Laurie MillanArch 101Professor Jerry Lum10/9/13

ARCH 101 LEARNING PORTFOLIO

Objective:

This exercise challenged us to select and arrange 12 similar objects on a a 8-1/2 inch x 12-inch chipboard.

Design Process:

In my initial iteration, I took the instructions of the assignment very literally. I knew that I wanted the 12 objects I selected to all be organic materials from the earth. These objects were to somehow be an extension of ourselves. I was fascinated by the natural patterns and shapes that presented themselves receptively on the objects I found such as the veins on the back of a sand dollar, the star or flower that we find on the front of the sand dollar, the bold core and gentle pedals of the sunflower, the veins of a leaf, the changing lines and patterns we find on rocks.

ICE BREAKER: ITERATION 1

ITERATION 1: DESIGN PROCESS CONT…Design Process Continued:My initial intention was not to create an architecturally structural iteration but something in which the selected objects would become the inspiration which we could possibly build from.

I wanted to try and emphasize the beauty of these organic objects in their natural state but also to taint them in someone way to demonstrate how we are tainted from our own natural state and molded by our society. I took red acrylic paint and applied paint to each object. The color red is symbolic of both life and death. I also carved wounds into the bark that I had collected and added paint to the carving to emphasize these wounds as well. Finally the objects were the arranged by experimenting with the object and placing them in a way that was most visually pleasing.

Pros and Cons: While my design process seems a bit scattered, I feel I had a narrative process developing rather than just selecting 12 objects and sticking them on paper there was a selection process. I made the mistake of not prioritize the aesthetics of the arrangements of these objects in plan view which is the view in which the model was being displayed. I think that the model was more interesting in elevation view. I also needed to select a better adhesive that would keep my pieces from falling off.

ITERATION 1 CONCLUSIONS

Objective: Take iteration No. 1 rearrange and improve our models based on the in class critiques for our iteration 1 exercise. We were instructed not to abandon our design but to simply try and improve or enhance it.

Design Process:Since we were instructed not to abandon our initial iteration, I choose to retain the theme of selecting purely natural objects and to consider the arrangements and patterns creating by the placement of these objects on my canvas. I added a few items such as the cactus flower and its pedals as well as a broken sea shell and tried to create more interest by breaking the objects and taking their broken pieces to rearrange their pattern.

ITERATION 2

Narrative: This narrative is a continued discussion from my first iteration. The second iteration emphasizes a sense of entrapment as the pedals of the cactus flower create a type of wall/ barrier around the core of the design. The pieces of a broken shell lie in the center. This is a representation of liberation and breaking free from the encasement which surrounds it. The eye is naturally drawn to the center of the iteration. It looks almost as though it has grown a set of wings and is preparing to fly.

ITERATION 2: NARRATIVE

Pros and Cons:I realized that perhaps the materials I had selected were not suitable for my design because many of the items I selected were drying out. On one hand, artistically this is a beautiful symbolism of how life and how time passes. However architecturally, your design has to be aesthetically pleasing. As time passed my design became less presentable and loss it’s initial essence.

I was constrained by my narrow understanding of the project. I thought that the requirements only allowed for us to select the physical items presented in our 1st iteration. Therefore the development in my second design did not allow for much growth as I repeated what probably was my problem to begin with. Going forward I learn to use other materials to help emphasize my narrative in a more constructive way.

ITERATION 2: PROS AND CONS

ITERATION 3: KIT OF PARTS

Objective: Deconstruct Iterations 1 and 2. Identify the expressive qualities you are trying to evoke in others experience of your construction. Design Process: We began this exercise by drawing elevations of our iterations, taking pictures of our designs from different point of perspective then that followed with our drawings which broke down the parts which we used to construct our designs.

ITERATION 3Design Process:I had a difficult time drawing out my visual conceptions. I knew that I wanted to utilize the cactus pedals and pieces of seashell and somehow layer these elements to demonstrate a quality of progressive growth among the elements; however I was uncertain how I would achieve this. I had concluded in my previous iteration that I would not be able to use living objects as they proved to have no longevity in my previous work. Nevertheless I wanted to maintain the natural raw qualities found among these objects.

