Questions & Answers


a a

b

b

4�

c

Eschewing metal fasteners, I employed dado, dowel, and miter joinery. The entire piece was successfully assembled before gluing, then disassembled and put back together with glue.

c

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

Questions & Answers

19


[06]

CUBBY CUBE

Storage in the Round Similar to the Trapezoid Table, this piece utilizes the same wood flooring scrap and similarly eschews metal fasteners. The use of precise dado joinery allows each wall panel to both carve out the cavernous voids for use and support the structure as a whole.

b

Bamboo and Mahogany Flooring and Tung Oil 20” x 20” x 20” c

a

a, b. Concept Sketches c, d. Construction Assembly e. Rhino Assembly Diagram

20

Questions & Answers

d

e


a

b

c

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

d

e

a. Rotation Sequence b. Joinery Sketches c-e. Joinery Details

Questions & Answers

21


[07]

PINWHEEL QUILT Paterning Textiles

Designed and sewn using offcut textiles, I sought to learn the art of quilting while reusing cast off fabrics. Assortment of Fabric and Batik 120” x 90”

a

b

c

e

f

a. Project Tools b. Pattern Dimensions c. Cut Strips Pre-Sewn d, f. Sewing Strips e, g. Ironing Strips

22

Questions & Answers

d

g


a

c

d

e

Like the CUBBY CUBE, a central shape is rotated and repeated about a fixed point to describe the pattern.

b

f

g a, b. Finished Quilt c. Cuting Strip Panel d, f. Sewing Panels e. Prepping Four Panels g. Finished Pinwheel

Questions & Answers

23


[07]

PINWHEEL QUILT Paterning Textiles

Designed and sewn using offcut textiles, I sought to learn the art of quilting while reusing cast off fabrics. Assortment of Fabric and Batik 120” x 90”

a

b

c

e

f

a. Project Tools b. Pattern Dimensions c. Cut Strips Pre-Sewn d, f. Sewing Strips e, g. Ironing Strips

24

Questions & Answers

d

g


a

c

d

e

Like the CUBBY CUBE, a central shape is rotated and repeated about a fixed point to describe the pattern.

b

f

g a, b. Finished Quilt c. Cuting Strip Panel d, f. Sewing Panels e. Prepping Four Panels g. Finished Pinwheel

Questions & Answers

25

test 11/25  

sewing test

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