Process Book Spring 2020

“Title Here”

An Environmental Design Process Book Valerie Peng

ArtCenter College of Design Environmental Design Term I Spring 2020

Get in touch with me Valerie Peng Cell: +1 (213) 284-9728 Email: valeriepeng@outlook.com

To my parents with love and wonderment.

To Ben , Bob, James, Lorry, and Yo. Special thanks to Arin , Nastya , Wei , Xinyu, and Kevin .

Copyright © 2020 by Valerie Shuoran Peng All rights reserved.

This book or any portion thereof may not be reproduced or used in any manner whatsoever without the express written permission of the publisher except for the use of brief quotations in a book review.

This book is designed to preserve the words and images of value to its author.

Art Center College of Design Pasadena, California 90117 Environmental Design May, 2020

We do not create the work .

I believe we , in fact, are discoverers.

- Glenn Murcutt

hi, This is Valerie

CON TEN TS/

01

Una Mattina pg01

02

After Darkness

pg41

03

Hilma LAB pg109

04

Dream City pg137

05

Digital Delight pg181

06

Marker Madness

pg211

07

Design Lab I pg243

1

UNA MATTINA

“ ...del tappeto kilim arancione che illumina il soggiorno, delle nuvole che passano lente come navi nel cielo, del sole che entra dalla finestra, della musica che ascolto, dei libri che leggo e di quelli che non leggo, dei miei ricordi, dei miei amici e delle persone che amo.

- Ludovico Einaudi

”

Una Mattina Music Album Cover

NARRATIVE For this project, we were asked to choose an Chapter One . Una Mattina

instrumental piece of music, and reintegrate it through various media and methodologies including collage, sumi painting, and model making. Ultimately, we were challenged to turn the music segment into a spatial experience with three key moments.

My choice went to Italian pianist Ludovico Einaudi’s acclaimed work Una Mattina (One Morning). This song was released in the year 2004, and was chosen as the theme song in the award-winning French film The Intouchables.

Through its melody, rhythm, and cadence, I began my journey of imaging a spacial story...

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MUSIC PICK

COLLAGE

The sound of this piece creates a room with no pressure and no boundaries. Not extremely loud, yet powerful, like a new born sprouting seed, so gentle and soft, yet strong enough to break the hardest soil and to reach for new life.

The space is inspiring, bring in good energy and delivers flawlessly.

Collage using ribbon, string, tracing paper and other materials

You may not realize how a spatial design is affecting you, but when you reach that peaceful and relaxing mental status, the space has already been welcoming you, supporting you, and relaxing you without your notice. The music notes intertwine, creating layers and layer of different level of calmness and mindfulness.

The repetitive yet meditating rhythm take us travel through the room, experiencing various feels at each and every corner of the room. Like a blow of wind, gently touching your skin, and leading you into different directions.

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The first step was exploring the music through collage. Music tells stories, just like spaces. I see bridges. Flow of energy. Connection. A space with no restriction.

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Top left - sumi painting Circle Song Bottom left - sumi painting Flow Top right -sumi painting Beats Bottoom right -sumi painting Texture

SUMI PAINTING The next step is traditional Japanese sumi-painting. This is a type of East Asian brush painting, which uses black ink at different concentrations.

As I was listening to the music piece, I started to drop ink onto the paper, using brushes at various thickness. Adjusting my move according to the beats, rhythm, and cadence of the music, I ended up with these art.

Sumi painting Rain

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Sketch model made with wood dowel, string, paper and other material

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SKETCH MODEL

SKETCHES & IDEAS

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INITIAL DRAFTING I

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INITIAL DRAFTING II

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INITIAL DRAFTING III

Creatively Utilizing Everything on Hand to Create a Work Station at Home

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MAKING PROCESS

A messy table top when making the final model

Using a tape measure to temporarily support the model

Taking Effective Pictures of the Model Another Significant Aspect of Model Making

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PHOTOGRAPHY PROCESS

PHOTO PRESENTATION

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In Class Presentation

My favorite eight pictures on the wall

CROPPING EXERCISE

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After printing out all the pictures I took for my model, we did a fun in-class exercise of manually cropping the images. I cut out two “L” shapes using white paper, and used them to practice cropping each picture, till I find the best framing of my images.

