midterm cathy makunga [autosaved]
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Arch Design Studio 101 Spring 2014 Learning Portfolio Midterm Submission Cathy MakungaTRANSCRIPT
Malevich Icebreaker Iteration #1
The Task: “Malevich Reinterpreted into Tectonic Form”
• Select a portion of Malevich “Suprematist Composition 2” and turn into 3 dimensional form
• Choose a unified excerpt of the image
• Construction should have no base
• Construction should not exceed 8.5” wide x 11” deep x 6” height
• Keep it monochromatic
Materials Used: Chipboard & Aleene’s Quick Dry Tacky Glue
Kazimir Malevich
My Approach:
I chose the lower third portion of
the Malevich composition to
construct. I saw in that portion of
the image a sense of movement, a
lever system that was balancing,
turning, or being pulled by some
force. To gain a sense of the
proportional size of each
corresponding element, I simply
enlarged the cropped portion of the
image and used tracing paper to
identify the components I was going
to construct. The next step was
deciding how each rectilinear form
was going to occupy 3 dimensional
space. Although proportional in
scale to the traced image, the
choices I made for sizing each of the
rectilinear pieces were arbitrary.
“Suprematist Composition 2”
Lower 3rd portion of Malevich Composition
Tracing of selected elements
Discoveries:
The model making process was arduous. I
encountered difficulties in the most basic tasks
such as: cutting chipboard in a straight line (even
with the use of a straight edge); gluing cubes and
rectangular prisms that should have perpendicular
edges, parallel surfaces and stand upright
(accounting for the thickness of my chipboard or
lack thereof); and understanding how much glue
to use to hold it together and not appear unsightly
…just to name a few.
Failures: I began building the model without a
clear idea of what the final outcome would look
like, and as a result, an entire portion of the
image, that I had intended on including, did not
make the “final model”. I built the pieces but
then had no idea how I was going to connect
them to the main branch of the piece. The
weight, bulk and relative position made it
impossible to glue together. Not creating a vision
for the outcome of the piece and simply
throwing together a hodgepodge of ideas
created a roadblock that I could not resolve.
Arbitrary relationships of elements in the
composition and no unity.
Malevich Icebreaker Iteration #2
Task: Adhere to rules for the previous iteration & improve on design.
Materials Used: Chipboard & Aleene’s Quick Dry Tacky Glue
My Goals for this iterations:
• Create a rational for each rectangular prism and its relationship to the other components.
• Reduce and better manage the scale and proportions of the piece
• Find new ways of attaching each component, beyond simply gluing the pieces to flat surfaces.
• Improve on the craft of the model.
• Create something interesting.
Cropped lower portion of Malevich imaged
My Approach:
Although I was aware that I was straying slightly from the Malevich composition, I straightened
out the lines and eliminated the arbitrary oblique angles from the previous model. I eliminated
the lower portion of the Malevich image, that was unsuccessful in the Iteration #1. I honed in
on the measurements of each rectangular prism and its relationship in size and space to the
other boxes, creating somewhat of an expected cadence to their new orientation. These
relationships vary throughout the model but follow a .5’’, 1’, or 1.5” spacing pattern. I also was
very focused on improving my “craft” and increased my precision of my measuring, cutting,
gluing, etc. Additionally I introduced cut-outs on the shapes in an effort to “lighten” the model
and create some small but “mysterious” windows that serve as vehicles to attach the forms in a
different way and also, hopefully create interest.
Discoveries:
If you start with a plan and some exact measurements, your outcome will invariably approximate to your vision. Cutting chipboard is easier if you first score the line and slowly guide the cut. Take into account the width of material used to improve the connections of the boxes. It is possible to cut a straight line and gluing (neatly) just takes patience.
Strengths/Weaknesses: The outcome was a cleaner model, but the
ultimate effect was rigid and methodical. The piece had math & some
rhythm but still lacked a design element. This iteration is still “cold” and
uninviting.
The next iteration needs to have more interest and be more inviting. Move away from the homogeneity of the spacing and try some bolder contrasts.
Malevich Icebreaker Iteration #3Give InstructionSubmission #1
Task: Adhere to rules for the previous iteration & improve on design.
Materials Used: Chipboard & Aleene’s Quick Dry Tacky Glue
My Goals for this iterations:
• Create a rational for each rectangular prism and its relationship to the other components.
• Reduce and better manage the scale and proportions of the piece
• Find new ways of attaching each component, beyond simply gluing the pieces to flat surfaces.
• Improve on the craft of the model.
• Create something interesting.
• Write instructions for in-studio build
My Approach:
I changed the shape of 3 of the rectangular prisms to equal dimensions of 1”x1”x 1.5” of in an
attempt to bring more unity to the design. I did the same with 2 of the longer rectangular
prisms to equal dimensions of 1"x1"x4”. This again was an attempt to create visual continuity by
having repetition of sizes. I also enlarged the “windows” to create more passageways to explore
and connect the forms by these horizontal openings. I attempted to create more “drama” by
raising the plane of one cantilever to give it a greater sense of suspension.
