rand lemley -- bac segment 1 portfolio
DESCRIPTION
Portfolio submitted for Segment 1 review at Boston Architectural College. Compilation of work from 2012-2014TRANSCRIPT
![Page 1: Rand Lemley -- BAC Segment 1 Portfolio](https://reader034.vdocuments.site/reader034/viewer/2022052605/568c55321a28ab4916c1cd26/html5/thumbnails/1.jpg)
1
Material InvestigationFinding Solutions to Problems of Space
Rand Lemley, B.Arch CandidateBoston Architectural College
![Page 2: Rand Lemley -- BAC Segment 1 Portfolio](https://reader034.vdocuments.site/reader034/viewer/2022052605/568c55321a28ab4916c1cd26/html5/thumbnails/2.jpg)
2
![Page 3: Rand Lemley -- BAC Segment 1 Portfolio](https://reader034.vdocuments.site/reader034/viewer/2022052605/568c55321a28ab4916c1cd26/html5/thumbnails/3.jpg)
3
The Motivation
I desire to be an architect because I believe in the power of the built environment to change lives for the better. The BAC, through freedom in classroom and discipline in practice, is preparing me to be a designer who is able to analyze my own moves to produce work that truly displays my care and intent for the user. In Segment I, I learned how to represent my thoughts through diagramming, then use those diagrams to drive the creation of space, constantly tweaking and refining based on feedback from self and others. I truly believe that I am receiving a return on my investment in the BAC and will emerge as a capable designer in the service of community.
![Page 4: Rand Lemley -- BAC Segment 1 Portfolio](https://reader034.vdocuments.site/reader034/viewer/2022052605/568c55321a28ab4916c1cd26/html5/thumbnails/4.jpg)
4
![Page 5: Rand Lemley -- BAC Segment 1 Portfolio](https://reader034.vdocuments.site/reader034/viewer/2022052605/568c55321a28ab4916c1cd26/html5/thumbnails/5.jpg)
5
The Light p44
The Terminal p36
Contents
The Strings p52
The Wearable p62
The Threshold p72
The Digital p86
The Eye p88
The Hand p92
The Motivation p3
The Tectonic
The Crime p6
The Pavilion p14
The Bike/Brew Shop p22
![Page 6: Rand Lemley -- BAC Segment 1 Portfolio](https://reader034.vdocuments.site/reader034/viewer/2022052605/568c55321a28ab4916c1cd26/html5/thumbnails/6.jpg)
6
The CrimeSpring 2014
Heavy supported by light became my tectonic used in this semester’s projects. An aggressor enveloped the victim in the narrative I created, which made for a noir tale I could tell at many scales.
![Page 7: Rand Lemley -- BAC Segment 1 Portfolio](https://reader034.vdocuments.site/reader034/viewer/2022052605/568c55321a28ab4916c1cd26/html5/thumbnails/7.jpg)
7
Using two-dimensional detail drawings, I abstracted a three-dimensional tectonic. Imagination led me to create sliding, twisting and clamping mechanisms that used a relationship of components to support themselves
![Page 8: Rand Lemley -- BAC Segment 1 Portfolio](https://reader034.vdocuments.site/reader034/viewer/2022052605/568c55321a28ab4916c1cd26/html5/thumbnails/8.jpg)
8
![Page 9: Rand Lemley -- BAC Segment 1 Portfolio](https://reader034.vdocuments.site/reader034/viewer/2022052605/568c55321a28ab4916c1cd26/html5/thumbnails/9.jpg)
9
![Page 10: Rand Lemley -- BAC Segment 1 Portfolio](https://reader034.vdocuments.site/reader034/viewer/2022052605/568c55321a28ab4916c1cd26/html5/thumbnails/10.jpg)
10
![Page 11: Rand Lemley -- BAC Segment 1 Portfolio](https://reader034.vdocuments.site/reader034/viewer/2022052605/568c55321a28ab4916c1cd26/html5/thumbnails/11.jpg)
11
![Page 12: Rand Lemley -- BAC Segment 1 Portfolio](https://reader034.vdocuments.site/reader034/viewer/2022052605/568c55321a28ab4916c1cd26/html5/thumbnails/12.jpg)
12
The Great Crime of Architecture
The Assailant
materials: concretethickness: moretraits: hungry, aggressive, heavy
The Victim
materials: woodthickness: lesstraits: friendly, light, porous
The Crime
the assailant has eaten the victim, but the victim still holds the assailant’s jaws agape, hoping for relief
The Great Crime of Architecture
The Assailant
materials: concretethickness: moretraits: hungry, aggressive, heavy
The Victim
materials: woodthickness: lesstraits: friendly, light, porous
The Crime
the assailant has eaten the victim, but the victim still holds the assailant’s jaws agape, hoping for relief
I saw my tectonic as a story to be told, not a static piece of architecture. By engaging the architecture, a user becomes a participant in the story.