“L” shape cropping tool made by hand

FINAL MODEL

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Using white museum board, foam board, pipe-cleaner, and crafting “snowballs,” I created my final model. I added custom-made scale figures in neon pink color to really make them pop out.

Top - thrid moment Bottom - first moment

Second moment

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FINAL MODEL

Left - first moment Right - second moment

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BOGUS DRAWING

Last and not least, I drafted different views of my final model: elevation, plan, and both longitudinal and cross sections, and blend them together onto the same colored paper. Using white gel pen and white charcoal, I intended to achieve a dreaming and whimsical effect.

Bogus drawing on colored paper using white gel pen and charcoal

2

AFTER DARKNESS

“ I like ruins because what remains is not the total design, but the clarity of thought, the naked structure, the spirit of the thing.

- Tadao Ando

”

NARRATIVE For this project, I was “hired“ by Chapter Two . After Darkness

the city of Los Angeles to design a learning pavilion, as a satellite experience of the Old LA Zoo visits. The pavilion is meant to build awareness of the meaning of human and nature relationships. It will also look at the predicaments that wild animals are trapped in caused by human activities. Possible topics can be touched on are: the crisis of multiple creature species extinction, the disappearance of biodiversity at an disquieting rate, and etc. The space will encourage dialogues and discussions on said matters.

Old Los Angeles Zoo, 8 September 1961

The Necessity for Ruins: And Other Topics

by J.B. Jackson University of Massachusetts Press

READING MATERIAL

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Essays examine the way we perceive landscape, the effect of gardens and cities of the past on the landscapes of the present, and the way American architecture has broken with tradition. Discussion relates the importance of space to relativism throughout time.

In order to have a more thorough understanding of the background knowledge, we were assigned to read some related books as part of our research process.

These readings have prepared me a deeper study and a variety of perspectives on the subject we were about to work on.

WRITING RESPONSE Humans are naturally drawn to beautiful things. We would often stop in front of those exquisite windows of

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the department stores, and clap our hands for a marvelous piece of art. This even applies to animals as well. Whether it is a peacock spreading its tail, or the brilliant colors on a butterfly, our mother nature creates and celebrates elements that are pleasing to the eye, for an effective way to catch attention in order to achieve some type of purpose. There exists one kind of matter in human civilization, however, that is, for the most part, not pretty or attractive, and often dilapidated and has fallen apart; yet, it has significant meanings to human beings as the whole.

Ruin, by definition, is “the physical destruction or disintegration of something or the state of disintegrating or being destroyed.” Yet, the symbolic meaning of ruins goes far beyond its appearance. Ruins are necessary to human beings and our culture for various reasons.

Stonehenge, Wiltshire, England - a miraculous historical site of ruins

Firstly, ruins are evidence of our history. When ar-

Moreover, ruins encourage us to keep moving for-

chaeologists discovered the remains of Pompeii, peo-

ward and continue building our future. Just like

ple were amazed by this vast historical treasure that

what J. B. Jackson says in his book The Necessity of

our ancestor has left behind. We get to touch and feel

Ruins, “ruins provide the incentive for restoration,

how thriving and sophisticated this Roman city once

and for a return to origins. There has to be (in our

was. We would have never truly understood this part

new concept of history) an interim of death or re-

of our prodigious history had we not encountered

jection before there can be renewal and reform.

these dusty and fragmented remains. Unlike pasts

The order has to die before there can be a born-

written in books or stories spreading through anec-

again landscape.” (Jackson, The Necessity)

dotes, ruins speak for themselves. On historical ruins, “there are no dates or names, simply a sense of the

To sum up, ruins are essential to human culture,

way it used to be, history as the chronicle of everyday

for they present a strong documentation of our

existence.” (Jackson, The Necessity)

past, stimulate our thinking brain, and promote new construction and creation.

