K A T E R I N A I V A N O V A LEARNING PORTFOLIO ARCHITECTURE 101 SPRING 2012 FINAL CITY COLLEGE OF SAN FRANCISCO J. LUM

P A R T I

T H E O B J E C T

What transpired during the first few months of design studio was the result of a single, seemingly inconsequential decision; choosing a handheld object that delights or fascinates, to be used as the source of inspiration for a series of designs. Following this was a vigorous familiarization with the immensity of design possibilities and the task of representing or reproducing the characteristic while maintaining the spirit of the object itself. Initial research delved into the physical and mathematical properties of nautilus shells. This, however, did not result in many fruitful designs for the iterations, but did serve as a foundation for the inspiration of the iterations that followed by establishing the concepts of pattern, growth, and repetition as the basis for future designs. The focus was then placed on exploring and recreating the fluid motion of the spiraling elements of a seashell, both external and internal. Though mathematical concepts were not incorporated, the general idea of a growing spiral remained.

N A R R A T I V E

Through several series of gesture drawings, the design process turned towards abstraction of elements. The gesture drawing paved the way for the initial inspiration for the skeletal and frame structures of the iterations, as well as helping to grasp the complexity and fluidity of the spiral.

I N I T I A L E X P L O R A T I O N

FLOWING THROUGH SPACE REACTION REVOLVING S K E L E TA L T R A N S PA R E N T S L OW S P I R A L I N G ABSTRACT ION OF GESTURES INTR IC ACY ASSYMETRICAL CURVILINEAER GROWTH STAGES IMPL IED FRAMEWORK SUBTLETY MOVEMENT TRANSCENDED WEIGHTLESS RHYTHM COMPLEXITIES RANDOMNESS ASSYMETRY AROUND AXIS NAUTILUS PATTERNS GEOMETRY CHAOS VS ORDER SOUND PATHS DEPTH CRESCENDO DELICACY DENSITY WAVES TRANSFORMATIONS OF THE UNSEEN UNPREDICTABILITY EVOLUTION METAMORPHOSIS MUSING

FRAGILITY IMPROVISATION BUILD UP OF VOLUME.

W O R D S

The roots of my creative process begin with improvisation, slowly building up from the most minimal idea to the complex. I want my ideas to flow as rhythmically and coherently as music; exploring the sound, the space, the direction that embodies my work. I want logic and abstraction to coexist. Most of the time, my thought process follows the motions of my working process. I work best when I get to revise my ideas as I move along with my work, rather than having an established plan of action beforehand. The physical representation of thought, unhindered by extensive planning, can lead to the most energetic results. Using various pliable materials allows for immediate creative interaction with the form.

N A R R A T I V E

DISSECTED ITERATIONS NO. I, II, III

Iterations were based on the object as seen in a dissected state. Objective was to create a repeated pattern, varying in scale, that rotated about a central axis.

P H A S E I

I T E R A T I O N I , I I , I I I

X-RAYED ITERATIONS NO. IV, V, VI

Next phase involved the exploration of the shell as seen in an x-rayed state. The main goal was to recreate the flow and paths of spiraling lines, highlighting complexities, and at the same time, trying to minimize chaos.

P H A S E I I

I T E R A T I O N I V

I T E R A T I O N V

I T E R A T I O N V I

UNIFIED, SKELETAL ITERATIONS NO. VII, VIII, IX, X (ITERATIONS VII & VIII COMBINED TO CREATE ITERATION IX)

The last phase involved a unification of the dissected and x-rayed sets of explorations, the emphasis being placed on the spiraling lines as well as a central element that merged into the main and/or additional axes.

I T E R A T I O N X

I T E R A T I O N I X

I T E R A T I O N X

P A R T I I

F I N A L

G R O U P KATERINA IVANOVA P R O J E C T BRIAN MARIANO RAYMOND CHING ANSH VAKIL

O B J E C T I V E

The heart of the design goal was to bring in a natural element from the outer courtyard inside of the main courtyard, a semi-circular concrete setting. By designing with the natural aspect in mind, the goal became to attempt to unify the environment and create a meaningful addition to the courtyard. An abstracted and artificial structure in the spiraling shape of a tree; in the way the roots and limbs form and follow intricate yet delicate paths, slowly evolved after countless iterations.

The path of each individual element plays an important role in the spatial experience of the installation as a whole. Each radiating member plays its own part into unifying everything into a single entity. This path follows the curvature of the aluminum pipes around the structure and then inside of it. From there, the radiating pipes take the eye along the spiral, upwards, and then outwards past the courtyard to the rolling hills of San Francisco. The slanting perpendicular connections add density as well as all-around horizontal and vertical stability.

P R O C E S S

The entire design process for this project was created with the implementation of AutoCAD. That includes countless iterations; recreated, adjusted, morphed, scaled, and eventually, beat into submission. In addition to creating of the design, the program was also used for all of the structural dimensioning and various calculations, as it was made to the exact scale from the outset. This allowed for the maximum amount of efficiency in the planning department, however, it did not save us from human error and unfamiliarity with certain materials; a great portion of our time was spent trying to solve for connection failures. Also taken into account was the asymmetrical load of the entire structure which had to be accounted for with a stable base, each pipe was inserted into a bolt running from underneath of each stud of the pentagonal base at a 60-degree angle. Regardless, the physical model came within a 90% margin of accuracy to the AutoCAD model, and in fact, took on a life of its own and exceeded the computer model as we began to assemble the materials into a structurally stable whole, becoming much more complex and visually inviting.

•  10’ long pieces of aluminum pipe, bent by hand, cut, and combined with shorter extension pieces. •  Wooden base in the shape of a pentagon to allow of structural stability and even distribution of pipe along the base. •  ½” bolts at10” attached to the base at a 60-degree angles. •  PVC T-connections, spray painted to match the aluminum pipe, used to attach cross-members. •  1/8” screws at 1 ¼” long.

M A T E R I A L S