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Material InvestigationFinding Solutions to Problems of Space

Rand Lemley, B.Arch CandidateBoston Architectural College

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The Motivation

I desire to be an architect because I believe in the power of the built environment to change lives for the better. The BAC, through freedom in classroom and discipline in practice, is preparing me to be a designer who is able to analyze my own moves to produce work that truly displays my care and intent for the user. In Segment I, I learned how to represent my thoughts through diagramming, then use those diagrams to drive the creation of space, constantly tweaking and refining based on feedback from self and others. I truly believe that I am receiving a return on my investment in the BAC and will emerge as a capable designer in the service of community.

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The Light p44

The Terminal p36

Contents

The Strings p52

The Wearable p62

The Threshold p72

The Digital p86

The Eye p88

The Hand p92

The Motivation p3

The Tectonic

The Crime p6

The Pavilion p14

The Bike/Brew Shop p22

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The CrimeSpring 2014

Heavy supported by light became my tectonic used in this semester’s projects. An aggressor enveloped the victim in the narrative I created, which made for a noir tale I could tell at many scales.

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Using two-dimensional detail drawings, I abstracted a three-dimensional tectonic. Imagination led me to create sliding, twisting and clamping mechanisms that used a relationship of components to support themselves

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The Great Crime of Architecture

The Assailant

materials: concretethickness: moretraits: hungry, aggressive, heavy

The Victim

materials: woodthickness: lesstraits: friendly, light, porous

The Crime

the assailant has eaten the victim, but the victim still holds the assailant’s jaws agape, hoping for relief

The Great Crime of Architecture

The Assailant

materials: concretethickness: moretraits: hungry, aggressive, heavy

The Victim

materials: woodthickness: lesstraits: friendly, light, porous

The Crime

the assailant has eaten the victim, but the victim still holds the assailant’s jaws agape, hoping for relief

I saw my tectonic as a story to be told, not a static piece of architecture. By engaging the architecture, a user becomes a participant in the story.

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Where has this unfortunate crime occurred?

Underfoot

a misdemeanor-sized combo pro-vides a bold step in vertical circula-tion

In Secreta sliding dropbox for surreptitious communication

Stormy Night

on a larger scale, the perfect hide-away to dump the evidence

Where has this unfortunate crime occurred?

Underfoot

a misdemeanor-sized combo pro-vides a bold step in vertical circula-tion

In Secreta sliding dropbox for surreptitious communication

Stormy Night

on a larger scale, the perfect hide-away to dump the evidence

• Whattectonicis:asystemofrelationshipsbetweendiscreteelementsthatformawhole

• Givingapersonalitytoadesignmakesiteasiertoengageanaudience

Learning

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The PavilionSpring 2014

The heavy vs. light tectonic idea continued in this pavilion sited at the Arnold Arboretum. I sought to use the structure and earth to create private spaces both indoors and outdoors, forming a relationship between natural and man-made, appropriate to the site.

The first thing I did was regrade the site according to a set of rules based on the verb, “punch,” which I saw as related to my tectonic. I punched dents into the site. As a reaction to the dents, mounds rose in different areas on the site.

The site at Arnold Arboretum in Jamaica Plain

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Lines drawn between 2 ft contours Midpoints interpolated to create 1 ft contours

Attractor points created at 4 ft intervals along the contour lines

4x4 grid created across the site Attractor points applied to grid Subtraction circles created by placing centers at densest areas of points and extending radius to second closest contour

Add circles created by copying the subtract circles to centers on the least dense points

Contours added by using interior points as radii

Adjust existing contours to account for change

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Sketches and models working out relationship of the elements of the tectonic

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After exploring options for supporting the “heavy” element, I decided the “light” element should be a lattice of bent wood. The bent wood shows the structural strain while the lattice allows a sense of enclosure while still allowing air to flow through.

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site

materials and influences

The “heavy” element contained education, offices, and restrooms, but the weight was too much for the “light” elements and so the building sunk into the earth. The separated wings make legible the two activities inside. Occupants below feel the weight of the pavilion above.

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3 2 1

Section 1

Section 2

Section 3

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Section 4

Section 5

All drawn at 1/8” scale

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site

materials and influencesMaterials Inspiration

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• Grasshopperscriptingforbothtopoandsupportstructure

• Howtousetectonicideastodrivespatialdevelopment

Learning

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The Bike/Brew Shop

Spring 2014

Through investigating the past of Mission Hill, I found a rich history of brewing. The current conditions revealed a lack of cycling amenities, especially a community workshop. I sought to blend the two activities in a community node.

The site near Brigham Circle in Boston

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Breweries

Bicycles

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Because the two activities are meant for separate locations -- the bike shop to the neighborhood and the brewery to the city -- the facade of each was oriented toward its respective client via twisted fins. Below, the fins were made of glass to allow transparency to either direction because it is also a retail location.

Sketches showing filtration of views using fins

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Formal process

Tectonic history

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Variations trying to figure out programmatic legibility

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I wanted the intervention to be a community node, a place where people from all over could gather. I tried to find a way for the programs to mingle with one another.

