Assignment 3: enclosed spaces

Going along with the concept established in assignment 2, I wanted to explore the concept of nested geometry in a way that was not present in my previous model. This time I figured it would be more interesting if the nested geometry was for the most part hidden, aside from a single view in the model. This could be achieved in assignment 3 because the composition in mind was whole to part.

One major decision in the design process was how visible the subtracted space will be, as well as how much of the cube will be “filled”.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

What resulted was this model:

This view is the crucial moment of the model

 

Assignment 2: Planes

After building a relief model for assignment 1, I wanted to pursue a form with clear intention from the start rather than finding intent later on in the design process. This being said, assignment 2 tasked us with exploring the spatial relationships that can be established through differences in planes. I wanted to continue exploring the creation of voids seen in assignment 1, but less obviously and in a more implied manner.

Since the confines of the assignment were initially 12in x 12in x 12in, I wanted to use cubic elements in the design, which can be seen in this sketch;

Since this assignment was largely part to whole in composition, I wanted use shapes that are “cut-short” in areas to imply that there was a nested cube within their volumes.

The 12×12 result;

The second phase tasked us with downsizing this form into a 6 x 6 x 6 cube, which allowed me to create a planar difference in the areas “touched” by this nested geometry using a darker shade of paper;

Plans and elevations;

The hatched areas being the areas where there’s dark paper.

 

 

Assignment 1: Relief model

At the start of the semester, we were tasked with drawing grids and shapes over 12 pieces of vellum.

Starting with grid lines such as this, I created shapes by connecting the endpoints of certain lines.

With this process, I would end up with shape clusters such as this. To address their overlap, I decided I would create fainter lines to give of the appearance of depth.

One major problem with these drawings was a lack of control and more importantly, a lack of direction.

After we created these shapes, the assignment then shifted to the creation of a relief model made from basswood sticks.

This was my first attempt;

One clear problem with this iteration was the lack of substance and the overuse of ornamentation. The varying thickness of stripes and interlacing elements don’t really express an idea or discipline.

With this in mind, I stripped the model of it’s unnecessary elements in order to find it’s basic form, and the core of the structures concept.  This concept was narrowed down to “Intersection”, as the drawings in the first part of the assignment focused on the relationship between intersecting shapes.

 

 

Bridge 5: Intervention Pitch

Presentation:

Final Seminar Text:

Bridge 4: Forming an Agenda and Intervention Prototypes

After identifying the motive of the site in bridge 3, we were tasked with coming up with an agenda that would align with this thesis.

For me this proved to be difficult because it was easy to come up with an issue I wanted to address within the site, but presenting a solution for it in a way that would still provide an interesting experience not currently present there. Specifically I wanted to replicate the same effect felt when sitting on the elevated seats, as that offers a feeling of exclusivity not felt anywhere else in the site.

Originally I wanted to achieve this by extending the elevation outwards towards the middle of the site, making the elevation more accessible, while also adding a taller dinner table styled surface with stools to accommodate more individuals.  I was pretty confidant in this initial design, a valuable lesson I learned is that one cannot be so sure in such an early stage. When I interviewed groups of individuals for seminar, many didn’t like the concept because it would impact the balance of visual gravity too severely. Upon reconsideration, this design really doesn’t work, it fails to replicate the elevation’s experience because it’s no longer remote. Once made widely available and present within space, the effect is diminished and only replaced with awkward positioning. This being said, a re-design was in order. Something that could provide the same remote feeling of encouragement and wonder, almost reminiscent of enlightenment due to the being surround by ample natural light. When on the elevation, you’re positioned higher next to the window, more of your body, and therefore peripheral awareness, is in a way engulfed by the height you inhabit. It was this height that I aimed to channel in this new design.

After this worksheet I refined these designs into three vignettes

after this vision came the first prototype that would test the lighting of the space

However this model would not be enough to convey the design of this platform, it needed more attention towards its composition. Which could be provided by an AutoCAD model.

Bridge 2: Deconstructing and Contextualizing A public space

Week 3:

Site Plan: The site I chose was the Barnes and Noble cafe area on the third floor. If I could label this place with a flavor, I’d use terms like “tranquil but busy” “earthy” and “classical greek revival-art deco hybrid”.

I also charted my walking path from center to elevation, and east wall to west wall

 

The space in relation to my being:

Orthographic Projection:

Texture rubbings:

Week 4:

upon return to the sight, we were tasked with encapsulating the appearance of the site and the emotional response it provokes.

