m i c h a e l j a b l o n s k i

prof. humberto normanarchitecture 131 fall 2014california polytechnic state university, san luis obispo

biography

phoenix, arizona 1995

san luis obispo, california 2014

architecture major 2019

golfer, cyclist, artist

professional inspiration:hassan fathy 1900 - 1989

john yeon 1910 - 1994christopher alexander 1936 -

01_ gamespace

The abstract theme of this project granted invaluable insight regarding the ways to approach design. There exists evidence for this between the beginning and final steps of this project alone. The Game Space project surpasses its obvious con-nection to video games in the first hours of the assignment. An analytical look at the design and its ability to influence direction and movement became the central objectives.

02_walk the line

I began this second project with an openness to design unlike my approach to the first project. With a newly developing lens on addressing architecture, I took a walk. This project taught me how to do something I thought I had mastered in the prima-ry years of my life – to walk. Looking. Feeling. Smelling. Touch-ing. Tasting. Each sense became enhanced. They became more than my body’s automatic reaction to life.

concrete wet grass foliage asphalt

experiencing a path original photographs

concrete grass foliage asphalt

03_interpolated void

The continuing theme of design process and its approach reaches new levels in the category of abstract conceptual-

ization with this and the next project. The intermediate steps between an up-close photograph and a three dimensional, suspended object with an LED light in the center required a

welcoming approach to design ideas.

04_ufo (project 03 continuation)

Each step of this project became increasingly more unrestricted than the last.

The theme of this project, generated from the previous project, became desiring to explore the unknown or unexplored. Spatial elements became inspiration for the design rather than design

for spatial elements.

05_pier

The pier project harnesses each of the architectural concepts addressed in the previous four. Walks are taken on this pier. Levels of space and adver-sity of structural elements are critical components in the pier design. Shad-ow and light dictate temperature and appearance significantly. Each theme continues to build on the next, and I begin to feel like I know the meaning of

experience.

michael kaharamariana puig

jaine evora adam pruitt

APRICOT PIE CANDLE WAX CHOCOLATE

PUMPKIN PIE

PEPSIAPPLE PIEWILD RICE STUFFING

CRANBERRIESTURKEY GRAVY

SWEET POTATOESCOFFEEWHITE WINE

CHOCOLATE ICE CREAMRED WINE

CRANBERRIES

RASPBERRIES AND

PERSIMMON OROBLANCO

WHIPPED CREAM

THE RED WINE AND COFFEE

ARE PAINTED AS WATERCOLOR PAINT SUBSTI-

TUTES. A SENSE OF DEPTH AND

PROPORTION IS ACHIEVED WITH

THE DRINKS AND A

CHISEL MARKER.

THE GRIDSHELL ACHIEVES ITS AESTHETIC PARTIALLY

THROUGH ITS PRACTICALITY OF DESIGN. WHILE

APPROACHING THIS PORTION OF THE PIER, A

VISUALLY SOLID SHAPE BECOMES A PRODUCT OF

PRECISE GAPS AS SHADOWS ARE PROJECTED IN GRIDS.

A PROPORTIONAL DRAWING AND PERSPEC-TIVE EMPHASIZE THE UNDERDECKING AND ITS FUNCTION AS A WALKWAY.

THE GRIDSHELL GENTLY ENCOLSES A MAJORITY OF THIS PORTION OF THE PIER.

THE NATURAL ELEMENTS OF THE COASTAL AREA INTERACTS WITH THE PILINGS AND THE GRIDSHELL STRUCTURE TO YIELD CALMING ACOUSTICS.

00_totem