How I achieved a unique design language through an iterative,

narrative-based process in spring of 2015.

Architecture 101 Midterm Portfolio and ReflectionsBy Kelly Doyle

Understanding Malevich

Iteration 1 was an exploration of three dimensional form making. We started by analyzing Malevich's Supremacist Composition 2. I immediately noticed one specific area of the piece (upper right).

These forms have an unusual amountof geometric harmony as compared tothe rest of Malevich's masterpiece. I foundtheir juxtaposed colors and steep angles of intersection very appealing. The best way, I thought, to adapt these colors and shapes into form was to use their characteristics as a guide. For example, wherever Malevich uses dark colors, I'll emphasize voids; Wherever Malevich uses bright colors, I'll emphasize surfaces.In his composition colors seem to come forward, towards the viewer, and black elements seem to recess away.

Iteration 1

I wanted to use these voids and surfaces to create a similar illusion: Surfaces seem to have great mass with little volume and voids appear to have great volume with little mass. There are two good examples of this effect in Iteration 1.

The first can be seen along the spinal column of the piece. It's counterpart in Malevich's work is a dark color, so it's expressed here as a thin, folding column that seems to disappear when viewed from the front or back. Being able to see through most of the spine was important to me because it implies to the viewer that something is there to hold up the structure, but they just can't see it.

Another example demonstrates the use of surface as color. About two thirds of the way up from the base of the spine, there is a large rectangular mass attached. This element has two flat smooth surfaces, visible from most angles and hidden on the backside is a sharp corrugation that extends toward the viewer (above, center-right). With this element, I wanted to give the viewer the idea that there was something big and heavy hanging over the piece's center of gravity. Upon closer inspection, though, viewers will find that this piece is in fact flat, hollow, and light as a feather. This element responds to the exact opposite effect as the spine; By placing these large surfaces off-balance and above the ground, their masses appear much greater than than they really are.

Iteration 2The objective of iteration 2 was to elaborate on the use of voids and surfaces while emphasizing its defiance towards gravitational forces.

The second attempt at interpreting Malevich's work was an incredible leap from the previous. The simplest description of this change: a significant increase in resolution and detail. In response to using an anthropomorphic approach to developing structural posture, Iteration 2 uses a carefully planned system of weights and counters to keep itself balanced on a base less than two square inches in size.

The piece maintains a similar posture as the first. This time, however, we were to specifically look at how our structure appears to 'stand'. I tried standing like my piece, with one foot on the ground, leaning my torso backwards and using my free leg to counterbalance. I tried lifting my arms to the side and above my head to see how the rest of my body had to adjust to keep balanced. By using more weight at the structure's base and keeping the mass above it balanced over the footprint of said base, I found I could make the structure appear to have an incredible mass with very little to stand on. This I believed was how I could achieve a sense of anti-gravity.

Ghost Ship

I'm happy to say that iteration 2 brought more gains than losses. Almost every element of the first iteration was enhanced in some way to create the second piece. By sacrificing the simplicity of the first piece iteration 2 was able to reach new heights, both of design and construction, that I hadn't attempted before. Feedback on this piece was both helpful and interesting. Someone had wondered for what site this model was intended. I hadn't given it much consideration during construction and, unsatisfied with this answer, the critic remarked that it appears to float as if in space. My imagination immediately filled with the idea that perhaps iteration 2 could exist as a derelict space ship, quietly drifting from galaxy to galaxy. Hence it's later given name: “Ghost Ship”

Iteration 3- Breaking Away From Malevich

Iteration 3 was the first of its kind; with no further ties to Russian Supremacy, the forms and meanings were free to evolve.

Shown in these pictures, right of the model, is a three quarter inch figure for scale. Even when viewed at that height, the most prominent element of iteration 3 is its hexagon prism dome. This figure is suspended above beam of cubic forms derived from the previous iteration's spine (shown left). Holding these two forms in place is a curved folding tile wall which protects its backside (right).

Tower Seven Iteration 3 has two meanings: observation and protection. The first is demonstrated by its dome. This form promises a rewarding three-sixty degree view from inside while recessing behind the tile wall. Acting as a barrier, this tile wall represents the second meaning of protection. The design of the tile wall was inspired by armadillo shells and it's components were made using the same pattern that formed the spinal column of iteration 1. When these tiles were placed along a curved shape, it seemed to create a shield- like form. Suddenly one side seemed more inviting, and the other seemed barricaded. This element later became a favorite feature in later models.