![Page 13: Rand Lemley -- BAC Segment 1 Portfolio](https://reader034.vdocuments.site/reader034/viewer/2022052605/568c55321a28ab4916c1cd26/html5/thumbnails/13.jpg)
13
Where has this unfortunate crime occurred?
Underfoot
a misdemeanor-sized combo pro-vides a bold step in vertical circula-tion
In Secreta sliding dropbox for surreptitious communication
Stormy Night
on a larger scale, the perfect hide-away to dump the evidence
Where has this unfortunate crime occurred?
Underfoot
a misdemeanor-sized combo pro-vides a bold step in vertical circula-tion
In Secreta sliding dropbox for surreptitious communication
Stormy Night
on a larger scale, the perfect hide-away to dump the evidence
• Whattectonicis:asystemofrelationshipsbetweendiscreteelementsthatformawhole
• Givingapersonalitytoadesignmakesiteasiertoengageanaudience
Learning
![Page 14: Rand Lemley -- BAC Segment 1 Portfolio](https://reader034.vdocuments.site/reader034/viewer/2022052605/568c55321a28ab4916c1cd26/html5/thumbnails/14.jpg)
14
The PavilionSpring 2014
The heavy vs. light tectonic idea continued in this pavilion sited at the Arnold Arboretum. I sought to use the structure and earth to create private spaces both indoors and outdoors, forming a relationship between natural and man-made, appropriate to the site.
The first thing I did was regrade the site according to a set of rules based on the verb, “punch,” which I saw as related to my tectonic. I punched dents into the site. As a reaction to the dents, mounds rose in different areas on the site.
The site at Arnold Arboretum in Jamaica Plain
![Page 15: Rand Lemley -- BAC Segment 1 Portfolio](https://reader034.vdocuments.site/reader034/viewer/2022052605/568c55321a28ab4916c1cd26/html5/thumbnails/15.jpg)
15
Lines drawn between 2 ft contours Midpoints interpolated to create 1 ft contours
Attractor points created at 4 ft intervals along the contour lines
4x4 grid created across the site Attractor points applied to grid Subtraction circles created by placing centers at densest areas of points and extending radius to second closest contour
Add circles created by copying the subtract circles to centers on the least dense points
Contours added by using interior points as radii
Adjust existing contours to account for change
![Page 16: Rand Lemley -- BAC Segment 1 Portfolio](https://reader034.vdocuments.site/reader034/viewer/2022052605/568c55321a28ab4916c1cd26/html5/thumbnails/16.jpg)
16
Sketches and models working out relationship of the elements of the tectonic
![Page 17: Rand Lemley -- BAC Segment 1 Portfolio](https://reader034.vdocuments.site/reader034/viewer/2022052605/568c55321a28ab4916c1cd26/html5/thumbnails/17.jpg)
17
After exploring options for supporting the “heavy” element, I decided the “light” element should be a lattice of bent wood. The bent wood shows the structural strain while the lattice allows a sense of enclosure while still allowing air to flow through.
![Page 18: Rand Lemley -- BAC Segment 1 Portfolio](https://reader034.vdocuments.site/reader034/viewer/2022052605/568c55321a28ab4916c1cd26/html5/thumbnails/18.jpg)
18
site
materials and influences
The “heavy” element contained education, offices, and restrooms, but the weight was too much for the “light” elements and so the building sunk into the earth. The separated wings make legible the two activities inside. Occupants below feel the weight of the pavilion above.
![Page 19: Rand Lemley -- BAC Segment 1 Portfolio](https://reader034.vdocuments.site/reader034/viewer/2022052605/568c55321a28ab4916c1cd26/html5/thumbnails/19.jpg)
19
3 2 1
Section 1
Section 2
Section 3
4
5
Section 4
Section 5
All drawn at 1/8” scale
![Page 20: Rand Lemley -- BAC Segment 1 Portfolio](https://reader034.vdocuments.site/reader034/viewer/2022052605/568c55321a28ab4916c1cd26/html5/thumbnails/20.jpg)
20
site
materials and influencesMaterials Inspiration
![Page 21: Rand Lemley -- BAC Segment 1 Portfolio](https://reader034.vdocuments.site/reader034/viewer/2022052605/568c55321a28ab4916c1cd26/html5/thumbnails/21.jpg)
21
• Grasshopperscriptingforbothtopoandsupportstructure
• Howtousetectonicideastodrivespatialdevelopment
Learning
![Page 22: Rand Lemley -- BAC Segment 1 Portfolio](https://reader034.vdocuments.site/reader034/viewer/2022052605/568c55321a28ab4916c1cd26/html5/thumbnails/22.jpg)
22
The Bike/Brew Shop
Spring 2014
Through investigating the past of Mission Hill, I found a rich history of brewing. The current conditions revealed a lack of cycling amenities, especially a community workshop. I sought to blend the two activities in a community node.
