Sean OlmsteadLearning Portfolio

Arch. 101 Spring, 2014

Prof. Jerry Lum

The Language of Design

Part One

The language of design radiates from every creature, object, facet, and idea that we experience in the world. From the structures of our habitats, to the motion of birds in flight; from the intervals of a Beethoven sonata, to the blossoms of a cherry tree in Spring; we cannot escape the influence of this language, though we may not always be aware of it. In order to gain a greater understanding of the impact the world has on us, it is essential to learn not only how to speak this language, with all its subtle grammar, vocabulary, and secret metaphors, but also how to listen to and comprehend the messages hidden within. To do so is to open ourselves to a profound world of harmony and beauty. This portfolio represents a chronicle of my time toward this end.

Icebreaker:Malevich’s Suprematist Composition 2

Approaching the Malevich assignment, I began with the idea that nothing in the universe is static. All matter, from the microscopic to the macroscopic, is in a state of flux, changing from one form to the next. Nebulas coalesce to form stars and planets. The cells in our bodies multiply and eventually decay. Looking at “Suprematist Composition 2,” I asked myself in what state of change do these forms, the circles and rectangles, the lines and curves, exist as I see them in this in this painting, as though in a snap-shot? If I apply vectors and motion to these shapes, where are they headed? Are they being drawn toward each other by gravity? Or perhaps being expelled from one another through a cosmic explosion? I didn’t believe there was an intrinsic answer to these questions with regards to this piece. The ebb and flow of attraction and repulsion are part and parcel of the whole. As gravity pulls matter toward itself, the universe expands, ever increasing the space between matter.

2D Malevich study

However, for the sake this project, I decided it would be more interesting to draw the elements of the painting together rather than further repel them from one another. I spent quite a lot of time studying the painting’s individual elements in two dimensions, specifically as they related to circles of certain relative radii. Basing the circle size upon the curve of the pink “mouth” or “watermelon” shape in the upper left corner of Malevich’s work, I began arranging other elements within the circle to see if I could find any patterns. I was stunned by what I noticed as I laid the pieces down. Some elements measured exactly the radius of the circle. Others, notably the larger rectangular or trapezoidal pieces seemed to interact with other elements of the painting. For instance, I might lay a piece with four corners so that two of its corners were touching the circumference of the circle. I could then find another piece with a side whose length exactly matched that of the first piece’s innermost side (closest to the center of the circle). In several instances, one corner of the second piece would now be exactly touching the circle’s

circumference opposite where the first piece’s corners touched the circumference. In other instances, if I added a third element, arranging it again by side length or tangential to the meeting point of the first two elements, I often found I could arrange it so that a corner was now touching the circumference of the circle. Using these observations as my inspiration, I decided to arrange the elements of my piece so that their extremities would form contact points with the perimeter of a sphere. Thus, the elements would revolve around central axis, giving it a perceptible center of gravity and a kind of centripetal symmetry. This I juxtaposed with a single arching form, pouring horizontally from one side. This form stands as an explicit reference to the circle and sphere which are generally only implied by the main structure of the piece, as well as giving the overall piece a sense of motion as it relates to the aforementioned idea of universal flux and change.In the end, I was minimally successful with the concept of the sphere, as I found it incredibly difficult to maintain an equal distance between the elements’ extreme points and the center of the sphere. The intended dimension of the sphere was to have a diameter of 5.5” and a radius of 2.5”, thus necessitating that all extremities of the piece be 2.5” from the center. The final product was very inconsistent with this measurement, varying from around 2” to 3.5”. I believe this was due to the difficulty in perceiving precise distances on an X, Y, and Z axis measured out in empty space, as well as attempting to twist and manipulate the pieces in relation to one another so as to maintain a certain vitality and playfulness in their interactions.

First Malevich iteration

Second 3D Malevich iteration, and 2D study of radial geometry and organizational principles of Suprematist Composition 2.

The next project we took on involved creating a new design iteration and then creating a set of step by step instructions for the construction of this new design. This exercise proved surprisingly challenging. For one thing, the act of communication is a two-way street, requiring aptitude in verbalization and comprehension from both parties. Any failures in this precarious balance, on either side, and the process cannot be realized. I felt that this was also the first practical experience I had with the importance of developing a highly specific and expressive tectonic language. As such, being so immature regarding design experience, I found that I was far more successful at both expressing and comprehending design instructions when allowed the use of diagramed steps and kits of parts.

