Tuesday, September 30, 2008

Unity in 12 skewers and 12 4x6 pieces of bristol board


This project is really interesting to me. I really am struggling, however, to create something that is really truly unified while at the same time creating a place. I really want to play with negative space and light, however, not being able to cut the paper necessarily or use any other materials (other than rubber cement or the likes as a bonding agent) seems not to be allowing me many options. I keep telling myself "But of course there are other options!" and then responding to myself, "But where are they?!" And then suddenly it becomes clear: I need sleep. But maybe not...


I formed a square shape in the center of the glued-together pieces of bristol board. I felt that this was unifying and was beginning to play with space and light. I also overlapped the paper in a specific way, creating a pattern to enhance unity.


I really like the thought of making this curve. Circles are sort of a symbol for unity, but I didn't necessarily want to go and make a circle out of these materials. I think it would be interesting though to suggest the circle with the curved paper. Hopefully, I could do it to the point that the viewer's eye forms the circle even when the lines aren't there.


I purposely put all of the pointy sides of the skewers up. Once again, it is a unifying element. Also, the structure stands better when the flat sides are on the surface it is sitting on. However, I am having a difficult time not having the pointy ends appear prickly-- sticking out from the structure in a somewhat violent way.



The skewers kept trying to overlap and cross, especially the ones around the outside. I thought it was interesting, so for this iteration, I decided to to glue them crossed so that they were more intentionally- and interestingly- crossed. This is also more unifying, since the skewers actually come together. The V shape imitates the point of the skewers.

Thursday, September 25, 2008

12 Twigs: Process

A sketch for one idea I had

12 twigs model sketch

The first sketch I made of what developed into my final product.

Photos of models/prototypes:

12 Twigs: Process

12 Twigs: Process

12 Twigs: Process

12 Twigs: Process

12 Twigs: Process

12 Twigs: Process

12 Twigs: Process

12 Twigs: Process

12 Twigs: Process

12 Twigs: Process

12 Twigs: Process

12 Twigs: Process

12 Twigs: Process

12 Twigs: Process

12 Twigs: Process

12 Twigs: Process

12 Twigs: Process

Drawing just because...

Doodle 3

Doodle 2

Doodle 1

A Sudden Burst



lightsource sketches, sampling of one lightsource.




architectural details
architectural details

architectural details

sprinkler wheel

Wednesday, September 17, 2008


Architecture 2030, an initiative by Ed Mazria and adopted by AIA, is concerned with the carbon footprint of commercial buildings. Caught up in the storm of humanity, we have lived on the earth as though we do not belong here. We have abused our home. As we begin to see the effects of our storm, the storm of sustainability is becoming stronger in our society. Unlike many green architecture and design programs, Architecture 2030 is more interested in reducing the carbon footprint of already existing buildings, since using already built structures will always have less of an impact than any new construction. The ultimate goal is to be entirely carbon neutral, meaning that whatever is taken and consumed is put back into the environment. The challenge is to reduce fossil fuel by 60% by 2010, 70% by 2015 and on and on until carbon neutral is reached in 2030. Because many would be reluctant to do this and would put it off for extended periods of time, many organizations are trying to get building codes passed that will enforce these guidelines to become carbon-neutral. Once we realize that changes must be made, we can see beauty in the human storm, in the world around us, and allow the storm of sustainability to grow, thus making our world more beautiful and livable.

Issues Concerning “12 Twigs” (and projects in general)

When creating an object, whether it is a space or a place or an item, certain challenges and issues arise. As everyone in the group went around the room, discussing their project and others critiquing them, I found that three main issues came to light. The first point is that the designer needs a good reason for everything he does. Something cannot simply be done because he likes it or because it looks good. Rather, it needs to respond to a need, symbolic quality, or inherent quality of the object the item is being designed around. Secondly, an item needs a double-take factor. The designer cannot let a viewer simply walk by their design and never look at it or think about it again. There needs to be something that stands out or makes the viewer look closer, such as the braided hair woven in one project out of our group. Thirdly an item needs to tell one story. Multiple stories are confusing and sometimes conflicting, often overwhelming the viewer. Even in a piece meant to evoke uneasy emotions needs to tell a definite single story, even if the story differs between viewers. In addition to this, the story, in some sense, needs to be obvious without explanation. A piece should speak for itself—it should tell its own story. Though definitely not everything to be considered, these three issues when designing an item definitely help to make it better.

Sunday, September 14, 2008


A sphere, even one that is not perfect, is an extraordinary structure that we encounter in our everyday lives, in many ways. Some Ancient Greek philosophers believed a sphere to be the most perfect form.

One interesting product that utilizes a partially spherical form is the iconic Globe Chair.

Nature has used sphere-like forms in many applications.
One example is an egg.

An egg is a place for a growing organism. It is a fragile shelter.

Another are all of the planets and perhaps the stars.

For my purposes, I will focus on our Earth, which is a place for us and all of the things around us. It contains countless things, living and nonliving. It is our place, where we belong, where we were placed.

Tuesday, September 9, 2008

A Place for a Leaf

2008-9-9 A Place For A Leaf 3

(Please Click For A Larger View)

The most practical and obvious answer for the question, "What is a place for a leaf?" is on a branch, or on the ground once it has fallen there. However, the obvious answer, or even the natural answer is not always the most interesting answer. So I set out to create an interesting place for this leaf-- a place that perhaps, if this leaf could choose a place to be, it would choose this place. In a way, it is a hiding place for this leaf, since the leaf is sometimes concealed. At another angle, it becomes a display for the leaf, or perhaps the leaf has a wider window to look out of. Leaves soak up light and create shade, just like the ribs of this place I designed. The place is woven together by a green strip, signifying the cycle of nature and the way each and every thing is interwoven in nature's plan.




And another attempt:




I do think that it is more readable when a line is skipped between lines. I think it would look best if not an entire line was skipped between the lines, but a half line.





A mess is quite complex to draw, and even harder to find when you just moved into an apartment and got everything you own put away in its right place.

Tuesday, September 2, 2008

All Around

In my classes we have been exploring drawing techniques, like drawing something upside down and lettering.

One assignment was was to draw five things from my purse. These five things I have with me almost always. I am definitely never without my camera! 

5 things010

When drawing this guy, I sort of accidently cut off his head. I thought I would be nice enough to draw it on, though..

head to the headless009

And I had to do some lettering. Now, call me completely dorky, but I love to do this. If you know me, you know I have pretty neat writing in the first place, so maybe neatly shaped letters is something I have a tendency to go for. Despite this, I still have a way to go until I have perfected lettering skills, but I am sure I will have a lot of opportunities to work on it.