The site near Brigham Circle in Boston
![Page 23: Rand Lemley -- BAC Segment 1 Portfolio](https://reader034.vdocuments.site/reader034/viewer/2022052605/568c55321a28ab4916c1cd26/html5/thumbnails/23.jpg)
23
Breweries
Bicycles
![Page 24: Rand Lemley -- BAC Segment 1 Portfolio](https://reader034.vdocuments.site/reader034/viewer/2022052605/568c55321a28ab4916c1cd26/html5/thumbnails/24.jpg)
24
Because the two activities are meant for separate locations -- the bike shop to the neighborhood and the brewery to the city -- the facade of each was oriented toward its respective client via twisted fins. Below, the fins were made of glass to allow transparency to either direction because it is also a retail location.
Sketches showing filtration of views using fins
![Page 25: Rand Lemley -- BAC Segment 1 Portfolio](https://reader034.vdocuments.site/reader034/viewer/2022052605/568c55321a28ab4916c1cd26/html5/thumbnails/25.jpg)
25
![Page 26: Rand Lemley -- BAC Segment 1 Portfolio](https://reader034.vdocuments.site/reader034/viewer/2022052605/568c55321a28ab4916c1cd26/html5/thumbnails/26.jpg)
26
Formal process
Tectonic history
![Page 27: Rand Lemley -- BAC Segment 1 Portfolio](https://reader034.vdocuments.site/reader034/viewer/2022052605/568c55321a28ab4916c1cd26/html5/thumbnails/27.jpg)
27
Variations trying to figure out programmatic legibility
![Page 28: Rand Lemley -- BAC Segment 1 Portfolio](https://reader034.vdocuments.site/reader034/viewer/2022052605/568c55321a28ab4916c1cd26/html5/thumbnails/28.jpg)
28
I wanted the intervention to be a community node, a place where people from all over could gather. I tried to find a way for the programs to mingle with one another.
![Page 29: Rand Lemley -- BAC Segment 1 Portfolio](https://reader034.vdocuments.site/reader034/viewer/2022052605/568c55321a28ab4916c1cd26/html5/thumbnails/29.jpg)
29
![Page 30: Rand Lemley -- BAC Segment 1 Portfolio](https://reader034.vdocuments.site/reader034/viewer/2022052605/568c55321a28ab4916c1cd26/html5/thumbnails/30.jpg)
30Floor 2 Floor 1
![Page 31: Rand Lemley -- BAC Segment 1 Portfolio](https://reader034.vdocuments.site/reader034/viewer/2022052605/568c55321a28ab4916c1cd26/html5/thumbnails/31.jpg)
31
Finally, I decided that it was enough to be in the same building and share a public entrance. The activities are on separate floors, but share the Brigham Circle side as an entrance.
![Page 32: Rand Lemley -- BAC Segment 1 Portfolio](https://reader034.vdocuments.site/reader034/viewer/2022052605/568c55321a28ab4916c1cd26/html5/thumbnails/32.jpg)
32
Final exploded axonometric showing separation of materials
Inspir
Copper
Glass
Brick
![Page 33: Rand Lemley -- BAC Segment 1 Portfolio](https://reader034.vdocuments.site/reader034/viewer/2022052605/568c55321a28ab4916c1cd26/html5/thumbnails/33.jpg)
33
ation
Views of the intervention integrated with the site
![Page 34: Rand Lemley -- BAC Segment 1 Portfolio](https://reader034.vdocuments.site/reader034/viewer/2022052605/568c55321a28ab4916c1cd26/html5/thumbnails/34.jpg)
34
• Ireallyenjoyusingmaterialstodrivedesign• Programmaticgymnasticssoeveryoneplays
alongnicely• Workflowfordesignsoftware
Learning
![Page 35: Rand Lemley -- BAC Segment 1 Portfolio](https://reader034.vdocuments.site/reader034/viewer/2022052605/568c55321a28ab4916c1cd26/html5/thumbnails/35.jpg)
35
![Page 36: Rand Lemley -- BAC Segment 1 Portfolio](https://reader034.vdocuments.site/reader034/viewer/2022052605/568c55321a28ab4916c1cd26/html5/thumbnails/36.jpg)
36
The TerminalFall 2013
The cyclical nature of transit passengers and the tide lend themselves to forming a space for rituals to take place. My terminal design disconnects passengers then connects them again with society using monumental views.