The Written Instructions Exercise

As we delved forward into the expressive qualities exercise, I chose the adjectives calamitous, stumbling and ephemeral. These qualities all imply the senses of time and change, which I feel are essential in creating dynamic designs. As well, these qualities reinforce one another. For instance, calamitous flames reduce the stumbling logs of a campfire to the ephemeral ruin of ash and smoke. After deciding upon these adjectives, I was tasked with delving into their true meanings; their true essences. I did this not only by finding their literal definitions, but their synonyms and antonyms as well. Doing so provided a frame of reference based in the idea of the gestalt figure/field. The expressive qualities become ever clearer not only through the ideas which they express (figure), but also through the ideas which frame them through antithesis and contrast (field).While the significance of this exercise was not immediately apparent--architectural design, at first glance, hardly seems in need of a literary foundation--it soon became clear just how relevant this exercise in linguistic expressionism was. First of all, human thought is inextricably linked to language. For better or worse, our creative processes and potential, therefore, are essentially tethered to boundaries or frontiers of our linguistic capabilities. As exhibited in the previous exercise, this is especially true in the realm of design. Beautiful, meaningful design requires a great level of intention and purpose, which we can only attain in a thorough and sophisticated verbal context.

Expressive Qualities &The Design Language

Calamitous Stumbling Ephemeral

Definition: causing great harm or suffering

Synonyms: catastrophic, cataclysmic, destructive, ruinous, unfortunate

Antonyms: preservative, creative, innocent, helpful, nondestructive

Definition: lasting a very short time

Synonyms: brief, fleeting, transient, transitory

Antonyms: ceaseless, dateless, perpetual, immortal

Definition: coming unexpectedly or by chance

Synonyms: tumbling, collapsing, fumbling, staggering

Antonyms: rising, standing, coasting, sliding

Calamitous

Ephemeral

Stumbling

These overlay sketches reveal the patterns and organization in these photos of qualitative objects or events. The stumbling boulders exhibit rectilinear forms and stark, alternating shadowed surfaces. The calamitous explosion, however, is comprised of many staccato lines which seem to terminate at random and which generally radiate outward from a central axis, ground zero of the explosion, as it were.

Organizational Principles Revealed

As I began to further my understanding of organizational principles in design, I was faced with the daunting task of expanding my awareness to the myriad ways in which they might be manifested. A few examples include:

Understanding Organizational Principles

● Variation● Repetition● Spatial relationships on the x, y, and z axes● Line measure and line weight● Alignment● Increased or decreased complexity● Hierarchy● Proximity● Rhythm● Implied lines or surfaces● Volumes and spaces● Color● Texture● Sequence● Magnitude

Gesture Drawing

From our focus on literary expression through design, we swiftly segued into a very physical manifestation those expressions: charcoal gesture drawings. As we began doing these drawings, I found I was presented with new challenges as well as new opportunities to fulfill my design potential. Having never considered myself much of a "drawer," I approached this element of design with much trepidation. How could I possibly find the means to express the emotion of my previously chosen adjectives? The answer was much simpler than I anticipated. As a medium, charcoal is highly responsive to variations in pressure, velocity and angling. As such, the medium can act as a very organic extension of the body, instantly recording the emotion behind gesture and gesticulation.

For instance, many fast, short and hard movements of the hand will be instantly recognizable on paper as emoting frenetic aggression, while long, broad sweeping gestures will be seen as undeniably elegant and graceful. This process naturally led to the recognition of organizational principles as they related to the qualities which I wished to express in my designs. I began to realize that developing an acute awareness of these principles would prove to be a crucial aspect of my journey down the road toward developing to expressive design language.

StumblingCalamitous

Calamitous

Using the principles of tectonic and expressive design language development honed through our gesture drawings, naturally the next step was to create three-dimensional iterations imbued with our expressive qualities. This would prove to be the most challenging step yet. As I focussed on organizational principles which enhanced the qualities I wished to express, I occasionally saw how levels of organization (or lack there of) can spring up inadvertently, creating unintended expressions, or even contradicting my intended expressions all together. For instance, overt repetition of parallel lines might seem to call into question my intended expression of calamity. At these moments, I was forced to reevaluate my approach and assumptions I made regarding my designs and organizational principles. I began to see the importance of not taking any level of organization for granted, and that this is perhaps one of the biggest hurdles to overcome in my development as a designer.

Expressive Quality Iterations

It is important to note that at this point in the process, we are seeing a holistic, multidimensional design perspective develop. From my initial analytical, geometrical approach, to the focus on an expressive vocabulary, to this current physical, gestural connection to design, it becomes clear that design is an immersive process; one must engage all the senses and corners of the intellect in order to fully express and find communion with one's intended design.