Ruins also inspire people to think and reflect, and to dig deep into the comprehensive history behind what’s presented in front of us. In this sense, you can almost say that ruins are everything but themselves. When you look at the spectacular remains of the Stonehenge, you don’t just see an alignment of gigantic rocks, do you? You would start to wonder how in the world this miraculous structure came to be. What method did ancient people use to transport their materials? How did they figure out the design and layout? Just by seeing historical ruins, we are triggered to dive into this deep thinking process and start to look for answers to the unknown.

On the right Pompeii, Province of Naples, Campania, Italy

DISCUSSION On a sunny Tuesday morning, our class stepped out of the studio together, and sat down on

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the lawn outside the cafeteria, to the enjoy the nice weather and beautiful scene.

Relaxing on a picnic mat, we opened our discussion on the assigned

reading

material.

Each student contributed to the talk by sharing his or her own feedback and thoughts on the articles, while the instructor points out key contents from time to time.

This process helped us all gained a more profound understanding of the writing, and I was ready to implement these findings on my design later on.

SITE RESEARCH The Old LA Zoo was first opened by the city of Los Angeles in the year of 1912. However, with insufficient funding, the zoo walked into a series of problems and setbacks. During Chapter Two . After Darkness

World War I, many animals in the zoo died due to a lack of food source. Unfortunately, even after the war ended, little improvements were made.

In 1939, Landscape Architect Ralph D. Cornell criticized the situation, and advocated that “the LA Zoo either should be abandoned or moved to a more congenial setting.” In 1966, the zoo finally officially closed, with a newly constructed facility taking over its animals.

And today, the ruins of Old LA Zoo serve as a historical landmark within Griffith Park, and keep on telling its past stories to the visitors.

Site Location Old Los Angeles Zoo 4801 Griffith Park Dr, Los Angeles, CA 90027

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Left page - bottom left - old cage door with wire Left page - top right - looking up from the cage Right page - top left - abandoned cage Right page - bottom left - bear pits ruins Right page - rightmost - stairs within cages

SITE ANALYSIS II One way to conduct a tangible site analysis Chapter Two . After Darkness

is through rubbing making. I laid down tracing paper on elements from the site that have a interesting surface pattern- anything from tree leaves to metal cages, and gently rub on the trace using black charcoal, and result in beautiful patterns.

Top left - chorcoal rubbing of soil ground Bottom left- chorcoal rubbing of plants Top right - chorcoal rubbing of metal cage Bottom right- chorcoal rubbing of tree leaves Right page - chorcoal rubbing of weld wires

On the right - rubbing using black charcoal and tracing paper

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INITIAL SKETCHES

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SKETCH MODEL I

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SKETCH MODEL II

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SKETCH MODEL III

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SKETCHES REVISION 1.0

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SKETCH MODEL REVISION

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SKETCHES

REVISION 2.0

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SKETCHES REVISION 3.0

DRAWING STUDY

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Experimenting with Different Methodology to Create the Ideal Effect for the Hillside

From top to bottom: Acrylic paint with mandarin orange skin Colored pencil Acrylic paint with big dry brush Acrylic paint with small damped brush Black charcoal powder

After darkness, If you stay

After darkness, What remains

The sky crumbles, The water fades

Would this be the end, The end of it all

Or would this be the beginning of a bright new age After darkness, Thou shall stay

SKETCH COLLAGE

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Part I

Moment sketches of the first part of the pavilion

A woman standing next to the sculpture looking down at the water box

A girl is looking down into the water box

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Part II

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FINAL DESIGN BOARD Part I

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Part II

Exterior View: First Spatial Moment

When you approach the pavilion from the woods, the first thing you see is a jungle of rectangular pillars made of metal that are leaning towards various directions. These rusting structures look like they are about to fall down and crush, resembling the nature and our environment crumbling down due to destructive human behaviors.