Sketch showing use of views to mark entrances/exits
![Page 37: Rand Lemley -- BAC Segment 1 Portfolio](https://reader034.vdocuments.site/reader034/viewer/2022052605/568c55321a28ab4916c1cd26/html5/thumbnails/37.jpg)
37
Diagrams showing macro issues of the site
Transit Nodes
Global and Local Nodes Cycle Paths
Axes of Monumental Views
![Page 38: Rand Lemley -- BAC Segment 1 Portfolio](https://reader034.vdocuments.site/reader034/viewer/2022052605/568c55321a28ab4916c1cd26/html5/thumbnails/38.jpg)
38
Diagram showing the local issues and opportunities that drove the design
![Page 39: Rand Lemley -- BAC Segment 1 Portfolio](https://reader034.vdocuments.site/reader034/viewer/2022052605/568c55321a28ab4916c1cd26/html5/thumbnails/39.jpg)
39
From an early stage, I began thinking of circulation as a cycle of disconnection and connections. Each occupant -- arrival and departure -- maintained separation from each other.
I also knew that framing and filtering the views would be important, so I explored methods of distilling the desired views from the noise of the city.
![Page 40: Rand Lemley -- BAC Segment 1 Portfolio](https://reader034.vdocuments.site/reader034/viewer/2022052605/568c55321a28ab4916c1cd26/html5/thumbnails/40.jpg)
40The design process diagrammed
![Page 41: Rand Lemley -- BAC Segment 1 Portfolio](https://reader034.vdocuments.site/reader034/viewer/2022052605/568c55321a28ab4916c1cd26/html5/thumbnails/41.jpg)
41
The cyclical nature of the water is reflected in the cyclical nature of the travelers. The inflow of the tide cleanses the building of the city’s detritus -- noise, refuse, busy-ness -- and allows occupants to enter the ritual of travel. Light also serves to bless the space from above.
Morning Noon Evening
Lunch break underneath the structure
![Page 42: Rand Lemley -- BAC Segment 1 Portfolio](https://reader034.vdocuments.site/reader034/viewer/2022052605/568c55321a28ab4916c1cd26/html5/thumbnails/42.jpg)
42
Final drafted drawings
• Howabuildingrelatestoitscontextatanimmediateandurbanscale
• Howtoperformsiteanalysisanduseittodrivedesigndecisions
• Timeasafactorofdesign,especiallyinoccupationofthebuilding
Learning
![Page 43: Rand Lemley -- BAC Segment 1 Portfolio](https://reader034.vdocuments.site/reader034/viewer/2022052605/568c55321a28ab4916c1cd26/html5/thumbnails/43.jpg)
43
![Page 44: Rand Lemley -- BAC Segment 1 Portfolio](https://reader034.vdocuments.site/reader034/viewer/2022052605/568c55321a28ab4916c1cd26/html5/thumbnails/44.jpg)
44
The LightFall 2012
Starting from light studies of a previous project, I learned to modulate light and dark to create implicit spaces. These spaces were strung together, making a cohesive environment for occupation.
Drawings from previous project
![Page 45: Rand Lemley -- BAC Segment 1 Portfolio](https://reader034.vdocuments.site/reader034/viewer/2022052605/568c55321a28ab4916c1cd26/html5/thumbnails/45.jpg)
45
Models based on moments of light
![Page 46: Rand Lemley -- BAC Segment 1 Portfolio](https://reader034.vdocuments.site/reader034/viewer/2022052605/568c55321a28ab4916c1cd26/html5/thumbnails/46.jpg)
46
Progressing from the study models, I chose one to continue producing iterations. However, this time I was concerned with circulation between two levels. In each, I retained the perpendicular shadow-casting elements while experimenting with different circulation patterns. This experimentation began to define the structure and geometry of the project. Each project plainly displayed its movement through the structure.
