Friday, December 18, 2015

Language and Text Diagram


Top right image:
Nebulous Overhang

Bottom left image:
Suspended shadows

Bottom center image:
Angled passageways

Middle Right image:

Tapering Triangles

Finals








Final Script

My architectural proposition is of shifted suspending
This concept is expressed in my final model in which triangular volumes made from foam are being shifted and then suspended using wood

I hybridized the greatest qualities of my initial design approaches as well as their materials to create a means for designing my folly that focuses on suspending, stretching, and subdividing triangular densities.
These three ideas are shown in my final model

Subdivision informs the shift of a triangular density which creates a nebulous (indefinite, unclear) overhang
and suspension of a triangular volume is reliant upon stretching

The intersection of two suspending elements create quartered spaces that form angled passageways in space that a body can navigate through similar to a labyrinth

As one weaves through triangular densities they can elevate themselves through climbing a ladder, constructed by wrapping wood. Once at the top of the ladder they can stand on a platform and look out upon the folly

Or they can become submerged by climbing down into the void space and sitting underneath a suspended triangular density.

My experimental drawing drove the idea of shifted suspending further. Rather than shifting horizontally I shifted the model as a whole vertically while suspending it from one critical point. I also tested displaying different perspectives while at the same area to expand upon my spatial and site qualities

Thank you























Follys


 

Modern Eco Friendly Homes Set Amongst the Trees   DesignRulz.com: Folly 2014 winner SuralArk to be installed at Socrates Sculpture Park in May | Folly 2014 winner: SuralArk by Austin+Mergold | Bustler: Bernd Riegger's see-through Forest Refuge cabin provides shelter for a woodland kindergarten:

Hybridizations

            transformed into







Started thinking about spatial qualities created by the shadows, and overhangs
 

Hybrid

Hybrid Drawing
attempts at combing foam and wood together while simultaneously combining my design approach A: Subdividing intersecting triangular blades
B: Suspending stretching extruded volumes

Hybrid
Suspending, stretching, and subdividing extruded volumes






Mid-term Review

1.) I think my arrangement of my two design approaches and my hybrid fostered strong discussion that was focused and concise. I think I could have improved upon my arrangement through adding more photos and old models to show my process. 
2.) I thought my language during my verbal presentation was engaging and interesting. Although it seemed that the panel was having a difficult time finding a foot hold or somewhere to start talking about my work. I think, again, if I would have included more of my process the panel would have had an easier time comprehending and discussing everything. 
3.) I think my language poster was a little cluttered. Although it was clear, there was a lot of words filling the space. I think to improve it I need to fix my spacing and layout on the poster as well as cleaning up the clutter to allow for a more open diagram.
4.) I think my presentation did a good job at conveying the "story" I wanted to tell. I attempted to present one design approach, transition to the next and then briefly explain how the two meshed together to form my hybrid. I don't think there was a disconnect however I think I could have made the description of how my hybrid was created more clear.
5.) The most significant and helpful feedback I received was to produce and not overthink and over-analyze everything.
6.) For my hybrid I want to incorporate an idea of two opposing things coming together for example imbalance and balance. 

Road to Mid-Terms


                      rebuilt to 



Model 3A



3A
Rules:
Combine all three components to create an elongated structure that notches with itself while being flipped.
The two structures latch onto the enclosing shapes.

Elements:
Component 1: A combination between a large and small rectangular stepping shape
Component 2: A square stepping shape
Component 3: Pointed spear
Formal Analysis
Repeating, stepping shapes are reflecting and enclosing a plane and each other while vertically emerging.

The pattern for the plane is the shape repeats once, then reflects, shifts, and encloses. Then it switches direction and repeats, shifts, encloses, reflects, and repeats.
Interpretation
A plane vertically emerging shapes repeating, stepping, and reflecting enclosing each other.

Adding Solids Model 3A:








Writing through Stein

Main ideas

  • Repeating stepping
  • Flipping Reflection
  • Symmetrically Enclosing
  • Perpendicular Plane
  • Outwardly Shifting 



Attempt 1:
Repeating steps are flipping to display reflection as they repeat to symmetrically enclose a perpendicular plane on each side. They outwardly shift away from the perpendicular plane.                               

Attempt 2:
Repeating Steps are reflecting and enclosing a plane and each other as they shift vertically. 


Sunday, September 20, 2015

Hands

9/19/2015

Verbs:
1. Radiating
2. Weaving
3. Bending
4. Reflecting
5. Stepping
6. Layering

Definitions:
1. Of material structures: to diverge outwards from a central point.
Etymology:  < classical Latin radiāt-, past participial stem (see -ate suffix3) of radiāre to emit rays, to shine, in post-classical Latin also to illuminate (3rd cent. in figurative use, 4th cent. in literal use) < radius  radius n.