Strengths/Weaknesses: By increasing the openings/windows the piece did have more spaces to discover and unified the view from various angles. However, the increased size of the openings required an increase in the volume of some of the rectangular prisms which resulted in a heavier feel of the whole idea. The opening on the suspended rectangular prism appears out of place when viewed from one side but on the other hand does unify from the another view.
Build Rectilinear Suspension Boxes
1. Build 3 rectangular boxes w/ the following dimensions:
a. 1.5” Length x 1” Height x 1” Width
b. Label them box A;B;C respectively
c. Assign a front and rear “face” to the box - using the 1” x 1“ squares as your “face”
2. Build 1 rectangular box w/ the following dimensions:
a. 2.5” Length x 1.5” Height x .5” Width
b. Label it box D
c. Assign a front and rear “face” to the boxes – using the .5”x 1.5” rectangular as your “face”
3. Build 1 rectangular box w/ the following dimensions:
a. 6” Length x 1.5” Height x 1” Width
b. Label it box E
c. Assign one of the 1” x 6 “ sides as the “top” of your rectangular box
d. Accordingly assign a left and right side of the box
4. Build 1 rectangular box w/ the following dimensions:
a. 6” Length x 1” Height x 1” Width
b. Label it box F
5. Build 1 rectangular box w/ the following dimensions:
a. 3” Length x 1.5” Height x 2.5” Width
b. Label it box G
c. Assign one of the 3”L x 2.5”W sides as a top
d. Assign one of the 2.5” W x 1.5”H sides as a front and rear face
6. On box A cut a: .5” x .5” cube out of lower right corner of the rear face
7. On box B cut a: .5” x .5” cube out of the upper left corner of the front face
8. On box C cut a: .5” x .5” cube out of the upper left corner of the rear face
9. Attach box A to the upper corner of Box D
10. Attach Box B to the lower corner of Box D
11. Attach Box C to the lower right front face corner of Box G
12. On top of Box E measure out all 6 inches from edge and mark the top as a guide lines
a. At inch 2 cut a 1”L x .5”W rectangle out of the top
b. Do the same on the left side of the rectangle creating a continuous notch along the edge
c. At inch 4 (extending to end of box) cut a 3”L x .5”W rectangle out of the top
d. Do the same on the left side of the rectangle creating a continuous notch along the edge
13. Attach the rear lower face of Box E into the notch at inch 2
14. Attach box F into notch created at inch 4
Weakness: Submission for in-studio build was not appropriate
for 2hr timeframe allowed. Did not include some basic
diagrams.
Follow InstructionsIn Studio Build #1Task: Follow Jyothi’s instructions to build model in studio
Materials Used: Chipboard & Aleene’s Quick Dry Tacky Glue
Discoveries: It is difficult to interpret the vision of others without visual cues. Language used is crucial. I learned what a “cuboid” is – I know this to be a rectangular prism. Using terms like “arrange in the form of beehive” are not specific enough and are left to the individual’s interpretation.
Give Instructions Submission #2
Task: Create a model that can be built in studio within a 2hr timeframe. Create instructions for classmate to follow and construct your design.
My Approach:
I used a condensed/simplified version of my 2nd Malevich iteration.
Building Instructions – Rectilinear Form
1. Build 1 rectangular box w/the following dimensions
a. 5” Length x 1” Height x 1” Width
b. Label it box E
c. Assign a “top” & “bottom” to any opposing 6” face of the box
d. Assign a “front” & “back” to any 1” square of the box
2. Build 4 rectangular boxes w/the following dimensions
a. 1.5” Length x 1”Height x 1” Width
b. Label them box A; B; C; D
c. On each box - assign a “top” & “bottom” to any opposing 1.5” faces of the boxes
3. On of box A & B cut one .5” x .5 “ cube out of any corner
4. On box C & D – starting from the edge 1” edge - cut one 1” x .5” rectangular cube out of the “top”
5. Attach box A to the front left corner of box E (once attached - 1” of cube of box A should protrude above top box E)
6. Attach box B to the rear right (lower) corner of box E ( once attached 1” of cube of box B should extend beyond back face
of box E)
7. Along the top of box E – starting from the front edge
a. Measure 1.5” in from the front and beyond that point mark off a 1” x 1” square along the top
b. Within the outlined 1” square, attach box C to the top right of box E (once attached box C should extend .5” out of
right side of box E)
8. Along the bottom of box E – starting from the rear edge
a. Measure 1.5” in from the back face and beyond that point mark off a 1” x 1” square along the bottom
b. Within the outlined 1” square, attach box D to the bottom Left of box E (once attached box E should extend .5” out
of left side of box E)
Weakness: Did not include appropriate diagrams for student to follow. Instructional language should have had more details
Follow Instructions In Studio Build #2
Task: Follow classmate’s instructions to build model in studio.