ITERATION 3- KIT OF PARTS: DESIGN PROCESS CONTIUNED…

Design Process Continued…In order to layer these elements I had to come up with a base or link that would allow me to layer these objects. In my selection of materials I choose to go with a clay base that would allow me to mold and manipulate the materials in a way that would keep a realness and demonstrate qualities of beauty upon its imperfections. I selected molding clay with a paper Mache base; this material dries with a rough texture and was said to have realistic texture quality to it. Nevertheless, the material proved to be a challenged to work with.

My greatest challenge and realization was how to connect these expressive qualities and ability to evoke the emotion in my design in a way that could be appreciated in the architectural community. My focus in creating this iteration was more on the narrative and trying to extract those emotions into my design. However I had no interest in my making my iteration visually pleasing to my audience. I took an artistic approach on this exercise. I had to find a way to realize these same visual in an architectural context. This would be my next test.

KIT OF PARTS: NARRATIVE

Narrative:The most significant aspect in my design is the realism and imperfections which are developed by the natural patterns, textures and shapes that exist in life and our natural surroundings. I wanted my piece to allow my audience to connect and converse about the life and the constant rebirth of ourselves as we deconstruct and rebuild ourselves from the hardships that we face. It is a discussion of how we break from our natural forms (the people we are born as). We come into this world untainted and as we experience life we are broken by this society and learn to weave our way through the social structures that have been created. We encounter hardships, joy barriers. We take from our broken pieces and rebuild from these pieces and evolve into something even more beautiful.

Design Process:

The initial step in my design process was to research the mathematics in the Fibonacci sequence. After understanding the mathematics involved behind sequence, I research how we the sequence is related to earth and objects. It is in fact seen in a lot of our surroundings. It is what creates a natural balance and order in things.

The next step was to somehow apply it to my own project. I knew that many of the parts I selected were already composed of these natural orders however I wanted to avoid being too literal since this proved to be my biggest weakness in my previous designs. My goal was to develop a model that reflected my growing narrative of growth and development while still somehow implementing the use of the Fibonacci sequence.

ITERATION 4: DESIGN AND THE FIBONACCI SEQUENCE

ITERATION 4: DESIGN PROCESS

Design Process continued…I extracted the natural rhythm and patterns I found in my broken shell. I also noticed that the cactus flower created a linear development of line height similar that somewhat mimicked the Fibonacci sequence taking the imaginary lines from the core of the flower. I utilized both of these theories to develop a model in which the height of the sections were created using the Fibonacci sequence and blossom out from the core much like the cactus flower. I then integrated the flow of the shell by using wire to create the grooves and rhythm as inspired in the broken shell. Finally, I used red thread to create the lines that connected the height of the grooves to the shell.

Narrative:

We feel and experience many things in our lifetime some experiences are joyful and some are more painful. It is hard to face the world and not break in some form or another. The world is not always an easy place. Nevertheless it is from these broken pieces we help shape and redefine the people that we are today and that we will become tomorrow. Even when we have hit our darkest hour, we have the potential to blossom into something greater.

I wanted my model to somehow convey a sense of eternal growth and to feel like it was blossoming from every direction. I took the blossom effect by following the pattern I discovered in the pedaled cactus flower found in my second iteration. I was able to help develop this concept by utilizing the Fibonacci sequence in my design. My original iteration used a lot of natural resources. I wanted to develop a theme which recognized the same patterns and proportions found in nature and how we are emerge from that and are a part of that.

ITERATION 4: NARRATIVE

Objective: Start with a small scale model of entire idease. Progressively scale up the model selecting the most interesting aspect. Focus on a section of your previous iteration and enlarge to emphasize a strength that you would like to share.

