JENGA 5.0

JENGA 5.0 (Merging concepts)

To jumpstart the design process our instructor told us that we were to merge designs with another group and create an eight story complex. Simple enough. The first group beaucoup met with was team angling, in which their name says it all. Our designs are completely different. While ours features many curves and fluid motions, team anglings structure uses an abundance of complicated geometric planar surfaces. My first thought was “bring on the next group!” After studying their design, I got an idea to place their structure beneath ours and use their tentacle like extrusions as if they were tree roots, thus altering the form of both structures. I was running sketch up as always, and I personally felt that we might have taken an approach that takes longer than forty minutes to follow out. I really think that we could create a very interesting design given the right amount of time. I also felt like both teams bonded very well. But we got lost in the design because we found ourselves still working after Patrick said next. I’m still not sure what to think about that. The next group we worked with was circuit, which structurally I felt there were some great connections. However we seemed to have trouble trying to explain the merger of the two designs. At this point it was a nice structure with no meaning. I feel we would also have to achieve our design through the use of materials, which is not enough to bring the concepts together. I really look forward see who we are assigned to work with, I’m confident as designers we will have a cohesive design either way. 

JENGA 4.0

JENGA 3.0

In this assignment we were too collaborate with two other classmates and unite the spaces from JENGA 2.0. Nikki’s space was designed around the word LEAP, Cassandra’s space was designed with consideration of the word IGNITE. My space was created after the word REVERBERATE. In this assignment we had to bring the three units together to make one cohesive design. The books we were assigned to read, all focused on community, weather it was how the community was constructed or how it’s preserved. With this in mind we wanted create a space that would truly serve its inhabitants. We wanted the neighbors to establish a bond that’s not present in today’s society, while incorporating our individual designs. We needed to incorporate many curves in our design because our individual spaces embraced the curve in form. Weather it was through the vertical curved structure greeting the users in the lobby, or the layout reverberating throughout the structure, or the public seating leaping through the wall to invite the users; the units ignite the feeling of community.

Above is a detailed section of our public spaces. We wanted the users to focus on the vertical curve that was also present in Cassandra's space.

View of the upper public space looking out on a starry night.

View of the public seating that leaps through the wall.

Group diagram for our books.

Front view of the model reveals the operable windows and an elevation of the space.

This view of the model shows the REVERBERATING floor plan of the public space.

What I learned from Las Vegas.

For our studio class our instructor Patrick Lucas gave us a list of books that we were to each choose one book to read. The books were all theoretical and, I feel enabled everyone to get a better feel for design. The book "Learning From Las Vegas" by Robert Venturi, Denise Scott Brown, and Steven Izenour was not among the books on the list, but as I approached the instructor and asked if I could read this book, he delightfully said that was an excellent choice. The book is divided into two parts, part one mainly discusses the actual observations the Yale university group gathered in their ten day visit to sin city. Part two on the other hand investigates ugly and ordinary architecture against the decorated shed.

Part I

Most feel that the first part is meant to be informative and not so much theoretical, however I find that there are many useful points that can enhance a design. SYMBOL DOMINATES SPACE! When you see a picture of the ocean one automatically makes the assumption that they are at the beach, thus making the ocean a symbol of the beach. The book was an advocate for incorporating communication and familiarity within a design to make the users feel more comfortable within space. The strip is made up of many luxurious casinos with very flamboyant signs, however on the side that faces away from the highway the structure is bare and reveals the forms mechanical systems and service entrances. From this I learned that placement is crucial, I also learned that a structure should be designed completely, not just a facade. I learned the importance of aesthetics and entourage of a space. Casinos on the marvelous strip are by no means monumental in the classic sense of the word, however the careful use of light and highly specular materials makes the space seem never-ending thus creating the illusion of monumentality. 

