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Final Portfolio Arch 24 for Professor Andrew Chandler
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final por)olio thea b trindle arch 24, professor andrew chandler city college of san francisco
5/25/10 2 arch 24: final learning por)olio
context
5/25/10 3 arch 24: final learning por)olio
Following the compleBon of arch 21 I developed an understanding of my strengths and weaknesses. Coming into arch 24 I knew that I wanted to create a more powerful connecBon between the gestural and programmaBc components of my design process.
document one
5/25/10 4 arch 24: final learning por)olio
The first assignment allowed the class to venture into Chinatown and look specifically for evidence of a conflict. I felt immediately drawn to the produce trucks that caused obstacles to the foot traffic. I aLempted to diagram these sidewalk obstrucBons with a condensed configuraBon of Bny orange squares using stencils and spray paint.
While the final graphics appeared eye catching, it and the conflict itself did not have substance. The next task was to idenBfy a conflict that spoke to human acBvity and emoBon on a local and universal level.
diagram
Fieldwork photographs
document two
5/25/10 5 arch 24: final learning por)olio
I succeeded in idenBfying a topic: gangs of Chinatown. But making these documents sBll felt new and unfamiliar. In my first aLempt I made a document that appeared more entertaining than informaBve. In my next document I would have to find a clear visual way to communicate the informaBon I had explored.
document two: second iteraBon
5/25/10 6 arch 24: final learning por)olio
In this second iteraBon I brought the Bmeline to the forefront of the presentaBon. The theory I developed lied in paLerns of history—interesBngly gang membership seemed to grow at Bmes of poliBcal acceptance and exclusion, thus immigraBon and forced assimilaBon seemed to fuel the compeBBve violence brought on by gangs. Inevitably immigrants and humans who feel alienated seek TERRITORY, CONTROL, AND IDENTITY. LiLle did I know that these three powerful words would become the basis of my project throughout the semester.
exploraBon of place
5/25/10 7 arch 24: final learning por)olio
I interpreted this document assignment as an opportunity to analyze the places in my life where I like to spend Bme and the characterisBcs that make them compelling locaBons. I analyzed Steamer Lane Beach and the Great American Music Hall. I discovered that TERRITORY, CONTROL, AND IDENTITY played a pivotal role in the reasons I liked these two places.
Steamer Lane offers open expanses of land that encourage independent exploraBon, while the Great American Music Hall allows you to feel part of a collecBve passion for music. What kind of place could offer both independent and collecBve exploraBon of place and self in an effort to establish TERRITORY, CONTROL, AND IDENTITY? I would aLempt to define this answer in the search for my site, construcBon of program, and design of project.
organizaBon
5/25/10 8 arch 24: final learning por)olio
In aLempBng to answer that huge quesBon my exploraBon of place had posed I hit a road block. I felt I had so many opBons that I needed to take a moment to organize my thoughts and prioriBze what needed to be done (above diagram). First things first—site. I didn’t want to just pick any block in Chinatown. I wanted a conversaBon to exist between my issue and site and for this to happen I did an etymological study of TERRITORY, CONTROL, AND IDENTITY and then embarked on a field trip around San Francisco. What place did the meanings of these profound word reveal themselves?
defining a direcBon: a formal presentaBon
5/25/10 9 arch 24: final learning por)olio
I decided on Fort Mason and presented the idea to the class in this document. Fort Mason represented a place that reclaimed territory completely, taking a military fort and transforming into a place for various crags stores and studio spaces. My program began to emerge as a public art space. By the end of the presentaBon I realized, in actuality, Angel Island would be an ideal and provocaBve choice.
defining a direcBon: a formal presentaBon
5/25/10 10 arch 24: final learning por)olio
This discovery showed me the importance, as a student, of having a learning community (class and teacher) that brings to light things in the design process that are not always obvious. This site decision truly propelled my project to a new level. I felt inBmidated by having a whole island to use, but at the same Bme excited for the chance to design on a historic, beauBful, and mysterious piece of land that I look at every day.
5/25/10 11 arch 24: final learning por)olio
site analysis
Following a day trip to Angel Island, I compiled my data and created a site analysis presentaBon depicBng maps, views, and evidence of natural life on the island. Things not included in this presentaBon that should have been include data regarding topography, ocean paLerns, and wind paLerns.