A woman walking through the pavilion, shadow of the trees casting on the structure

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FINAL RENDER

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Exterior View: First Spatial Moment

Man standing in this jungle of rusting metal blocks

Main Spatial Moment

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Day View

View when first walk inside the burnt wood box

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When you walk into the dark room made of blackened wood, there is a box filled with water on the floor. Looking into it, through the mirror sitting at the bottom, you see your own reflection drenched in the water. This unsettle feeling intends to raise questions for the visitors - if we continue to damage the environment, will we bring an end to our own species as well?

Main Spatial Moment: Day View

A man looking at his refection and a girl looking into the water box

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Main Spatial Moment: Night View

On the main wall in the middle of the room, there stands a giant sculpture of a person trying to run away but got trapped. Who’s being trapped? What is the man running away from? This unsettling scene is a metaphor of the end of human species.

What we do to the environment - deforestation, over hunting, plastic pollution... All that will come back and haunt us, and we will have to suffer from what we have done ourselves.

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Main Spatial Moment: Night View

On the surrounding walls, floor-to-ceiling mirrors are scratched from the back like claw marks everywhere, letting light comes through from behind. In the mirrors, there are distorted faces of our own, looking back at us. On the ceiling, holographic projection creates an effect of flowing water, resembling the rising sea-level that has drowned the world. The space would create this immersive spatial experience, where questions are raised and thoughts are stimulated.

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Exterior View: Part III

Following the dark and unease, there will be rebirth and reform. Just like what JB Jackson says in his book The Necessity of Ruins, “the order has to die before there can be a bornagain landscape.” After the main moment of stifling darkness, you walk out from the burnt wood box, and presented with an incredible view of nature.

Viewing platform at the end of the pavilion

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Exterior View: Part III Taking the narrow staircase, you invite yourselves back into nature.

Stopping at the viewing platform half way, you breathe in the fresh air and enjoy the sunshine. Keep walking down, you are surrounded by indigenous species with their pollinators like butterflies, bees, and birds. These scenes of harmony and prosperity will be your enduring take-away. Now go with your friends and family, go back into nature, go back into the arms of Mother Earth.

Backing back at the main room made of blackened wood planks

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Exterior View: Part III

Looking back at the pavilion from the hill

3

Hilma LAB

“ We are not a drug, not a vitamin. We are a new standard — THE CLINICAL HERBAL.

- Hilma Natural Remedies

”

This project engages in branded space design. We got to choose one out of four wellness brands, and design a pop-up store for it. The space should incorporate the idea of “unattended retail” at some level, and is aimed for advertising the brand to more potential clients.

I chose Hilma Natural Remedies as my brand, and began my project research.

Chapter Three . Hilma LAB

NARRATIVE

BRAND STORY

founded by three female entrepreneurs Nina, Lily, and Hilary.

This brand focuses on creating a whole new standard for the medicine cabinetry.

Unlike a lot of traditional medicines, where you see colorful sugar coated pills and syrup that contains chemicals, Hilma products are 100 percent natural ingredient based. And what separates them from common supplements is that, all the products are backed by science.

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Hilma is a natural remedy company

BRAND SCIENCE

We believe that science and nature are at their best when they work together.

” Hilma only uses natural ingredients that have been clinically studied. They formulate with a scientific advisory board of practicing clinicians and experts. Their team of experienced scientific advisors includes MDs, PhDs, and herbalists. They also are investing in their own clinical studies, running them on each of their unique formulas.

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“

SITE RESEARCH

Los Angeles Arts District

The Arts District is one of the borhoods in the Downtown L.A. area. In the late 1800s, it already became an industrial center for railroads and manufacturing.