It houses a content atmosphere that subtly tries to foster an intellectual appearance, upon my 6th visit to the area, I wrote:

In all of my time here, there have been atleast 4 or 5 visits so far, I’ve always been able to do work for this assignment on-site with no issues. I’ve stayed over the 30 minute maximum everytime, many people do. It’s not quiet, yet I can still function as I would working at home or in a classroom. This might be because the lighting is good during both day and night, the people talk but it’s almost as if the acoustics of the room dull them, as no distinct individual is heard. I cannot deny it is a deceptively comfortable place to stay in, soft colors and the wall art. The wall art depicts various authors talking amongst one another while some are looking at the viewer, almost encouraging some sort of scholarly activity. I did say that this place was a corporate trap but I cannot deny that its a pleasant one-which is what they want.

I say that because it is the effect they’re going for, as the owners of the store want people to be comfortable as they want people to be inclined to stay and spend more money there.

Week 5:

I performed a test that would both be a recording of the sounds of the site as well as a new research method:

throughout all times of the day its common to hear indistinct voices muffling each other out to the point where it sounds like background noise. During the mornings and evenings this is more tranquil, the music even stops playing during the morning and night. The afternoon is where most of the activity happens, the food counter is loud with production, more people come to the site with friends or business partners so the voices are louder.

this hastened activity is also seen in the circulation charts, people stay for longer in the morning and afternoon to talk or meet, at night more people simply sit and leave within the next 20 minutes. I attribute this to the lack of natural light during the night.

I determined that the seats on top of the elevation and next to the windows are the most sought after seats, their popularity convinces me to think that they’re the best in the site as they remain mostly popular throughout the day. However I’ve found that the seats on the east wall with the benches are the easiest to do work on because your back is against the wall.

Another form of research I employed was hyper-empathization, where you insert yourself into the perspective of a person who just enters the site:

coming from the elevator, walked to the border to survey the area for seating, walks towards the food counter, surveys the area closer to the food counter, orders something, goes to prep area finding no seating and leaves. returns 10 minutes later still with food returns to border and finds a seat (next to mine).

 

So far, coming to this site became increasingly tedious as I spent approximately three dollars every time I entered. However I feel these visits were worth it as working on this assignment became much clearer and easier to do every time I was there in person.

 

Bridge 3: Narrative of Embodied Message

I ultimately deduced that this site was a half public half commercial space set on making a profit. These 9 panels are the evidence that brought me to this conclusion.

The Noguchi Museum

For me, the whole museum seems to deliberately invoke a sense of obscurity, in an intriguing way. Obscurism, or the tendency to favor the obscurity of style and appearance, is heavily felt here. As it was said that he focused on the integrity of the interior more than any other part of the structure. His integration and focus with interior and exterior space is reminiscent of Wright and Khan, who also voiced such sentiments toward interior space. In addition to this, the emphasis on the usage of natural light invokes a blurred line between the garden/nature of the exterior as the formations of stone appear almost natural.

Noguchi as a whole:

The room  I chose:

A Space From Memory

During our meditative exercise, one thing that was mentioned was the concept of “zooming out”. Specifically, starting with the room we inhabited, then progressively considering the space within larger areas, all the way to the span of the known universe. In addition to this, thinking about the contents of the room, or rather the space encapsulated by the walls. This made me think of chaotic but natural forms, such as light and sound, ricocheting off the walls and desks towards my perceptual awareness. This sort of experience reminded me of when I lived in the attic room of an older house. I had zoned out in my bed listening to music that droned on and on, almost to the point where the atmosphere it inhabited felt tangible. It was here when I really considered the fact that I had been taking my existence for granted, or rather never considered my place within a zoomed out scope.

Focusing on a region in NYC: Chelsea

For this project, we were instructed to choose an area within New York City, research its past, and create a composition that represents this past.

The first step was to research the history of Chelsea’s area:

I noticed that a very prominent part of Chelsea location was the Highline, which provided transport for freight and other materials that progressed Chelsea’s industry in the past, but it is now a walkway and park. With this in mind I wanted to provide a window into the past of the Highline, and therefore Chelsea’s past.

This was the final product:

 The white spot was intended to serve as an area I could later draw on top of, I unfortunately left my printed final in my portfolio at my dorm, but I can offer a description. The white space was filled in with pencil to be a modern person, looking back at the workers and labor that took place on the Highline (which were also added physically to the final print with pencil).