Part II

(the duck vs. the decorated shed)

The second part of the book seems to have little to no interest in Las Vegas as the previous segment did. The duck is when a structures unique form makes the building a symbol. The decorated shed is when the ornament of a structure transforms the building into a symbol. It seems that the authors were strongly in favor of the decorated shed because most modern architects of the time had cast ornament aside and created bare monumental structures, but in their quest to create a form with no unnecessary ornament or historical precedent the modern architects constructed a form that was a symbol, categorizing it as a duck. The book leaves off with a quote from Augustus Pugin that states "it is okay to decorate construction but never construct decoration." I feel that was the answer that I was searching for throughout the analysis and theory of the book. I feel the authors did an excellent job analyzing the strip of Las Vegas and getting their point across. I highly recommend this wonderful book to the upcoming designer.

Above is a Diagram that we were to create for a verbal presentation of our books. I focused on a point that was strongly relevant to the first portion of the book. "SYMBOLS IN SPACE DOMINATE FORMS IN SPACE." Its quite evident that the mountains are a symbol of the Nevada backdrop, but how do the forms utilize ornament to overpower the beautiful mountainous region?

Diagrams JENGA 3.0

Community is a basic need of humans. We need others to surround us in order to communicate and create friendships. Our space is all about brining together designs as well as people. As you enter into the large and lofty lobby you feel a sense of community from the various gathering areas. These areas can be used for eating with friends or sitting down for a chat with a neighbor. As you walk through to the back of the lobby it narrows into a hallway that leads to the three apartment spaces. If you continue straight back down the hall you will enter the stairwell that leads up to the large semi-outdoor rooftop terrace that is accessible from the second floors of the apartments. The space incorporates the main forms from the three different spaces and merges them into a cohesive design. These forms also produce the ceiling, space dividers, and seating.  This area is a place to have the company of neighbors and friends while enjoying beautiful scenery, gardens, and quiet gathering areas. 

Individual Space

 Process of Total Space

Final Overall

JENGA 2.0

This installment of JENGA was to add a half story to the design from JENGA 1.0. The cardinal rule was that we had to use exactly fifty percent of the total area, nothing more, nothing less. With this rule and confidence in hand, I started to find a cohesive design for the whole space. I knew that I wanted to give character and purpose to my ceiling and windows, which were lacking in my previous design. So I thought what if I reflected the pattern of the floor on the ceiling? After I completed the design I felt that it was still missing something. It was at this point that I decided to transform the extrusions on the ceiling into lights. I still felt that the space lacked cohesiveness. Through the repetition of materials the space now had clarity and consistency.

I immensely enjoyed looking at everyones designs for the spaces they were assigned. I felt that they all were a big improvement from where we all started. I enjoyed the wonderful craft that Kara Cooy displayed in the execution of her physical model. I felt that Blakeni and Faith did an excellent job diagramming their spaces. I feel that most everyones designs were well conveyed but everyone needs to leave more time for the board layout, thus enhancing project communications.

Peer Review

Kathryn’s first space was formed after the concept “sun-kissed.” The designer’s intent was to create the feeling of warmth similar to when sunrays greet and engulf you on the beach. She added a slight curve to the space that guides the user through the space and leads you to the bed. This idea reminded me of the many stories we are told about rainbows when we are young, and I felt it was a refreshing take on the idea of light guiding through space.

The second space was derived from the anticipation one feels before a kiss. The foyer gradually increases in size leading the user to the unknown and unexpected. But the designer uses this feeling of unknowing to surprise the user by having a sort of fork in the space, meaning that a directional decision must be made. I feel that greatly enhances the space and definitely gives the feeling of anticipation.

The final and largest space was shaped after the “bonding” a relationship has after a kiss.  The space is strategically divided to help guide the users effectively. It takes a traditional sense on the layout of the space, meaning that the area is less open as most were. But that’s not to say that is a bad trait for a space to have.  With this being the space that contains the solids, it’s a perfect opportunity to use the idea of bonding. The space seems to overpower the objects occupying it, but that feeling is short lasted once the magnificent space is experienced. It seems as if the space establishes a bond with the user.

I really enjoyed how all of the designer’s spaces are centered on intimacy; it sort of reminds the designer where they came from in their design process. But it also helps tie all of the different spaces together. I really enjoyed experiencing her spaces and seeing her designs evolve along the way and seeing how she arrived to the final designs.