![Page 47: Rand Lemley -- BAC Segment 1 Portfolio](https://reader034.vdocuments.site/reader034/viewer/2022052605/568c55321a28ab4916c1cd26/html5/thumbnails/47.jpg)
47
Iterations of the light study models
Details of different circulation
![Page 48: Rand Lemley -- BAC Segment 1 Portfolio](https://reader034.vdocuments.site/reader034/viewer/2022052605/568c55321a28ab4916c1cd26/html5/thumbnails/48.jpg)
48
Changing rhythms create different speeds and activities for the occupant. From the circulation iterations, I studied the qualities of light produced in each. Wide swaths of light imply slower motion, while staccato patterns encourage speed.
![Page 49: Rand Lemley -- BAC Segment 1 Portfolio](https://reader034.vdocuments.site/reader034/viewer/2022052605/568c55321a28ab4916c1cd26/html5/thumbnails/49.jpg)
49
Charcoals exploring speed through quality of light
![Page 50: Rand Lemley -- BAC Segment 1 Portfolio](https://reader034.vdocuments.site/reader034/viewer/2022052605/568c55321a28ab4916c1cd26/html5/thumbnails/50.jpg)
50
Final model with canted canopy and ramp
![Page 51: Rand Lemley -- BAC Segment 1 Portfolio](https://reader034.vdocuments.site/reader034/viewer/2022052605/568c55321a28ab4916c1cd26/html5/thumbnails/51.jpg)
51
For the final model, I envisioned the activity of the building. The play of light through the perpendicular elements seemed to work even better if projected through water, so I planned the space as an aquarium. The canted canopy and ramp add new asymmetrical character, while an angled approach clearly marks the entrance.
The canted ramp perforates the structure to continue to the upper level
• Effectoflightonspeedandactivityinabuilding
• Howtocreateavarietyofthresholdsusingasimilarvocabulary
Learning
![Page 52: Rand Lemley -- BAC Segment 1 Portfolio](https://reader034.vdocuments.site/reader034/viewer/2022052605/568c55321a28ab4916c1cd26/html5/thumbnails/52.jpg)
52
The StringsFall 2012
Using a two-dimensional material -- rubber bands -- I designed a playful three-dimensional threshold for student studio space at 951 Boylston. Geometry and reflection were the primary modes of operation.
Frank Shebageget’s The Cell at MAD Museum
Precedent Study
![Page 53: Rand Lemley -- BAC Segment 1 Portfolio](https://reader034.vdocuments.site/reader034/viewer/2022052605/568c55321a28ab4916c1cd26/html5/thumbnails/53.jpg)
53
My initial inspiration for the threshold came from Frank Shebagaget’s The Cell, which I had seen on a recent trip to the Museum of Art and Design in New York. I was interested in the way a semi-transparent 2D plane could, in succession, create 3D space with a ghosting effect.
![Page 54: Rand Lemley -- BAC Segment 1 Portfolio](https://reader034.vdocuments.site/reader034/viewer/2022052605/568c55321a28ab4916c1cd26/html5/thumbnails/54.jpg)
54
I created templates to experiment with different geometries. Though my initial drawings were composed in two dimensions, I began to explore three dimensions through axonometric templates. These templates allowed me to find compelling spaces and tectonics.
Two dimensional geometries
![Page 55: Rand Lemley -- BAC Segment 1 Portfolio](https://reader034.vdocuments.site/reader034/viewer/2022052605/568c55321a28ab4916c1cd26/html5/thumbnails/55.jpg)
55
Three dimensional explorations of spatial geometry
![Page 56: Rand Lemley -- BAC Segment 1 Portfolio](https://reader034.vdocuments.site/reader034/viewer/2022052605/568c55321a28ab4916c1cd26/html5/thumbnails/56.jpg)
56
Moving forward from the geometric templates, I investigated the possible connections of the rubber bands. I planned to use different colors of bands to show the different connection points. A system of geometry determined where each color connected to the surfaces.
Plan of connections
![Page 57: Rand Lemley -- BAC Segment 1 Portfolio](https://reader034.vdocuments.site/reader034/viewer/2022052605/568c55321a28ab4916c1cd26/html5/thumbnails/57.jpg)
57
Axonometric of connections
![Page 58: Rand Lemley -- BAC Segment 1 Portfolio](https://reader034.vdocuments.site/reader034/viewer/2022052605/568c55321a28ab4916c1cd26/html5/thumbnails/58.jpg)
58
![Page 59: Rand Lemley -- BAC Segment 1 Portfolio](https://reader034.vdocuments.site/reader034/viewer/2022052605/568c55321a28ab4916c1cd26/html5/thumbnails/59.jpg)
59
Once space had been defined, I thought about the way a person would interact with the intervention, either cradled or surrounded, leaning against or standing within. I also thought about ways to continue the idea of a screen into the connections to the walls and floor. A layer of mesh obscured the connections and was supported by a pattern of risers.