My first iteration focussing on my chosen expressive qualities felt a bit too dense and lacking in cohesion. For the subsequent iteration, I decided to focus on more voluminous, rectilinear shapes to convey the qualities calamitous, stumbling and ephemeral. I feel this was an improvement in overall form, yet it still needed work in organizing elements such angles and hierarchies of magnitude to express the intended qualities.

As we move along in developing an expressive design language, we see that the object is not merely to imbue our designs with emotive qualities, but to allow those qualities to convey or be reflections of an implied narrative. Just as emotion and expression are elements of the stories which our lives author from day to day, it is essential to allow this kind of narrative to play out in the designs we create. Though these narratives are not always explicitly available to one experiencing a particular design, they are the key to unlocking the heart and imagination, and thus fulfilling the potential of design to be fully experiential and, to a degree, interactive. This would prove to be the most challenging exercise yet. Basing my narrative off of my expressive qualities, I began with the idea that my personal conviction and resolve are elemental in maintaining balance and harmony in my life. Balancing those things which I hold dear, such as my relationships, education, and artistic growth, requires the ability to maintain focus and to avoid distraction and self-destructive behavior. Failure to do so results in me stumbling, bringing calamity to these things which I care about, and thus showing the potential for ephemerality in that which is meaningful when matters of the heart are not attended to carefully. These narrative iterations came to light in the form of framed designs. This approach, I feel, has been helpful as, by tearing away the skin from the design, the fundamental organizational principles at work are exposed, and thus, much as the fossilized skeleton of a dinosaur reveals a great deal about the anatomy and behavior of that animal, it becomes a great deal easier to see the ways in which the design supports or opposes the intended narrative and imbued qualities.

Frame Expressions &The Narrative

My first framed iteration seemed to support the narrative fairly well in the way it seemed to devolve and deconstruct itself as it progressed from the closed rectilinear forms to open ended, unresolved forms, however the organizational principles lacked cohesion. There was no developed logic behind the magnitude of the forms, their relative angles and the points at which they converged. The second iteration was somewhat more refined through its organizational simplicity, however, certain elements such as the short, vertical components at the top still did not seem to work toward clarifying and expressing the intended narrative.

First frame iteration Second frame iteration

By the third framed iteration, I found that my narrative was beginning to evolve in response to the materials I was using (bamboo skewers) as well as the the project itself. I found as I attempted to break free from my predisposition toward and fixation on rectilinear, cubical forms, my materials made that quite difficult. As a result, by using the simple logic of disallowing parallel edges to make contact in connecting a series of cubical forms, each open along one edge, the narrative developed toward the idea of inflexibility of form and logic precluding the possibility of coming to a definitive conclusion and state of completion. I feel that I was the most successful in this iteration in expressing a fairly sophisticated notion quite succinctly through the an abstract, tectonic design.

Third frame iteration

As I progress through my education toward becoming a designer, I become ever more aware of my design shortcomings and the hurdles which I face. However, I do not fret these facts. Instead, I see that they portent enormous possibilities and potential. I am faced with the opportunity not only to express myself and create designs of great beauty and profundity, but also to view the world--disasters, miracles, and all--with an unprecedented degree of detail and meaning. For this I am grateful and in full anticipation of the wonders that await.

What’s Next?

The Wall Transfigured

Part Two

The initial preparation for our final project was, I felt, a very powerful (and fun) set exercises designed to explore the geometry and relationships within organizational sets and between their constituent parts, as well as exploring the potentials and limitations of specific tectonic design approaches. These approaches included sectioning, folding, tessellating, and tensioning. As the moment really began to build through this process, I chose to forgo exploring tensioning, and continued working with folding and tessellating, feeling most inspired and fascinated by these approaches.

Exploration & Preparation

Sectioning

Having previously worked with this approach earlier in the semester, it came about fairly intuitively. Sectioning lends itself well to the organized use of a kit of parts, thus making transformation of form and implied lines quite easy to produce. As well, traditional construction materials seem to be best suited with sectioning methods, as evidenced, for instance, by the inner frames of most modern buildings and even airplane fuselages.

