MIDTERM PORTFOLIOARCH 102 SPRING 2012Gregory Camargo

Corrugated TileThinking for a while about what to do and how to usethe 12 layers of cardboard, I decided to start with a letter of the alphabet and improvise from the basic shape into an evolved and complex form. Deciding onthe letter “G” I fit it to a 12 x 12 sized square and proceeded to fill in space between the main “stems” ofthe letter. Before I had started cutting, I had planned to raise certain levels of the cardboard and make lowerlevels penetrate through these and project higher. My design intent was to make a big difference in elevation between layers for the feeling of depth, but also to make smooth transitions. Once started however itbecame increasingly hard to cut these small pieces thatwere higher up than the bigger- lower layered ones. The overall product of this icebreaker shows more of a graphic design feel to it, and although presenting compositional sense and rhythm, I feel it is not dimensional enough to be fully successful.

FINGERS, POSTS and WAVESFor this model I decided to try my representation of the fingers of a hand. I wanted to incorporate layers- such as ones in the section of a hill, but rotated vertically. By doing this I wanted to see if I could show some sort of action, such as when the hands of a person gesture. Although simply made with cereal cardboard, the model still manages to represent a movement in a certain direction.

An experiment in ways to fasten cardboard together without the use of glue, as well as a test to express rigidity and backbone force.

This model quite literally explores the movement of a wave in both the horizontal and vertical directions,as well as tests the possibility of adequately showing fluidity

in cardboard-made vertical pieces.

A “test run” for ideas on projecting rays for the above model.

From a test iteration, I used certain elements and improved on the idea of rays projecting out of an arch- like wall. The facing wall was originally supposed to be a half a circle, but very soon I realized that the symmetrical look of it wouldn’t work with the rest of the design. I cut it down until I came to a shape that fit with the supporting legs and projecting rays. The idea of the rays are partlyinfluenced by the mini- experiment as well as another student’s work. The rays also reflect the forces of nature of the site- wind, rocks and light.

For this model I wanted to incorporate some of the brutality and rigidity of the 2 nd model, but to expand the idea beyond a simple “fence” and create more space. This was accomplished by making three identical stringers between which a series of vertical wooden planks extend. On the reverse side I experimented with tension- by connecting the set with lines of string. This however, fails to read due to the sturdy and permanent look of the stringers and their unwillingness to change.

Having done the last few models out of solely rectilinear elements, I decided to switch back to curves and eventually start to introducerectilinear forms- to balance with the free flowing shapes of the basswood. This was expressed by the wooden blocks shaping the curves of the basswood and, in a sense constraining the free flowing forms.

Iteration # 7

Here I began exploring the themes of restraint, force and beginning to see curvilinear forms as even more forceful than the rigid rectilinear elements. In these two models, the curved shapes penetrate through rigid blocks.

Restraint and Penetration

Among the ideas of force and penetration, I began to explore once again the idea of mechanized nature. This theme is a continuation of the work done last semester- as an exploration of the balance between the mechanical and nature. What I have been pursuing to explore, is the way nature and man-made can interact in a way that is in harmony. Much of the inspiration for this comes from old buildings that are either once again overrun with nature, or completely abandoned, where the building itself ispart of nature- all the metal is growing rust, there are plants inside, rain gathers in the basements and animals begin to find comfort in the habitat. The mechanical is expressed by rectilinear elements such as straight lines and repetitive blocks, and the natural is represented by curvilinear forms, intricacy and complexity.

•Representation of Nature in a non-natural way•Force of nature•Harshness and chaos vs. nurturing •Natural complexity

RestrictionVulnerability and HumblenessAwarenessBalance and Relief

Since we are to design a chapel as a place of where to meditate,I began recalling what meditation is like and in what circumstances and places this is possible. I came to think of the many times I go to photograph abandoned buildings. These places have longawed and inspired me, but not until now have I realized exactly why. When in a place like this, I am often confronted by a series of obstacles- long distances to walk, fences to climb over, high and low tides to wait for to gain entrance, or evenpeople wondering what I am doing. For one of the most important principles of meditation is the idea of doing it for one self and not for others- and without the knowledge of others. These restrictions created by the site lead to vulnerability and humbleness. I move quietly,try not to make noise, and am overpowered by the might of the building. In such a place anything seems possible to occur, and for a while I simply walkand take-in the surroundings with awe.