![Page 60: Rand Lemley -- BAC Segment 1 Portfolio](https://reader034.vdocuments.site/reader034/viewer/2022052605/568c55321a28ab4916c1cd26/html5/thumbnails/60.jpg)
60
Blue is space for standing Red is space for reclining
![Page 61: Rand Lemley -- BAC Segment 1 Portfolio](https://reader034.vdocuments.site/reader034/viewer/2022052605/568c55321a28ab4916c1cd26/html5/thumbnails/61.jpg)
61
Before constructing the final model, I worked in section and axonometric to figure out the usable spaces. Confident that I had created two different types of spaces through tension -- reclining and standing -- I built my final model to extend to the ceiling, instilling a sense of the sublime while remaining playful.
• Rulescanleadtomorecreativity• Sizeandorientationofspacecandetermine
activitywithin• Axonometricdrawingshelptoshowcase
spatialqualities• Modelmakingcraftsmanship
Learning
![Page 62: Rand Lemley -- BAC Segment 1 Portfolio](https://reader034.vdocuments.site/reader034/viewer/2022052605/568c55321a28ab4916c1cd26/html5/thumbnails/62.jpg)
62
Avg reach of adult male is 28.6”
Comfortable head tilt is between 0-15 degrees.
Head rotation is comfort-able up to 45 degrees.
Head rotation can reach up to 60 degrees.
The spine twists up to 35 degrees.
The Wearable
Spring 2013
I explored through video and diagrams the movement of a rotating seated grab. From the research, I built a device that acted as a 3D diagram for the movement.
![Page 63: Rand Lemley -- BAC Segment 1 Portfolio](https://reader034.vdocuments.site/reader034/viewer/2022052605/568c55321a28ab4916c1cd26/html5/thumbnails/63.jpg)
63
Shoulder can rotate 25 degrees easily.
The arm can reach 139 degrees.
Most people twist comfortably up to 106
degrees.
Optimum vision is within a 30 degree cone.
Peripheral vision reaches to 60 degrees.
![Page 64: Rand Lemley -- BAC Segment 1 Portfolio](https://reader034.vdocuments.site/reader034/viewer/2022052605/568c55321a28ab4916c1cd26/html5/thumbnails/64.jpg)
64
From the diagrams, I learned the timing of a grab for a bottle off water follows this order of the senses: thought, vision, touch. Each sense pulls the next, the thought pulling the vision, the vision pulling the action hand in a wide circle, and the action hand pulling the balancing hand in a tight circle.
Expansion and contraction of muscles
Angles of the shoulders and head
Movement of the hands
Comparison of field of vison to movement of the action hand
![Page 65: Rand Lemley -- BAC Segment 1 Portfolio](https://reader034.vdocuments.site/reader034/viewer/2022052605/568c55321a28ab4916c1cd26/html5/thumbnails/65.jpg)
65
When building my first devices, I concentrated on either the vision’s realtionship to the action hand, or the action hand’s relationship to the balancing hand.
Device showing connection of vision to action hand
Worn device
![Page 66: Rand Lemley -- BAC Segment 1 Portfolio](https://reader034.vdocuments.site/reader034/viewer/2022052605/568c55321a28ab4916c1cd26/html5/thumbnails/66.jpg)
66
After the seeing the initial devices act in their own realms, I wanted to combine their ideas to create one cohesive device. In this design, I also sought to portray the information in my diagrams more literally and add an auditory element -- chimes.
Diagram of materials and movement of the device
![Page 67: Rand Lemley -- BAC Segment 1 Portfolio](https://reader034.vdocuments.site/reader034/viewer/2022052605/568c55321a28ab4916c1cd26/html5/thumbnails/67.jpg)
67
The chimes are meant to show the 30 ° field of vision and give an auditory cue when I begin the motion and when my vison hits the bottle. Via rubber bands and steel wire, the field of vision connects to the action hand, which then connects to the balance hand held close to the body by a belt.
Construction of the device
![Page 68: Rand Lemley -- BAC Segment 1 Portfolio](https://reader034.vdocuments.site/reader034/viewer/2022052605/568c55321a28ab4916c1cd26/html5/thumbnails/68.jpg)
68
Diagram showing timing of senses
The lessons learned from the device were incorporat-ed into my refined diagrams. One shows the timing of the three senses involved in my movement. The other shows the wide arc of the action hand compared to the tight arc of the balance hand.