Iteration 4

Iteration 4 wasn't as strongly driven by a narrative as I'd like it to have been, it doesn't respond strongly to it's site, and it doesn’t follow any distinct pattern of proportionate beauty yet this model is my favorite of all.

After Iteration 3 I knew I could create different spaces with different responses within them. To achieve this, I'd made a structure that offers several little spaces along a free floating climb to the top of the piece. These small cubic spaces, crafted in the likeness of iteration 2's spine, run along Iteration 4's backside (shown lower right). They intersect two pairs of hexagons (two hexagon frames and two hexagon tile walls, from iteration 3) stacked along a diagonal axis. These hexagons not only create frames for its incredible shadows, but they also provide an opening to viewers from the front (upper left).

Wraith

Iteration 4, 'Wraith', responds most strongly to light. By constructing it under a single halogen bulb I was able to constantly observe its shadows and see what possibilities they offered for enhancing the spacial experience. I felt a strong connection to this piece because of its shadows; This was the first time I explored the possibility of using shadow to create new geometries. Despite having succeeded in their utilization, I'd only realized in hindsight that its shadows distracted me from creating a strong spacial journey and because of this the piece seems more like sculpture than structure.

Iteration 5/6 Iterations 5 and 6 were driven more by site than narrative. Intended for the foggy cliff sides of Point Reyes this structure, 'Enchiridion', is meant to provide protection from the elements and offer pleasant views of the site around it. The outer shell was taken from Iteration 3 and mounted on a hexagonal frame to keep it supported. Running through the center of this form is a hexagonal column which holds both decks and a triangular turret at the top. Within this column is a rail-less spiral staircase and a ground level opening to the southeast. The shell protects from high winds and each deck offers different shading conditions.

Iteration 5 and 6, though essentially built on the same frame, differ mostly in accessibility. The first model lacked an obvious entrance and had no method for traveling between its decks. The design intention for both iterations was to provide a sense of heroism and accomplishment to its occupants. After climbing a spiral staircase hidden in its main column, occupants are offered temporary relief on a lower deck. This level offers a partial view to the north and west and remains shady throughout the day. Continuing back up the stairs, another, larger deck awaits. This tier offers much more space and an unobstructed view to the north, west, and south with partial coverage to the east. The purpose of these decks is to provide protection from the sun and wind, while offering pleasant views of the site to occupants.

Enchiridion Looking back on these two iterations, I realize that what went into them were good intentions, but what came out was bad execution. I was getting frustrated with the narrative approach and hadn't used it as a building tool. Thankfully, this resistance towards the narrative lasted for one more bad model before my design process adapted and suddenly the models became as good if not better than their predecessors.

Iteration 7

Iteration 7 is the embarrassing result of my reluctance towards using a narrative to drive my designs. This was my last attempt at constructing directly in response to the site instead of drawing or writing about my objectives first. Unfortunately, this piece has almost no unique features compared to the previous models other than it's use of more than one material. Simply put, this iteration was a failure however that isn't to say I didn't learn anything from it. It took hours of struggling to find the connection between my design intentions and the site for which I'm designing. For all this time I'd treated the narrative like a barrier between the two, but it was after letting this piece fail that I'd realized that the narrative is in fact a bridge between the site and narrative.

Iteration 8 Iteration 8 was an exact opposite to 7. In all ways I consider this model a success. Using both a storyboard and an accompanying narrative guided the construction towards a much more unique and exquisite journey.

To put it simply: the light bulb finally turned on. Using storyboards to describe our journey as a sequence of experiences gave me the last piece of the puzzle to understanding the purpose of a narrative. Rather than using it to describe the emotional responses and spacial experience I'd intended for my occupants, I decided to let those responses result naturally from the site around my construction. By enhancing the qualities of the site around it, the model better displays the traits I found most appealing. To me, this model represents the product of overcoming a resistance to trying new methods both in conceptualizing new designs as well as constructing them.