By doing this, I become aware of my surroundings. I watch my step, listen for sounds, and keep track of time in a place that seems to have lost track of it. I am aware of what happens outside- distinguishing the sound of natural elements to

man- made, and focusing my eyes to see in the dark. After a while of being inside the building, walking its hallways, and learning to adapt to the environment, and in such a way meditating, there is a

sense of balance. I realize that nobody knows or cares that I am in here. If abrick was to fall on my head or a metal beam to break under my feet, not one thing would change in the world. Nature will take it’s course no matter what,and there is relief in the fact that I don’t matter and not everything is up to me

to decide. This brings me to a feeling of something bigger and an overwhelming sense of balance and relief, which is reinforced whenI step out of the building, and nothing has changed.

This model begins to associate these thoughts on meditation, with the physical forms of the model.

Earth - Restriction ( solid blocks, rectilinear shapes and confining elements )

Mortals - Vulnerability ( natural looking forms- as if not trying to be better than nature )

Gods - Awareness ( multi directional force and penetration )

Sky - Balance and Relief ( balance between rectilinear and curvilinear, and parts “optimistically” projecting-out )

Linking the FourFold to my ideas of what it is to meditate, I also explored shapes that were to symbolize each of these terms.

This model improvised on the last one by expanding, to try and make space, and by making it more complex and viewable from all sides.

ITERATION # 13Fully expanding the previously closed shape, while using the working elements of the previous models.

. the SITE .

Iteration #1Overly concentrated on making the site plan, my first model was designed specifically as a platform to hold 40 people. Instead of keeping the model somewhat abstract and open to developing ideas, I ended up drawing up a site plan along with the configuration of differentareas for the various activities.

Ideas for FourFold Chapel

The first idea I had- in terms of how the chapel was to bepositioned and laid out, was to make it blend in some way with the surroundings. This could be done either by“formatting” the shape of the building to the landscape, or by using a common language that both the building(or set of buildings) would use. To me, it is important that a chapel be somewhat hidden or isolated. With thisin mind, I right away decided that the main part of thechapel was to go on the island. I also realized that a bridgesticking out of the water at all times would be too obvious.I wanted access to the chapel be restricted by something, and represent the temperance of everything. So I decided to make the bridge underwater at high tide, and usable at low tide. This way, there are only certain times that the chapel can be accessed, which shows restriction, and in turn a feeling of vulnerability, which then requires the person meditating on the island be aware of their surroundings. This then leads to inner balance, as well asrelief.

Iteration #2This model improved on the last iteration by going back to the non- literal interpretation of a platform,

and instead developed further the theme of curvilinear elements and ways they can work together withrectilinear elements. In this case, the main curvilinear piece, wraps around the model and penetrates through

the row of square arches. The motion caused by this seems to propel the “lines” on the platform out toward thefar point of the mainland.

These lines, eventually will turn into stairs that lead down toward the narrow bridge that crosses to the island. The bridge then, instead of climbing right up to the top, wraps back south around the island and only then climbs up the slope. From this “wrap-around” one can look back toward the platform on the mainland which is now directly opposite, and see it in a different perspective. What seemed to be a modest seating for 40 people, is seen differently showing the massive support columns. As one reaches the top of the stairs and goes around the final bend of the south-end of the island, the full expanse of the ocean now comes into sight. Walking around the south end, the entrance to the chapel is right there up a set of stairs. On the first floor would be the main chapel itself, and on the second- a couple of meditation “towers”. On the west side of theisland, just a few feet away from the entrance to the chapel, there are a set of stairs that go down to a landing on which there are a few benches. Following the trial north, it ascends to the smaller peak of the island, on which there is a loneconcrete bench- hidden from view of the mainland as well as the chapel.