Catherine Sellergren

Architecture Design Studio 1

Spring 2014

Learning Portfolio

Midterm Submittal

Kazimir Malevich Suprematist

Composition 2

.

Model 1 Objective:Study Malevich’s composition. Strategize translating the twodimensional painting into a three dimensional from. Create a model.

Model 1 represents my interpretation of the upper left quadrantof Kazimir Malevich’s Suprematist Composition 2. I felt that theelements from the original work share a collaborative necessityto the overall design yet assert their independence of each otherthrough volume and seemingly contradictory trajectories.

In interpreting Malevich’s piece, my primary goal was to effectively express each elements’ independence whilesimultaneously promoting their interactions as a whole. My secondary goal was to learn how to properly use my materials inan efficient way while adequately translating my intent to a three dimensional form.

In order to express the separations between the elements, as well as their significance to or over another, I enhanced thedistinctions by way of vertical separation. Each element would be connected, therefore reliant on the next for support, but byvarying the planes I could create a stimulating visual journey of the structure.My primary critique of the final product is the lack of drama between the vertical elements. The differences in elevations areminimal, thus perceived as hesitant. By enhancing such factors, aesthetic reliance will be placed upon overall structure ratherthan superfluous afterthought.

Model 2 Objective:Create a second version of Model 1. Improve vertical juxtapositions. Eliminate base.

Model 2 is simply a reiteration of Model 1, with emphasis on vertical drama, structural integrity, and aconsciousness of the aligning planes. Proportioning the elements in a premeditated way was elemental.Simplifying the entire piece was a priority, preferring to place focus on how the elements interact.

Model 3Objective:

Recognize design elements present in Models 1 & 2. Create repetition through layering. Promote interest through hide and reveal technique.

The concepts surrounding Model 3 were to add visual interest while increasing stability and cleanliness. I wanted to providean element of fluidity to an otherwise highly geometric structure. By opening up some of the planes of the structure, I couldreveal its skeleton, and doing so would naturally carry our eyes from one end to the other, creating a visual pathway.

This process increased visual interest from every angle, engaging us better and piquing our curiosity as we explore thevariants and dualities that exist between the angles and curves. Light and shadow are enhanced which delivers an amplifiedvantage. The added complexity of this model, in comparison to the previous two, gave me a chance to express my creativedirection with Malevich as a distant starting point. The experimentation that went into Model 3 allowed me to learnconsiderably more about the strengths and weaknesses of my materials, and how to solve issues that my materialsadministered along the way.

Model 4Objective:

Simplify the structure. Use language to instruct another on how to build Model 4.

Creating instructions for the building of Model 4 was particularly challenging for me. My tendency is to be very intuitive with mymodel building: I visualize the structure before my building process starts, and think in proportion rather than measurements. I alsobuild as I go, making slight adjustments of my concept as each element is added to the foundation. Because of this, structuring myplan and expressing it in a way that would effectively translate to another how to build it was complicated.

I started by reducing the elements to the fundamental portion of the design, which was the eye shape. The purpose of paring thedesign back was to simplify the overall process in order to meet time constraints.

I focused on being methodical with my assembly, and implemented efficiency rather than the level of experimentation that I wouldhave in executing the former models. While I feel that I was mostly successful in my instruction, I recognize that adopting an everincreasing vocabulary will improve my ability to communicate my intent.

Gesture Studies & Blind Drawings

This series of gesture studies, using charcoal andnewsprint, were my introduction to theconnections between loose, quick efforts thatillustrate the basic lines, movements, and forms ofarchitecture.

Starting with blind drawings, I quickly captured thelinear qualities, meeting points, and the darks andlights of an image of a Japanese train station. Eachstudy served to highlight the individual aspects offorms, which were brought together in two finalten-minute studies where I could reference boththe images I was drawing and the sheet ofnewsprint I was drawing it on, which introducedaccuracy.

Model 5Objective:

Create a model based on gesture drawings. Focus on drama and enhancing the chosen adjective “heroic”.

Departing from the Malevich-based models, I started exploring using loose drawings as simple starting points for my nextmodel. I created a series of linear drawings, which I imagined as footprints or profiles for the model, sketching approximatelyfifteen before I settled on one that utilized a spiral form.

Because the basis of the drawing would be the footprint of my new model, I strategized how I would manifest heroicqualities into it. I decided to combine the towering effect of vertical stature with fragile, reaching elements that wouldsupport a three-tiered cantilever extruding from the models abaft region.

The contrast of the weight of the three vertical arced planes with the buttresses would provide a balance and element ofsurprise, and continuing the themes yet applying transformation as the elements rotate would serve as a unifying property.

At this juncture, I had reached a reasonable amount of mastery with my materials, yet I struggled with the new course I wastaking with Model 5. The previous models had all been improvements upon the one before, to start anew was daunting and Iwasn’t sure where to begin. Formulating a game plan evaded me, so I experimented quite a lot in the building of this modelOnce I found the rhythm of my process and the model began to take shape, my frustration ceased and I proceeded tocompletion.

I observed that the rectilinear aspects of the tiered annex conflicted with the other areas of the design. I also speculated thatcreating some reveals in the layered frontal strata could provide a view to the opposite side, and perhaps the shape of thatopening could be used to refine the shape of the cantilever I wanted to change. This would unify the elements that werecurrently working against one another.

Model 6Objective:

Consider how gesture studies set the stage for model studies and how model studies inform further gesture studies. Build a new model.

In this new iteration of Model 5, I decided to explore repetition and texture, dramatic ascensions, and the overalladvancement of the cohesion of my design. The repetitive element that is dominant thus far is the use of curvilinear planesand edges which create a rhythm, thus effectively drawing our eyes from the edge of the structure where the dominantplanes converge, across to the arms that reach skyward delicately.

I chose to continue the repetition of this theme by placing two circular reveals in the two taller forms, and replace the threetiered cantilever with a sweeping plane that was made up of gradating discs supported by buttresses, which concluded atthe highest point of the structure with a smaller oblique projection. That smaller cantilever would be made up of three tear-shaped layers that projected over the top of the vertical frontal mass.

In approaching Model 6, I wanted to provide viewers anemotional experience that would combine curiosity andawe as they explored the aspects of the piece.Transitioning from the weighty mass of the tower portionof the structure to a fragile connector supporting thetransforming climbing round discs, I found that thecaptivating orbital plane did create such a response frommy audience. The heterogeneous aspects between themonolithic curvilinear frontal planes and the more elegantmotion of the soaring oblique in the rear accomplished mygoal, and the circular reveals unified the two as desired.

Model 7Objective:

Create framing structures for the previous Models. Explore consistency and depth.

To build the framing for Models 7, I chose to use basswood as the main material, with chipboard for areas that neededmore flexibility. My focus for Model 7 was to figure out a method for building it by adding to a base piece by piece. As Iworked my way through the model, I measured, cut, and glued each piece as I went along. As needed, I would cross bracebetween the upright studs with smaller pieces. My strategy allowed me to create a frame, but it was inconsistent in rhythm,and there was little planning involved prior to starting on the build.

I resolved to be more organized in building the framework for1414 Model 8. I worked on a formulated layout before

starting the build, using my insights from the earlier framework to better plan its execution. This allowed me to space the

studs of the structure in a more organized fashion. By doing so, I created a partial structure that had increased in its visual

appeal, I also recognized how consistency in spacing of the supports offered structural integrity.

Model 8