Diffuse 73

This piece was made from four different materials. Though iteration 7 was weak overall, I'd learned from it that using a variety of materials can produce a much stronger and more compelling piece. I also changed my design process by using the storyboards and narrative to guide construction. I'd also tried my hand at using different number sequences in it's construction. For example, the glazing along the arced piece (shown right) occurs at lengths determined by the Fibonacci sequence. The entrance (bottom right) was made using a golden spiral and the shrinking balsa wood panels that run along it's side follow golden proportioning. These elements, I believe, contributed to a greater subliminal beauty and provided a contrast of intriguing curvilinear forms to an otherwise inorganic collection of geometries.

Design Narrative Iterations 8-10

Not all of California is a sun-bathed paradise. One such place recluses under a blanket of year-round fog, sings with high winds that carry stinging sands, and stands against the ever-eroding crashes of gray ocean waves atop a medley of California's most beautiful geologic formations (thanks to the ever-active fault lines beneath the hilly cow pastures, inland from the coast).

Despite it's otherwise unfriendly climate, Kehoe Beach, is an incredibly beautiful site along the west coast. It lies west of Pierce Point road, a winding ten mile adventure through farmland that leads to the nearby town of Point Reyes Station. To get to the beach, one must embark on a two mile hike from the road, heading west through marshes and boulder fields. The trek is neither quick nor easy, yet it remains one of the most well traveled trails on Pierce Point. Due to the large amount of tectonic activity and erosion this site is a Mecca for geologic survey and discovery. It's deep gray fog diffuses sunlight evenly throughout the day to provide a light silver tint to a colorful spectrum of native mineral deposits.

Atop an outcrop of Salinian granite stands Enchiridion, a station for those who travel here to indulge in one of the most visually rewarding beaches in Northern California. The station has many purposes; serving mainly as a resting stop, it allows for protection from the elements in a variety of fashions while reflecting the dominance of inorganic matter in its surroundings.

The journey through the station begins with an approach from the east. It's bowed curtain wall, extends high above to the south, diverting most of the beaches high winds and sands downward into a series of channels behind a curved wall which houses a small underground turbine that powers the station's facilities. A white floor peeks out of it's east face and invites the weary but curious adventurer inside for relief from the incessant blasts of sand-laden wind. As they follow the spiral alley north and to the west, a series of shrinking panels to the right gently flap in response to the wind. The purpose of these panels is to diffuse the winds from the south, as they blow. When the air is calm, these panels face northeast towards the marshy dunes near which the approach path was made. As winds pick up, these panels will open more towards the east, allowing greater surface area to deflect southern winds and reveal miniature nodes in between [the panels] for private moments of quiet recuperation and reflection on the demanding hike that brought them here. Travelers may then continue along this hallway, noticing it's decreasing ceiling of wind deflection and increasing width, encouraging parties of multiple travelers to regroup to make their grand entrance.

Node one consists of a large covered deck that reaches forward and to the left (south). Lining the perimeter of this space are another series of wood panels, but these are aligned vertically, and parallel to the outer edge of the ground and second floors. These panels house a very special gift of wind manipulation. During the daytime, as the south curtain wall collects wind energy, the panels around the first and second floors redirect high-speed winds and debris into a thin sheet that runs along the ceiling of the ground floor. This provides and interesting and dynamic look at just how powerful the surrounding matter is. Over time, the blasts of sand will strip away channels in the ceiling of the ground floor, carving a stream of unique patterns across it's surface. From the outside, it will appear as though an arc of sand and debris is hopping over the perimeter wind panels, floating up and blanketing the ground floor ceiling in a dance of sandy jetstreams, approximately ten inches in thickness (this allows a vertical clearance clearance of 7' 8”). Moving ahead from the hallway (heading west) lies a raised platform. This area is intended as both a lesser observation deck and a gateway to the beachfront. The edges of the platform are beveled to allow for safe and easy travel between the structure and it's rocky beach of a backyard. While offering slightly more exposure to the winds, this node seconds as a small stage. With this dual-purpose, the second and third floors suddenly have much more to observe than just the site around the structure. For those traveling in groups, the stage can be used for live entertainment, offering a neutral-toned backdrop of white tidal foam, black-ashy sand, and shifting gray fog in between. East of the stage, beneath its steps is a shady corner beneath a staircase leading up to floor two, and to the right (south) a more open, brighter portion of floor one. The soft light created by surrounding fog makes it difficult to experience any change in lighting condition, this area was designed to combat this effect. The amount of enclosure beneath the staircase decreases the amount of ambient light and offers a more sheltered experience for users while leaving enough exposure to the south for less obstructed views of the beach. This way anyone traveling in groups with a variety of experience levels can find comfort in any location on the first floor. Those unfamiliar with the climate conditions may wish to recess under the stairs, while others wanting to experience more of the environment are free to explore it on the more exposed southern portion of the ground floor.