Folding / Tessellating

Having little prior knowledge of the potential of folding in tectonic design (beyond obvious examples, such as traditional origami before I began my folding explorations, I decided to do a bit of research. It wasn’t long before I discovered the work of Ron Resch, who rhythmically applied geometric principles to the manipulation of two-dimensional surfaces. This application resulted in beautiful, highly complex kinetic sculptures. I was personally attracted to the geometric and repetitious aspects of this approach, as well as the fact that regardless of the content of the individual designs, the approach as a whole operates in deference to the

classical conundrum of geometry: the seeming incompatibility between two-dimensional and three-dimensional surfaces (i.e. distortions inherent in maps of the earth’s surface). Folding methods, especially those inspired by Resch’s work, lead naturally into tessellations. In maintaining solid surfaces, one must implement rhythmic geometric forms, as seen in the pentagons and hexagons on the surface of a soccer ball or implied in the framework of a geodesic dome. In many of my explorations, I used equilateral triangles, systematically folded inward or outward. This method produced a very dynamic surface, capable of great flexibility, as well as great beauty in its tactility and its array of lit and shadowed surfaces.

Up until this point, the projects we have worked on have generally been stand-alone pieces, their orientations free to be manipulated on a whim, existing with little regard to external environmental, topographical, or architectural conditions. This, of course, is not reflective of the fundamental nature of the world which we and our designs inhabit. All physical objects and beings share space, coexisting with one another, their design and constitution generally being a function and expression of their surroundings. Buildings are made to withstand the forces of wind and

gravity, bridges allow us expedited access across spans that are too difficult or timely to traverse, houses provide shelter from the elements unique to their geographic locations. Thus the logical next step in our progress as designers was to tackle a design based not merely on an abstract, esoteric set of parameters, but one that sought to fulfill site-specific requirements, dictated by a physical, geographical locale with it’s own unique characteristics. In order to discern these characteristics, I found it helpful to begin asking questions about the location and its implicit relationships.

Site & Program

Analyzing The Site

● How do people interact with the space? ● How do people interact with each other, within the

space? ● How does the space (and any designs potentially built

within it) relate to surrounding buildings and topography?

● What are the weather conditions of the location?● What emergent qualities might result from the

modification of the location?● What are potential metaphorical implications of the

space?

Being that the designated location for our site-specific design is a courtyard at CCSF, it is reasonable to assume that the space is generally occupied by students, teachers and City College staff. I personally enjoy taking breaks in the courtyard, smoking, thinking about concepts and ideas from class, and socializing with Jerry and classmates. However, there is no seating in the courtyard so people are often seen dragging chairs into it.The retaining wall which arcs around the courtyard transforms in height obliquely, defining a section of the hill behind it. Thus the courtyard is relatively open, bright, and airy on the East side, where the wall is shortest, and rather imposing, stark, and shadow-cast on the west side where the wall towers above at approximately 20 ft. The weather is generally temperate, with a classically San Franciscan propensity for fog and wind. One needn’t stretch the imagination much for the courtyard, with its large, forceful wall keeping the hill at bay, to be seen as a indicative of the often at-odds, violent relationship between man and nature. The green trees sway and the hillside rolls in the background while (save for a single tree and a few empty planter boxes) the hard, grey, geometrical cement of the courtyard looms in the foreground. Given these conditions, any modification of the space, especially with the use of natural materials such as wood, rope, or cardboard, was likely to stand in great contrast to the courtyard and, hopefully, make it a more inviting and comfortable space.

The Team

Working within teams is an element of our final project, the influence of which mustn’t be underestimated. The dynamic within groups of individuals, acting as an emergent property, necessarily alters the process by which work is produced. All individuals are the challenges of the work from their own perspectives, with their own goals, and bring with them their own strengths and weaknesses. It is necessary when working within a team ensure that each individual is allowed room for their own creative expression and the fulfillment of their own needs, while simultaneously maintaining the as a priority the fulfillment of the overall project requirements.

It was upon these last few ideas that we based our design concepts and the program requirement of transfiguring the wall. We settled upon the idea of using a framed, volumetric expression of a continuation of the hill, extending it past the wall and into the courtyard. By aligning the structure’s intersection of the wall with the oblique line corresponding to the staircase on the opposite side, as well as the landing, we sought to find a balance between the natural and the man made elements of which the site is comprised. The unfinished look of framed sections incorporates the element of time into the design—the structure appears in a state of transition, either in under construction or in the process of being deconstructed. I feel that the ambiguity between these states forces the viewer to question the relationship between man’s influence on nature and nature’s influence on man. With the wall bisecting the natural hill and our fabricated extension of the hill, are we witnessing the demise of a piece of nature, with the structure’s framed sections jutting out like the ribcage of a decomposing carcass? Or, rather, is the hill reverting back to it’s natural state, forcing it’s way through the concrete wall and into the space it once occupied?