Materials Used: Chipboard & Aleene’s Quick Dry Tacky Glue
Discoveries: It is difficult to interpret the vision of others without visual cues. Language used is crucial. I learned was a cuboid is – I know this to be a rectangular prism. Using terms like “place circle on top of… ” & “cut circle” without given measurements are not specific enough and are left to the individual’s imagination.
Blind Drawing #1
Blind Drawing #2 Capturing Shapes – Lights & Darks
Blind Drawing #3Capturing the Darks in a Connected Way
Blind Drawing #4 Capturing the Edges & Boundaries – Connected Edges
In studio blind drawings of photograph Tokyo Museum
Gesture Drawings Task: Take selected adjective and draw free from abstract expressions of the word
Material: Charcoal & Newsprint Paper
My Approach: My initial adjectives were: Playful – Peaceful – Bold. Ultimately I selected Peaceful. The images I had researched suggested simple, wide, movement, and curvilinear forms to evoke Peaceful.
Strengths/Weaknesses: The concept of gesture drawings and
its relative value is still something I am pondering. I was told
that the gestures I had selected were not saying “peaceful”
because they had a closed form. So I had to further my
thinking on what it meant to evoke this and push to “open” the
form. In the subsequent gesture drawings I attempted to do
this but I do not think the adjective was realized.
Discoveries: I can’t draw well and, at this stage, doing so does not advance my ability to create 3D forms. Once we no longer had a Malevich image to work from I was at a loss of how to progress from idea to form. My workaround for this deficiency was to create prototype models of what I had in my mind’s eye. These ugly little builds allowed me to move past the roadblock that was preventing me from even attempting to build models.
Prototypes
Adjective Study PeacefulIteration #1Task: Build a model that evokes the selected adjective and takes the gesture drawing into a 3D form.
Materials Used: Chipboard & Aleene’s Quick Dry Tacky Glue
My Approach: A failed attempt at interpreting Peaceful in 3D form. Not
Adjective Study PeacefulIteration #2Task: Build a model that evokes the selected adjective and takes the gesture drawing into a 3D form.
Materials Used: Chipboard & Aleene’s Quick Dry Tacky Glue
My Approach: Another failed attempt at interpreting Peaceful in 3D form. Working through ways of delivering a curvilinear form.
Adjective Study PeacefulIteration #3Task: Continue to improve on the model of your selected adjective. Create a narrative of the adjective to guide the building of model
Materials Used: Chipboard & hot glue gun
My Approach: I wanted to evoke movement and undulation that was continuous but would convey a sense of peace and rest
Strengths/Weaknesses: The idea of
a wave for lack of a better analogy
was a reasonable place to land after
the first to attempts. However the
result was all about symmetry and
sameness and therefore did not
create any interest or surprises. I
realized this going into and while
building the model, but I decided to
push forward with the idea to see
what it would lend for the future.
The upper half of the construction is
what stayed with me into the next
iteration. The folds of the “wave”
was a recurring theme that I wanted
to continue exploring the meaning
of.
Adjective Study Peaceful – Using Personal NarrativeIteration #4
Task: Continue study using adjective model. Write a personal narrative on any aspect of your personality. Insert your own personal into the design.
Materials Used: Chipboard & hot glue gun
My Approach: In this model I continued to evolve the peaceful curvilinear form I had been investigating. In this iteration I used the narrative of my personal family history to shape the curves and tell my story using the model as a vehicle.
2/27/14
Family History Narrative
The most compelling part of my story are the origins of my family. Our family history is one of disparate nations/continents,
travel and immigration. In this model I have attempted to relay this story by laying out a map of sorts of our family’s migration.
My father was born in Africa, The Congo to be exact and my mother in Europe, Prague, in the now Czech republic. Her family
escaped post war and after a term as refugees landed in South America. She later came to America as a young adult where she
met my father at the university. My sisters were born in the US while my parents were still in graduate school and I came later
when my family moved back to The Congo as required by the US student visa that my father held. After 7 years on the African
continent my family moved to South America, Lima, Peru. We stayed there only a short while, 3 years, and then immigrated to
America in 1981. We landed in Los Angeles, California were I remained until finishing college and then moving to San Francisco
were I have lived for the last 20 years.
My model is a suggestion of the layout of continents and travel. The 3 pillars represent where I have lived in the Americas, Lima,
Los Angeles, and San Francisco. The 3 “twin” “female” inspired forms represent me and my sisters. Two are positioned on one
side to denote that they were born in the US. I am imagined on the opposing side since I was born in The Congo as my father
was. We are both US naturalized citizens today. My mother’s history is represented by the large shape curling underneath the
model. She is the only one to hail from Europe and also having lived in South America as a child. I have used the connecting
item on the underside to illustrate a metaphorical compass pointing in all four directions.
