Fall 2013 Midterm Portfolio

An Introduction Into the Study of Design

Carlos Ramirez Esquivel

TABLE OF CONTEXT

Ice Breaker Exercise 4Second Iteration 6Narrative Story 8

Kit Of Parts 10Third Iteration 13

Second Narrative Story 15Second Kit of Parts + Sequence 16

Fourth Iteration 18Third Narrative Storey 22

Fifth Iteration 23Sixth Itteration 24

24 Sixth Itteration26 Third Kit of Parts27 Seventh Iteration29 Response to Nature Powerpoint

Ice Breaker Exercise

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Assignment: To Group 12 Items An 8 1/2” x 11” board able to carry the weight. Project Must not exceed 8 ½” Height.

Project Successes: The Project was very diverse in its pieces. This allowed for a lot of future development and would allow for a variety of different paths from which to grow. The project also used the entire board, in-cluding the vertical spaces and also accented the limitations of the project. The final product was sturdy enough to be mount-ed if needed.

Project Failures/Oportu-nities: The project was very chaotic in it’s cre-ation and was very poor-ly manufacture. The Items did not seem to be cohesive or have a sim-ilar pattern. The project also did not have a clear hierarchy or direction for the observer to follow.

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Second IterationProject Successes: This project was a lot more organized. There was also more direction for the observer to follow. Also by mak-ing move to a highly similar building material, the connection between the pieces was more ob-vious. Also, the construction was of higher caliber and had a clean-er visual aspect. The Hierarchy of the project is beginning to also become more evident in the proj-ect and the dynamics between the different pieces arise.

Project Failures/Oportuni-ties: There is still a lack of communication between all pieces and an intertwining of the patters. There is still disconnect between each pieces significance to one another. This minimized version of the original lost some of the original com-plexities that gave the first versatility.

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StoryNarrative

This is the store of a room that begins to move. You see the floor tiles begin to move

and form benches, and the tiles begin to evolve on the ground. They soon transform from a simple pattern to a complex pattern of sharp corners that begins to move from the floor to the walls. Stretching out in an

attempt to break through.The Center also beings to form complex

structures. Growing. Evolving.

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Kit Of Parts

This project is a systematic break down to the basic components to form a building set any-one is able to use. Thus, the break down must

seem like that out of an IKEA catalogue.

The Second Step in this Kit of Parts is to ran-domize the use of them and interlay them

with each other using transparent paper. This allows use to create additional pieces not in-cluded in the kit to create and EVOLVE the

design into something more sophisticated in its intent.

The Final design in the sketches is a good ex-ample of the evolution, but the leaps between

the traces are not leaps of great extent.

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Fina

l Kit

Of P

arts

Des

ign

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Third Iteration

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IterationProject Successes: This project is a very literal transition between paper and actual construction. While it contains a greater level of original ideas, intent, and design, it’s greatest is the use of repetition and pattern. It also contains hidden secrets that have to be observed at a closer prox-imity.

Project Failures/Oportunities: The leap between the image and the physical iteration can be improved

Third Analysis

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SecondStoryNarrative

Evolution means any process of formation or growth; development. It is also defined as a process of gradual, peaceful, progres-sive change or development. This resonates with the ex-pression and form my work takes. The piece represents an evolution of past experi-ences and a new direction. It is a personal reflection of what I know, and where I am headed. The repetition of chaotic pedals beginning to take consistent direction. You

are drawn around the curvi-linear path to the structure comprised of two entwined structures symbolizing the precipices of change. In my personal story, it is the de-cision to resign my current path and return to school. Abandoning familiar sur-roundings and familiar structure. This is symbolized in the last portion of the structure where you see a geometric design comprised of perfect right angles and repetitive rectangular shapes.

The shapes are either an ad-dition to the underlay or a subtraction. Each following a set pattern and structure predesigned, similar to the strong formatted routine we each follow. The entire piece forms and grows through progressive design to con-struct a textual representa-tion of evolution.

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+This Kit of Parts was designed using both the Golden Ratio and the Fibo-nacci sequence in mind. Using these two, I attempted to create some-thing that centrally looked symmetrical over all, but was not. Using these two ideas, I created

a concept by sketch-ing first to develop an overall strategy. The Idea was to create something that came from the previous project but become more de-liberate in the exe-cution and retained more structure than

previous models. This would hopeful-ly create a greater over all consistency and repetition, but allowed for more dynamic facades

that had underly-ing hierarchy. The concept for the de-sign was to create something that was tallest in the center and also directed the viewer inward.

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FourthIteration18

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Fourth

Containing the highest level of craftsmanship, this iteration is a strong example of deliberate intent.