2. To form or fabricate (a stuff or material) by interlacing yarns or other filaments of a particular substance in a continuous web; to manufacture in a loom by crossing the threads or yarns called respectively the warp and the weft. Also with obj. the web itself, a garment made up of such a stuff or material. †to weave out : to complete the weaving of.
Etymology:  A Common Germanic strong verb (not recorded in Gothic): Old English wefan, past tense wæf, plural wǽfon, past participle wefen, corresponds to Old Frisian *weva (North Frisian weewen, West Frisian weve, weevje), (Middle) Low German, (Middle) Dutch weven, Old High German weban, wepan (Middle High German, modern German weben), Old Norse vefa (Middle Swedish väva, Swedish väfva, Danish væve) < Old Germanic *weƀ- (:*waƀ-: *wǣƀ-) < Indogermanic *webh- (:*wēbh-:*ubh-), represented in Sanskrit ūrṇavābhi spider (lit. ‘wool-weaver’), Greek ὑϕή, ὕϕος, web, ὑϕαίνειν to weave. The same root occurs in web (and abb), weft, woof.

3. To constrain or bring into tension by a string (a bow, an arbalest, a catapult, etc.) Formerly also bend up; = Latin tendere. In later times associated with the curved shape into which the bow is brought; = Latin flectere. (Hence branch II.)
Etymology:  Old English bęndan, probably identical with Old Norse benda ‘to join, strain, strive, bend.’ (The rare Middle High German benden ‘to fetter’ is perhaps of independent formation.) Germanic *bandjan, < bandjâ- ‘string, band,’ in Old English bęnd. In Old English used only in the senses ‘to restrain with a bond, fetter, confine,’ and ‘to bend a bow,’ originally ‘to hold in restraint or confine with the string.’ From the latter by transference of the word to the bowed or curved condition of a bent bow, came the now main sense of ‘to bow, curve, or crook.’ Compare the partly parallel history of French bander, Old French bender (= Provençal bendar, Italian bendare, bandare, Spanish vendar, bandar, Portuguese vendar, bandar).

4. To bend or turn (something) back, to give a backward bend or curve to (usu. in pass.); (Surg.) to fold back (a flap of tissue) to expose underlying structures. Formerly also: †to bend (the legs) (obs.).
Etymology:  < Middle French reflectir to reflect (light), (reflexive) to be brought back (both c1400), reflecter (of light) to be reflected (1530) or its etymon classical Latin reflectere to bend back, to turn round, to retrace one's steps, turn back, to turn away (the face, gaze), to turn back, reverse, in post-classical Latin also to reflect (of a mirror) (c1240 in a British source) < re-  re- prefix   + flectere  flex v.   Compare (with alteration after flechir  flecche v.) Old French, Middle French reflechir  , French réfléchir   to reflect (light) (13th cent.), to push back, to send back (1380), to meditate, reflect deeply (17th cent.; compare Middle French se reflechir sur soi   (16th cent.)), to meditate (on) or think deeply (about) (17th cent.), and also ( < reflet  reflet n.) refléter   to reflect (light) (1762). Compare also Italian riflettere   (1319 as reflettere  ), Spanish reflectir   (15th cent.). Compare deflect v., inflect v.

5. To move to a new position by extending the foot to a higher or lower level or across an intervening object or space (e.g. in entering or leaving a carriage or boat, ascending or descending stairs); with adv. or prep., as across, in, into, off, out of, on or upon, over, up (see also branches III and IV).
Etymology:  A Common West Germanic strong verb, with j-   present-stem (compare shape v.
). The original conjugation (Germanic type *stapjan  , *stōp-  , *stapan-  ) is completely evidenced only in English and Frisian: Old English stæppan  , stęppan  , past tense stóp  , past participle (be)stapen  , corresponds to Old Frisian *steppa   (3rd singular stepth  , stapth  , subjunctive steppe  ), past tense stôp  , past participle stapen  . The present-stem is normally represented also in Old High German stephen   (Middle High German stepfen  ), and West Flemish steppen  ; the strong past tense in Old Saxon stôp   and in West Frisian stoep  , which is the only trace of the strong inflexion surviving in any modern Germanic dialect. The continental West Germanic languages have a synonymous weak verb with pp   and without umlaut, (Middle) Low German, (Middle) Dutch stappen  , modern Frisian stappe  , Old High German staphôn   (Middle High German, modern German stapfen  ) < West Germanic *stappōjan  , where the doubled p   appears to be due to derivation from the sb. West Germanic *stappon-   (see step n.1); in Low German and Dutch, however, the history of the form may be complicated with that of the original j- present. In Old English the normal form stęppan was Anglian, while West Saxon had the form stæppan, the anomalous vowel of which has not been satisfactorily accounted for. In Middle English the forms with a are confined to certain southern writers (compare modern Somerset staap). The present Sc. stap, recorded from the 17th cent., appears to be a late development. The normal strong past tense and participle survive into the 14th and 15th centuries, but beside them appear two analogical formations: steop, stepen, apparently modelled on the reduplicating verbs (compare the similar development in Middle Dutch stiep past tense); and stap, stappe of uncertain origin. Beside the regular stapen there is also a new past participle stopen. Weak forms are found from the end of the 13th century, and from the 16th century are universal.

6. Something which is laid. A thickness of matter spread over a surface; esp. one of a series of such thicknesses; a stratum, course, or bed
Etymology:  < lay v.1 + -er suffix1

Synonyms:
1. Radiate-
Emanate and Expand
2. Weave-
Braid and Entwine
3. Rotate-
Pivot and Revolve
4. Reflection-
Sending back and Mirror
5. Step-
Pace and Advance
6. Layer-
Cover and Coat

Sentences:
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