Arch Design Studio 101Spring 2014

Learning Portfolio Mid-Term SubmissionCathy Makunga

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

Drawing #5Drawing #6 – 10 Minute StudyDraw What You See

In studio gesture drawings depicting Majestic; Playful; Flexible

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.

Gesture Drawings Iteration #2Peaceful

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.