Design Process Iteration 5:

In iteration 5, I wanted to extract what I believe I had achieved in iteration 4 which was an interesting development and balance of grooves and curves with a combination of lines. I selected sections of the Fibonacci leaf from my previous iteration and extend the section at the point of intersection to create an asymmetrical opposition.

I continued this by extending and repeating the section but flipping it around and connecting both pieces with the continuing groove patterns in the wire metal. I then used red string which I later substituted with beaded string wire to connect the grooves with the central point. My intention was to keep all the elements involved connected.

ITERATION 5 AND 6

Iteration 5Iteration 5 Iteration 6Iteration 6

Design Process Iteration 6:

I simplified the section and doubled the size to focus on the individual groove and the relationship with its asymmetrical opposition. This iteration is an extension of the first and was intended to be a microscopic discussion of the relationships involved in the curvilinear and linear elements that compose the piece

Learning Challenges The materials I selected were challenging to work with. While the metal was east to manipulate on a smaller scale, when I enlarge the leaf section, the wire was too fragile to maintain its physical structure. However I realized that by weaving two together they could maintain their domed form. The string was also difficult because it could not maintain the tight hold that was essential to the piece. In the future I will explore different materials that would work better to support my model.

ITERATION 5 AND 6

ITERATION 5 AND 6: NARRATIVE

NarrativeNarrative: My focus of discussion on these designs was the connection which we develop with others as we develop into the people we are to become and how we can all influence each other’s lives. We come across many people in our lives and while some may stick around, some also are introduced momentarily and then they go their separate way. This is not to mean that they have had no impact in our lives. In fact they may have just changed the course of our life forever. While they no longer have a direct connection with you in your day to day life, they remain a part of you because they helped influence who you are today.

The two asymmetrical grooves are connected and while they are different they are connected in the center where all the red strings meet at their central point. These pieces are not facing each other because while they may have once loved they are both now going in separate directions. However I wanted to still convey their sense of connection and influence on one another by connecting them.

The expanded version of this iteration represents a bigger connection to other people and communities as we all have more than one influence in our lives..

ITERATION 7 AND 8: FRAMES AND SURFACES

Objective:explore and expand upon my former models and rearranged the elements in a way which I could extract the most interesting divisions of space and use frames and skins to help display and pronounce these divisions of space in the most positive light

ITERATION 7- DESIGN PROCESSDesign Process- Iteration 7:I started using the curvilinear and linear theme seen in my last 3 iterations. Instead of centralizing the conjunctions in a central point, I moved these pieces progressively inward creating a spiral. I then used lines to infer the sense of space. And the movement and rhythm of each platform created as it progressed. The spiral created two symmetrical sides. However I did not want both side to be identical. Therefore, I played with the rhythm and flow of the patterns as on either side. While the differences are not extreme polarities of one another, they are different enough to spark interest and curiosity among my audience.

Design Process- Iteration 7 continued…When I competed this, I realized that there was an empty space that was created beyond the spirals. I needed to find a way not to simply fill the voids, but to open my audience to possibility of spaces created within these voids and possibly beyond it.

I used balsa wood sticks to create pyramids on both side of the spiral voids. This heightened my model and created an illusion of space.

ITERATION 8- DESIGN PROCESS

Design Process- Iteration 8: Adding surface the frame required experimentation with different types of surfaces. I tried materials that would create opaque and translucent surfaces. I choose to select an opaque surface because it helped define the space better. I wanted to emphasize the triangular shapes created within the frame and conversation taking place between opposite ends of the spiral. I used large pieces of the foam cutout to help define the pyramid section of the spiral.

The challenge was selecting a material that could achieve the look I was envisioning and selecting what surfaces to cover. I was happy with the frame that I had created but feared that adding too much would take away from it. The result was exactly what I had hoped for.

ITERATION 7 AND 8 NARRATIVE

Narrative:Narrative:

Our lives are end never ending spiral. The people we meet, the challenges we face, they happiness we find they are a part of us. This has been the recurring developing theme in all my iterations. This final iteration is a combination of all the forces discussed in my previous iteration as we make our life’s journey. The triangular connections are symbolic of the people who have influenced us, the spiral is the high and low path in our journey which we are on; the one which we encounter both pain and joy. It is a culmination of our highest point of revaluation and lowest point of disparity.