This Model contains not only a hierarchy in its de-sign, but also contains a deliberate repletion and

dynamic design between all parts in the model. The use of scale between the facades and the interior play a role that repeats and speaks with one another. Here

the interior and the exterior play with each other’s expressions. You also notice that this piece has com-

plexity in its perspectives as well, giving it macro and micro intricacies.

IterationAnalysis

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StoryNarrative

ThirdEvolution can be defined in

a variety of ways, all of which are true from that given per-spective. The Way I choose to define it agrees with the one of the various definitions found on Merriam-Webster.com; a process in which the whole Universe is a progression of interrelated phenomena. This is the Driving fore behind my design and my personal story of progression. We are first drawn to the center of the object. This is the primary object, as it symbolizes the precipice of current prog-ress. You notice the staggering peaks giving the impression of a vertically growing mountain, each representing forward leaps that we as individuals take. In my person experience they represent me quitting my job to return to school, quitting smoking, reducing my spending habits, become a vegetarian, all of which have come one after another. As you continue to ex-plore the centerpiece, you notice that there are openings from all sides and you begin to explore each one. Each one is a window into a different moment in the

development of the decisions and steps we take, each one giv-ing a different perspective. You watch the light and shadows, and you notice the tiers with in the structure. As you explore the center you being to catch glimpses of the structures that surround the object. Your eyes are now drawn to the secondary object, the black floor that seems shaky and is held up with wood col-umns. You begin to explore and you notice that it is not as unstable as it first seemed, and that there seems to be some organization to the missing tiles on the floor. This level rep-resents one side of the past. It is the structure and orientation of our pre-conceived notions of direction or organization. It is ridged and makes us sometimes feel forced into a metaphoric box. This represents my past; here I developed my education, my deductive reasoning, and my logic. You explore the object and find that some of the cut

outs follow a pattern: 1,1, 2, 3, 5, 8, and 13. The pattern repeats in certain areas and you notice the floor itself seems to have the same pattern. You now recede back to observe the entire structure and notice that you have missed a section. You come across the tertiary structure constructed of curves and waves. This structure is much more organic and natu-ral. This represents the natural learning that we develop out-side of the normal constructs. In my life, I have learned that not everything follows order and time can sometimes become meaningless. I learned that re-gardless of the ridged structure of he Educational institutions or the confines of work, people will always continue to learn and grown and develop. Sometimes, it’s the only way to grow, to force yourself to mature, and to

enjoy things you’ve done before in a new fashion. I have learned to appreciate school, to appre-ciate days off, and to appreciate isolation and meditation. This too is a vital step to evolve, and without one or the other we cannot evolve. You finally step back and observe the entire object and you peer over the top of it and notice that the aerial view pro-vides you with a whole new per-spective. Suddenly all the pieces come together and make sense. This is the journey I have lived and the journey that I hope you have experienced while step-ping into the world I’ve created.

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IterationFifth

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SixthIteration24

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Kit

of P

arts

Thi

rd

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Seventh

Iteration

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Response to Nature Analysis

The Brow

er Center

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Occupies 48,000 sq. ft. Leadership in Energy and Environmental Design

(LEED) Platinum

Designed by Daniel Solomon principal of WRT-Solomon E.T.C. firm

Said to be a home for environmental action

Photovoltai panels, which double as sun shade devicesWater system to collect and reuse rainwater for irrigation and toilet flushing; uses about 40% less water. Uses radiant heating and cooling within the building’s concrete structural slabs. Solar shading devices on all south-facing windows. High eficiency lighting with automatic controls to limit use when adequate day-light is available; also dual mode occupancy sensors (IR and ultrasonic) so lights shut off when not in use. Concrete created using “Slag” to significantly reduce CO2 and cement content. Operable windows and low pressure ventilation via raised floor systems to maximize indoor quality. Constructed using 53% recy-cled materials

To respond to sunlight and maximize use of natural light the building is designed using narrow offices (about 27-feet-deep) and oriented East to West. Also, all South and East elevations use lightselves to reflect light into the building without allow-ing heat gain and glare to penetrate the building. This allows

for 100% daylight of all office areas.

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What natural responses do we find in the build-ing that help the building blend into the envi-ronment and move people to find the building

more natural to the environment around it.How are the spaces designed and the building designed to create an environment that creates

natural inspiration. The end is curved to continue the natural path and breaking the hard corner of the intersec-

tion.

The curvature is also a response to the structures adjacent to it.Narrowness is a response at an attempt to create an environ-ment illuminated by natural

light.The building also uses columns created out of concrete to pro-duce the feeling of importance

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