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30Floor 2 Floor 1

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Finally, I decided that it was enough to be in the same building and share a public entrance. The activities are on separate floors, but share the Brigham Circle side as an entrance.

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Final exploded axonometric showing separation of materials

Inspir

Copper

Glass

Brick

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ation

Views of the intervention integrated with the site

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• Ireallyenjoyusingmaterialstodrivedesign• Programmaticgymnasticssoeveryoneplays

alongnicely• Workflowfordesignsoftware

Learning

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The TerminalFall 2013

The cyclical nature of transit passengers and the tide lend themselves to forming a space for rituals to take place. My terminal design disconnects passengers then connects them again with society using monumental views.

Sketch showing use of views to mark entrances/exits

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Diagrams showing macro issues of the site

Transit Nodes

Global and Local Nodes Cycle Paths

Axes of Monumental Views

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Diagram showing the local issues and opportunities that drove the design

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From an early stage, I began thinking of circulation as a cycle of disconnection and connections. Each occupant -- arrival and departure -- maintained separation from each other.

I also knew that framing and filtering the views would be important, so I explored methods of distilling the desired views from the noise of the city.

40The design process diagrammed

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The cyclical nature of the water is reflected in the cyclical nature of the travelers. The inflow of the tide cleanses the building of the city’s detritus -- noise, refuse, busy-ness -- and allows occupants to enter the ritual of travel. Light also serves to bless the space from above.

Morning Noon Evening

Lunch break underneath the structure

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Final drafted drawings

• Howabuildingrelatestoitscontextatanimmediateandurbanscale

• Howtoperformsiteanalysisanduseittodrivedesigndecisions

• Timeasafactorofdesign,especiallyinoccupationofthebuilding

Learning

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The LightFall 2012

Starting from light studies of a previous project, I learned to modulate light and dark to create implicit spaces. These spaces were strung together, making a cohesive environment for occupation.

Drawings from previous project

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Models based on moments of light

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Progressing from the study models, I chose one to continue producing iterations. However, this time I was concerned with circulation between two levels. In each, I retained the perpendicular shadow-casting elements while experimenting with different circulation patterns. This experimentation began to define the structure and geometry of the project. Each project plainly displayed its movement through the structure.

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Iterations of the light study models

Details of different circulation

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Changing rhythms create different speeds and activities for the occupant. From the circulation iterations, I studied the qualities of light produced in each. Wide swaths of light imply slower motion, while staccato patterns encourage speed.

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Charcoals exploring speed through quality of light

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Final model with canted canopy and ramp

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For the final model, I envisioned the activity of the building. The play of light through the perpendicular elements seemed to work even better if projected through water, so I planned the space as an aquarium. The canted canopy and ramp add new asymmetrical character, while an angled approach clearly marks the entrance.

The canted ramp perforates the structure to continue to the upper level

• Effectoflightonspeedandactivityinabuilding

• Howtocreateavarietyofthresholdsusingasimilarvocabulary

Learning

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The StringsFall 2012

Using a two-dimensional material -- rubber bands -- I designed a playful three-dimensional threshold for student studio space at 951 Boylston. Geometry and reflection were the primary modes of operation.

Frank Shebageget’s The Cell at MAD Museum

Precedent Study

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My initial inspiration for the threshold came from Frank Shebagaget’s The Cell, which I had seen on a recent trip to the Museum of Art and Design in New York. I was interested in the way a semi-transparent 2D plane could, in succession, create 3D space with a ghosting effect.

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I created templates to experiment with different geometries. Though my initial drawings were composed in two dimensions, I began to explore three dimensions through axonometric templates. These templates allowed me to find compelling spaces and tectonics.

Two dimensional geometries

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Three dimensional explorations of spatial geometry

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Moving forward from the geometric templates, I investigated the possible connections of the rubber bands. I planned to use different colors of bands to show the different connection points. A system of geometry determined where each color connected to the surfaces.

Plan of connections

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Axonometric of connections

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Once space had been defined, I thought about the way a person would interact with the intervention, either cradled or surrounded, leaning against or standing within. I also thought about ways to continue the idea of a screen into the connections to the walls and floor. A layer of mesh obscured the connections and was supported by a pattern of risers.

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Blue is space for standing Red is space for reclining

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Before constructing the final model, I worked in section and axonometric to figure out the usable spaces. Confident that I had created two different types of spaces through tension -- reclining and standing -- I built my final model to extend to the ceiling, instilling a sense of the sublime while remaining playful.

• Rulescanleadtomorecreativity• Sizeandorientationofspacecandetermine

activitywithin• Axonometricdrawingshelptoshowcase

spatialqualities• Modelmakingcraftsmanship

Learning

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Avg reach of adult male is 28.6”

Comfortable head tilt is between 0-15 degrees.

Head rotation is comfort-able up to 45 degrees.

Head rotation can reach up to 60 degrees.

The spine twists up to 35 degrees.