Transitioning up the first staircase to floor two, users will experience a much more open space, with greater focus on the north and west views of Kehoe Beach. The wind-directing wood panels lining this floor only help generate the sand stream effect on the first floor. Its function isn't necessary up here for the south curtain wall is level with this floor and protects from southern wind and debris as well as any direct sunlight, known to occur occasionally during late morning and early afternoon. This floor acts as both a node and a transition between the ground floor and the top deck. The space on the second floor is for those wishing to get a broader perspective of the geology surrounding the building. From here the grounds to the north, west, and south can be seen clearly. The view of the southeast is intentionally obstructed in hopes that occupants will have started to forget the tiring journey that came before and can now focus on their immediate surroundings, particularly the inorganic, geologic beauty of this cold, windy coast.

Next comes one final climb upwards. This transition is only for those ready for another brief hike. The stairway acts as a physical reminder of why the occupant came here. Though floor two tried to help fade memories of the laborious journey to Enchiridion, the staircase encourages users to try proving once more that putting effort into navigating this place will always pay off. The third floor observation deck is designed to completely enclose occupants and offers not only full protection from the elements, but also the first three-hundred sixty degree view around the structure. This deck is only large enough for parties of about five to seven occupants. The space up here is meant to stand above any other portion of Enchiridion. Its angular structure is intended to reflect the jagged outcrops of local rocks. From up here, the cliffs to the north are much more visible and, with a pair of binoculars, detailed surveys can be made from inside. This way, this ever-shifting coast's fault lines and new formations can be studied in peace, away from winds, debris, and low temperatures.

Iteration 9- Frames Iteration 9 was created with the concept of architectural truth in mind. Truth is expressed wherever the ornamental features are stripped away and what makes the building function becomes exposed. Truth is showing how a structure interacts with the forces around it. The previous model, Diffuse 73, interacted with the strong winds along Keyhoe Beach and wherever this interaction occurred, I used balsa wood to redirect and control the wind. Adapting these surfaces into a frame provided a new look at their purpose. To translate the surfaces to frame, I used a thick steel wire. This material's dark color seems to create a negative space that accurately depicts each of the elements I'd hope to frame. Without the balsa surfaces to imply control over wind, the piece seems to act more as a metaphorical sieve instead of a wind funnel. With this in mind, I felt a need to make the next iteration respond more obviously to wind.

Iteration 10 The final iteration was another triumph. After having several Monday holidays, our objectives were combined. First, explore surfaces where there were previously frames and second, illustrate the nature both of the structure and of it's response to the forces around it.

I looked around for examples of sites that respond heavily to wind forces because I hadn't, in my opinion, adequately elaborated on the concept with the previous iteration. I'd found a gem in doing so. The white building pictured to the left is called Mo Ventus and it is entirely powered by the winds that flow over it's surface. This building exemplifies an expert use of wind forces and I had hoped to mimic some of it's curvilinear surfaces in this iteration. The main fin covering the top of this piece, shown in the bottom left, was greatly inspired by Mo Ventus and, with it's smooth vellum skin attached to steel wire bones, this element has both the physical and visual response to wind I was looking for since iteration 8.

Clapotis Iteration 10 brought a satisfying close to our scale models. Though I struggled to comprehend a narrative-based process until attempt 8, I was glad to see it had helped improve my design in the end. Many more important lessons were learned from these iterations. After accepting defeat in number 7, adopting broader spectrum of materials greatly improved the visual appeal of the models. Furthermore by using storyboards to visually explain my narrative, the construction eventually became easier as if there were a set of written and drawn instructions I could then work from. With these new design 'tools' under my belt, I found my language to be not only more refined and consistent but also much more responsive to the site around it.