Discoveries: Using my family’s history as a map to
build this model greatly improved the entire
process of decision making. It was a sense a relief
to have such a roadmap and allowed me more
freedom to draw open expressions of what I had
written. Honestly it was an “aha!” moment of
why didn’t I use this mode of thinking when I was
struggling with the idea formation before. Before
I was trying to pull ideas out of thin air, but by
creating a narrative and being forced to tell a story
in 3D form it simply flowed.
Strengths/Weaknesses: Although I was really satisfied with
the experience of building this model from my narrative,
the resulting shape still had problems. I struggled with size
and boundaries of the shapes with the result of actually
hiding what I was trying to reveal. I also was very literal
with my interpretation of my family history, plotting cities
and shaping continents. The ideas were there but the
interpretation in form needs to be more of a metaphor and
not a linear diagram of my life. In the end the model lacked
balance and stability but it did advance some storytelling.
Frame ExpressionUsing Personal Narrative Iteration #1
Task: Using your last iteration of a model using a personal narrative, create a frame expression of your model.
Materials Used: Bamboo, reed, and hot glue gun. The bamboo was taken from an old window shade screen and the reed was from a Hawaiian beach matt.
My Approach: Since this frame expression was based on my family’s history of travel and migration, I wanted to use organic materials that would tell the story of my roots from a rural or underdeveloped nation. My desire was to evoke a sense of warmth and place in the frame expression.
Discoveries: My choice of materials were a poor choice and
proved extremely difficult to work with, resulting in making little
progress with the frame. The bamboo does not cut easily, it
splinters and disintegrates as your apply pressure to it. Even
using an E-Xacto saw blade proved impossible for this task. I had
to simply be diligent and cautious with each cut, and the smaller
the pieces, the more difficult it became. Every third cut ended in
a pile of splinters. The reed was also a challenge to work.
Although the flexibility was ideal for the shapes I was aiming for,
many of the strands were brittle and would eventually snap after
too much manipulation. This resulted in many repairs with the
glue gun along the way. The also crimped and bent into odd
shapes and points required a duplication of effort in shaping the
curves I was creating. Ultimately the symbolism I was hoping to
gain, in the chosen material, was never realized because I
couldn’t get far enough with the work in the allotted time.
Strengths/Weaknesses: Conceptually the use of the organic materials could have been
a beautiful metaphor for place and origin, but if it cannot be built it is of no use.
Future ideas could incorporate use of flexible bamboo or other pliable strips of wood
that could hold together and give the desired flexibility to create the curvilinear form.
This is something that I would definitely want to explore in the future.
Frame ExpressionUsing Personal Narrative Iteration #2Task: Create a 2nd Frame Expression
Materials Used:
18 Gauge Aluminum Wire
24 Gauge Galvanized Steel Wire
19 Gauge Galvanized Steel Wire
18 Gauge Galvanized Steel Wire
My Approach: Finish a frame expression using wire. Use my family narrative as a guide but push away from the literal story of history to something more evocative.
Discoveries: Working with wire proved easy and difficult all at
once. It was important to use the different gauges of wire in
order to 1) work with the material & 2) have it hold its form. I
found it very difficult to bend and mold the steel wire so I only
used it for the larger frames. I found the aluminum wire to be
pliable and easy to work with so that I could readily bind the
frames without losing my desired shapes. I also tried to
maintain a continuity in the binding pattern so that the entire
frame would have a continuing references form each shape or
“petal”.
Strengths/Weaknesses: As I worked my wire frame
and story, I realized that the narrative I had created
was a chronological history of me/us but it did not tell
the real story of what all that family history has
evolved into. What it revealed to me, was that the
true narrative is in how that history has shaped me/us
and that that was the story I needed to tell. In the
end, I would call this my first successful construction
of the term. However, even as I say that I realize that
some components of my frame expression no longer
fit into the story of my family relationships. In the
prior iteration the shapes on the “ground” in the front
were a literal representation of continents and place.
I am no longer sure how they fit into the current
dialog of family relationships, tenuous as they are
(sisters to mother to father, and me). They may not
belong in the frame at all. But alas, that is for a future
exploration!
Closing Remarks
Although I have struggled in this course trying to understand what it means to design and how one
gets there, I feel that there are glimmers of comprehension and growth swirling around. I am seeing
the process differently now and know that in order to get to the “good stuff” you have to dig deep. It
is difficult to show those emotional scars and also to let go of judgment. But, I do recognize the
importance of it. It’s those small bits of encouragement that keep us pushing through to new
discoveries. Thanks for opening that door.