![Page 69: Rand Lemley -- BAC Segment 1 Portfolio](https://reader034.vdocuments.site/reader034/viewer/2022052605/568c55321a28ab4916c1cd26/html5/thumbnails/69.jpg)
69
Diagram showing relationship between hands
![Page 70: Rand Lemley -- BAC Segment 1 Portfolio](https://reader034.vdocuments.site/reader034/viewer/2022052605/568c55321a28ab4916c1cd26/html5/thumbnails/70.jpg)
70
In my final device, I replaced the connections between body parts with brightly colored string. The steel and rubber bands did not draw attention to the pulling ac-tion well enough. A triangle was added to the top of the tube to clarify the cardboard’s role as vision and pennies were taped to the chimes to make more noise upon striking the water bottle.
• Relationofhumanscaletoandobject• Diagrammingtodrivedesignandexplain
process• Constructionofanobjectata1:1scale
Learning
![Page 71: Rand Lemley -- BAC Segment 1 Portfolio](https://reader034.vdocuments.site/reader034/viewer/2022052605/568c55321a28ab4916c1cd26/html5/thumbnails/71.jpg)
71
Final device worn
![Page 72: Rand Lemley -- BAC Segment 1 Portfolio](https://reader034.vdocuments.site/reader034/viewer/2022052605/568c55321a28ab4916c1cd26/html5/thumbnails/72.jpg)
72
The Threshold
Spring 2013
Using my wearable as a foundation, I designed a threshold to mediate indoor and outdoor space. Two paths lead occupants through variant experiences.
To begin the project, I observed storefronts on Newbury street to see how high-end retail used threshold to transition people into their space. The most successful threshold I experienced was a skincare store that used increasingly private space and horizontal visual elements to draw the occupants in.
![Page 73: Rand Lemley -- BAC Segment 1 Portfolio](https://reader034.vdocuments.site/reader034/viewer/2022052605/568c55321a28ab4916c1cd26/html5/thumbnails/73.jpg)
73
![Page 74: Rand Lemley -- BAC Segment 1 Portfolio](https://reader034.vdocuments.site/reader034/viewer/2022052605/568c55321a28ab4916c1cd26/html5/thumbnails/74.jpg)
74
Diagrammatic study models of Newbury storefronts
I used this street level investigation to fuel the inspiration for model building. First, I contructed models based on the Newbury spaces, then I built sketch models of my own design. I intended to maintain the timing from my wearable -- Thought, Vision, Touch -- in the threshold.
![Page 75: Rand Lemley -- BAC Segment 1 Portfolio](https://reader034.vdocuments.site/reader034/viewer/2022052605/568c55321a28ab4916c1cd26/html5/thumbnails/75.jpg)
75
Design sketches
Sketch model experimenting with
horizontality
![Page 76: Rand Lemley -- BAC Segment 1 Portfolio](https://reader034.vdocuments.site/reader034/viewer/2022052605/568c55321a28ab4916c1cd26/html5/thumbnails/76.jpg)
76
Light rendering in section showing horizontal light elements and light well
![Page 77: Rand Lemley -- BAC Segment 1 Portfolio](https://reader034.vdocuments.site/reader034/viewer/2022052605/568c55321a28ab4916c1cd26/html5/thumbnails/77.jpg)
77
The sketch models gave me ideas and concepts to continue or ignore. I followed through with the horizontal elements, converting them into negative apertures which glowed with light from above. Curiosity was satisfied through the dip in grade. Vision was found at the light well. Touch manifested itself in the destination -- the touch of the doorknob. These three senses became cumulative through the space.
![Page 78: Rand Lemley -- BAC Segment 1 Portfolio](https://reader034.vdocuments.site/reader034/viewer/2022052605/568c55321a28ab4916c1cd26/html5/thumbnails/78.jpg)
78
Sectional cut showing the light well and two paths
![Page 79: Rand Lemley -- BAC Segment 1 Portfolio](https://reader034.vdocuments.site/reader034/viewer/2022052605/568c55321a28ab4916c1cd26/html5/thumbnails/79.jpg)
79
Charcoal perspectives exploring the experience of the threshold
![Page 80: Rand Lemley -- BAC Segment 1 Portfolio](https://reader034.vdocuments.site/reader034/viewer/2022052605/568c55321a28ab4916c1cd26/html5/thumbnails/80.jpg)
80
I arrived at my final design through iterative drawing. The two paths made multiple entrances and exits, but I decided to keep them due to the relationship between the two hands in my wearable movement.