The Wearable

Spring 2013

I explored through video and diagrams the movement of a rotating seated grab. From the research, I built a device that acted as a 3D diagram for the movement.

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Shoulder can rotate 25 degrees easily.

The arm can reach 139 degrees.

Most people twist comfortably up to 106

degrees.

Optimum vision is within a 30 degree cone.

Peripheral vision reaches to 60 degrees.

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From the diagrams, I learned the timing of a grab for a bottle off water follows this order of the senses: thought, vision, touch. Each sense pulls the next, the thought pulling the vision, the vision pulling the action hand in a wide circle, and the action hand pulling the balancing hand in a tight circle.

Expansion and contraction of muscles

Angles of the shoulders and head

Movement of the hands

Comparison of field of vison to movement of the action hand

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When building my first devices, I concentrated on either the vision’s realtionship to the action hand, or the action hand’s relationship to the balancing hand.

Device showing connection of vision to action hand

Worn device

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After the seeing the initial devices act in their own realms, I wanted to combine their ideas to create one cohesive device. In this design, I also sought to portray the information in my diagrams more literally and add an auditory element -- chimes.

Diagram of materials and movement of the device

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The chimes are meant to show the 30 ° field of vision and give an auditory cue when I begin the motion and when my vison hits the bottle. Via rubber bands and steel wire, the field of vision connects to the action hand, which then connects to the balance hand held close to the body by a belt.

Construction of the device

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Diagram showing timing of senses

The lessons learned from the device were incorporat-ed into my refined diagrams. One shows the timing of the three senses involved in my movement. The other shows the wide arc of the action hand compared to the tight arc of the balance hand.

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Diagram showing relationship between hands

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In my final device, I replaced the connections between body parts with brightly colored string. The steel and rubber bands did not draw attention to the pulling ac-tion well enough. A triangle was added to the top of the tube to clarify the cardboard’s role as vision and pennies were taped to the chimes to make more noise upon striking the water bottle.

• Relationofhumanscaletoandobject• Diagrammingtodrivedesignandexplain

process• Constructionofanobjectata1:1scale

Learning

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Final device worn

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The Threshold

Spring 2013

Using my wearable as a foundation, I designed a threshold to mediate indoor and outdoor space. Two paths lead occupants through variant experiences.

To begin the project, I observed storefronts on Newbury street to see how high-end retail used threshold to transition people into their space. The most successful threshold I experienced was a skincare store that used increasingly private space and horizontal visual elements to draw the occupants in.

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Diagrammatic study models of Newbury storefronts

I used this street level investigation to fuel the inspiration for model building. First, I contructed models based on the Newbury spaces, then I built sketch models of my own design. I intended to maintain the timing from my wearable -- Thought, Vision, Touch -- in the threshold.

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Design sketches

Sketch model experimenting with

horizontality

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Light rendering in section showing horizontal light elements and light well

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The sketch models gave me ideas and concepts to continue or ignore. I followed through with the horizontal elements, converting them into negative apertures which glowed with light from above. Curiosity was satisfied through the dip in grade. Vision was found at the light well. Touch manifested itself in the destination -- the touch of the doorknob. These three senses became cumulative through the space.

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Sectional cut showing the light well and two paths

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Charcoal perspectives exploring the experience of the threshold

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I arrived at my final design through iterative drawing. The two paths made multiple entrances and exits, but I decided to keep them due to the relationship between the two hands in my wearable movement.

Design sketches

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One of the paths allowed a much more private seating area where occupants could watch the main path without being seen. A sense of discovery was held intact by not giving a visible heirachy to the paths.

Plan which shows the two paths

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Final model

• Useofprecedentstohelpdrivedesign• Quickdirtymodelscanhelppushprocess• Charcoalhelpstoshowmoodandsolid

versusvoid

Learning

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Progression through the threshold

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The Digital2013-2014

Digital tools are increasingly informing the way we work as architects, from drafting to fabrication. To be properly equipped for the digital age, I have been teaching myself how to use AutoCAD and Rhino for software and 3D printing, laser cutting, and CNC for fabrication.

Tadao Ando’s 4x4 House drawn in AutoCAD

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Stages of design and fabricationfor CNC signage done in Rhino and using a CNC

Examples of my CNC output

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The Eye

I use photography to explore the world around me, taking time to deeply observe my environment. The results often raise questions as much as they provide answers.

Rhythm that has been interrupted by the one dark pedestal

Two geomoetries at play. The sculpture displays Rene Thom’s catastrophe theory

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Unconventional organization of space

Regular geometries meet abstract form

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Classical form and order at the Boston Public Library

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The Hand

In my spare time, I push my limits in two creative pursuits -- furniture and ice cream making. Though I’ve only completed one table so far, my flavors are myriad.

Using a single board of maple, I built a side table with legible joinery

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Ingredients (Honey Banana)

Cook the custard base (Cinnamon Apple Cider)

Chill and churn (Spicy Chocolate and Buttered Scotch Pecan)

Eat and enjoy (Currant Lime)