In the 1990s, it was officially renamed as the “Arts District” by the pioneering community activist Joel Bloom and his supporters.

Today, it is a burgeoning urban oasis that is home to many creatives, including those in green technology, photography, fine art, design, architecture, and film and entertainment.

Site Location: 734 E 3rd St, Los Angeles, CA 90013

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most popular and striving neigh-

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SKETCHES Facade

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Plan Sketches

Moment Sketches

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Sketch Revision

FINAL RENDER

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Exterior: Facade with Street View

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Interior View of the Store I

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Interior View of the Store II

View when you first walk into the store

Looking back to the entrance from the reception counter

4

DREAM CITY

“ All cities are mad: but the madness is gallant. All cities are beautiful, but the beauty is grim.

- Christopher Morley

”

NARRATIVE This chapter presents my exercises in the course Material and Making.

In this class, we studied on various model making techniques, from what kind of glue to use, to finding proper material for each unique subject of study.

After this academic term, model making has become so endearing to my heart, and I plan to continue practicing this form of art regularly in the future of my career.

FORM STUDIES

Exploring Through Interlocking Chipboard

At the bottom - 3D pattern form study using chipboard

For this study, we explored the between

recti-

linear bases and curvilinear shapes using interlocking chipboard. At every meeting point, the two pieces of chipboard should arrive at a same height.

No glue is allowed for this project, and therefore calculating and deciding the exact cuts becomes essential.

Grabbing my ruler, knife, & other tools, I started my analysis...

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relationships

Surface Pattern Model

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The first model I developed was a repeating surface pattern. Starting with 10 identical rectangles on each directions, I made cuts that run half the height of each chipboard at every one inch.

I then cut diagonal lines running up and down on all the chipboard pieces that line in one row, achieving a repeating surface texture.

All - Surface pattern study using chipboard (Dimension - 11’ x 11’ x 1.5”)

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To Three-Dimensional Form

From Surface Pattern

Three-Dimensional Form Model Learning from the experience of the first surface pattern model, I began to understand how to calculate all the numbers I need to develop 2D chipboard pieces into 3D shapes using interlocking technique.

For the second model, I added curvy lines into the Chapter Four . Dream City

structure, making the top of each 2D piece a wavy pattern, while maintaining the bottom part flat. I was able to measure each individual meeting points, and therefore making all the interlocking knot to join perfectly, and finally achieved the interesting end result.

Both - 3D form model made from chipboard (Dimension - 11” x 11” x 5”)

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3D form model - playing with light and shadow

CITY BLOCKS

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What would your dream city look like? Is it filled with skyscrapers? Does it have a central park? Are there a lot of people walking on the busy streets?

For this project, each of us in my class would be in charge of designing two city blocks, in each block there will be one wire-frame main building, supported by building masses and other elements. Together, we will form our dream city.

Material used for wire-frame building - basswood dowels

Wire Frame Building

Because the main building of each city block would be the wire-frame tower, it is essential for us to create an eye-catching design for this main element.

Inspired by the previous form studies, I began my design trying to utilize both straight lines and curvy ones in my building.

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Wire-frame building made by basswood dowels - Tower II

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Marker Sketches and Ideas

Learning From Making There is always something unexpected happening when you make your models - that’s what I’ve come to realize during the constructing process. The joints would break before the glue drys, the cuts would not perfectly Chapter Four . Dream City

match, and the measuring never seems to be correct... These problems show up from time to time, making the process more challenging, but also equally rewarding at the same time.