Design sketches
![Page 81: Rand Lemley -- BAC Segment 1 Portfolio](https://reader034.vdocuments.site/reader034/viewer/2022052605/568c55321a28ab4916c1cd26/html5/thumbnails/81.jpg)
81
One of the paths allowed a much more private seating area where occupants could watch the main path without being seen. A sense of discovery was held intact by not giving a visible heirachy to the paths.
Plan which shows the two paths
![Page 82: Rand Lemley -- BAC Segment 1 Portfolio](https://reader034.vdocuments.site/reader034/viewer/2022052605/568c55321a28ab4916c1cd26/html5/thumbnails/82.jpg)
8282
![Page 83: Rand Lemley -- BAC Segment 1 Portfolio](https://reader034.vdocuments.site/reader034/viewer/2022052605/568c55321a28ab4916c1cd26/html5/thumbnails/83.jpg)
8383
![Page 84: Rand Lemley -- BAC Segment 1 Portfolio](https://reader034.vdocuments.site/reader034/viewer/2022052605/568c55321a28ab4916c1cd26/html5/thumbnails/84.jpg)
84
Final model
• Useofprecedentstohelpdrivedesign• Quickdirtymodelscanhelppushprocess• Charcoalhelpstoshowmoodandsolid
versusvoid
Learning
![Page 85: Rand Lemley -- BAC Segment 1 Portfolio](https://reader034.vdocuments.site/reader034/viewer/2022052605/568c55321a28ab4916c1cd26/html5/thumbnails/85.jpg)
85
Progression through the threshold
![Page 86: Rand Lemley -- BAC Segment 1 Portfolio](https://reader034.vdocuments.site/reader034/viewer/2022052605/568c55321a28ab4916c1cd26/html5/thumbnails/86.jpg)
86
The Digital2013-2014
Digital tools are increasingly informing the way we work as architects, from drafting to fabrication. To be properly equipped for the digital age, I have been teaching myself how to use AutoCAD and Rhino for software and 3D printing, laser cutting, and CNC for fabrication.
Tadao Ando’s 4x4 House drawn in AutoCAD
![Page 87: Rand Lemley -- BAC Segment 1 Portfolio](https://reader034.vdocuments.site/reader034/viewer/2022052605/568c55321a28ab4916c1cd26/html5/thumbnails/87.jpg)
87
Stages of design and fabricationfor CNC signage done in Rhino and using a CNC
Examples of my CNC output
![Page 88: Rand Lemley -- BAC Segment 1 Portfolio](https://reader034.vdocuments.site/reader034/viewer/2022052605/568c55321a28ab4916c1cd26/html5/thumbnails/88.jpg)
88
The Eye
I use photography to explore the world around me, taking time to deeply observe my environment. The results often raise questions as much as they provide answers.
Rhythm that has been interrupted by the one dark pedestal
Two geomoetries at play. The sculpture displays Rene Thom’s catastrophe theory
![Page 89: Rand Lemley -- BAC Segment 1 Portfolio](https://reader034.vdocuments.site/reader034/viewer/2022052605/568c55321a28ab4916c1cd26/html5/thumbnails/89.jpg)
89
Unconventional organization of space
Regular geometries meet abstract form
![Page 90: Rand Lemley -- BAC Segment 1 Portfolio](https://reader034.vdocuments.site/reader034/viewer/2022052605/568c55321a28ab4916c1cd26/html5/thumbnails/90.jpg)
90
![Page 91: Rand Lemley -- BAC Segment 1 Portfolio](https://reader034.vdocuments.site/reader034/viewer/2022052605/568c55321a28ab4916c1cd26/html5/thumbnails/91.jpg)
91
Classical form and order at the Boston Public Library
![Page 92: Rand Lemley -- BAC Segment 1 Portfolio](https://reader034.vdocuments.site/reader034/viewer/2022052605/568c55321a28ab4916c1cd26/html5/thumbnails/92.jpg)
92
The Hand
In my spare time, I push my limits in two creative pursuits -- furniture and ice cream making. Though I’ve only completed one table so far, my flavors are myriad.
Using a single board of maple, I built a side table with legible joinery
![Page 93: Rand Lemley -- BAC Segment 1 Portfolio](https://reader034.vdocuments.site/reader034/viewer/2022052605/568c55321a28ab4916c1cd26/html5/thumbnails/93.jpg)
93
Ingredients (Honey Banana)
Cook the custard base (Cinnamon Apple Cider)
Chill and churn (Spicy Chocolate and Buttered Scotch Pecan)
Eat and enjoy (Currant Lime)