Narrative Continued…Narrative Continued…This iteration design serves as a reflection, a discussion of the past and the future. This is why I have created a conversation between both sides of the spiral. They stand for a conversation between your past and future self and finally the pyramids on which you stand is converge to the tip of the triangular pyramid to create the image of our past and future self.

ST MARY’S CATHERDRAL

ST.MARY’S CATHERDAL FROM TRADITIONAL TO MODERN

1st St Mary’s- still exist 2nd St Mary’s of the Assumption

Todays St. Mary’s of the Assumption

PRECEDING ST. MARY’S OF THE ASSUMPTION

The original Romanesque Cathedral of St. Mary of the Assumption was laid in 1890 at the corner of Van Ness and O’Farrell in the Tenderloin District. The Chicago architectural firm of Egan and Prindeville designed the red-brick structure.

well known local architects for the project - Angus McSweeney, Paul A. Ryan and John Michael Lee. The preliminary sketches for the new cathedral ranged from traditional Romanesque to California mission style.

An article written by architectural critic Allen Temko, who advocated a move beyond traditional architectural concepts to create a bold, new cathedral that would reflect San Francisco's status as a major international urban center

Original St Mary’s Cathedral of the Assumption

THE HABITAT SURROUNDING THE CATHEDRAL

Originally the design sketches were more traditional but some architects criticized that the design should reflect more of San Francisco’s as the Urban Capital.

The area that surrounds the church is made up of high rises and busy streets. The challenge of the designers was to create something that was equivalent if not more extravagant that the glamorous high rises that compete with it.

THE EXTERIOR

The Exterior:The Exterior:The design came from the geometric principle of the hyperbolic paraboloid.The lines of the paraboloid meet from the four comers creating a cross.

This was a new way to reflect religion and define the space as a church. I believe it was very smart to have the structure itself define the space as a symbol and in reflection of the very image that defines this particular religion; the cross.

In addition the height of the church helps to define it as a religious space. It is symbolic of reaching up to the heavens.

INTERIOR

The interior is a continuance of the Geometric theme that carries throughout the church. The mass is held below the central focus of the cathedral which is the cross created by the hyperbolic extensions. Even the fountain of holy water is cut using geometric angles.

ST. MARY’S- INNOVATIVE DESIGN

The central focus of the church lies in the center. Mass is held below the cross showering it’s visitors with the light that penetrate through the cross that soars high above.

The structure curves upward in graceful lines from the four comers meeting in a cross. Measuring 255 feet square, the cathedral soars to 190 feet high and is crowned with a 55 foot golden cross.

STRUCTURAL ENGINEERING

The geometric and engineering brilliance that went into designing this structure is what makes this structure most impressive.

The four corner pylons, each one designed to withstand ten million pounds of pressure, support the cupola, which rises 19 stories above the floor. The pylons measure just 24 feet in circumference at their narrowest point and extend 90 feet down into bedrock. The inner surface of the cupola is made up of 1680 pre-cast triangular coffers of 128 different sizes, designed to distribute the weight of the cupola.

THE ALTAR

The kinetic structure is also an important part of the cathedral as it relfect the holy light shinning down from the lass cross high above.

There are 14 tiers of triangular aluminum rods which symbolize the channel of love and grace from God to His people, and their prayers and praise rising to him. The sculpture, suspended by gold wires, is 15 stories high and weighs one ton.

THE ARCHITECTS

Local architects for the project:-Angus McSweeney, -Paul A. Ryan -John Michael Lee

Zion Lutheran Church (Potrland, Oregon)- Belluschi

Pier-Luigi Nervi

First Presbyterian Church (Cottage Grove, Oregon)- Belluschi

The Architects:Head Architect:Pietro Belluschi: Dean School of Architecture at MITEngineering Genius-Pier-Luigi Nervi- Engineering Genius