Final Model: Tower I

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Wire frame building tower i, scale 1:100

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Final Model: Tower II

Wire frame building tower ii, scale 1:100

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Developing Two City Blocks

City blocks, scale 1:100

Forming Our Dream City

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The city includes two city blocks done by each student

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Forming Our Dream City

My orange and yellow city blocks among others done by fellow students

Camping Site Model

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CITY ESCAPE

Sketching out ideas for a snowy winter camping site

Model made with colored paper and wood dowels, scale: 1/2” = 1’-0”

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Final Model: Day View

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Final Model: Night View

Lighting effect achieved by fairy lights, scale: 1/2” = 1’-0”

Totem Design

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CITY LANDMARK

Design idea: marker sketch

Final model: cardboard and glue, scale 1/2” = 1’-0”

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Totem Design

Final model: base made with foam board and found objects

Design idea: marker sketch

5

DIGITAL DELIGHT

“ Digital design is like painting, except the paint never dries.

- Neville Brody, art director

”

NARRATIVE from Digital Process I course. In this class, I got access to two completely new design softwares - Rhino 6 and Unreal Engine Twinmotion.

From January to May, though out the whole academic term, I started from learning to build simple shapes, to eventually being able to design an entire house. This process not only enhanced my software skill, but also enriched my design philosophy.

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This chapter documents my projects

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Part I: Living Room and Bedroom

DAILY OBJECTS

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Part II: Living and Dining

Learning from Hadid Biomorphic Tents

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THE MASTERS

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Gehery Houses I

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Gehery Houses II

THE FLOW

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Pavilion design - promoting social interactions and communication on campus

TINY HOUSE REDUX

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Interior Views

Living room with sofa sets and piano

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Dining room and bedroom upstairs

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Exterior Views Version I

Tiny house in spring, fall, and winter

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Exterior Views Version II

6

MARKER MADNESS

“ All the visible world is only light on form.

- Andrew Loomis

”

NARRATIVE This chapter features my term-long works from Visual Communication One course. This class focuses on sketching techniques using markers, and as well as some Photoshop skills. I came in to this class with close to zero experience in sketching, nor knowledge on perspectives.

Therefore, this is a raw and unfiltered recording of my learning process. The sketches might not be perfect, but they are perfectly documenting how I grow.

Welcome to the Marker Madness.

Form studies: square boxes with shadows.

A Set of Form Studies

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Sketches: basic forms with shadows

From basic forms to everyday objects

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A Warm Christmas Home

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A girl in her room daydreaming

Books on her dresser and her violin

Bohemian style interior decorations

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A Cabin in the Woods

Three portraits of women Chapter Six . Markder Madness

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Exploded Isometric Drawings

Isometric Design: A Whimsical City

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Chair Anatomy Part I

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Chair Anatomy Part II

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Set Studies: City and Countryside

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Set Studies: Arcade, Hotel, and City Street

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Coffee Shop Designs

Coffee shop design I

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Coffee shop design II

Coffee shop design III

7

DESIGN LAB I

“ Graphic design will save the world right after rock and roll does.”

- David Carson, graphic designer

”

NARRATIVE Chapter Seven . Design Lab I

This chapter features my work from Design Lab I. In this class, I was taught on all the essentials of graphic design, from the meanings of “kerning,” to how to create hierarchy using various methods.

It is also the course where I, step by step, built this whole Process Book.

Through this class, I learned to appreciate the magic of graphic design, and this journey will continue to benefit me throughout my design career.

LOGO DESIGN

In this practice, we were challenged to design a logo for one word, picking from six musical terms: tempo, rhythm, beat, cadence, harmony, dynamic.

I chose the word “beat.“ Imagining and thinking about what this word means to me, I came up with these designs.

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Revisions

Final Logo Design

Poster Design First Version

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POSTER DESIGN Next up, we needed to design a poster featuring our final logo. The content should also include three definitions of our word: dictionary definition, musical definition, and personal definition. To object is for us to create a hierarchy using colors, font size, and other methods.

Final Poster Design

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Poster Design Different Versions

AFTERWORD

Being an optimist is a prerequisite for anybody who wants to build, because construction is a matter of optimism; it’s a matter of facing the future with confidence.

- Cesar Pelli