Design

Perhaps, despite our arrogance, our power and influence will only go so far in the face of the natural elements, and that like the great empire of Percy Bysshe Shelley’s Ozymandias, all our feats of strength and glory will one day succumb to the forces of Earth. While I don’t believe it is possible to answer these questions, I do think that the implicit moral in them is that we must as a species find harmony with the natural world, otherwise this conflict and battle of wills shall simply be perpetuated, to the detriment of the earth and of ourselves.

As lead-designer for our team, once we had come to a consensus regarding our design concept and approach, I was tasked with drafting the basic elements of our design in Sketchup. The resulting design consisted of a series of sections containing either 1 or 2 joints each, standing perpendicular to the wall. The joints allowed for gradual transformation of the form, at points introducing or subtraction additional planes to the outer surface. The top plane, while confluent with the level of the stairs and landing, also took part in this gradual transformation, with each section growing more or less oblique in reference to the wall or ground (as a hill does), thus further accentuating the precarious balance and inherent flux of the man/nature relationship.

Beyond the design of the overall structure, we toyed with many secondary and tertiary elements to introduce added depth and dynamism to our design: Using skins to provide shade, interesting shadows, and framed views. Bringing an interactive element to the planter box, such as providing the inhabitants of our structure with seeds, trowel and watering can. Incorporating kineticism into the structure, allowing for the experience of interactive manipulation. Unfortunately, time constraints precluded us being able to explore these ideas in the finished project. We did, however, incorporate a bench system inside of the structure, along the wall. This satisfied one of our primary program requirements in providing place for relaxation and socialization, as well as providing a fixed point from which to experience the unique framed views expressed by the spaces between sections.

We took a fairly traditional approach regarding our construction methods and materials. 2x4 wooden boards are perfectly suited for framed, sectioned design projects. From these, we were easily able to discern most of our necessary fasteners and produce our kit of parts. Producing a kit of parts was fundamental to the successful fabrication and construction of such a large and complex design. Using a system by which each section was designated with a number, and each section plane measured and designated with a letter, any individual person could follow the kit of parts list when measuring out and cutting the wood. In assembly line fashion, specific team members would then measure out the angles of the section joints, as dictated by the ground measurements according to the kit of parts list, attach the joints together, and hand the section off to the next team member to be connected to the wall. The natural way in which we all landed upon this system without premeditation was quite remarkable—a demonstration of emergent qualities in team dynamics.

Construction

As we proceeded with our construction we came upon a problem in that the number of sections dictated by our Sketchup model seemed to stand in far excess of our intended project boundaries when measured out in the real world. This may have been due to mathematical error on our part, or inaccuracies in the lengths of some lateral measurements in the Sketchup model of the courtyard. Regardless, we found that the most practical solution to this problem was simply to cut out several sections from our kit of parts, making minor adjustments to the lengths of their neighboring sections, so as to maintain the same transformation ratios and keep the overall intended form. I think this was fairly successful, though we may have lost some of the grace in certain areas of the lines implied by the series of section joints.We spent a long time deliberating by what means we would stabilize the structure. While secure where proximal to the wall joints, the extremities of the sections were difficult to make stand at the correct angles, as well as being susceptible to the wind. Attaching cut wooden braces between the sections worked just fine in eliminating these issues, however, compound mitre cuts were required to cut the braces so that they would sit flush with the implied surfaces of the structure. Lack the experience and equipment for such a complicated operation, we eventually settled upon using rope, knotted around the joints and providing tensioning on each side of each section, to stabilize the structure. This added a new material element to our structure, thus giving it the opportunity to be more dynamic, however as it was a fairly last-minute addition, I think we failed to incorporate it strongly enough as a motif in our design.

The Wall Transfigured

It was a great relief, after many weeks of work and anticipation to finally have the opportunity to present our finished product as well as the discoveries we made along the way. Having a final critique of the work in which one is emotionally invested, having spent so many hours laboring over its design and construction, can be a nerve-wracking, even disheartening, experience. However, I believe it is a crucial part of the growth process. It is an invaluable opportunity to learn more about one’s strengths and weaknesses as a designer, as well as an opportunity to learn the value of flexibility.

Presentation & Conclusion

One must acknowledge that the ideas and concepts to which one holds onto tightest do not necessarily offer the strongest support of the project’s goals. For instance, we were given the criticism that our sectioned design, while not devoid of strengths, may have stopped short of being truly sophisticated do to its sections repeating merely on a single plane. As well, our system of joints could have been executed more gracefully had the constituent beams been aligned on end, rather than side-by-side. Seeing our finished design in context with those of the other teams was also greatly rewarding. It reminded me that no design can not exist in a vacuum, without regard to those which surround it, those which came before and will come after.