5/25/10 12 arch 24: final learning por)olio
first gesture
In the first gestures I used wire because there is a definite correlaBon between the nature of its materiality and the meaning of my issue. It is alluring on the surface yet jagged to the touch—similar to the pursuit for territory (it is something to strive for, but will rip you apart throughout the journey. The leg model symbolizes a dark mangled core that slowly breaks free of itself, while the one to the right aims to communicate an idea of reaching upward.
5/25/10 13 arch 24: final learning por)olio
gesture on site
I explored the potenBal of wire on the site itself. While using the wire allowed me to invesBgate weaving through the land and reaching skyward, it also began to overpower the land. I needed to disBnguish between form dominaBng and form having a strong presence. AddiBonally, I briefly tested the idea of using metal.
5/25/10 14 arch 24: final learning por)olio
program + gesture
Here, I looked at programmaBc elements that could be introduced to the model. I wanted the programmaBc form to be a journey that began underground, came above and launched toward San Francisco. AddiBonally, I wanted to explore the idea of having the topography come to life. With this model I looked at the dialogue and potenBal of using both wire and wood.
the site model
5/25/10 15 arch 24: final learning por)olio
The site model is something I struggled with but in doing a Bny model (1in=400g) I finally understood the height and intricate curves of the topography.
site + gesture
5/25/10 16 arch 24: final learning por)olio
I craged this model specifically to use to work on the project, but found it was too small. Although it achieved the true height, the spacers in between distracted the viewer and the scale of the project appeared too massive. Correct use of scale and size became key elements in my process.
visual language: some drawings
5/25/10 17 arch 24: final learning por)olio
plan secBon
tectonic development
5/25/10 18 arch 24: final learning por)olio
In this model I fully embraced the curves of the wood and also had the opportunity to model larger (1/16). In doing this, I began to see where actual spaces could take shape. With building larger, I was also confronted with the necessity to begin imbuing more complexiBes or languages and paLerns between each large beam in order to suggest surface and actual space.
site/scale development
5/25/10 19 arch 24: final learning por)olio
This model was the next advancement in craging the site, (3.4in‐100g.) Because it was sBll small, I decided to crag a larger half of angel island.
site/scale development of project
5/25/10 20 arch 24: final learning por)olio
site/scale development
5/25/10 21 arch 24: final learning por)olio
This model displays the east half of Angel Island spanning from north to south. I did it in an engineering scale (1‐50). While I did not have the ability to construct a complex model on this large site, It allowed me to see the reality of scale and the fact that the project itself could sBll have a mysterious presence without completely overpowering the landscape.
Figuring out pathways on the island
programmaBc + tectonic development (exhibit hall and library)
5/25/10 22 arch 24: final learning por)olio
Weaving the wood began to create a primiBve type building system that not only displayed an order in moving one direcBon, but it also allowed me to experiment with having individual beams travel to the ground or break free from the structure. Pumng in flooring, helped the exhibit hall space come to life and in the plan view I began to look how pathways could be developed surrounding the project.
programmaBc + tectonic development (exhibit hall and library)
5/25/10 23 arch 24: final learning por)olio
5/25/10 arch 24: final learning por)olio 24
project development of studio and underground
programmaBc + tectonic development (art studio)
5/25/10 25 arch 24: final learning por)olio
With drawings and a clear tectonic language developing, modeling the art studio went relaBvely smoothing. I designed it so it would be nudged in a nook on the south side of the island looking toward San Francisco. The design accommodates an indoor studio and outdoor viewing space.
program manual
5/25/10 26 arch 24: final learning por)olio
CreaBng the program manual for the final presentaBon allowed me to express all the verbal thoughts building up in my head. Since wriBng is not yet a large part of my design process, this exercise helped me to organize a lot of the support for my visual work. AddiBonally, it gave me a chance to step back and take a look at the process and evoluBon of my project throughout the semester.
abandonment
5/25/10 27 arch 24: final learning por)olio
The final criBque, while always a bit nerve wracking for me, is also such a rewarding experience. It’s biLersweet to have the enBre semester culminate into a ten minute presentaBon. This semester I gained so much from being able to truly delve into my architectural process and know that I will take what I have learned with me where ever I decide to go in Fall 2010.
5/25/10 28 arch 24: final learning por)olio