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design portfoliofall 2009

freeby

cal poly state universitysan luis obispo

a l yr o d g e r s

a l yr o d g e r s

aly rodgers grew up in a mili-tary family, moving every cou-ple of years, within the country as well as abroad. she attended coronado high school in san diego, devoted much of her time to ap classes and the varsity water polo team, and graduated in 2008.

after her senior year, she did a year-long exchange in french-speaking lige, belgium. she lived with three different host families and had many oppor-tunities to travel. through her travels, her appreciation for culture and architecture grew exponentially.

she is interested in design and architecture studies at cal poly as a means to further her un-derstanding of space and how it affects us in our daily lives. she hopes to use her language and architecture skills to help preserve culture by reconcil-ing old architecture with the

new; valuing the original inten-tion, while introducing modern ideas and designs.

hometown: coronado, cahigh school: coronado highinterests: travelling, sketching, water colormajor : architecture

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seeing points and lines, positive and negative space, repetition, order, edges

the start of design. the beginning of how to turn an idea into a coher-ent composition. it takes practice and time to develop the skill to create. here, the search for design elements in our everyday lives began with inspiring and meaningful words in mind. these photos and sketches were

destined for something unknown to the author. first one must concentrate on how to take a photo so that it can stand on its own. whether others understand the subject matter is a different

story. one must start by seeing to help others see.

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compostitions created from photos: single photo, two-photo analog, two-photo digital

there is always something outside of what is seen. photos were expanded, sliced, joined, contrasted, and much more to create compositions that allowed for elaboration on a closed set of information.

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design model based on two single-photo models, model sketches

volume. three dimensions. more is added to the photo compositions in order to expand the imagination. the concept of designing space starts to form when the 3-d mod-els are connected.

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study shadow model, based on shadow of photo model

light is a tool, as is the absence of light. working with shadows can inspire designs that would otherwise be near impossible to develop. the elements which make up this piece are the culmination of a mixture of the abstractions

preceding it, coming together to form something concrete.

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final basswood shadow model

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there is no specific time for design. it is a way of being. a way of looking at the world. inspiration to create may be stronger at some times more than oth-ers, but there is a constant intrinsic pas-sion for design that is acquired by prac-tice and necessary to truly fulfill the life of an architect, or any designer. that

passion is what i have begun to find.

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ow the first time i met allison and talked to her about her thesis project, i was happily surprised to find out that her main focus was about rhythm. shes studying and creating a design for a terminal in the dallas airport. i never would have associated an airport with rhythm, but allisons clear insight describes how an airport terminal, with its long corridors and con-stant movement, provide a perfect environment for a study of rhythm. there is a rhythm of transition for all different types of people. families, businessmen, people travelling just to see the world...they all have a dif-ferent stride but move in the same space, affecting thier environment, or rather moving with the environment that has been designed to serve this need. a need for rhythm and con-sistency in a period or mentality of

constant change.

40 a dynamic composition encourages the eye to explore

68 design in section

72 design with models!

101 things i learned in architecture school

100 give it a name

85 gently suggest material qualities rather than draw them in a literal manner

theres nothing wrong with simple

-allison wasilewski

people need to be able to understand your project without you being there

allison pulls inspiration from the works of santiago calatrava, richard rogers, fentress bradburn architects, eero saarinen, and maya lin

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encountering harford pier : the beginning of expansionphotos. rubbings. sketches. water colors. charcoal

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harford pier offered its char-acter, its textures, its looks, its feeling to be grasped and experienced. the site pro-vided a take off point for expansion. this expansion would be to amplify the un-derlying emotion of the pier

itself.

photos. rubbings. sketches. water colors. charcoal

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movement into draftingphotos. rubbings. sketches. water colors

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to see, to hear, to taste, to touch, to smell. to sense. we gather, express and translate experience through these means.

tactile experience becomes organized. all details put into an order. order that must encompass and communi-cate the pier as something to be built.

first planmovement into drafting

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projection of site base study model

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personal pier addition: firstandseconditerations

there is a certain rhythm to the pier : the rising and setting sun that has such a strong impact on its nature, the lap-ping of water beneath, the planks that make up the deck. all of these factors and more spark a certain flow and tem-po for the pier. my goal was to continue that rhythm based on my own experi-ence there

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personal pier addition: third iteration

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personal pier addition: third iteration ar

final model

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the motions are so nicely adjusted that one seems to give rise to the next without conscious effort, like the swinging to and fro of a pendu-lum...like the tones of the organ, they carry on and on and it is only in their rhythmic relation to each other that they obtain meaning. -s.e.rasmussen

experiencing architecture

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final model

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final draft: personal addition

the abstract became concrete, the emo-tion became material. can it actual be built? an order is once again created on vellum. an order to the progres-sion from abstract to conceivable design.

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